Live Client Brief Report by Rebecca Ward, Marietta Feldmann, Nafisat Olayinka Oyedele, Charlie Marsh, Harry Andrews and Jack Hickman ` 2 Table Of Contents T HE B RIEF : ................................ ................................ ................................ ................................ ............................. 5 O UR R ESPONSE : ................................ ................................ ................................ ................................ ..................... 5 P ROJECT A IMS : ................................ ................................ ................................ ................................ ....................... 5 Background ................................ ................................ ................................ ................................ ................................ ......... 6 C OMPANY O VERVIEW ................................ ................................ ................................ ................................ .............. 7 F ACTS AND F IGURES ................................ ................................ ................................ ................................ ................. 7 T HE C OMPANY ’ S P HILOSOPHY OF A RTS AND C ULTURE ................................ ................................ ................................ .... 7 S EGMENT C HARACTERISTICS ................................ ................................ ................................ ................................ ...... 8 C USTOMER P ERSONA ................................ ................................ ................................ ................................ ............... 9 A WARENESS , P ERCEPTION AND A TTITUDES ................................ ................................ ................................ ................ 10 Towards Arts and Cultu re ................................ ................................ ................................ ............................ 10 Towards Bahlsen ................................ ................................ ................................ ................................ .......... 10 Towards Sweet Treats ................................ ................................ ................................ ................................ .. 10 Secondary Research ................................ ................................ ................................ ................................ ....................... 11 C ONTEXT A NALYSIS ................................ ................................ ................................ ................................ ................ 12 External Context ................................ ................................ ................................ ................................ ......... 12 PESTLE Framework ................................ ................................ ................................ ................................ ....... 13 C OMPETITOR A NALYSIS ................................ ................................ ................................ ................................ .......... 14 C AMPAIGN A CTIVITY AND U SE OF M EDIA ................................ ................................ ................................ .................. 16 Bahlsen ................................ ................................ ................................ ................................ ......................... 16 Cadbury ................................ ................................ ................................ ................................ ........................ 16 McVitie’s ................................ ................................ ................................ ................................ ...................... 17 M ARKETING T RENDS ................................ ................................ ................................ ................................ .............. 17 Social Media ................................ ................................ ................................ ................................ ................. 17 Creating Brand Associations with Events and Occasions ................................ ................................ ............. 17 Experiential Marketing ................................ ................................ ................................ ................................ 18 B RAND C OLLABORATIONS WITH A RTS AND C ULTURE ................................ ................................ ................................ .... 18 Primary Research ................................ ................................ ................................ ................................ ............................ 20 A DDRESSING THE GAPS IN THE S ECONDARY R ESEARCH ................................ ................................ ................................ .. 21 Section One: Cultural Attractions ................................ ................................ ................................ ................. 21 Section Two: Luxury Bisc uit Market ................................ ................................ ................................ ............. 21 Section Three: Bahlsen Biscuit ................................ ................................ ................................ ...................... 21 R ESEARCH M ETHOD ................................ ................................ ................................ ................................ .............. 22 D ATA A NALYSIS M ETHOD ................................ ................................ ................................ ................................ ....... 22 D ATA A NALYSIS AND E VALUATION ................................ ................................ ................................ ............................ 22 R ESEARCH F INDINGS ................................ ................................ ................................ ................................ .............. 23 Section 1 UK Cultural Attractions ................................ ................................ ................................ ................. 23 Section 2 Luxury Biscuits ................................ ................................ ................................ .............................. 24 Section 3 Bahlsen Biscuits ................................ ................................ ................................ ............................ 27 Analysis of Findings ................................ ................................ ................................ ................................ ........................ 29 A NALYSIS OF F INDINGS ................................ ................................ ................................ ................................ ........... 30 Cultural Analysis Discussion ................................ ................................ ................................ ......................... 31 Luxury Biscuit Analysis Disc ussion ................................ ................................ ................................ ................ 33 Bahlsen Brand Analysis Discussion ................................ ................................ ................................ ............... 35 ` 3 ................................ ................................ ................................ ................................ ................................ ................................ 36 Recommendations ................................ ................................ ................................ ................................ .......................... 36 O UR R ECOMMENDATIONS ................................ ................................ ................................ ................................ ...... 37 C ULTURAL C OLLABORATION : G OLDEN T ICKET ................................ ................................ ................................ ............. 37 Recommendation: ................................ ................................ ................................ ................................ ........ 37 Rationale: ................................ ................................ ................................ ................................ ..................... 37 Execution: ................................ ................................ ................................ ................................ ..................... 37 Mock - Ups: ................................ ................................ ................................ ................................ .................... 38 ................................ ................................ ................................ ................................ ................................ .......... 38 A RTIST C OLLABORATION : L IMITED E DITION P ACKAGING ................................ ................................ ............................... 39 Recommendation: ................................ ................................ ................................ ................................ ........ 39 Rationale: ................................ ................................ ................................ ................................ ..................... 39 Execution: ................................ ................................ ................................ ................................ ..................... 39 Mock - Up: ................................ ................................ ................................ ................................ ..................... 40 C ULTURAL C OLLABORATION : S AMPLING E VENTS AT UK C ULTURAL A TTRACTIONS ................................ .............................. 40 Recommendation: ................................ ................................ ................................ ................................ ........ 40 Rationale: ................................ ................................ ................................ ................................ ..................... 40 Execution: ................................ ................................ ................................ ................................ ..................... 41 Mock Up: ................................ ................................ ................................ ................................ ...................... 43 C ULTURAL C OLLABORATION : T HE Q UEEN ’ S P LATINUM J UBILEE IN 2022 ................................ ................................ .......... 44 Recommendation: ................................ ................................ ................................ ................................ ........ 44 Rationale: ................................ ................................ ................................ ................................ ..................... 44 Execution: ................................ ................................ ................................ ................................ ..................... 44 Past Example ................................ ................................ ................................ ................................ ................ 45 References ................................ ................................ ................................ ................................ ................................ .......... 46 ` 4 Brief Analysis ` 5 The Brief : After driving famil iarity with the brand and new packaging in phase 1 of the relaunch, Bahlsen wish to create desirable brand associations with arts and culture. This will appeal to Bahlsen ’ s target audience and increase consideration for the brand. When: Jan 2022 – Dec 2022 Where: UK Target Audience : • 25 - 54 ABC1 Adults • A vid interest in food and enjoy indulging/tre ating themselves to accessible luxuries • I nterested in arts, culture and social gatherings Our Response: A combination of primary and secondary research has been carried out to uncover opportunities within arts a nd culture that appeal to Bahlsen’s target audience. These have been developed into actionable recommendations for the brand , with the ultimate aim of increasing consideration for the bra nd. P roject A ims: • To carry out primary and secondary research to develop an understanding of Bahlsen’s target audience and their int erest in arts and culture • Secondary research: an in - depth context analysis, including competitor analysis • Primary research: an online survey with an aim of receiving 100 responses • Use the research findings t o develop creative ideas that will help Bahlsen develop desirable brand associations with arts and cultur e and increase consideration for the brand ` 6 Background ` 7 Company Overview Rectangular, golden - yellow baked, 52 teeth: Whether young or old - almost everyone knows the "Leibni z butter biscuit" from Bahlsen. The success story of one of the world ́s oldest branded product began in 1889 and has celebrated its 125th anniversary in 201 6 (The Bahlsen Family, n o d ate). Facts and Figures Family - owned company operating 6 production sites in Germany and Poland (The Bahlsen Family, no date a ) 142,686 tonnes of products sold in more than 80 countries per year (The Bahlsen Family, no da te b ) 540 million euros turnover in 2019 ( Die Deutsche Wirtschaft, 2021) 13 0 ,000 tonnes tonnage (The Bahlsen Family, no date b ) 2, 63 0 employees (The Bahlsen Family, no date b ) Figure 2 : Bahlsen Fact s and Figures The Compan y ’ s Philosophy of Arts and Culture T he founder, Hermann Bahl sen wanted special product names of personalities. Gottfried Wilhelm Leibniz was a German philosopher, scientist and mathematician (NDR, 2016). Hermann Bahlsen had worked in the UK and was acquainted with the “Arts and Crafts” move ment. He recognised the i mportance of a corporate identity and consistently relied on collaboration with artists to design biscuit tins, posters, and postcards (Haz, 2014). Finally, he acquired works of art and furnished the manufacturing and administrative areas of his company in order to increase the motivation of his workers through an aesthetic environment (Haz, 2011). Even today, the façade figures are considered to be one of Hanover's best - known landmarks ( NDR, 2016 ). Figure 1 : Choco Leibniz (Source: Leibniz, no date ) ` 8 Figure 3 : The façade figures ( Source: The Bahlsen Family, no date c ) In additi on to this, the company's external image was designed by artists. The company had installed one of the first illuminated advertising in Germany (NDR, 2016) and has won prizes at many world exhibitions for its exquisitely designed p ackaging of biscuit tins (The Bahlsen Family, n o d ate d ). The packaging reflects several artistic epochs (Haz, 2014). Furthermore, the company produced emergency rations, including crispbread and rusk for the German soldiers during the second world war (NDR, 2016). Bahlsen biscuits became the accompanying biscuits of industrialisation and later of the economic miracle, reunification and the growing together of Europe. Nowadays, the biscuit has become an indispensable part of countless school trips and family picnics. The co mpany is w ell known for its social responsibility. For instance, every year since 1989, Bahlsen employees and celebrities sell Christmas biscuits, from which the net proceed is donated to various charitable projects in the region of Hanover (Charity Label, n o d ate). Segment Characteristics T he demographic being targeted are adults aged between 25 and 55 years old, belonging to the ABC1 category. These are people that are more educated with better paying jobs. The campaign aims to target people who have a keen inter est in food. They enjoy indulging and treating themselves to accessible luxuries such as affordable premium products and meals out. The target demographic is also interested in arts, cultural experiences and social gatherings. Below is a customer persona c reat ed using the information about the target audience ` 9 Custom er Pers ona Figure 4 : Customer Persona ` 10 Awareness, Perception a nd Attitudes Towards Arts and Culture B ahlsen’s target demographic happens to consist of people with the highest museum attendance in the UK (Statista, 2020). Adu lts aged between 25 - 44 are most likely to visit a museum or art gallery. The attitude towards arts and culture is good, 57% of 25 – 54 - year - olds visit museums and galleries for the purpose of learning, making it the most popul ar reason (The audience agen cy, 2018). 30.6% of adults visited a museum or gallery once or twice a year while 18% visited at least three to four times a year (DCMS, 2016). Arts and science museums are the most popular with 31% and 30% respectively rating i t as their favourite to visi t (Pilon, 2015). Towards Bahlsen B ahlsen is the least used brand with the lowest level of awareness when compared to its competitors - Cadbury, Fox’s and McVitie’s. 7 out of 10 people who have eaten a Bahlsen product rate it as go od or excellent. The brand i s less trusted that McVitie’s, Cadbury and Fox’s among those who have heard of the brand, however, 4 out of 10 think it offers consistently high quality. It is the brand least seen as offering good value as it has a higher price per biscuit than the other brands. 16% of those who have heard of the brand think it is the brand most likely to be seen as exclusive while 33% of them see it as indulgent. 26% think it is special, rating it higher than any other brand ( Mintel, 2020 b ). Towards Sweet Treats D espite consumers increasingly becoming health - conscious, the attitude towards the sweet treats market does not seem to be changing significantly. The va lues sales of sweet biscuits snack bars are growing annually. This growth is being driven by snacking culture as previously explained. Sweet biscuits satisfy people’s reasons for snacking therefore, they will keep buying these products despite their intere sts in a healthier lifestyle. There is a belief that it is okay to eat a small amount of them as part of a balanced diet, this keeps the attitude towards sweet biscuits relatively positive and ensures continued purchasing (Min tel, 2020). ` 11 Secondary Research ` 12 Context Analysis F or t he secondary research , the PESTLE framework is used to perform an analysis of the external context. A competitor an alysis has also b een carried out, compar ing Bahlsen against two of its main competitors: McVitie’s a nd Cadbury’s. From the competitor anal ysis, an overview of the brand s ’ recent campaign activities have been done , highli ghting the most important channe l s for each brand. The campaign acti vit y highlights a number of m arketing trends which have been expl ored in more detail , in addition to tre nds within arts and cultu re branding. External Context P ESTLE is a framework that analyses how macro - environment forces impacts an organisation, providing a chance to highlight opportunities and challenges of the company ( CIPD, 2020 ). Here, the framework has been a pplied critically, using t h e elements most relevant to the brief. It has been applied to the sweet treats industry ` 13 PESTLE Framework Figure 5 : PESTLE Framework ` 14 Competitor Analysis T he next section of the report is a competitor analysis which compares Bahlsen against two of its main competitors: McVitie’s and C adbury’s. These have been chosen as they are the two brands with the largest market share (Mintel, 2020) and they have been highlighted by the brand in the brief as two of Bahlsen’s most important competitors. Figure 6 : Bahlsen Competitor Analysis Overview Figure 7 : Cadbury Competitor Analysis Overview ` 15 Figure 8 :McVitie's Competitor Analysis Overview It is evident that both Cadbury and McVitie’s experience much higher levels of brand awareness, indicated by the higher number of followers across social media and the in creased availability within UK retail ers. This has provided a source of competitive advantage for both brands, with Cadbury having high brand equity (Bahsin, 2019) and McVitie’s being known as ‘The UK’s favourite biscuit’ (McVitie’s no date b). On the othe r hand, Bahlsen’s source of competiti ve advantage is derived from its position as market leader in Germany and (The Bahlsen Family, no date a) and its reputation for high quality and attention to detail. ` 16 Campaign Activity and Use of Media Bahlsen Bahlsen use a wide range of channels to promote their products, including TV adverts, in - store promotional activity and experiential marketing (Grocery Trader, 202 0; Watson, 2019 ). Figure 9 : Bahlsen Cam paign Activity Cadbury Cadbury also use a wide range of marketing channels. They also run regular seasonal campaigns which have been found to encourage consumers to eat more and help boost sales (Mintel, 2020). Figure 10 : Cadbury Campaign Activity ` 17 Mc V itie’s In 2018, McVitie ’s launched a £10M Masterbrand campaign as part of the brand modernisation strategy This included traditional media, social media and experiential marketing (The Drum, 2021 a) Figure 11 :McVitie's Campaign Activity Marketing Trends T he context analysis highlights a number of marketing tr ends. The most relevant for Bahlsen’s objectives are: social media, advertising around events and occasions , and experiential marketing activity so these will be discussed in more detail In order to apply these trends to opportunities within arts and culture, collaborations by brands outside of the sweets treats sector will also be explored. Social Media • Rise of social media created shift in the promotional mix of campaigns campaigns (Tiago and Verissimo, 2014) • User generated content has been found to be more impactful than company generated content ( Schivinski and Dabrowski , 2016) Important for Bahlsen as customer persona has found the target market to be heavily influenced by social media Creating Brand Associations with Events and Occasions • Seasonal product launches are an opportunity for brands in sweet treat sector to boost sale s (Mintel, 2020) • Cadbury use seasonal and spor ting events as promotional opportunities (The Drum, 2019; The Drum, 2021) • For the most impact when leveraging sporting events, brands should focus on a single event and outspend competitors to stand out against increased volume of advertising (Gijsenberg, 201 4 ) These findings are helpful when considering using cultural or seasonal events in Bahlsen’s marketing ` 18 Experiential Marketing • Q4 2018 IPA Bellwether Report found experiential marketing was the only area of marketing receiving increasing investment by UK brands (Sense, 2019) • Highly effective way of generating UGC on social media ( Smart Insights, 2017 ) • 98% of consumers feel more inclined to purchase after being exposed to experiential marketing (Wertz, 2019) Experiential marke ting is an effective way to increase brand consideration, which is one of Bahlsen’s main objectives Brand Collaborations with Arts and Cu lture Brand collaborations represent a n opportunity for brands looking to innovate, revitalise or increase visibility for their brand (Michel and Willing, 2020) They are particularly powerful when aiming to appeal to design conscious consumers ( Henderson, 2016) whic h is Bahlsen’s target audience. There are two types of collaborations relevant to the brief: • With artists – an opportunity to increase desirability, create differentiation and enrich brand identity (Michel and Willing, 2020) • With cultural organisations – used to gain cultural recognition within society (Miche l and Willing, 2020) Various brand collaborations are presented in more detail below, showing the various forms they can take , from packaging to events. ` 19 Figure 12: Brand Collaborations ` 20 Primary Research