havas sports and entertainment 2016

TRENDSMaRKETING2 0 1 6

our annual look at what ' s on the hor izon

TABLE oF

Foreword

2016 - trends predictions

2015's TrEndS review& BEST campaigns

THANK you

Sources

CONTENTS/Trendy Trends Content is KingDigging into Digital with Christel Quek Power to the People

Logics of Engagement2015's Top Trends Review

2015's Best Campaigns

0506

15

27

35

75

76

45

03

49

61

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FOREWORDFOREWORD

The end of one year and the beginning of another. A time to reflect, question, look around oneself, the world and the industry in which we work, to take that annual marketing temperature and get a sense of how we’re all doing, where it’s all going and why we're doing it.

Last year we focused on the collision of entertainment, marketing and communica-tions, where brands source their communications content from people’s passions (music to sports, gaming to pop culture, fashion to…). This year we’re seeing people simply tune out the noise and tune in to what

matters: their needs served up their way. It’s not just entertain-ment they’re after, but rather relevance, value, intrigue, intellectual challenge and some good old fashioned fun.

This year thanks to our trend hunters from around the world, we’re getting a pretty good sense of the next seismic shift that has already begun to rock our world, how these changes will affect us, and what we need to do to stay on our toes to avoid getting blocked by savvy consumers who frankly don’t give a damn.

Over to you Fredda...

FROM iMMERSiVE EXPERiENCESTO AD BLOCKERS...

Thanks, Jérôme.

Our trend hunters' initial findings have already pinpointed two main challenges we'll need to take on in 2016. Challenge #1: frustrated customers are increasingly blocking brand messaging, and challenge #2: the quiet rise of the robot - it's not quite yet Terminator or artificial intelligence (AI) gone mad, but these soulless creatures are far more prevalent than one can imagine.

So where does this leave us? For brands it’s putting a pretty hefty demand on them to provide value more than just produce content, to tailor activations

more than just target audiences, to engage in genuine storytell-ing more than just classic, transactional selling, and to ignite passions more than just instigate connections. 2016 will be a year of high expectations from consumers globally, and the quality of crafted content will triumph over the quantity of general marketing initiatives.

To all the marketers, commu-nicators, creatives, innovators, planners, techies, dreamers and realists, let's go forth and ignite everyone’s passions, our own included.

Happy reading!

...THE AGE OF "MY CONTENT, MY WAY"

iS HERE TO STAY

JÉRÔME DE CHAUNACGLOBAL CHIEF OPERATING OFFICERHAVAS SPORTS & ENTERTAINMENT

@jdechaunac

FREDDA HURWITZGLOBAL CHIEF STRATEGY OFFICERHAVAS SPORTS & ENTERTAINMENT

@FreddaHurwitz

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/TRENDY TRENDS

2016 - TRENDSPREDICTIONS

Over the course of the last decade, digital platforms have seized control of the information economy by establishing cen-tralized infrastructures. Players like Amazon, Apple, Facebook and YouTube have gained a monopoly on vertical transac-tions in the digital space, from hardware systems to social sharing to video distribution. In their roles as intermediaries, platforms have created the rules by which content is produced, distributed, and consumed. This centralization has limited the ability for creative expression in their user base.

The rise of online influencers and communities has fundamen-tally challenged the concept of a centralized platform. Influen-

cers move fluidly across the digital universe and develop their content across multiple platforms. To their followers, platforms are becoming nothing more than a distribution channel that makes up one part of a larger media ecosystem.

In response to the potential user exodus, platforms have aggres-sively expanded the acquisition and integration of additional media channels in an attempt to create their own ecosystems. Amazon launched a film and television unit and acquired the live streaming platform Twitch, Facebook bought the virtual reality maker Oculus to focus its service on video, and YouTube has expanded into gaming and exclusive over-the-top content.

The platform economy is shifting towards a network of growing media ecosystems.

While this development ensures the continued existence of platforms in the sharing economy, they continue to remain centralized. Meanwhile, users will likely look to break free from platform-driven ecosys-tems and will look instead to create their own, allowing them to have direct access to content and its creators. A new genera-tion of creators and makers will embrace a decentralized mindset to create their own ecosystems, ushering in a more transparent and open era of media.

FRÉDÉRIC JOSUÉGLOBAL EXECUTIVE ADVISOR, HAVAS 18 HUBS DIRECTOR - @fredericjosue ”

...users will likely look to break free from platform-driven ecosystems and will look instead to create their own, allowing them to have direct access to content.

7 8

Goodbye platfOrms, HellO ECOSYSTEMS

Goodbye Goodbye Goodbye Goodbye

2016 - TRENDS PREDICTIONS


More than an app,

A SoCiAL EXPERiENCE

With more than 80% of consumers spending time on mobile apps, it’s only natural that brands want to create their own. Not only are apps able to offer an incredible opportu-nity for brands to engage and connect with their customers, but they’re also able to boost brand recognition and drive in-app sales and store traffic.

Here‘s the catch: despite the sheer magnitude of the afore-mentioned number, only 25%

of the installed apps are used frequently1. This means that all of the other apps which were downloaded – because they looked cool, fun or useful – were quickly forgotten.

When thinking about mobile app marketing strategies for

2016, and prior to brands creating their branded app, they should first ask them-selves a few questions: Where are my consumers? What are their touchpoints? What kind of apps and content do they enjoy engaging with? How and where can I create value for them?

If we take a closer look at mobile usage, we see that social networking apps have the highest daily use with 68% of smartphone owners using a social app at least once a day1. Brands must take this social behavior into account, and provide valuable experiences that match the current codes and usages of today’s consumer. For example, Shazam went beyond voice recognition and now offers visual recognition

capabilities; everything from print ads to packaged goods is "shazamable," instantly creating custom mobile experiences. Not only does this let brands tell deeper stories, with mobile marketing taking center stage, it also allows them to engage with a massive audience (100M monthly active users) in a single tap.

Brands that succeed in the app world may not be those that actually create their own branded app, but rather are those that find and engage their consumers on third-party "star" apps, such as Google Maps or Facebook.

1 Mobile App Marketing Insights - Google, 2015

MARCO RIGONGLOBAL HEAD OF MOBEXT - @brancaleone75 ”

80% of consumers spend time on mobile apps, but only 25% of the installed apps are frequently used.

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From theater to opera, to the early days of cinema when music was a key component of silent films, music and storytelling have always been closely intertwined, and many iconic movies such as West Side Story, Fame and Mamma Mia have helped shape the musical evolution of cinema.

Similar to the attraction of a stellar cast, music is increasingly becoming a strong asset with which to spark people’s interest in a movie, from both a creative and marketing aspect.

Straight Outta Compton, the 2015 American biographical film about the rise and fall of the hip hop group N.W.A., was a big hit in theaters worldwide as it

touched on two major passion points: cinema and music.

Another great example is the publicity that was done for the sultry film 50 Shades of Grey.The movie soundtrack was atyp-ically released before the film itself, and proved to be a strong marketing asset which peaked people’s interest prior to its of-ficial release.

In the coming years this trend will continue to grow, and the fusion of music and film will expand globally. This will provide movie-goers with a more visually intense and musical experience, thus wholly immersing them within the context of the film.

DIDIER LUPFERCHAIRMAN AND CEO OF STUDIOCANAL

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CREATINGSWEET MUSIC& FILM TOGETHER

MUMU



ARtificialintelligence, YESBut With a Hint of Caution

Artificial intelligence (AI) has already infiltrated our lives much more than we realize. We plan trips using GPS systems that rely on AI to cut through the complexity of millions of routes to help us find the best one. Our smartphones understand speech, and Siri, Cortana, and Google Now are getting better at understanding our intentions.

In 2016 AI will grow by leaps and bounds, and brands will fully begin to capitalize on this technology. Car manufacturers such as BMW have begun experimenting with AI. This German automotive group launched its first electric car with iGenius – a technology that is able to answer customers’ questions about the new vehicle

via mobile, web and social media platforms. Not only can iGenius have hundreds of conversations at the same time, it can also memorize previous questions to generate the most pertinent answers.

Facebook and Google are both building neural networks that can recognize spoken words, target ads, and learn how to identify key features in digital images such as cars, landmarks and even the aging process in people’s faces. In media agencies however, the programmatic buying and serving of ads is driving real-time campaign decisions at speeds impossible for the human brain to replicate.

But we must remain cautious.

In order to avoid hurtling towards a future that no longer takes people or our relationships with brands into account, we need to ensure that in 2016 meaningfulness is factored into AI. Without this, AI runs the risk of seeing us withdraw from physical experiences, ultimately resulting in a destabilized society due to synthetic robots taking over roles that should be carried out by humans.

If your job demands creativity, social interaction, physical dexterity and mobility, consider yourself safe. If it doesn’t, beware of the robots!

JEZ JOWETTGLOBAL HEAD OF CREATIVE TECHNOLOGY, HAVAS MEDIA GROUP - @Jezmond

”If your job demands creativity, social interaction, physical dexterity and mobility, consider yourself safe. If it doesn’t, beware of the robots!

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/CONTENT iS KiNG

Ad blocking has certainly hit the headlines since Apple introduced the ability for consumers to block ads on their iOS mobile devices. This is not something that’s about to disappear, even though the world’s biggest advertisers may want it to.

While this undoubtedly signals a clear and present danger for paid and programmatic, it also represents an opportunity for native content, or "earned" me-dia, to come of age and occupy a more meaningful place in a communications plan.

In 2016, branded content is poised to become the key beneficiary of emerging technologies that enables consumers to swerve marketing messages that are felt to be obtrusive or irrelevant.

However these obstacles will be overcome, and let’s be clear, paid creative messaging that is smart and well targeted is still as potent a tool as ever. In the meantime, the door is ajar for branded or native content to seize the moment and become the MVP that many of us believe it has the potential to be.

To do this, branded content needs to develop a sharper edge to its game. One example of this is the shoppable YouTube video Havas SE Cake UK created for Very.co.uk. This online retailer wanted to be the "go-to" brand this past summer and raise awareness of its fashion offering as well as championing its non-clothing departments.

The agency devised the #Sum-mertime campaign; working with

Universal Music Group to bring on board British hip hop duo Rizzle Kicks to recreate the iconic 90's summer anthem "Summertime."

The video itself features Very’s clothes modelled by the artists, and viewers can click through to the full collection directly from YouTube. The result was a piece of great original content, mas-sive pick up on and offline, £1.4M in revenue generated via video viewers, with 45% of sales coming from first-time users of Very.co.uk.

For brands (and agencies), the focus in 2016 should be on creating meaningful content that people will genuinely want to engage and interact with. Branded content capable of directly selling pro-ducts and services? Now there’s a trend that might just catch on…

ADRIAN PETTETTCEO, HAVAS SPORTS & ENTERTAINMENT CAKE UK - @aepettett

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AD BLOCKERS WILL BRING BRANDED CONTENT TO THE FORE

AD BLOCKE



Discovering the benefits of

intellectuAl prOperty

2016 will be the year when brands really begin investing in content creation and owning Intellectual Property (IP). Many advertisers believe that investing in content is more expensive and more complicated than the usual fare, however 2016 will show them that this is not necessarily true.

Given that brands need to cut through the noise, the world of IP truly helps advertisers stand out and build increased and long-lasting consumer loyalty.

The Lego Movie is a very powerful example, but let’s be clear, producing a Hollywood blockbuster is not the only way for brands to benefit from IP. There are many other opportunities

available, from online content to TV programs. An excellent case in point is the choice made by the American restaurant chain Denny’s that wanted to rejuv-enate their 37-year old breakfast menu.

Rather than changing the actual menu, Denny’s created playful cartoon food characters dubbed "The Grand Slams,"1

and for an entire year they regularly released their hilarious adventures online. The series was such a hit that it not only changed consumer perception of the menu, but it also made Denny’s a hot property worth partnering with. For example customers and fans of The Hobbit, were able to eat a Hobbit-inspired menu.

The bottom line: in 2016 IP is going to be an incredibly powerful way of engaging consumers, completely reinventing the relationship between them and brands.

DAMIEN MARCHI GLOBAL HEAD OF CONTENT, HAVAS MEDIA GROUP - @damienmarchi

”IP helps advertisers stand out and build long-lasting consumer loyalty.

1 http://www.thegrandslams.com

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HallYu 2.0/Korean Content is taking Center Stage

The Korean content wave, or Hallyu 2.01 in Korean, is a new term referring to the increase in popularity and influence of South Korean culture.

Over the past 20 years, Japan, China, Thailand, Vietnam and various other Asian countries have adopted Korean pop culture en masse. Today with Korean content having per-meated the Middle East, Europe and the Americas, Asian fans are following Korean superstars across the globe. The Korean creative industry has evolved as a result of globaliza-tion, with the first K-wave being driven by the export of TV shows, or “Korean dramas,” across Asia. Hallyu 2.0 however is being propelled by social media and

advancements in multimedia and telecommunication tech-nologies. While Korean dramas are still gaining in popularity, the country has now emerged as a global leader in e-sports, anime (Japanese animated produc-tions) and music. This meteoric rise has occurred in part because both K-pop fans and e-gamers are now able to consume massive amounts of local content online without restrictions. This is thanks to video streaming sites such as Dailymotion and YouTube that continue to transform the way creative content is produced, distributed, and consumed. Seoul may only be the “Hollywood of the East” today, but in the next decade it just might take over...

1Hallyu 2.0 is a term coined by the editors of

the book Hallyu 2.0: The Korean Wave in the

Age of Social Media, by Sangjoon Lee and

Abé Mark Nornes.

MARTIN ROGARDCHIEF OPERATING OFFICER, DAILYMOTION - @martinrogard

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”6 out of 10 people watch short videos on mobile devices on a daily basis.

For your viewing pleasure

originalMObile COntent

Thanks to the development of mobile networks and the improvement of overall mobile reception, 6 out of 10 people watch short videos on mobile devices on a daily basis1.

eMarketer estimated that more than 105M U.S. smartphone users watched videos at least once a month on their devices in 2015, representing 55.5% of the total smartphone user base and a 13.9% increase over 20142. With this growing phenomenon, Europe, Africa and Asia are set to adopt the same practices.

There are some basic reasons for this rise in viewers. In addi-tion to being a highly personal commodity, a smartphone is a highly addictive device; throw engaging content into the mix and this makes for a highly ad-dictive pastime!

Sports clips, movie trailers and music videos are currently the most watched content, although semi-professional content such as tutorials, video blogs and viral videos are also racking up huge numbers of views.

Watching videos vertically on a mobile phone has become the norm thanks to Snapchat and Facebook. Some great examples of this trend include a Californian production company that built a "vertical" kitchen film set for their cooking series, "Tastemade" on Snapchat Discover3.

In France, SAVE FERRIS (Havas) produced a digital mobile series called "FRAT,"4 making CANALPLAY the first subscription video on demand (SVOD) platform to offer this unique content. Last but not least is the promising development

of virtual reality (VR) videos for Oculus Rift and lookalike VR headsets.

This mobile content revolution is only just beginning, so keep an eye on 2016 when we’ll witness the birth of a plethora of origi-nal productions for our viewing pleasure.

1 https://www.youtube.com/watch?v=FCv1GiuYgeo

2 eMarketer - http://www.emarketer.com/

Article/Mobile-Video-Challenges-Hold-Back-Advertisers/

1012563#sthash.W7kd9wq4.dpuf

3 http://usat.ly/1OU1fuw

4 https://www.youtube.com/watch?v=FCv1GiuYgeo

MANUEL ALDUYDIRECTOR OF CANAL OTT - @Manald1

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THE AGE OFTHE CONSUMERTHE AGE OTHE AGE OTHE AGE O

CONSUCONSUMERCONSUCONSUConsumers today engage with brands through multiple digital touchpoints, but the data that gets tracked is disjointed, there-fore making it difficult to follow the consumer’s online decision journey.

We are totally immersed in the Age of the Customer; they are "always on," a reality fueled by the explosion of channels and multi-device usage, in addition to real-time based analytics that are able to extract and define multiple user profiles.

This priceless data can then be referred to prospects or existing customers with real-time unified profiles that are actionable for marketing initiatives. However for this type of customer centricity to have a real impact and monetary value, we have to intelligently analyze, manage and categorize

massive amounts of data, in order to activate meaningful customer engagement experiences.

So, how to make sense of all this data? How can advertisers better understand their cus-tomers? A profile engine can help in this respect.

This robust technology gathers data about an individual’s online surfing and buying habits; it serves as both a record for marketing model building and real-time activation, from a real profile to a segment, and from personally identifiable informa-tion (PII)1 to non-PII which feeds data management platforms supporting programmatic buying engines. Both parties, the brand and the customer, benefit from this ecosystem. More relevant messages targeting the right audience will drive revenues

up for brands, and in turn the customer benefits from content tailored to their interests. That being said, 2016 will see tighter collaboration between media and creative agencies in order to generate greater value between an owned, earned and paid environment. Media and creative agencies will need to team up in order to successfully deliver truly personalized ex-periences throughout the entire customer decision journey. This experience will be enhanced and intricately tailored to the customer, thanks to CRM data specialists that either sit on the media, creative or brand side.

1 Information that can be used on its own or

with other information to identify, contact, or

locate a single person, or to identify an indi-

vidual in context.

HOSSEIN HOUSSAINIGLOBAL HEAD OF PROGRAMMATIC SOLUTIONS, HAVAS MEDIA GROUP - @houssaini_h

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DIGGING INTO DIGITAL

/TRENDSCHRiSTEL QuEKBRANDWATCH | VP, SOUTHEAST ASIA@ladyxtel

TRENDS FOCUS: DIGGING INTO DIGITAL

Messaging Apps:The Core Hub of Social Activity

The rise of messaging appli-cations will dominate the social landscape in the next year. Presently, the top four messaging apps have eclipsed traditional social platforms such as Twitter, Pinterest and LinkedIn in monthly active users (MAUs). The current kingpins of the messaging landscape include WhatsApp (900M MAUs), Facebook Messenger (700M

MAUs), WeChat and QQ Mobile (600M MAUs each), Viber (250M MAUs) and LINE (220M MAUs).

The reason behind this is simple: messaging has become a core hub of social activity beyond the simple act of sending text messages in 160 characters via SMS. Messaging apps have now evolved into ecosystems for users to conduct payment

transactions, consume rich-media branded content, partake in artificial intelligence and even play in-app games.

The innovation in this messaging experience first started in Asia-Pacific. LINE, which has a stronghold in countries such as Japan, Thailand, Malaysia and Singapore, was the first messaging app to introduce an in-app App Store amongst the messaging players in 2012. Since then LINE has continued to innovate at scale by allowing users to book taxis, listen to music, watch TV, make payments and play games within the application. In a similar way, WeChat, a Chinese messaging app, allows users to

make grocery deliveries, track their fitness, apply for personal loans and even feature in-app commerce stores for brands.

Not to be left behind, Facebook Messenger has achieved a growth spurt in 2015 thanks to its laser-focused strategy which added new layers on top of the core messaging platform. This included the introduction of a Messenger App Store in August 2015, allowing users to install apps for photos (PicCollage, Pic Stitch), audio (Sound Clips, FlipLip Voice Changer) and GIFs (GIF keyboard) to provide a richer media experience. This was subsequently followed in September 2015 by the introduction of a

Virtual Assistant “M” within the platform, an artificial intelligence feature which allows users to text “M” to ask for restaurant recommendations and make reservations. With the introduction of person-alized recommendations and increasing relevancy for users through machine learning, the monetization strategy through tie-ups with retail and small-medium businesses is huge.

Think messaging is just about connecting with your circle of friends? Then think again. 2016 promises to herald even more exciting innovations in how users will use these apps as a hub for their everyday activity.

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DEvELopErS, take heed:hardware to capture software

In 2016 developers will no longer be able to build businesses and monetize their in-app audiences as easily as before from just a simple app. Crucially user dis-coverability continues to be a huge barrier for developers, as cost-per-install for applications increases across advertising platforms such as Facebook and Twitter. In the meantime, while the sheer volume of applications available has increased (nearly

double to 1.5M active applica-tions available in the U.S. App Store in 2015), the number of user downloads year-on-year (approximately nine app downloads per month) has not changed. With greater competi-tion and choice, increased cost in user acquisition and unchanged user habits, the landscape for developers who want to monetize their apps through App Store revenue looks bleaker

by the year. Already more than half of the top 20 apps in the App Store globally including Facebook, YouTube, Facebook Messenger, Google Search, Google Maps and Instagram, do not generate any App Store revenue directly, but rely on monetization and building businesses outside of the App Store.

To capture and retain an audience, ecosystems are being built off hardware with re-engagement and monetization through software.

For example Xiaomi, a Chinese technology powerhouse, sells most of its devices at cost-price1

or makes very low margins off hardware to capture that valuable market share in China. Xiaomi is already China’s number two smartphone maker, with over 130M monthly active users and consumers who use their handsets 115 times a day. Most of their revenue is driven through their developer community, with improvements to their user interface “MiUI” and the Mi App Store. Xiaomi now makes a plethora of devices such as handsets, tablets, TVs, cameras and even air purifiers.

Software is great for building audiences and distribution, but it takes a combination of both hardware and software to build

a truly monetizable ecosystem for the long haul.

Businesses such as Airbnb and Uber would not have achieved their unprecedented success today without the brokering of physical goods with distribution through software.

1The cost price represents the specific value

that represents unit price purchased. This

value is used as a key factor in determining

profitability.

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and in this corner... Facebook & apple take cues from each other

in the ring“King Zuck” continues to be a shrewd investor in the development of technology.

Mark Zuckerberg’s acquisition of Instagram at $1B was soon eclipsed by his acquisition of WhatsApp for $19B two years later in 2014. While Facebook is currently the king of the multi-app universe (Facebook Mobile, Instagram, WhatsApp and Messenger), Zuckerberg is making a bigger bet on virtual

reality as the future, and in particular, immersive content experiences.

Let’s recall his $2B bet on virtual reality by acquiring Oculus. The Oculus Rift headset might seem cumbersome and unfashionable to some, but it is in fact Face-book’s first step in finally owning a device that could allow users, potentially 1B of us, to connect with one another in the future.


It’s no surprise who Facebook takes its cues from: Apple, the most profitable company in the world. It has sold over 700M iOS devices since 2007, is responsible for over 9B photo uploads to the iOS photo stream, has built a formidable software ecosystem (capturing over 79% of the public sector enterprise market) and remains a brand users will pay premium for (more than half of new device activations on Christmas Day in 2014 were iOS devices).

Apple has ventured beyond the Mac to create multiple operating systems, including the Apple TVOS, iOS, Mac OS and the

WatchOS, and it’s only just the beginning. The TVOS could very well be the bedrock for a smart home, the iOS as the ecosystem in a user’s pocket, the Mac OS as the fundamental for the enter-prise software market (who would've thought that Apple and Microsoft could ever do a joint demonstration at an Apple event in 2015?), and finally the WatchOS as Apple’s first foray into owning your body as a "wearable" OS. The trajectories of these two internet giants can only continue.

With Facebook making invest-ments in drones and internet coverage, and Apple quietly (or

not so quietly) working on an Apple car, the future of tech-nology with such innovation will truly benefit consumers with more choice, convenience and excitement.

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/POWERTO THE PEOPLE

In 2016 we will see lifestyle and luxury brands and retailers develop integrated peer com-munities around their brands: the two parties will realize that brand-led peer-to-peer engage-ment yields closer relationships between the consumer and brand, with loyalty and increased sales as the result.

Developing a brand-led community requires active community management and a comprehensive program to encourage involvement and reward members.

To date, the cosmetic brand Sephora has been a true pioneer. They have created a complete customer ecosystem that is omnichannel, with different tiers of customers who can interact with peers, share tips and receive benefits based on their seniority in the Sephora community.

Another great example comes from ASOS that created its "#AsSeenOnMe" platform. Here its community of fashion enthu-siasts can show off their ASOS purchases as well as buy new items, effectively recognizing its customers as its best sales-people and brand ambassadors.

If we look at a totally different brand ecosystem, for example Rapha, the upscale cycling retailer, we see a smart example of how to foster and encourage community involvement.

Rapha holds frequent events, classes and social interaction opportunities for members via its Cycle Club. They also have an extensive blog featuring brand-led content and contri-butions from its members with cycling information, art and design, photos and interviews.By drawing on what makes

your brand special, you have the potential to engage with consumers on a profound level and be a part of their everyday lives through communities. The rewards, in terms of loyalty and sales, can be huge.

MORE INFORMATION

TAMMY SMULDERSMANAGING PARTNER & GLOBAL EXECUTIVE DIRECTOR, HAVAS LUXHUB - @Tammyks

http://community.sephora.com

http://www.asos.com/discover/as-seen-on-me

http://pages.rapha.cc/

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Co-CREATION fosters Connections between Brands & consumers

Today, the majority of consumers feel that brands should play a more active role in contributing to their well-being. However when asked if brands are indeed taking this role seriously, the majority of people say that 61% haven’t quite caught on1. So, how does a brand engage people in order to drive a meaningful connection that will in turn drive business results?

One of the most effective ways is by inviting consumers into their world. Encouraging consumers to co-create (where brands design and develop with the customer and not just for the customer) turns a group of people into a community of active partners in the process of innovation. In essence, co-creation engages the customer in the brand’s success thus changing the

brand-customer relationship dynamic.

The co-creation approach to brand innovation is a win-win model across many industry sectors.

Dell IdeaStorm is a website launched by Dell where customers can submit ideas to improve the company’s products and services and vote on the ideas of others. Since launching, this platform has received about 18,000 ideas, and as a result more than 500 customer ideas have been implemented.

In 2016 customer engagement through co-creation will lead to the development of new products and services that better respond to customer needs.

Most importantly, co-creation will foster an increased sense of belonging to something bigger, ultimately driving a more meaningful relationship between people and brands.

1 Meaningful Brands® - Havas Media Group,

2015

MARIA GARRIDOGLOBAL HEAD OF DATA & CONSUMER INSIGHTS, HAVAS MEDIA GROUP - @TheMariaGarrido

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Encouraging consumers to co-create turns a group of people into a community of active partners in the process of innovation.

SOCiALiNFLuENC AS Native FRANCHiSES Thus far, social influencers

have only been addressed as an additional media channel to place ads. Current market valuation is in favor of Snapchat and Facebook rather than Shonduras, Snapchat’s first homegrown celebrity, or Logan Paul, one of the most famous Viners. A strong focus on in-fluencers bears the risk of being dependent on a single person to develop a business; but at a time when audience fragmentation is increasing, as is the landscape, is it really better to be stuck on a single platform?

Whatever the wording du jour is, native content or organic marketing, the end goal is the same: to further blur the bound-aries between advertising,

platforms and content. In 2016 no one will be in a better position to accomplish this than influen-cers. They are the new franchises that generate the audience of major online platforms. They deliver the content and value. If brands want to be part of this conversation, as opposed to just following it, working with influencers through a struc-tured, consistent, and long-term strategy will be key.

Top social influencers are already producing thousands of branded short-form content on social platforms, organically featuring products and services. Examples include product launches, mobile app development and serial-ized storytelling, all of which drive awareness with massive

conversion rates - for example a viral campaign from Havas Sports & Entertainment for Coke around the Ubisoft and Just Dance partnership gathered 15M+ views.

In addition, the talent discovery opportunity on these social platforms is widely underesti-mated, reinforcing the sustaina-bility of the overall model.

Investing in top social platform talent opens the door to an entire network of influencers, and one which goes beyond the U.S. Prime examples of this are the vines of Logan Paul, Cameron Dallas and King Bach, together with the other so far unknown talent sharing the screen.

THOMAS JORION HAVAS 18 HUBS - LOS ANGELES GM - @TJORION / @18HUBS

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The era of pushing products down the throats of the uninformed is over. Consumers are too smart and too discerning when it comes to traditional forms of advertising content; nearly 200 million people are using ad-blockers, and those that don’t block will skip them1. Morover, 69% of people say that content from brands has no meaning to them, and 50% state that some content actually turns them off the brand2. From now on, it’s about story-telling, not selling. Stories have a meaning we can relate to, with the music stars of our age courting an audience of billions to prove the connec-tion. From YouTubers to legacy recording artists, where there is a story, there is a following. Brands will start to go beyond

badging content and will collaborate with music artists and record labels to deliver stories with soul, reflecting the emotions and experiences that consumers crave.

How will this be done? By understanding the values of brands and music, and placing them in the context of what consumers desire the most, brands will begin to communi-cate in formats that are popular and easily understood.

Stories told in this way will be shareable, and when aligned with iconic figures of popular culture they will be widely consumed, providing not just reach but also engagement and intimacy that past forms of advertising no longer deliver.

Go native and get emotional, just like Jeep did in their "Living Like We're Renegades" com-mercial featuring X Ambas-sadors' hit song, "Renegades."

Check it out:http://y2u.be/YM-th85hRUU

1 PageFair2 AIMA Global

GO NaTiVe Put Some Soul Into Your Selling

OLIVIER ROBERT-MURPHYGLOBAL HEAD OF NEW BUSINESS, UNIVERSAL MUSIC GROUP - @orobertmurphy ”

Brands will collaborate with talent, artists and entertainment owners to deliver stories with soul, reflecting the emotions and experiences that consumers crave.

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2015'S TRENDS REVIEW& BEST CAMPAIGNS

When the fan participates virtually or in real life in music-related activities, including playing an instrument or composing music.

LOGIC OF PLAY

When the fan has a strong desire to discover new songs, artists or genres, which they are likely to share with their community.

LOGIC OF EXPLORATION

When the fan relishes learning and under-standing the details about music, often expressing their strong opinions on music theory and various genres.

LOGIC OF MASTERYWhen the fan mainly uses music to create or deepen relationships with a community of other fans or friends.

LOGIC OF SOCIAL CONNECTION

When the fan considers their fanship a sub-stantial element of their identity, associating music to their cultural origins or a time and a place in their life.

LOGIC OF IDENTIFICATION

LOGIC OF IMMERSION

When the fan’s purpose (conscious or unconscious) is to enter a world related to music and lose themself in the emotion of the music and to think of nothing else but the music they are listening to.

When a fan expresses an opinion to defend a musical taste and/or other music-related issues, like the reputation of an artist.

LOGIC OF ADVOCACY

When the fan enjoys the overall experience and atmosphere of music - a tune, a show or any content supporting the story around their favorite artist.

LOGIC OF ENTERTAINMENT

HAvas SE's LOGiCSOF ENGAgEMENTAt Havas Sports & Entertainment, fans and passion lie at the heart of what we do. We strive to understand what makes a fan a fan, how they live their passions, and what drives their engagement with sports and entertainment.

In 2014 we launched an extensive research pro ject , FANS.PASSIONS.BRANDS (FPB), in partnership with the University of Southern California’s Annenberg Innovation Lab (USC) to look at fans more closely, ultimately helping us advise our clients about how to better engage with diverse groups and mindsets.

We decrypted the passions of 21,000 people across 16 countries, spoke to football fans in Rio during the FIFA World Cup 2014, and collected and analyzed

over 9M tweets thanks to our partner IBM. In 2015 we turned our attention to music which, perhaps unsurprisingly, proved to be consistently the number one passion point around the world.

The result? A new framework to understand fan behaviors, attitudes and perceptions called the Logics of Engagement and in the case of music, the introduction of the Shuffle Age1.

We applied these same logics (see right) to our review of the top 5 trends predictions in 2015, and also to our favorite brand engagement campaigns to see how they would fare and gauge if brands recognize the power of these triggers when engaging with current and/or future fans. An interesting key finding that came out of our second year

undertaking FPB, is that although the logics are music focused, they’re broadly relevant in the context of most passion points. Our 2015 music study unearthed a new logic, that of Exploration, however the other seven are consistent with our 2014 findings.

Check out the featured campaigns to see how brands, consciously or not, are leveraging the logics of engagement for maximum brand storytelling and relationship building.

1Havas SE's FANS.PASSIONS.BRANDS 2015 Music Study

- Read the press release:http://bit.ly/1NdqCJa

- Check out the infographic:http://bit.ly/1PVYjzu

- 2014 Football Study press release: http://bit.ly/1qJ84SA

2015'S TRENDS REVIEW & BEST CAMPAIGNS 2015'S TREND REVIEWS & BEST CAMPAIGNS

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/2015 TOP 5tRENDS REViEWS /2015's TOP 5tRENDS REViEW

2015'S TOP 5 TRENDS REVIEW

Last year we predicted that storyliving would flourish in 2015, and flourish it did. A whole host of brands and marketers turned to immersive experiences and virtual reality (VR) in order to satisfy customers’ appetite for the unexpected, unusual and all-encompassing thrill.

Concerning the rise in VR stunts, in 2015 Nike launched films that allowed fans using Google Cardboards (a VR headset) to watch a football game through the eyes of the world-famous football player, Neymar. Similarly, AIG used video technology to

allow users to feel like they were on a rugby pitch alongside the All Blacks as they performed the haka, their legendary pre-match ritual.

On the immersive experiences side, Paramount Pictures brought a Mission Impossible: Rogue Nation scene to life in the streets of Hollywood where fans had to replicate Tom Cruise’s film stunts. In a similar vein, the author James Patterson created the world’s first self-destructing book, physically taking literature from storytelling to storyliving (see next page).

iMMERSiVE EXPERIENCES W H A T ’ S T H E S T O R Y

American author James Patterson, the first to have sold more than 1M e-books worldwide, came up with a very ori-ginal way of promoting his new book Private Vegas; the ini-

tiative challenged readers to finish the book within 24 hours.

" W E L C O M E T O A N E X P E R I E N C E T H A T W I L L B L O W Y O U R M I N D "

- 1,000 James Patterson fans were selected to read an advance digital copy of his new book. A digital platform was created which allowed readers to follow each other’s reading progress.- The digital experience included an ominous page burner that destroyed every page after being read, and story related animations scared readers throughout the book, all of which led up to the grand finale of the book’s self-destruction.

S U C C E S S

- The campaign earned 419.8M impressions.- Private Vegas became a New York Times bestseller.- The campaign won a 2015 Webby Award.

W H Y W E L I K E D I T

We thoroughly enjoyed this innovative activation which in a unique twist, given the digital age we are in, awarded the ultimate prize (the book itself) to the traditional reader, reminding us that often old school is best!

H A V A S S E L O G I C O F E N G A G E M E N T : I M M E R S I O N

With this experience, Patterson encouraged readers to focus on the reading experience in order to completely immerse themselves in the drama of the book.

THE SELF-DESTRUCTING BOOK BY JAMES PATTERSONOR HOW TO CREATE A REALLY INTENSE READING EXPERIENCE

WAT C H : http://youtu.be/idwgAKhqYBE (Mother New York, United States)

American author James Patterson, the first to have sold more than 1 million e-books worldwide, came up with a very original way of promoting his new book Private Vegas. The initiative challenged readers to finish a digital copy the book within 24 hours.

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In 2014 we predicted that the use of data for content creation would put fans at the very center of the entertainment experience. With more than 30% of companies reporting to Adobe that targeting and personalization became a priority in 2015, it would appear our predictions were correct. The increase in gathering of consumer data has allowed brands to gain essential customer insights, ultimately increasing the success of brand activations. For example, TAM Airlines gave their passengers a personalized on-board magazine

which they had created using passengers’ Facebook data. In a similar vein, Axe Brazil, a men's cosmetic brand, created a video which could be programmatically served in 100,000 different variations depending on user’s interests which had been previously collected by the brand.

Thanks to data analysis we can create great content; an interest-ing manifestation of this is the web series Entre Panas created by SABMiller’s Colombian beer brand “Poker” (see next page).

ENTERTAiNMENT CONTENT: ANYTHiNG, ANYTiME, ANYWHERE

WAT C H : http://youtu.be/UJ5HmKD4EtY(Havas Sports & Entertainment and Arena, Colombia)

W H A T ’ S T H E S T O R Y

In a society where consumers are heavily focused on the digital world and where friendships increasingly exist online, Colombia’s largest beer brand “Poker” was looking for ways

to maintain and enrich their relationship with young people.

" A W E B S E R I E S B A S E D O N I N S I G H T S I N T O T Y P I C A L C O L O M B I A N F R I E N D S H I P S "

- After 18 months of extensive research into typical friendships, the web series Entre Panas (Among Friends) was born. - Well-known Colombian movie director Carlos Moreno crafted a series of five minute episodes published weekly.- Entre Panas created its own Facebook fan page in order to provide the characters with a "real" presence – this fan page had an organic reach of 17,000 within two months.

S U C C E S S

- To date the episodes and teaser videos have been viewed over 11M times, more than any other Colombian web series.- 70% of people who started viewing organically watched the episode from start to finish.- Entre Panas won a gold and a silver award and Campaign of the Year at the Festival of Media LATAM 2015.


Entre Panas is a prime example of a campaign where brands strategically aim to interrupt consumers as little as possible, and allow them to consume content whenever and wherever they want.

H A V A S S E L O G I C O F E N G A G E M E N T : I D E N T I F I C A T I O N

When watching the web series, customers iden-tify themselves and their friends with the characters depicted in the series.

In a society where consumers are heavily focused on the digital world and where friendships increasingly exist online, Colombia’s largest beer brand "Poker," was looking for ways to maintain and enrich their relationship with young people.

ENTRE PANAS BY POKEROR HOW BEER CAN BRING FRIENDS TOGETHER TO HAVE A GOOD TIME

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variety isthe SPiceOf Festival Life

Last year we said that the in-creasing diversity of festivals would lead to a greater number of brands, notably luxury brands, integrating themselves within the festival experience.

Luxury brands have indeed become a part of the festival conversation, regardless of whether they are a sponsor or not. Take Coachella festival for example where renowned artist, The Weeknd, took over Alexander Wang’s Instagram account for the first weekend of the festival, and also the American luxury de-partment store, Neiman Marcus, that published a "how to dress at Coachella" guide.

This year, the focus for sponsors and festival organizers has been on providing festival-goers with first-class experiences. Pro-duction companies such as Red Frog "are bringing in a service mentality that treats music fans as customers,"1 and festivals such as Rock in Rio and Summerfest have invested in Vegas-worthy VIP spaces.

We also predicted that the op-portunities for technology brands to tap into festivals and connect with affluent consumers through rich product engagement would grow exponentially. Hungarian telecom service provider Telekom 4G, seized this opportunity in an

inspiring way, launching Festival Buddies – bots enabling digital users connected on a dedicated platform to interact remotely with festival-goers (see next page).

1 Forbes Magazine, 2015


Telekom Hungary's Telekom 4G, sponsor of the famous Hun-garian music festivals Sziget and Balaton Sound, wanted to illustrate the reliability of its 4G signal even during crowded events, as well as engage fans at the festivals and those at home who couldn’t attend.

“ T H I S I S S O C O O L ; A N Y O N E C A N J O I N " A T T E N D T H E F E S T I V A L F R O M A N Y W H E R E I N T H E W O R L D "

- Thanks to a tablet embedded in the head of a bot (see photo), users online could interact with people at the festival by chatting, instructing the bot to squirt water at someone or even giving fist bumps.- The bots, shaped as cool humanoids, were carried on the shoulders of "buddy guys" – the same way festival-goers carry a friend on their shoulders – facilitating the interaction between online users and festival attendees.

S U C C E S S

- The bot became the center of attention at the festival and even went on stage with an artist!- During the festivals, 2,000 connections were established, and the Festival Buddies succeeded in showing the festival from a unique angle to 54,000 people.

W H Y W E L I K E D I TThis manifestation of telepresence was perfectly tailorbility of the mobile network at a time when mobile signal’s noto-riously poor.

H A V A S S E L O G I C O F E N G A G E M E N T : S O C I A L C O N N E C T I O N

Telekom 4G triggered the logic of social connec-tion to engage customers through their passion for music. Thanks to the Fest-ival Buddies, fans interac-ted together, whether at the festival or at home.

FESTIVAL BUDDIES BY TELEKOMOR HOW TO REMOTELY INTERACT WITH FESTIVAL-GOERS

WAT C H : https://vimeo.com/135853397 (DDB Budapest, Hungary)

This manifestation of telepresence was perfectly tailored to the festival experience and cleverly demonstrated the relia-bility of the mobile network at a time when mobile phone signals are notoriously poor.

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Telekom 4G triggered the logic of social connec-tion to engage cust-omers through their passion for music. Thanks to the Festival Buddies, fans interacted together, whether at the festival or at home.



As consumers become more comfortable using biometrics to communicate with technology, we correctly predicted that biometric marketing would firmly make its mark in 2015.

Notable examples include cases from Netflix that conceived the "Brainwave Symphony Experi-ment," an original piece of music composed using brainwave recording sensors on fans of the Sense8 series, and Heineken that offered consumers the chance to explore what kind of visual stimuli enhances their enjoyment of electronic dance music the most.

However the standout example of the year comes from S7 Airlines’ "The Imagination Machine," a concentration game allowing participants to control a virtual plane using only the power of their imagination (see next page).

THE RISE OF BIOMETRIC MARKETING W H A T ’ S T H E S T O R Y

To promote their 900 destinations, S7 Airlines launched the "Fly to Any Place You Can Imagine" campaign and offered people in Moscow the opportunity to fly to any place they

could imagine.

" C O N C E N T R A T E O N Y O U R D E S T I N A T I O N A N D Y O U ’ L L G O T H E R E "

- S7 Airlines’ created The Imagination Machine, a concen-tration game using a bio sensor headset which allowed people to control a virtual plane thanks to the power of their imagination.- Shoppers in a Moscow mall had to select their dream des-tination, and by concentrating on this location, fly a virtual plane on a 2-meter globe positioned in front of them.- Participants who managed to concentrate on the location throughout the game won tickets to their dream destination, and those who weren't able to successfully fly the virtual plane still walked away with 5,000 air miles.

S U C C E S S

- 2M views of the official video in one month.- Over 250 people took part in the one-day activation, with 49 participants winning round trip tickets to their dream destination.


S7 Airlines successfully engaged its audience by offering them the opportunity to discover the power of their imagi-nation, while creatively promoting the multitude of destina-tions the airline flies to.

H A V A S S E L O G I C O F E N G A G E M E N T : I M M E R S I O N

THE IMAGINATION MACHINEOR HOW TO TRAVEL USING YOUR BRAIN

WAT C H : https://youtu.be/BoFbHTrZ1O0(Wieden+Kennedy, Russia)

The airline invited people to focus on their dream destination and rewarded those who completely immersed themselves within the experience.

To promote their 900 destinations, S7 Airlines launched the "Fly to any place you can imagine" campaign, and offered people in Moscow the opportunity to do just that by use of a state of the art piece of technology.

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Last year we said that 2015 would see a boom in campaigns centered on "people focused" ini-tiatives in Asia, and sure enough, this continent has experienced a surge in campaigns which put people and their needs first.

In the Philippines, Preview fashion magazine empowered women to defend themselves with the clothes and accessories they wear. In Pakistan, MoltyFoam, a bedding and furniture brand, created The World’s First BillBed, which saw billboards turn into mattresses for the homeless at night. The success of these

campaigns highlights the impor-tance for brands to be authentic in their approach if they want consumers to buy-in. These "marketing for people" campaigns have boomed in the most Western part of the Asian continent, especially in Turkey, where Samsung launched a video call center for the hearing impaired and where Vodafone created an app to help Turkish women suffering from domestic violence (see next page).

ASIA FOCUS: MARKETING FOR PEOPLE

THE RED LIGHT APP BY VODAFONEOR HOW A SMARTPHONE APP CAN HELP PREVENT DOMESTIC VIOLENCE

WAT C H : https://youtu.be/GXdV22IxljY(Y&R – Team Red, Turkey)


With one in three women in Turkey being a victim of domest-ic violence, Vodafone launched an app which allows women

living in unsafe domestic situations to alert their contacts.

“A S E C R E T WA R N I N G A P P H I D D E N F R O M M E N "

- The app is designed to look just like a flashlight, and when the phone is shaken three trusted people in the user’s contact list receive a message that the user is in trouble, in addition to indicating their exact location.- Information about the app and instructions on how to use it were embedded in content and products aimed exclusively at female audiences.

S U C C E S S

- Over 254,000 women have downloaded the application, the equivalent of 24% of all female smartphone users in Turkey.- Vodafone won the Media Grand Prix at Cannes Lions 2015.


The campaigns links creativity with connectivity to help women in danger, and uses clever gender-specific communi-cations so that the abusers have less of a chance of stumbling across the hidden messages.

H A V A S S E L O G I C O F E N G A G E M E N T : S O C I A L C O N N E C T I O N

This app allows women to secretly connect with close freinds and family to ensure they are never left alone in unsafe situations.

With one in three women in Turkey a victim of domestic vio-lence, Vodafone launched a special kind of app which allows women living in unsafe domestic situations to alert their contacts.

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/2015's Best CAMPAiGNS

2015's BEST CAMPAIGNS 2015's BEST CAMPAIGNS

SENSUSOR HOW TO READ A COMIC BOOK IN BRAILLE

The number of visually impaired school children in Mexico is alarmingly high, and many cannot afford glasses, causing them to miss or leave school.

As a result, Nacional Monte de Piedad, a nonprofit Mexican pawnshop, set out to shed light on this issue while improving children’s lives through one of the most popular forms of media for children – comic books.

Sensus, the first ever comic book that could be read by blind and sighted people, was written by Jorge Grajales, a visually impaired Mexican writer and illustrated by Bernando Fernandez, a famous cartoonist.

The comic book was written and illus-trated like a standard comic, thus exten-ding the comic book’s reach to sighted people as well.

Sensus was distributed in comic book shops, bookstores, and in a pop-up store that travelled around the country. For each of the 3,000 comic books sold, a pair of glasses was donated to a visually impaired child living in poverty.

The comic book is innovative with a strong social impact, helping and entertaining the visually impaired.

- Over 500 comics were sold in the first 20 days and all 3,000 copies within 2 months.- It generated $16.5M in earned media.- The campaign won a gold award at the Festival of Media LATAM, a silver at the Clio Awards and a silver at the Mexican Effie Awards.

W H AT ’ S T H E S T O R Y " T H E F I R S T C O M I C B O O K I N B R A I L L E "

S U C C E S S


WHO: Havas Sports & Entertainment WHERE: Mexico WHEN: January 2015

This braille comic book depicts the adventures of a hero gone blind, and allows readers to directly identify themselves with the character.

HAVAS SE LOGIC OF ENGAGEMENT:IDENTIFICATION

WATCH: http://youtu.be/qXHYl1_79rw

805 MILLION NAMESOR HOW TO BEAT HUNGER WITH ZLATAN

Hunger is one of the biggest issues facing our world today. The United Nations World Food Programme (WFP) wanted to create a memorable initia-tive in order to raise awareness, and thus enlisted the help of football player Zlatan Ibrahimovic.

Zlatan covered his body in temporary tattoos to represent the hungry around the world, and revealed his striking body art after scoring during a League 1 game in early February.

The football star’s revelation to the world created buzz on social media as viewers speculated on the meaning of the tattoos.

The video, released three days after the game, went viral and directed viewers to a website where they could discover the stories behind the names as well as make donations to support the WFP.

An original way of spreading aware-ness about the issue of hunger thanks to one of football’s greatest and most respected players.

- The campaign won a Gold Cannes Lion and two Clio Sports Grand Prix awards.- The picture of Ibrahimovic’s football boots (cleats) branded “805 million names” was retweeted 9,400 times in two days and received 90,000 likes on Facebook.

W H AT ’ S T H E S T O R Y "TATTOOED NAMES OF PEOPLE SUFFERING FROM HUNGER"

S U C C E S S


WHO: Forsman & Bodenfors (pro-bono) WHERE: France/Sweden WHEN: February 2015

Adding temporary tattoos to Zlatan’s body sparked the interest of fans who wanted to know everything about their favorite player’s body art.

HAVAS SE LOGIC OF ENGAGEMENT:MASTERY

WATCH: http://youtu.be/wDJjcL9Ya4c

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Sony SIDELINE CHALLENGEOR HOW TO BECOME A PROFESSIONAL PHOTOGRAPHER IN A DAY

Sony wanted to showcase their latest A600 camera and prove to the world that it performs just as well as more expensive digital SLR cameras.

In partnership with the NZ Herald, New Zealand’s leading newspaper, Sony launched an online competition to select people to take over the news-paper’s sport section using Sony’s A600 camera.

The winners of the competition (a taxi driver, a town planner, a nurse and a bank officer) subsequently replaced the newspaper’s professional photo-graphers.

The lucky winners were sent to different sporting events across New Zealand, and as they captured the live action on the A600 their photos were sent directly to live banners on the newspaper’s website through the camera’s built-in Wi-Fi.

The photos taken by the amateurs were featured in the country’s most-read sports section, a great advert for the A600 camera.

An awesome campaign which provided ordinary people with a once-in-a-lifetime opportunity to be a professionnal photographer, while improving Samsung’s brand image, their consumer relationship and increasing product awareness.

- Visits to Sony’s website increased by 240%.- Market share increased by 74%.

W H AT ’ S T H E S T O R Y " S P O R T I S T H E U LT I M AT E T E S T O F A N Y C A M E R A"

S U C C E S S


WHO: FCB WHERE: New Zealand WHEN: April 2015

With this experience Sony offered fans a unique opportunity to identify themselves with professional sports photographers.


WATCH: http://youtu.be/rcKG3rjQPYA

#RUNWiTHiTOR HOW TO OFFER FANS THE OPPORTUNITY TO BASH THEIR NEMESIS

In the framework of its sponsorship of the European Rugby Champions Cup, Heineken wanted to surprise fans of the Irish club, Leinster, and reward the bravest one...

Heineken pretended to leak Neil Back’s mobile number on their Twitter feed and hundreds of fans phoned in to let the notorious rugby player know all the bad things they thought of him.

The harshest fans received a call from Neil’s fake assistant mistaking them for a journalist and inviting them to pick up VIP tickets for Leinster’s Champions Cup quarter-final match.

The bold fans, pretending to be jour-nalists, went to pick up the tickets but they were actually led to a press conference with Neil Back, where they were prompted to ask him questions, much to their shock.

A fun way to surprise and reward witty fans who were ready to take advantage of the mobile number leak, effectively bringing Heineken’s spon-sorship with Leinster to life in a unique and memorable way.

- 125,000+ views on YouTube.- 500,000 views across all social networks within 48 hours of the video being released.- 1.5M online media impressions.- #RunWithIt was the number one trending topic in Ireland on the day of the video's release.

W H AT ’ S T H E S T O R Y "A CHANCE TO BASH FORMER ENGLISH PLAYER (AND PUBLIC ENEMY) NEIL BACK"

S U C C E S S


WHO: Rothco WHERE: Ireland WHEN: April 2015

This campaign gave fans an opportunity to send blunt messages to a former rugby player. Even though fans were caught red-handed, they were rewarded by Heineken for their boldness.

HAVAS SE LOGIC OF ENGAGEMENT:ADVOCACY

WATCH: http://youtu.be/EX9ZGOgjVB8

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NivEA DOLLOR HOW TO TEACH KIDS TO USE SUNBLOCK

Everyone looks forward to summertime when they can go to the beach and soak up the sun.

For parents however it’s not always easy, particularly when it comes to getting their kids to put on sunblock. To counter this, Nivea Brazil created an engaging way to help children under-stand the importance of using sunblock.

Nivea teams targeted Rio de Janeiro’s beaches to give away UV-sensitive dolls to children and parents.

When exposed to the sun without pro-tection, the doll’s skin would turn bright red, mimicking what would happen if sunblock was not applied.

When the child applied sunblock to the doll, the redness disappeared.

Despite a campaign which interrupted children’s playtime, Nivea managed to produce an engaging and innovative approach which ensured participation from this young audience.

The campaign won several awards, notably a Cannes Lions and a Clio.

W H AT ’ S T H E S T O R Y " P R O T E C T Y O U R S K I N A N D P L AY AWAY "

S U C C E S S


WHO: FCB WHERE: Brazil WHEN: June 2015

Nivea invited children to identify themselves with the doll they were playing with so that they would understand their own need for sunblock.


WATCH: http://youtu.be/StvAe98BfwY

THE CONCERT NO ONE EXPECTEDOR HOW TO BRING 14,000 SINGERS TOGETHER TO HELP A VOICELESS ARTIST PERFORM

BBVA wanted to reinforce its positio-ning as "the bank of the people," and thus decided to unite Peruvians in their love for the iconic singer, Pedro Suarez Vertiz.

Since 2011 Pedro has suffered from spinal dysaphism which prevents him from speaking and singing, however BBVA found an unexpected way to bring Pedro back on stage…

BBVA challenged Peruvians: if one million people asked Pedro to come back on stage, he would.

To participate, Peruvians had to visit BBVA’s website and "sing" a petition; over one million people participated, and in return BBVA delivered on its promise.

800 microphones were installed around the stadium enabling the 14,000-person crowd and musicians to "replace" Pedro's voice by singing his songs.

The brand brought Pedro’s music back to life, showing clients and fans that BBVA is a bank that cares.

- 1.4M people participated on social media.- $1.5 million in earned media.- Awarded "Concert of the Year" at the prestigious Peruvian Lights Awards, beating Paul McCartney!

W H AT ’ S T H E S T O R Y "A CONCERT FEATURING AN ARTIST WHO IS NO LONGER ABLE TO SING"

S U C C E S S


WHO: Fahrenheit DDB WHERE: Peru WHEN: May 2015

T h i s a c t i v a t i o n empowered Peruvian fans to campaign for the return of Pedro to the big stage. Following the success of the petition, BBVA put on the concert the fans had pushed for.

HAVAS SE LOGIC OF ENGAGEMENT:ADVOCACY

WATCH: http://youtu.be/DFz8R0oto7c

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THE INTERACTIVE FORMOR HOW TO MAKE SUBSCRIBING TO A SERVICE FUN AND ENTERTAINING

Subscribing to an online service is usually complicated, boring and tedious. Canal+, the subscription-based French TV channel, noticed that the mundane nature of its subscription form was putting people off from signing up.

The channel decided to engage future subscribers by using two popular char-acters from one of the biggest talk shows on the channel, Le Petit Journal.

The characters, Catherine and Liliane, guide the suscriber step by step through the process of signing up to Canal+ while making fun of them along the way.

The campaign demonstrates that subscribing to services doesn’t have to be boring and tedious. On the contrary, it can be an opportunity to reach a brand’s target audience and provide them with a great experience.

- The number of subscriptions increased by 18%.- The website received 400,000 unique visitors.- The company received 10,000 positive emails about the campaign.- It won a gold Cannes Lions.

W H AT ’ S T H E S T O R Y "A SUBSCRIPTION FORM AS ENTER-TAINING AS THE CANAL+ CHANNEL"

S U C C E S S


WHO: BETC WHERE: France WHEN: June 2015

Canal+ used char-acters from a widely loved TV show to transform the boring process of suscribing to a service into a n e nt e r t a i n i n g experience.

HAVAS SE LOGIC OF ENGAGEMENT:ENTERTAINMENT

WATCH: http://youtu.be/E-viEhAx5JY

SOuND BITE INTERACTIVE RECORD TABLEOR HOW TO LISTEN TO MUSIC THROUGH A TABLE

Kentucky Fried Chicken (KFC) South Africa wanted to increase the relevance of its brand, as well as drive an exciting in-store experience to create brand love and return visits from young people.

Research shows that music is young people’s number one passion point, so KFC decided to hone in on this fact in their quest to attract young people to their restaurants.

Named the "KFC Sound Bite," the record table diffuses music from local artists allowing KFC’s music-loving audience to listen to music while they eat their food.

The Sound Bite functions when users place their elbows on the table's surface and put their hands to their ears; it generates an immersive musical experience without disturbing those around them.

- The activation supports and amplifies local up-and-coming artists.

- People could share the music they listened to with their friends via social media.

The campaign won several awards, including the Grand Prix for Digital & Interactive Applications at the Loerie Awards.

W H AT ’ S T H E S T O R Y " I N S T E A D O F A R E C O R D L A B E L , W H Y N O T A R E C O R D TA B L E ? "

S U C C E S S


WHO: Gloo@Ogilvy WHERE: South Africa WHEN: July 2015

HAVAS SE LOGIC OF ENGAGEMENT:EXPLORATION

WATCH: http://youtu.be/_ZpwQMG6TeU

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MEN IN BLACK SAFETY DEFENDERSOR HOW TO MAKE SAFETY INSTRUCTIONS ENTERTAINING

Air New Zealand wanted to celebrate the extension of its sponsorship with the New Zealand Rugby Federation as well as ensure it became part of the Rugby World Cup buzz one month before the tournament began.

The airline signed a deal with Colombia Pictures for the Men in Black licence and made a parody of the video clip with safety instructions rapped to the original soundtrack by the All Blacks.

In the framework of the Men in Black headquarters, the All Blacks players (dressed as Men in Black) acted out the safety instructions with cameos from movie characters and interna-tional rugby legends dressed as aliens.

A well-crafted piece of content that capitalizes on people's passion points, smartly piqued their interest and edu-cates them on how to keep sake in the sky.

- Over 3.3M views on YouTube.- Widespread press coverage, including being broadcasted during rugby halftime shows.

W H AT ’ S T H E S T O R Y "T H E A L L B L AC KS TA K E PA RT I N A I R N E W Z E A L A N D’S F L I G H T SA F E T Y V I D E O"

S U C C E S S


WHO: True WHERE: New Zealand WHEN: August 2015

The airline provided fans with entertaining content which mixed their passion for sport, music and cinema so that they would enjoy the experience of watching a safety video and for once, pay attention!

HAVAS SE LOGIC OF ENGAGEMENT:ENTERTAINMENT

WATCH: http://youtu.be/ji65WI5QLZI

SUNDAY GRANNIESOR HOW TO BEAT LONELINESS AMONGST THE ELDERLY

With over 40% of elderly people in Romania living alone, Vodafone wanted to help combat loneliness while proving that mobile inter-net could be an empowering force amongst this age group.

Vodafone started off by teaching two grannies how to use social media, and from there, these women who love cooking but no longer have large families to feed, created Sunday lunch menus and shared them on Facebook.

The grannies connected with college students by inviting them to their homes to enjoy a home-cooked meal.

The campaign used the actual value of a product – the convenience of mobile technology and internet connectivity – to try and resolve the social issue of loneliness amongst the elderly.

W H AT ’ S T H E S T O R Y " C O M E J O I N T H E G R A N N I E S F O R A H O M E - C O O K E D M E A L"


WHO: McCann, Bucharest WHERE: Romania WHEN: August 2015

Vodafone empowered grannies to create social connections with young people by sharing their passion for cooking with them .

HAVAS SE LOGIC OF ENGAGEMENT:SOCIAL CONNECTION

WATCH: http://youtu.be/BZNuTfQeDss

- The campaign attracted 380M media impressions.- Facebook profiles of Romanians over the age of 65 increased by 20%, and sales of 4G smartphones skyrocketed by 79%.- Most importantly, the grannies much enjoyed interacting with these students and their feelings of lone-liness soon subsided.

S U C C E S S

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2015's BEST CAMPAIGNS

AMAZING IN MOTIONOR HOW TO PLAY A VIDEO GAME ON A REAL-LIFE SCALE

Lexus was on the hunt for an innova-tive way to promote the arrival of its new Lexus NX crossover in Europe.

Lexus Europe worked with the rapper Will.i.am to create a real-life video game experience inspired by the video game Guitar Hero. The brand used a runway to mimic a guitar neck, and a set of motion-sensitive laser projec-tors to display the notes.

Three stunt drivers had to carefully follow the speed and rhythm imposed by Will.i.am, and strike the notes at the right time to ensure that the music – a remix of Will.i.am’s song #thatPOWER – continued to play.

The campaign supports the idea of Lexus being different, young and inno-vative, while illustrating the vehicle's qualities such as its speed, braking capacities and steering control.

- Over 1.6M views on YouTube.- The Lexus NX, introduced in autumn 2014, has quickly become established as one of Lexus’ fastest-selling models in the UK and Europe.

W H AT ’ S T H E S T O R Y "A R E A L- L I F E G U I TA R H E R O " S U C C E S S


WHO: Freuds WHERE: Europe WHEN: August 2015

Music fans can relate to and really appre-ciate this video game-like experience where a car plays the music notes on a real-life runway.

HAVAS SE LOGIC OF ENGAGEMENT:PLAY

WATCH: http://youtu.be/iyTFhbmU1p0

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THANK YOU, MERCI, GRACIAS, GRAZIE, ETC. ETC.As ever, we’re fortunate to be able to count amongst our contributors an incredible group of experts from a wide range of backgrounds and industries.

A big shout out to everyone who took the time in their busy lives to provide their invaluable thoughts and predictions with us including: Maria Garrido, Hossein Houssaini, Thomas Jorion, Frédéric Josué, Jez Jowett, Damien Marchi, Adrian Pettett, Marco Rigon and Tammy Smulders from across Havas Media Group; Manuel Alduy, Director of CANAL OTT, Didier Lupfer, Chairman and CEO of STUDIOCANAL, Olivier Robert-Murphy, Global Head of New Business at Universal Music Group and Martin Rogard, Chief Operating Officer, Dailymotion. A special thanks goes to Christel Quek, Vice President Southeast Asia, BrandWatch.

Hats off to the editorial team: Magalie Bourgeois, Alexis Grardel, Alice Hewitt and Fredda Hurwitz from Havas Sports & Entertaintment Global. And a final thank you to Anne Awad, our Junior Art Designer who did a stellar job on this year’s edition. You guys rock!

Have any burning questions? Curious for more information?

All thoughts, suggestions or recommendations are welcome. Get in touch with Fredda Hurwitz, Global Chief Strategy Officer:[email protected]

Thanks for taking the time to read our 2016 edition of Marketing Trends. We hope that our look towards the future has inspired you and perhaps made you think differently about the year to come.

Until next year...

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HAVAS_SE GLOBAL STUDY ON FANS’ ENGAGEMENT

FA N S • PA S S I N S • B R A N D S2015 Music Study Press Release:

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