2013 Winners


Case: autoTRADER.ca: The Most Cars In One Place

Client: autoTRADER

Agency: DDB Canada

Award: Off to a Good Start — Gold

Overview: autoTRADER was staring at an existential threat, and advertising turned the business around.

Situation Analysis: For over 25 years autoTRADER magazine was THE go-to-source for Canadians looking to buy and sell their used vehicles. Then came the Internet. Suddenly, Canadians had thousands of listings at their fingertips. autoTRADER tried first to augment their magazine offering with online. But market share was in a spiral, losing to Craigslist and Kijiji.  A turning point came when autoTRADER decided to go 100% digital. Starting in February 2012, with a limited budget, they had to make autoTRADER.ca a must visit for dealers, consumers and anyone else buying or selling a used car in Canada.

Strategy & Insight: A deep dive into the brand uncovered that autoTRADER.ca has the largest car inventory in the country. This was a surprising, relevant, distinguishing, superlative truth that could be used as a silver bullet for autoTRADER.ca. Qualitative research confirmed that it was highly motivating and psychologically reassuring — that more cars than the competition equates to the biggest marketplace for buyers and sellers.

Execution: The insight translated creatively into “The Most Cars In One Place” and quickly became the lifeblood of the brand. TV launched the campaign by depicting a humorous world where no matter what the reason for selling or buying a vehicle, autoTRADER.ca is the place to get it done. This was followed by highly coordinated effort using Radio, Online, Social Media, PR and Business to Business. This included the autoLYZER, an app that analyzes real-time data via Facebook, looking at lifestyle, interests and social activities to help narrow down which cars would be the best fit.

Results: In the first six months since launch, traffic to the site is up 18% YOY – a significant turnaround – with 27% growth in monthly unique visitors, and a 76% increase in page views. Facebook fandom of the autoTRADER.ca Canada page has exploded by 126% following the autoLYZER app – and the conversation surrounding the brand on Twitter has increased by 47%, with no negative coverage. Finally, attracting more dealer and private listings to the site was always a key objective, with growth targets of +10% and +25% respectively. These were beaten handily, with dealer listings up 18% and private listings up 113% YOY.

Cause & Effect: Advertising was the only activity that could explain the results, and there was a direct correlation between the advertising schedule and traffic patterns to the site. The effort clearly cut through, with unaided awareness for autoTRADER.ca increasing by 4 percentage points. Furthermore, positive sentiment towards the brand, as measured through its Net Promoter Score, increased by 22 percentage points to an NPS of 31%.

Client Credits: autoTRADER

Sebastien Baldwin – President
Seth Brody – VP of User Experience
Randy Wagner – Consultant
Ian MacDonald – Director of Consumer Marketing
Nicole Lougheed – Brand Manager
Isabel Tremblay – Head of B2B Marketing

Agency Credits: DDB Canada

Denise Rossetto; Todd Mackie – Creative Directors
Michael Davidson – SVP, Business Unit Director
Tony Johnstone – SVP, Director of Strategic Planning
Peter Brough – Account Director; Carly Sutherland – Account Supervisor
Daniel Bonder – Copywriter; Pete Ross – Art Director
Allan Topol – Copywriter
Julia Morris – Senior Account Executive; Lindy Scott – Account Coordinator
Andrew Schulze – Broadcast Producer
Luc Quartarone; Trish Quenneville – Digital Producers
Kevin McHugh – Strategist
James Loftus – PR Manager
Gabrielle Totesau – PR Supervisor
Erin Bodley – Senior PR Consultant; Greg Vallentin – Senior Consultant
Melissa Smich – Senior Cultivator
Barb Williams – B2B Creative Director
Italo Siciliano – B2B Art Director
Radke Films – Production Company; Alter Ego – Colourist; School Editing – Post Production Company;
Chris Hooper – Director, Radke Films
Jon Hauptman – DOP/Cinematographer, Radke Films
Editor – Chris Van Dyke, School Editing
Joe Dee – Director of Technology
Superfad – Facebook Application Production Company
Scott Mackenzie – Executive Producer, Radke Films

Case: Zellers Festive Finale

Client: HBC Canada

Agency: john st.

Award: Events, Seasonal & Short-Term — Gold

Overview: Zellers breaks the rules for a final holiday sale, and delivers the best profitability in ten years.

Situation Analysis: In January 2011, after over 80 years in operation, Zellers announced it would be closing its doors. American super-chain Target would be taking on the majority of Zellers’ leases, with store closures beginning in early 2012. This led to an unusual challenge for the ever-important Christmas season. Corporatepriorities were now on profitability (not sales volume), discounting would be at a minimum, and the marketing budget was slashed. How, then, could Zellers generate excitement, energy and traffic?

Strategy & Insight: When the Target purchase was announced, there was considerable social chatter, with a dominant theme – that consumers and employees felt that things were out of their control. This led to the insight to put the final holiday sale in the hands of consumers. Literally. This would allow the Festive Finale to be positioned as a celebration, not the screaming desperation of the typical closing event.

Execution: The limited budget ruled out TV and radio, so the decision was made to focus on social media, primarily Facebook, Twitter and YouTube – something unheard of for a mass merchandiser during the holiday season. The campaign launched on November 1st with a video memo from the (fictional) Executive Managing Director of Zellers, announcing that senior management was taking off early, leaving Zellers’ Facebook fans in charge of the store’s final holiday sale. The video drove to the Zellers Facebook page, which was the hub for the entire campaign.  There, videos introduced super-extroverted manager Carol, and quirky cashier Jason. They invited users to affect almost every aspect of the Festive Finale – for example specifying which items should be discounted, and sending in user-made radio commercials.

Results: The Festive Finale delivered the most profitable Q4 in 10 years, up 16% on 2010. Furthermore, in a challenging retail environment, Zellers grew overall sales by 2.5% versus Q3 while the Canadian General Merchandise category declined by 1.2%. Zellers proprietary data also indicated that the average Facebook Fan spent 2.5 times more on merchandise per trip than the average customer.

Cause & Effect: Given that Zellers invested minimal funds outside of Festive Finale the success over the holiday period is indisputably linked to the campaign.

Client Credits: HBC Canada

Debbie Ford: SVP Zellers Marketing & Fashion
Jennifer Zedic: Director of Marketing, ISM & Social Media

Agency Credits: john st.

Angus Tucker: Co-Creative Director
Stephen Jurisic: Co-Creative Director
Keri Zierler: Copy Writer
Hannah Smit: Art Director
Cas Binnington: Digital Producer
Heather Crawley: Team Leader
Jared Applebaum: Account Supervisor
Joelle Woodruff: Account Executive
Shari Walczak: Director of Brand Experience
Allison Coggins: Digital Strategist
Mikey Richardson: Creative Director, Amoebacorp
Jeff Rae: Designer, Amoebacorp
Aria Novosedlik: Design Intern, Amoebacorp
Stacey O'Connor: Account Director, Amoebacorp
Dominique Anthony: Account Coordinator, Amoebacorp

Case: Pain Squad

Client: Hospital for Sick Children

Agency: Cundari

Award: Events, Seasonal & Short-Term — Gold

Overview: A creative new approach to managing pain in childhood cancer.

Situation Analysis: Every year the Hospital for Sick Children treats hundreds of children with cancer, and is continually working on ways to manage and minimize the pain experienced during treatment. Part of this is to ask patients to record exactly how they feel in a pain diary. After treatment, however, many patients are too tired or discouraged to keep detailed reports on paper – and one study showed only 11% of pain diary entries were completed on time. A better solution was clearly needed.

Strategy & Insight: Recently, an electronic pain diary (eOuch) had been developed for the Palm Tungsten PDA. The diary used alarms to remind patients to complete the survey, and also offered $10-$20 to encourage compliance. In a test run, this diary dramatically improved compliance in the first week, but it quickly dropped off in week two. Then, a simple but powerful insight dawned – Children with cancer are still children. They love to have fun, and they want to feel in control. This would be the key to creating a dramatic improvement on eOuch.

Execution:This was a new application called the Pain Squad – delivered by iPhone. It was designed to feel like a video game, with all the police clichés like a dark office and a steaming cup of coffee on the old-school desk. Each pain report was stylized to look like a detective’s notepad, with goal-based (but not financial) rewards to encourage compliance

Results: The new app was re-tested for 2 weeks. The objective was 80% compliance, and in week 1 it was 86%, increasing to a remarkable 95% in week 2. This has led to a groundswell of interest, with three Canadian hospitals rolling out the initiative and commercial development underway. In addition, there have been several international healthcare inquiries to the HSK in hopes of using or learning from the app. And Pain Squad was awarded a Gold Cannes Lion for usability. 

Cause & Effect: A post-test survey found that eOuch and Pain Squad were virtually identical on functional characteristics. The only difference to explain the increased compliance was the infusion of the creative idea.

Client Credits: Hospital for Sick Children

Jennifer Stinson – Scientist, The Hospital for Sick Children
Carol Chan – Clinical Research Project Coordinator
Cynthia Nguyen – Clinical Research Assistant
Navreet Gill – Clinical Research Project Coordinator
Lindsay Jibb – Doctoral Student

Agency Credits: Cundari

Mike Orr – Account Manager, User Experience, Information Architect
Cory Eisentraut – Associate Creative Director, Copywriter
Mike Sipley – Associate Creative Director, Art Director
Stuart Thom – Interactive Designer
Carol-Ann Granatstein – Producer; Director, Marketing and Communications
Kawal Singh – Account Manager, Videographer
Wayne Gomes – Chief Technology Officer
Brent Choi – Chief Creative Officer
Cherie O'Connor – Producer
Rob Dutchin – Videographer
Patrick Lee – Developer
Jin Kim – Developer
Ali Asim – Developer
Paul Skinner – Editor (Stealing Time)
Ed Zych – Sound Design

Case: Budweiser Fan Brew

Client: Budweiser

Agency: Anomaly

Award: Events, Seasonal & Short-Term — Gold

Overview: Budweiser finds an extraordinary way to celebrate the return of the Winnipeg Jets.

Situation Analysis: There had been no hockey team in Manitoba since the Winnipeg Jets moved to Phoenix in the mid-1990s.  For Budweiser this meant that only NHL games from other markets (most with Molson advertising) came in over television. In October 2011 the Jets came back to Winnipeg, and Budweiser successfully bid for the sponsorship rights. This was a great victory, but NHL rules limited team activation to a 75km radius surrounding the home arena. So how could Budweiser sell enough beer to pay for this local sponsorship?

Strategy & Insight: Budweiser needed an activation that was extraordinarily local, but would also break through across Canada. It was clear that the return of the Jets was a triumph for a city that had lost its most treasured institution. From this came the idea to make a hero out of the local water. Samples were taken from the three rivers surrounding Winnipeg, put into glass vessels, and toured around the city. With grand ceremony Team President Jim Ludlow poured some of it at centre ice before the opening face-off of the first home game. And the rest was shipped to Budweiser, to become the limited-edition Budweiser Winnipeg Jets Fan Brew.

Execution: In March 2012 the Fan Brew was launched at the Jets’ arena along with a “Pride of Winnipeg” documentary. This was never broadcast on TV (because of the sponsorship restrictions), but it created a moving story which spread across Canada via news outlets, online, and word of mouth.

Results: Before Fan Brew hit the market Winnipeggers lined up outside liquor stores to get their hands on the 12-can pack. In many stores it sold out in less than 24 hours, with cases subsequently going for upwards of $300 on eBay. As for the numbers, there were 24,000 cases of Fan Brew made. This was just 10 percent of typical volume, but overall Budweiser sales were up 15% YOY for March 2012. Importantly, Fan Brew did not have the fleeting, temporary effect of average sales promotions. Instead, preference for Budweiser across the Prairies grew by 1.5 percentage points in March 2012 and has stayed there. Furthermore, far from being restricted to the 684,100 residents of Winnipeg, the story was seen over 9,000,000 times by fans all over Canada.

Cause & Effect: Sales lifts immediately followed the launch, and there was no additional regional or national Budweiser advertising in March 2012 versus 2011. Pricing was also not a factor, since Fan Brew was priced at a small premium. 

Client Credits: Budweiser

Jorn Socquet – VP of Marketing
Kyle Norrington – Marketing Director
Ben Seaton – Marketing Manager
Andrew Oosterhuis – Marketing Manager

Agency Credits: Anomaly

Mike Byrne – Executive Creative Director
Paul Renner – Creative Director
Derek Barnes – Creative Director
Grant Mason – Art Director
Jessica Ghersi – Copywriter
John Legere – Producer
Jason DeLand – Business Director
Derek McCarty – Account Director

Case: BMW Canada 1M Launch corrected punctuation by DR – Dec 4

Client: BMW Group Canada

Agency: Cundari

Award: Off to a Good Start — Gold

Overview: BMW uses the 1 Series M Coupé to re-invigorate the overall franchise.

Situation Analysis: Early in 2011, after several years of trying to broaden its mainstream appeal, BMW had an unclear brand essence, and competitors were encroaching. The foundation of the brand – performance and innovation – had to be recaptured, and the decision was made to use the 1 Series M Coupé to do just that. But could the launch of a niche performance vehicle create aspiration and sales across the entire BMW line-up?

Strategy & Insight: BMW had been promoting the joy of driving for many years, but although this was resonating with some new customers, BMW’s image for performance had noticeably dropped off. This was not helped by the fact that Mercedes Benz and Audi had promoted their super cars, creating a halo effect that helped boost sales of their higher volume vehicles. BMW’s DNA is raw, exhilarating performance – supported by a rich, authentic history and racing heritage. So, while performance claims in the luxury automotive category had become commonplace, believability of performance belonged to BMW. The challenge was to bring this to life.

Execution: The answer came in the form of intense, jaw dropping performance videos, released on the BMW Canada YouTube brand channel. “Walls” launched in June 2011 and showcased a BMW 1M squeaking at high speed through 1M-sized holes in concrete walls. “Helipad” came shortly after, with the 1M circling the world’s highest helipad at high speed – flirting with disaster as it drifted to the edge. Then, as the chatter started and views began to soar a paid media plan was layered in, using Cinema, Online, Magazines, OOH and Elevators.

Results: By year end BMW was #1 in Brand Strength versus Mercedes Benz, Audi and Lexus. The image lead over the competition was the highest of all BMW markets globally, and 'performance' was off the charts. All 210 of Canada’s allocated units were sold, many of them before the vehicle arrived, making BMW Canada the #1 company worldwide for M sales as a percentage of total sales. And perhaps even more important, 2011 was BMW Canada’s most successful year ever, finishing the year at #1 in the premium automotive segment. It also exploded in the social media space, with over 10 million views, compared to Audi at 220,000 and Mercedes-Benz at 96,000.

Cause & Effect: The case demonstrated a direct link between the advertising and the sales results.

Client Credits: BMW Group Canada

Kevin Marcotte, Director Marketing
Marc Belcourt, Brand Communications Manager
Jonathan Thomson, Brand Communications Specialist

Agency Credits: Cundari

Brent Choi, Chief Creative Officer
Brian Murray, Senior Writer
Raul Garcia, ACD / Senior Art Director
Alex Manahan, Writer
Andrew Bernardi, Art Director
John Filetti, Digital Designer
Daryn Sutherland, Group Account Director
Ranjan Gill, Account Supervisor
Bandito Brothers, Production House
Mike "Mouse" McCoy, Director
Jamey Scott, Dramatic Audio
Ryan Slavin, Line Producer
Jeff Rohrer, Executive Producer
Media: Media Experts, Kris Davis

Case: eos - Reinventing Lip Balm

Client: eos Products

Agency: Juniper Park

Awards: Canadian Success Outside Canada — Gold. Sustained Success — Gold.

Overview: eos brings fashion and style to US lip balm, and delivers outstanding results.

Situation Analysis: The U.S. lip balm category is $400 million annually. The top 4 brands have a combined 65% dollar share and there are about 200 other brands with less than a 1% share each. Moreover, in 2008, Nivea entered the category, spending $30 million to achieve a 6.3% share. As a small independent start-up eos would have a spend of only $2.5 million. Even so, when eos launched in August 2009, the share targets were set extremely high – at 2% in 6 months, 4% after a full year, and 6% after 24 months.

Strategy & Insight: Lip balm advertising at the time was a sea of sameness, rooted in function and ingredients. The top brands (Chapstick, Blistex, and Carmex) were essentially unisex offerings. And even the brands that skewed towards women (Nivea and Softlips) presented themselves functionally. There’s some justification for this, given that studies show that women tend to prioritize a functional “to do” list over doing things that bring them pleasure. But what if function and pleasure could be intertwined? Especially for women who are drawn to what is stylish.

Execution: The eos product, to look at, was utterly unlike a typical lip balm, and this allowed stunning ads in highly select fashion & beauty magazines. They showed eos Smooth Spheres in artistic situations reminiscent of everyday life – for example in place of melon balls, or representing a bunch of “tulips”. This created page-stopping visuals, with elegant copy telling the functional story. Meanwhile, in social media, women were invited to try and share eos via the EOSphere sampling program (detailed in the case), while PR enlisted the beauty press to advocate the product as a must-have accessory. 

Results: The six-month share was 2.5%, ahead of the 2% objective. The first full-year share was 5.6%, well ahead of the 4% objective. The Year 2 share was 11.4%, virtually doubling the objective of 6%.

Cause & Effect: Research on the print campaign shows it exceeded norms across all key measures (data were supplied).Online impact was also extraordinary. According to Google, the termeos lip balm” is their most searched term in lip balm – and fans of the official Facebook page have grown from 50 at launch (friends & family) to over 500,000 now. Separately, the excitement generated on Twitter exceeded their limit of connections – essentially‘breaking’ the system. As for the distinctive product design, there’s no question that it played a role, but it seems unlikely that design alone could cause success of this magnitude.

Client Credits: eos Products

Sherry Jhawar – VP Marketing
Jonathan Teller – Managing Partner

Sanjiv Mehra – Managing Partner
Alliah Agostini – Brand Manager

Agency Credits: Juniper Park

Alan Madill – Executive Creative Director, Partner
Barry Quinn – Executive Creative Director, Partner
Terry Drummond – Executive Creative Director, Partner
Jill Nykoliation – President, Partner
Shelly-Ann Scott – Group Account Director
Chris Marrone – Account Supervisor
Brittany Gold – Account Supervisor
Laurent Abesdris – Copywriter
Derek Blais – Art Director
Ryan Teixeira – Art Director
Chelen Hilmi – Designer
Hanna Bratt – Producer
Terry Wykurz – Producer
Mark Prole – Producer

Case: Koodo El Tabador

Client: Koodo Mobile

Agency: TAXI 2

Award: Best Integrated — Gold

Overview: A four-inch tall Mexican wrestler beats back Koodo’s competition.

Situation Analysis: Koodo debuted in early 2008 with a look as bold as its proposition – affordable mobility on the customer’s terms. When Koodo arrived, its Gen Y target finally had an alternative that matched their budget and their irreverent attitude. The result? Koodo was the most successful wireless launch in Canadian history.But it was only a matter of time before competitors caught on, and by the end of 2009 Koodo’s functional benefits had been matched almost across the board. And without any groundbreaking new rate plans or phones, what did Koodo have to work with?

Strategy & Insight: Koodo’s not-so-secret weapon was the Tab, which gave customers the ability to get a $0 phone without a contract. While the Tab had been featured in communications since Koodo’s launch, it had never been the focus of a campaign. But the Tab was Koodo’s most differentiating feature. It was the embodiment of what the brand had stood for since the beginning – in a category where most folks were resigned to being taken advantage of. So 2010 would launch the year of the Tab.

Execution: It all started when El Tabador, a four-inch-tall animated luchador (an iconic Mexican wrestler) stepped into the ring. He would save customers from the injustice of long-term contracts with hard-hitting sale offers and new plan announcements. All told, the campaign was integrated across multiple different media – TV; outdoor; newspaper; campus; point-of-sale; an interactive game on YouTube where El Tabador wrestles Bloatimus Contractimus; an online mockumentary with Bret “Hitman” Hart; a Facebook community; and mini muchacho action figures, free with the purchase of any Koodo phone.

Results: Koodo had the most successful postpaid wireless launch in Canadian history and this momentum has continued through 2012 (details were supplied). Brand awareness is virtually 100%, and 87% of customers say they’re likely to recommend Koodo. J. D. Power ranked Koodo as “Highest in Customer Satisfaction with Stand-Alone Wireless Service.” And Koodo remains the top postpaid provider with each of its major national retailers. Cause & Effect: Probably the most telling evidence has been the competitive reaction, with Virgin and Wind launching copycat offerings, and Fido launching an anti-tab campaign. Spending was not a factor, with absolute levels and share of voice less than the competition’s. Pricing can be ruled out, given that many new value entrants have entered the category. Distribution at retail has improved, but is still low compared to other major wireless carriers. And product (i.e. the line-up of handsets) is less sophisticated than the competition’s. This leaves only the advertising as the dominant cause of success.

Client Credits: Koodo Mobile

Kevin Banderk: Chief Koodo Officer
Lise Doucet: VP Marketing Communications
Dragana Simao: Manager, Marketing Communications
Nathan Roth: Manager, Digital Marketing Communications
Jennifer Robertson: Directrice générale, communications et marketing Koodo Mobile

Agency Credits: TAXI 2

Lance Martin: Executive Creative Director
Partick Chaubet: French Creative Director
Alex Gadois: French Creative Director
Dave Watson: Design Creative Director
Jeff MacEachern, Mike Lee, Craig Ferguson, Jordan Dunlop: Art Director
Caleb Goodman, Natalie Calderon: Group Account Directors
Pascale St-Amand: Montreal Account Director
Katie Trainor, Steve Waugh, Sherrie Reynolds, Kirstin Bojanowski: Account Managers
Krista Cressman, Julie MacGregor: Account Managers
Media Agency: Cossette Media
Production House: BENT Image Lab
Mike Blackmore, Tal Wagman, Alexis Bronstorph, Marko Pandza: Writers
Josianne Cossette: French Writer
Tanya Henri: French Writer
Mike Blain: Designer
Kammy Singh: Designer
Tyler Smith: Designer
Jennifer Cursio, Ben Sharpe, Kevin Saffer, Brie Gowans, Anick Rozon: Broadcast Producers
Tara Greguric, Charlene Leong, Jen Shapiro: Print Producers
Brian Coughlin, Dave Kinsella, Dayle Sheward, Lorin Altomonte: Mac Artists
Susan Carswell, Dwayne-Mark Aranha: Mac Artists
Alex Chung, Andrew O'Driscoll: Retouchers
Gaetano Carpino, Patrick Elia, Jennifer Simpson, Joyce King, Hanna Bratt: Interactive Producers
Matt Burtch, Bob Blevins, Ryan Johnson, Carson Shold: Interactive Programming
Cory Pelletier, Nicole Polivka, Zach Klein: Digital Strategy

Case: Because I am a Girl Campaign

Client: Plan Canada

Agency: Wunderkind

Award: Sustained Success — Gold

Overview: Major success in a tough environment for cause-related marketing.

Situation Analysis: Extensive research has proven that investing in girls is the most effective way to address global poverty. And yet many in Canada felt powerless to change the situation. It is estimated that 75 million girls around the world are denied an education. And of the 1 billion people living on less than a dollar a day, 70% are women and girls. Based on this, Plan Canada launched Because I am a Girl in 2009. The goal was (and remains) to raise awareness and funds for programs to protect, educate and empower girls in the developing world. The challenges have been considerable – the economic recession; low brand awareness for Plan Canada; an aging donor base; cause fatigue; a perception that the developing world is a lost cause; and limited marketing budgets.

Strategy & Insight: Research showed that the campaign must be a fresh, distinctive and inspiring antidote to the traditional pity-inducing approach – and that it needed to quickly pivot from a hard-hitting message about the plight of girls to an inspiring message about their power to change the world. The target initially focussed on Moms and teenage girls. But for Years 2 and 3 it became clear that women in general wanted to help. So “Moms” was expanded to become professional women, 30 to 50, with or without children.

Execution: Creative in Year 1 broke sharply from the “flies on the eyes” cliché. It echoed the political text art of Jenny Holzer and Barbara Kruger, with bold statements such as “Hope”, “Power” and the “Are you the one?” – anchored by a manifesto ad that conveyed the plight and the power of girls in eight simple lines. In Years 2 and 3, the campaign evolved to an iconic pink and black graphic style, with messaging that balanced the plight of girls with hope and inspiration. Media was chosen to “wrap” the audience in the message, making the campaign virtually impossible to miss. It featured TV, Print, OOH, Airport, Online banners, SEO/SEM, Radio, Elevators, Social Media, and a microsite as the hub of the campaign.

Results: Revenue grew significantly versus objectives – Year 1 ($3.1 million vs. $1.0 million target); Year 2 ($5.8 million vs. $5.2 million target) and Year 3 ($10.1 million vs. $7.5 million target). Similarly, engagement was up sharply – with major increases for unique web visitors, Facebook fans, Twitter followers and blog visitors (figures were supplied).

Cause & Effect: This was the only advertising-focused campaign by Plan Canada and there were no budget increases across the duration of the case. There were also no current events, major news items, major competitive campaigns or other initiatives that could explain the success of the campaign.

Client Credits: Plan Canada

Paula Roberts – Exec VP, Marketing & Development
Serena Trentini – Director, Marketing
Lori Miller – Marketing Manager
Christina Doyle – Marketing Manager
Leanne Nicolle – Director, Community Engagement
Kristy Payne – Director, Strategic Communications
Lesa O’Brien – Director, New Media
Cheryl Laing – Director, Information Management
Cathy Wallace – Director, Development
Trevor Lavigne – Interactive Specialist
Jeff Cornett – VP Donor Marketing
Petra Greenbaum – E Marketing Manager
Michelle Duggan – Director, Donor Marketing
Natalie Williams – Marketing Consultant
Meredith Burns – Marketing Intern
Audra Williams – Digital Specialist
Maya Boritz – Manager, Digital Communications
Michelle Duggan – Director, Donor Marketing

Agency Credits: Wunderkind

Syd Kessler – Creative Leader
Wahn Yoon – Team Leader & Strategist
Jacob Kessler – Partner
Cam Drynan – Account Director
Ilya Strashun – Account Manager & Senior Art Director
Gina Lijoi – Digital Project Manager
Stewart Barton – Media Planner & Buyer
Margaret Jeronimo-Andrews – Senior Art Director
Su Bundock – Copy Writer
Mark Petch – Producer & Camera, Girl News
Stephen Parker – Editor, Girl News
Evren Ozdemir – Song Writer & Producer
Jason Macfarlane – Director & Editor
Liz Dussault – Producer FamilyStyle
Joanne Shinwell – Admin Support
Julian Rudd – Head Engineer Vapor Music
Julie Geller – Digital Project Manager
Ryan Ghaeli – Media Planner & Buyer

Case: Mitsubishi Electriphobia

Client: Mitsubishi Motor Sales of Canada

Agency: john st.

Award: Events, Seasonal & Short-Term — Silver

Overview: The Mitsubishi i-MiEV goes digital, and has a highly successful launch.

Situation Analysis: Even though Mitsubishi has been developing Electrical Vehicle (EV) technology for nearly 40 years in Japan, the Chevrolet Volt and Nissan Leaf have owned the EV conversation in North America. And the general tone of that conversation has been “save the world.” The Mitsubishi Innovative Electric Vehicle (i-MiEV) would be Mitsubishi’s first foray into the EV segment in Canada. It would launch in April 2012, and it needed a unique identity. “News” wouldn’t work, because the Volt and the Leaf had got to that party first. Nor would spending, since the i-MiEV’s budget was a 10th of Chevy Volt’s. The answer had to lie somewhere else. 

Strategy & Insight: The target was was expectedly ‘green’ – urban adults who cared about the environment. Under the surface, though, was something unexpected. Anxiety. Tons of it. People wondered: How do you charge it? What is its range? Where do you charge it? Does it drive like a golf cart? Can it electrocute you? (Seriously, some people worried about that.) This triggered the breakthrough idea; to give these fears a name – Electriphobia – and create a way to cure it – The Electriphobia Research Institute.

Execution: New car launches, even in the digital age, make liberal use of TV, radio, and print. Indeed, Chevy put over $10 million in TV and print to launch the Volt. Given its much lower budget, Mitsubishi had to rely much more on a digital approach that would earn the attention they couldn’t buy. Electriphobia.com was the hub – an edutainment microsite designed to address the real fears people had with electric cars (and silly ones as well).The effort was distinctly tongue-in-cheek, veering away from the earnestness of Chevy Volt and Nissan Leaf – and it included video on YouTube and Facebook, along with effort in urban dailies, PR, and a launch event at the Green Living Show in Toronto.

Results: The objective over the first three months of the launch was to match Leaf sales, and this was beaten by 15%.. Furthermore, the campaign was picked up by Mitsubishi US and other global affiliates, and Electriphobia, a made up word, now returns 30,000 results on Google.

Cause & Effect: The case detailed a massive increase in online activity. 6,400 people clicked through to the Mitsubishi corporate website and 1,231 people clicked through to find an i-MiEV dealer or book an i-MiEV test-drive. This compared to virtually NO social media discussion on the i-MiEV prior to the campaign launch.

Client Credits: Mitsubishi Motor Sales of Canada

Peter Renz – Director, National Marketing
Shauna Barker – Manager, Advertising
John Arnone – Manager, Public  Relations
Ryan Geary – Manager, Marketing

Agency Credits: john st.

Ian Brooks – Group Account Director
Sarah Frackowiack – Account Supervisor
Alison Williams – Account Coordinator
Samantha Tom – Account Coordinator
Angus Tucker – Co-Creative Director
Stephen Jurisic – Co-Creative Director
Keri Zierler – Copywriter
Hannah Smit – Art Director
Kurt Mills – Copywriter
Kyle Lamb – Art Director
Lorrie Zwer – Digital Producer
Alisa Pellizari – Print Producer
Dana Drummond – Print Producer
Jason Last – Senior Brand Planner
Leshanne Pretty – Digital Planner
Manon Varin – Director of Project Management (HeadSpace Marketing)
Caroline Legault-Forest – Project Manager (HeadSpace Marketing)
Charles Bournival – Copywriter (HeadSpace marketing)
Jose Moreira – Strategy Supervisor (OMD)
Jonathan Davies – Assistant Strategist (OMD)
Sean Perkins – Associate Director, Digital Technologies (OMD)
Alex Papas – Assistant Digital Strategist (OMD)
Lesley Pelton – Broadcast Supervisor (
Mark Hyndman – Broadcast Buyer (OMD)

Case: Morty 2.0

Client: MTS (Manitoba Telecom Services)

Agency: Dare Vancouver

Awards: Off to a Good Start — Silver. Best Integrated Program — Silver.

Overview: MTS brings back Morty the Bison, and the business responds.

Situation Analysis: Manitoba Telecom Services (MTS) had managed to grow for over a century. However, the last decade (to echo Dickens) had seen the best and worst of times. There were 3 phases to this: (1) In 1999 MTS launched a new brand strategy with creative centered on Morty the talking bison. Manitoba fell in love with him and MTS became dominant in Manitoba, holding the top market share for all their main lines of business.  (2) By 2008 TELUS, Rogers and Shaw were on the attack, offering low prices, sexy products, and advanced technology. The business suffered, and the Morty creative seemed to be losing steam. (3) New creative started in the last half of 2009. It focused on people in real-life scenarios. However, brand linkage and ad recall scores were much below Morty’s levels – and market share and revenue were still under extreme pressure. Where to go now?

Strategy & Insight: Further research and analysis showed that Morty was still loved, despite being discontinued. This made the solution simple. Morty hadn’t needed to be cast aside; he simply needed a face lift. So, in late March 2011, Morty 2.0 arrived. He would break through the clutter of telecom messages and set MTS apart from the big national telco’s.

Execution: The new campaign introduced a fun, fresh, and unique animated world for Morty and his friends.  They’re a friendly, funny group with a dry sense of humour, which is exactly how Manitobans see themselves.  This allowed MTS to tell a consistent story via multiple executions across multiple media. This included TV, Print, Radio, OOH, Online (including a microsite that told the story of how Morty had evolved), In-store, In-game (Playstation), PR and a Winnipeg Jets Sponsorship.

Results: Overall revenue for 2011 was 3% above objectives – which may not seem big in the absolute, but was equal to tens of millions of incremental dollars – in the face of intense competition. All sub-objectives were also met or surpassed, as detailed in the case.

Cause & Effect: Brand linkage and recall is back in the .95 percentile, well above IPSOS norms, for all age groups, both male and female. Details were also supplied to show that several TV commercials improved perceptions about MTS for the main KPI’s in the category.

Client Credits: MTS (Manitoba Telecom Services)

Stan Kurtas; Vice President, Marketing
Kim Johnson; Director, Advertising and Marketing Communications
Rachel Ploegman; Senior Advertising Planner
Lia Crabbe; Senior Advertising Planner
Megan Brown; Advertising Planner
Gillian Dow; Advertising Planner
Sarah Coy; Advertising Planner
Julie Chaput; Marketing Associate

Agency Credits: Dare Vancouver

Jonathan Longworth; Vice President, Client Integration
Bryan Collins; Vice President, Creative Director
Rob Sweetman; Vice President, Creative Director
Josh Tebbutt; Vice President, Media Director
Catherine Piercy; Associate Planning Director
Tamara Bennett; Integration Director
Fiona McFaul; Integration Supervisor
Dana Harkness; Integration Manager
Mike Hasinoff; Director of Broadcast Production
Shannon Pickering; Planner
Cheryl Brusic; Senior Media Planner/Buyer
Debbie Lucas; Media Supervisor

Case: Larsen Classic Taste Returns

Client: Maple Leaf Foods

Agency: Target

Award: Off to a Good Start — Silver

Overview: A beloved brand goes back to its Atlantic roots.

Situation Analysis: The Larsen wiener had a long-standing evangelistic following in Atlantic Canada. Then, in August 2010, Maple Leaf Foods (MLF) decided to consolidate production into Ontario – which led to a change in recipe. Larsen loyalists were outraged, and sales plunged 23%. In late 2011 MLF decided that they had to reverse the earlier decision. However, the re-launch of the Classic Taste Larsen wiener would be in the winter – the slowest season for hot dog sales – and the advertising budget would be under $500,000. Under this pressure, what would it take to win back the lost consumers?

Strategy & Insight: The re-launch would rest on three factors. First, consumers felt they didn’t matter to MLF. This wasn’t true, of course, but the perception had to be turned around. Second, distrust had to be reversed. Third, Atlantic Canadians have a great sense of humour, which gave permission to defuse the situation by tickling their funny bone. Woven together, these insights led to the idea of “news.” But not just any news. This news would come from a quirky new source – the Wiener News Network (WNN).

Execution: The WNN was a blend of “CNN meets This Hour Has 22 Minutes.” Six campaign videos (TV and online) romanced the love affair with Larsen – for example a man miraculously awoke from a coma because of the Classic Taste aroma.  Radio spots directed listeners to a Facebook page with funny fake news stories. Announcements came via The Weekly Wiener, a tongue-in-cheek FSI distributed through local Saturday papers. And a top fashion designer created a perfume called Hunger, with “undertones of craving, famished longing and the passionate joy of reunion.” As for media, the campaign launched in two phases: Teaser and Re-launch. Teaser effort ran for three weeks with lines like “Technical difficulty is temporary. Do not adjust your wiener.” The re-launch then triumphantly announced the return of the prodigal wiener.

Results: The 23% decline was turned around, with dollar sales for the first 6 months of the launch up 11.3% - more than five times the ingoing 2% objective. Consumption, as reported by ACNielsen, was up 9%, meaning that the gains were with the consumer, and not from shipments going into inventory. Furthermore, after the usual logistical problems associated with a re-launch (e.g. some initial out-of-stocks), sales picked up month over month, posting +6%, +12% and +49% for May, June, July respectively. This bodes extremely well for the longer term.

Cause & Effect: The sales increases directly mirrored the timing of the campaign. Spending was under $500,000 as noted. Pricing and Distribution did not change to any significant degree, and there was no unusual promotional or competitive activity.

Client Credits: Maple Leaf Foods

Andrew Pollock, Senior Vice President, Marketing and Innovation
Andrew Armstrong, Vice President, Marketing
Kate Galbraith, Senior Director, Marketing
Stacie Misener, Marketing Manager, Hot Dogs
Lindsay Ho, Marketing Manager, Hot Dogs

Agency Credits: Target

Tom Murphy, Creative Director
Jenny Smith, Creative Group Head
Dax Fullbrook, Art Director
Sarah Park, Writer
Graham North, Junior Writer
Alyssa Free, Junior Writer
Adam Stephens, Video Editor
Yvonne Flower, Agency Producer
Laurelyn Berry, Group Account Director
Natalie Fleming, Account Manager
Bronwyn Cass, Account Executive

Case: Two kids. Two cultures. Oreo.

Client: Kraft Canada 

Agency: DraftFCB

Awards: Off to a Good Start — Silver. Best Insight — Bronze.

Overview: Canadian creative strikes a chord, and helps turn the Oreo business around.

Situation Analysis: For 100 years, Oreo has been a beloved brand, and one of the top selling cookies in Canada.  However by 2010, with competitive pressures, evolving food values, aging boomers, and slow adoption in multicultural households, the baseline business had started to decline. Oreo was becoming a once-in-a-while indulgence – and this was despite strong brand-related measures and spending support at competitive levels. Historically, Oreo had been picking up US creative which leveraged the ritual of “Twist, Lick and Dunk.” However, despite strong test scores and proven effectiveness in other markets, sales in Canada were not responding. For the first time in over a decade Canadian TV creative would be developed.

Strategy & Insight: There was a clear need to bring Canadian-ness to the “Twist, Lick and Dunk” ritual. The planning process zeroed in on what makes Canadians unique. This showed that while we are less openly nationalistic than the citizens of many countries, we have distinct points of national pride. One is our celebration of multicultural diversity. This turned out to be the key.

Execution: “Moving Day :30” launched in April 2011 and shows a little boy welcoming a newly arrived boy to the neighbourhood with two glasses of milk and a bag of Oreos. While the first boy only speaks English, the other speaks only Mandarin. But it’s clear that they speak the same language when it comes to Oreos and “Twist, Lick and Dunk.” Media involved a broad-reaching TV buy with airings on top conventional and specialty stations. 

Results: Since 2007 annual baseline $ sales had been declining between -1% and -9%. While Moving Day :30” was on the air baseline dollar sales spiked by 12%, and by end of year were still ahead by 6%.

Cause & Effect: “Moving Day :30” is the #1 branded ad in the Millward Brown database for branding effectiveness – in any category. Other creative metrics were also ahead of norms (details were supplied) and because the case quotes baseline sales, other variables can be ruled out.


Client Credits: Kraft Canada 
Chris Bell
Emma Voirin
Marco Massa

Agency Credits: DraftFCB

Christine McNab
Anabella Mandel
Robin Heisey
Jeff Hilts

Case: Make Death Wait

Client: The Heart & Stroke Foundation of Canada

Agency: Lowe Roche

Award: Off to a Good Start — Silver

Overview: The Heart &Stroke Foundation brings Death to life.

Situation Analysis: In 2011, the Heart & Stroke Foundation faced a serious problem. The perception was that heart disease and stroke (HDS) only targeted overweight aging white men. Yet in reality women had become the fastest growing segment prone to attack. To make matters worse, Canadians believed that they could be fully treated with a few days in the hospital. And complicating this, the HSF Board of Directors – a conservative body – had to be convinced to invest in an advertising campaign that was definitely outside their comfort zone.

Strategy & Insight: HDS will take 1 in 3 Canadians before their time. And shockingly, it has become the #1 killer of women in Canada, over all cancer deaths combined. Yet people were not aware of this, and took HDS much too lightly. The urgent task was to make HDS top-of-mind to Canadians – young and old, male and female both. But this still left the question of how. Typically, charities focus on life, and talk about the positive things they are doing. This campaign, breaking all conventions, would focus on a personified Death – and ask at-risk people to get themselves assessed.

Execution: The campaign launched in October 2011, and was the Foundation’s first truly national campaign after years of fragmented messaging. Creative took on a deliberately disturbing aura. TV, for example, showed that Death is within arm’s reach of all of us – stalking us as we do normal, everyday things, and ready to take any of us at any time. This was augmented by similar effort using magazines, online, OOH, and social media.

Results: It was expected that “Make Death Wait” would spark controversy, and indeed it did. But results beat all objectives, and re-energized the Foundation. Donations are running at over $2 million (objective = $1.9 million) and 113,300 people have taken a risk assessment (objective = 75,000). Awareness, Importance, Urgency, Credibility, Uniqueness and Emotional Connection are all ahead of target, as is Social Media presence.

Cause & Effect: No other variables were changed at the Foundation, and the results can be 100% attributed to the “Make Death Wait” campaign.

Client Credits: The Heart & Stroke Foundation of Canada

Director Parent Brand Marketing: Laura Plant
Sr. Manager, Parent Brand Marketing: Joanne Cullen
Former VP ; Marketing & Communications at Heart & Stroke Foundation of Canada: Lisa Chicules
Campaign Lead: Kelly McCarten
Director Of Digital And Direct Marketing For The Heart & Stroke Foundation Ontario: Kristian Dart

Agency Credits: Lowe Roche

Creative Directors: Geoffrey Roche, Steph Mackie, Mark Biernacki
Account Services: Dave Carey
Art Director: Steph Mackie
Copywriter: Mark Biernacki

Print Producer: Beth Mackinnon

Case: Activia 2012 – Back to relevancy, back on track!

Client: Danone Canada

Agency: Saint-Jacques Vallée Y&R Brands

Awards: Off to a Good Start — Silver. Best Insight — Bronze

Overview: Activia momentarily loses momentum, but a new campaign gets it back.

Situation Analysis: Activia is a great-tasting yogurt containing B.L. RegularisTM, a probiotic culture that alleviates digestive discomfort. Over the years, it has grown to be #1 in the market – a result of good product, intelligent marketing and effective advertising. However, in 2010/11 Activia started to decrease in sales. This was explained primarily by a price increase, a lower adspend, and less effective messaging.  But with new creative scheduled for January 2012, could this downhill trend be stopped? 

Strategy & Insight: The majority of Canadians admit to having digestive discomfort at least once a week, but most of them see this as normal, and are not actively looking for solutions. However, when questioned further, they all admit that these discomforts are bothersome, and prevent them from feeling their best. This was the key – people had to realize that the problem is a problem!

Execution: Advertising with health-related claims is heavily regulated in Canada, especially on television. So Activia built its message around moments associated with digestive discomfort – fatty food, eating fast, stress, lack of exercise. TV, and video on the internet, used a first-person story telling approach. The actress enumerates what has brought on her digestive discomfort (without using these words), Then she takes control by exercising, eating better and enjoying Activia every day. Magazines used a full page ad plus a 3-page spread to wrap a health section featuring the importance of digestive health. And both print and television featured Activia’s branding elements – such as the belly square, the Activia arrow and the green colour.

Results: The business turned around – with double-digit growth replacing a double-digit decline (details were supplied). As a result, the campaign is now considered an example of international best practice across 40 countries.

Cause & Effect: Post-test Ipsos research showed above-norm results for Persuasion, Recall and Messaging, and there was a definite link between the timing of the advertising and the sales response.

Client Credits: Danone Canada

Pauline Varga – Vice-President, Marketing
Ben Angeloni – Marketing Director
Marie-Claude Trudeau – Senior Brand Manager
Alexandra Latendresse – Brand Manager
Flore Siboni – Assistant Brand Manager

Agency Credits: Saint-Jacques Vallée Y&R Brands

Marie-Andrée Bertrand – Vice-President, Chief Operating Officer
Élyse Boulet – Group Account Director
Hélène Mitchell – Account Director
Julie Bazinet – Strategic Planner
Martine Rioux – Account Coordinator
Daniel Poirier – Creative Director
Jennifer Goddard – Copywriter
Frédérick Wolfe – Copywriter
Francis Lévesque – Art Director

Case: Hellmann's 

Client: Unilever

Agency: Ogilvy

Awards: Packaged Goods Food/Other — Silver. Sustained Success — Silver.

Overview: Hellmann’s creates the Real Food Movement and turns “junk in a jar” into long-term success.

Situation Analysis: Around the beginning of 2005 consumers were starting to take a more vigilant approach to what they were eating, and unfortunately for Hellmann’s a study found that 75% of consumers equated the brand to “junk in a jar.” This obviously had to change, especially if Hellmann’s was going to catch up to Kraft Miracle Whip, the category leader. Luckily, Hellmann’s is made from three real and wholesome ingredients – eggs, oil and vinegar.  From this little known fact the Hellmann’s Real Food Movement [RFM] was born. Starting in 2007 this produced extraordinary results, leading to the CASSIES Grand Prix in 2010. Now, two and a half years on, the RFM has continued to deliver.

Strategy & Insight: For 2007 – 2010 RFM introduced a higher sense of purpose than conventional product marketing, and started to tackle the nutritional habits of the nation. [See the Hellmann’s Grand Prix case at www.cassies.ca.] In 2011 this evolved into a decision to educate kids on the importance of eating well – a strategy designed to build a connection with Moms on a deep level, and strengthen loyalty to the brand. The vehicle for this was the Hellmann's Real Food Grant Program.

Execution: The Real Food Grant Program makes over $100,000 available to individuals and organizations that help families and kids connect with real food. As an example, the Camille School in Red Deer Alberta wanted to create real change. Recognizing this, Hellmann’s helped revamp the school kitchen, getting rid of the deep fryer and transforming the cafeteria’s menu. Then, to celebrate the school’s commitment to the Real Food Movement, the fryer was spectacularly crushed under the wheels of a monster truck. This was all documented in a highly shareable on-line film called “Bye Bye Deep Fryer” – and it has garnered over 1,440,000 views since its release in mid-May 2012.

Results: Hellmann’s REAL dollar volume was +5% in 2007, +7% in 2008, +14% in 2009; +6% in 2010; +7% in 2011 and +10% for June 2012 YTD. In line with this, Hellmann’s REAL dollar shares grew each year from 26.8 % in 2007 to 33.1% for June 2012 YTD. Also, the Real Food Movement has had a positive halo on Hellmann's total business. Over the duration of the RFM campaign total Hellmann’s has pulled ahead of Kraft Miracle Whip, opening up more than a ten point lead in both dollar and tonnage share.

Cause & Effect: The case examined spending, product, pricing, distribution, promotional activity, image, purchase intent and outside forces to demonstrate that the results had been driven by the RFM campaign.



Client Credits: Unilever

Sharon MacLeod – V.P Marketing
Alison Leung – Director of Marketing, Foods
Stephanie Cox – Senior, Brand Building Manager
Mindy Perlmutter – Assistant Brand Building Manager
Michelle Wu – Assistant Brand Building Manager
Client Credits Past:
Christopher Luxon – General Manager
Geoff Craig – VP Marketing
Jon Affleck – Marketing Director
Juanita Pelaez –Brand Manager
Ian Busch – Brand Manager
Monica Palit – Assistant Brand Manager

Agency Credits: Ogilvy

Ian MacKellar – Chief Creative Officer
Laurie Young – Managing Director
Aviva Groll – Senior Partner, Group Account Director
Daniel Koppenol – Account Supervisor
Chris Dacyshyn – Writer
Julie Markle – Art Director
Julie Caniglia – Broadcast Producer
Doug Potwin – Planning
Agency Credits Past:
Jane Murray – Copywriter
Sarah Kostecki – Account Supervisor
Stasha Poznan – Account Supervisor
Coby Shuman – Account Executive
Terri Mattucci – Account Executive
Mandi Lee – Account Supervisor
Siobhan Dempsey – Copywriter
Jennifer McLeod – Account Supervisor
Janet Kestin – Chief Creative Officer
Nancy Vonk – Chief Creative Officer

Hellmann's Inter-Agency Partners:

Harbinger Ideas; Mindshare Canada; Dashboard; OgilvyAction; PHD; Segal Case: Gatorade - G Series Launch 

Client: PepsiCo Beverages Canada 

Agency: TBWA\Toronto

Awards: Packaged Goods Beverage — Silver. Best Launch — Bronze.

Overview: Gatorade launches a Before, During and After system, and delivers the goods.

Situation Analysis: In 1965 Gatorade created the sports drink category, but after 40 years of flavour & pack innovation, and increasingly fierce price competition, Gatorade had to evolve. Based on years of athlete knowledge and scientific research, the G Series® was about to be launched. It consisted of three products – for before (Gatorade Prime®), during (the Original Gatorade Perform®), and after (Gatorade Recover®) athletic activity. The Canadian launch was scheduled for April 2011, and the team had to face another reality: how to succeed while the brand’s most serious competitor, Powerade, was aggressively cutting prices.

Strategy & Insight: To reach true athletic potential you need to combine proper training with proper nutrition, but the typical athlete put very little emphasis on nutrition, let alone the different needs the body has before, during and after exercise. This made a before-during-after message essential, with the delivery unfolding as follows: (1) Pre-launch seeding with coaches, trainers and athletic therapists/nutritionists. (2) Launch Part 1 – introducing the G Series® and establishing the before-during-after message. (3) Activation around sports events (4) Launch Part 2 – reinforcing the G Series® benefits.  

Execution: It was decided to engage Georges St-Pierre and Sidney Crosby for the credibility and impact they would bring to the launch. Throughout the campaign the creative showed how the G Series® was integral to their routines. This unfolded via TV, online (including unique video/Facebook applications) and grassroots activations.

Results: As of June 2012 (YTD) dollar sales increased +20.5%, revenue increased by 13.3% and Gatorade dollar sales per buyer increased by 9.5%. All of these exceeded objectives, and occurred while Powerade was reducing its average shelf price by 12.7%.

Cause & Effect: The majority of sales occurred when media was in cycle. Furthermore, post research by Millward Brown shows a long list of positive results (details were supplied). As for other variables, media spend was in line with historical levels; pricing (as noted) was favouring Powerade; distribution was not a factor; and there was no unusual promotional activity.


 Client Credits: PepsiCo Beverages Canada 
Greg Lyons, VP Marketing
Shirley Mukerjea, Director of Marketing - Hydration Brands
John McEachern, Marketing Manager
Eric Williams, Associate Marketing Manager

Agency Credits: TBWA\Toronto

Jack Neary, Chief Creative Officer
Mark Mason, Creative Director
Jonathan Smith, Associate Creative Director
Rodger Eyre, Associate Creative Director
Sharon Kosokowsky, Broadcast Producer
Nadya Macneil, Head of Broadcast
Patrick LeMoine, Group Account Director
Jordan Cappadocia, Account Executive
Trevor Thwaites, Account Executive
Daniele Boem, Group Director of Strategy, OMD
Jammie Ogle, Associate Director of Strategy, OMD
Laura Bryce, Senior Consultant, High Road Communications
Andy Harkness, VP Sports Marketing, SDI

Case: Home Depot - Becoming #2, c'est beau!

Client: Home Depot (Canada)

Agency: Cossette

Awards: Retail — Silver. Best Integrated Program — Bronze.

Overview: Reno Depot (like Avis) is delighted to be #2.

Situation Analysis: It is never easy for large American banners to succeed in Quebec – and twelve years after its arrival Home Depot was still third in market share, behind Rona and Reno Depot (both homegrown). With ambitions to take over as #2 Home Depot needed a new way to appeal to Quebecers.

Strategy & Insight: Given that Quebecers favour Francophone businesses, Home Depot could not rely on the reputation it had built in the rest of Canada. It needed to (a) find a point of difference and (b) appeal to Quebecers as Quebecers. For (a) market research found that the #1 motivator for consumers was greater product selection – and this had great potential because Home Depot offered different brands and products from Rona and Reno Depot. For (b) it was decided to use real Quebecers (and employees) in a multi-channel campaign. This was captured by the slogan “Rénover sa vie, c’est beau“ (“Renovating your life is beautiful”).

Execution: The campaign started in March 2011, and was built around ten highly desirable products that were exclusive to Home Depot. Every message was engaging, candid, spontaneous, unscripted and authentic, and there were 120 different videos in all. These were emailed back to the participants with a suggestion that they should share them through their social networks. Each video also had an extended version at homedepot.ca, and nine of these were aired as :30s on television. Meanwhile, 30-second radio spots had consumers sharing ideas – and consumers who had their story chosen were given a gift card and an MP3 version of the message, allowing them to be a star in their social network.

Results: Home Depot surpassed Reno Depot to become second in terms of Quebec market share. Compared to 2010, brand consideration increased 23%, in-store traffic increased 43% and sales increased 23%. Also, the videos given back to participants and shared through social networks generated 10,000 hits on Facebook.

Cause & Effect: All these results were achieved while maintaining the same number of stores, the same product lines, the same services, the same pricing strategy, a stable media mix, and a budget that remained similar to previous years. Meanwhile, competitors were increasing the numbers of stores in the Quebec market, with Reno Depot adding two stores, and Rona increasing its stores by three.

Client Credits: The Home Depot (Canada) 
Peg Hunter – Vice President Marketing and E-Commerce
Gaye Mandel – Director of Advertising
Jason Reilly – Director of Marketing
Élise Vaillancourt – Regional Marketing Director
Sonia Draper – Senior Manager of Advertising Integration
Sarah Gayfer – Production Supervisor

Agency Credits: Cossette

Florence Girod – Vice President Strategic Planning
Benoît Bessette – Vice President - Business Lead
Jean Hugo Filion – Group Account Director
Anne-Claude Chénier – Co-creative Director
Anik Ouellet – Co-creative Director
Stéphanie Côté – Broadcast Producer

Case: Moving Day – IKEA

Client: IKEA

Agency: Leo Burnett, Toronto

Awards: Best Insight — Silver. Best Use of Media — Silver.

Overview: IKEA takes the humble cardboard box and puts it centre stage

Situation Analysis: IKEA in Quebec is under constant pressure to drive store traffic and sales vs. competitors like Home Depot, The Bay, Sears, The Brick and Brault & Martineau. This holds true for Fête du Déménagement, or Moving Day – the cultural phenomenon whereby on every July 1st weekend a huge number of Quebec residents move. Hiring movers or vans, getting boxes and moving supplies, and snagging friends and cars to help out is virtually impossible. And buying new home furnishings is anything but top-of-mind. But if IKEA could find a way to help, this could also be an opportunity.

Strategy & Insight:  The campaign would have to convince Montrealers that a move with the help of IKEA is a move made better. To do this, the conventional “push” approach of product benefits and reasons to believe had to be re-thought. Moving Day in the province is insane. So something out-of-the ordinary would be needed.

Execution: The answer was deceptively simple – transform the cardboard box into the medium and message of the campaign. They were printed with moving tips, a checklist, a dinner offer at the local IKEA, and a great offer on new IKEA furniture. Also, as a crowning touch, the box could be turned into a fully functional chair when moving energy ran out. 14-foot pyramids of boxes sprang up at giveaway sites around the city, and at the IKEA store. Some boxes were hung flat on walls, making them the hardest working posters ever. And when the boxes were taken, there was a message underneath telling people to come back for more. Finally, to add reach and frequency, there was a supporting radio plan.

Results: Total weekend sales increased 15% vs. the comparable period year-ago. Total weekend traffic increased 8% vs. the comparable year-ago period.

Cause & Effect: All the results reflected in the case were achieved without any increase in marketing, advertising or promotional spending, or extraordinary pricing/discounting.

Client Credits: IKEA

Deputy Marketing Manager – Hilary Lloyd
Jungle Media - Connection Planning Director – Brooke Leland
Jungle Media - Media Buying Supervisor – Krystal Seymour

Agency Credits: Leo Burnett, Toronto

Chief Creative Officer – Judy John
Creative Director – Judy John, Lisa Greenberg
Group Creative Director – David Federico, Morgan Kurchak
Copywriter – Morgan Kurchak
Art Director – David Federico
Designer – David Federico
Producer – Anne Peck
Group Account Director – David Kennedy
Account Director – Jennifer Kelly
Planner – Brent Nelsen, Dustin Rideout
Project Manager – Lyndsay Cattermole


Case: Natural Selections - Maple Leaf  Punctuation in Results corrected by DR Dec 3

Client: Maple Leaf Foods

Agency: john st.

Award: Best Launch — Silver

Overview: Maple Leaf makes a hero of the butcher.

Situation Analysis: At the end of the first decade of the 2000s consumers were starting to scrutinize food labels for assurances well beyond “low fat” or “low in sodium.” Sliced meats in particular, with their perception of being more processed, were becoming a reluctant purchase, with annual declines in the 1% range. As category leader, this was bad news for Maple Leaf Foods. They had spent the previous 18 months recovering from one of the largest food recalls in Canadian history. Now, they had to deal with the sliced meat challenge.

Strategy & Insight: Sliced meat in Canada generates $1 billion in annual sales – and MLF saw the opportunity to reinvent the category with Natural Selections, a first -in range of sliced deli meats. The agency then had to take the message of made with natural ingredients, no preservatives added, no artificial ingredients, no fillers, no MSG and no nitrates added and make it simple, believable and breakthrough. The target was the concerned Mom. But who would she trust? The answer was the butcher. And the good news? Maple Leaf had over 500 accredited butchers on staff. So Maple Leaf Foods could be positioned as Your Butcher Shop.

Execution: The campaign launched in May 2010 with the TV spot: Stephanie Potter. Before Natural Selections, Stephanie had to survive on boring jam sandwiches. But after, she could enjoy the ham she loved. This was followed in Year 2 by Dylan Carter. Hot dogs were off limits for Dylan until his parents discovered Natural Selections. Now he has what he loves, thanks to the Maple Leaf butcher.

Results: Year 1 share beat objectives, delivering 5.8%, and by May 2012 this had risen to 10.1% - again ahead of target.

Cause & Effect: Spending was in line with Maple Leaf new product norms; pricing was at an 18% premium to the base Maple Leaf brand; and there were no other major variables in the market.

Client Credits: Maple Leaf Foods

Stephen Graham – CMO, MLF Inc.
Andrew Pollock – Senior Vice President Marketing and Innovation
Mike Sanderson – Senior marketing Director - Innovation
Kevin Lake – Marketing Director - Deli
Kristin Holmes – Marketing Manager - Innovation

Agency Credits: john st.

Angus Tucker – Co-Creative Director
Stephen Jurisic – Co-Creative Director
Jennifer Rossini – Copywriter
Kurt Mills – Copywriter
Stuart Campbell – Art Director
Kyle Lamb – Art Director
Agency Producer – Dale Giffen
Agency Producer – Michelle Orlando
Agency Producer – Shawna McPeek
Melissa Tobenstein – Team Leader

Case: The Wiserhood

Client: Corby Distilleries

Agency: john st.

Award: Sustained Success — Silver

Overview: Welcome to the Wiserhood!

Situation Analysis: By 2008 Canadian whisky had started a long slow decline that would continue for the next four years. Within this, Wiser’s was running third to Crown Royal and Canadian Club, and poor awareness scores didn’t help. A 2007 survey revealed unaided top of mind awareness of 34% for Canadian Club, 13% for Crown Royal, and 0% for Wiser’s DeLuxe. Ouch.

Strategy & Insight: Wiser’s had to recruit younger drinkers without alienating their older franchise. That meant (a) finding common ground between the two generations that (b) would differentiate Wiser’s and (c) be authentic to the brand. Research unveiled a potential answer. Virtually all men admire a guy who sticks to his guns – a man who does not compromise. This fit perfectly with Wiser’s DeLuxe, which (as it says on the bottle) is made exactly the same as it was when J.P. Wiser began distilling it over 150 years ago. The challenge, of course, was to make this universal truth ownable to Wiser’s.

Execution:Welcome to the Wiserhood – a not-so-secret society of men who are the authority on uncompromising behaviour. These are men who applaud (literally) other men with the right qualities. They have age-old rules and rituals, and a virtual clubhouse (TheWiserhood.com) where members could learn more about this mysterious society. Since fall 2008 until now TV commercials have shown Wiserhood members slow-clapping their approval of young men who showed their unwillingness to compromise. Related activities included the Wiserhood handbook, Facebook effort, CFL and NHL sponsorships, online videos, and the He-Coy Bag (based on the bag that the uncompromising hero uses in the much-watched “Purse” commercial).

Results: From 2008 on, sales have grown close to 2% a year in a category declining at 1%. While these numbers may not seem large, they accumulate over 2008 - 2012 to an additional $11 million in sales, compared to total ad spending at roughly $3 million. At the same time, Crown Royal and Canadian Club have lost ground, such that Wiser’s is now the #2 Canadian whisky.

Cause & Effect: Perhaps most significantly, Wiser’s has seen a shift to younger users, and the only reason for that could be the advertising. Awareness has also correlated with the advertising schedule, despite a declining SOV. And there has been no extraordinary activity in product, packaging, pricing or promotion.

Client Credits: Corby Distilleries
Joseph Delvecchio – Brand Director
Zoe Traynor – Senior Brand Manager

Agency Credits: john st.

Angus Tucker – Co-Creative Director
Stephen Jurisic – Co-Creative Director
Chris Hirsch -– Associate Creative Director & Copywriter
Nellie Kim – Associate Creative Director & Art Director
Ian Brooks – Group Account Director
Mark Graham – Account Supervisor
Andrew Godfrey – Account Executive
Michelle Orlando – Broadcast Producer

Case: MINI

Client: MINI Canada

Agency: TAXI Canada

Award: Sustained Success — Silver

 Overview: MINI celebrates ten years of success.

Situation Analysis: The Volkswagen Beetle, which ultimately suffered from being too cute, served as a cautionary tale for BMW as they prepared to bring the MINI to Canada in March 2002. So the ambition, right from launch, was to build a long-term success.

Strategy & Insight: Before it arrived, Canadians knew the MINI as a quirky, cute and trendy compact car in the UK. This image had worked there, but a repeat in Canada ran the risk of typecasting MINI as a chick car – not a good idea. The solution was to target MINI overtly at men, with a defiant, sh*t-disturber attitude. And this has been perpetuated for the last ten years by four words: Ballsy, Current, Consistent and Fun.

Execution: There was no one demographic to characterize the MINI driver. These are guys who defy age through attitude, interests, and lifestyle. They are confident, individualistic, and non-conformist – much like the MINI itself. Consequently, MINI has always defied convention and built the brand through media traditionally relegated to the role of support in the automotive category. This has included high-involvement OOH, interactive pieces, stunts, online, and a relatively small amount of TV.The launch campaign set all this in motion ten years ago, and the cheeky and irreverent attitude has endured to this day.

Results: Since launch MINI stands as one of the most distinct and potent brands in the Canadian automotive market. Sales have beaten targets for nine out of ten years – with the recession of 2009 being the only exception. (Details were supplied).

Cause & Effect: While other cars have come and gone, MINI has been able to develop a long-term brand proposition that continues to resonate. The proof lies not only in consistent sales growth, but also in the brand identity that MINI Canada has so strongly developed and maintained. Outside of this, there were no marketing activities that could have caused such long term success.

Client Credits: MINI Canada

Adam Shaver – Director, MINI Canada
Steve Ambeau – Brand Communications Manager
Adam Wexler – Sales and Marketing Coordinator

Agency Credits: TAXI Canada

Lance Martin, Dominique Trudeau – Executive Creative Directors
Tina Tieu, Pascale St-Amand, Jared Stein, Daryn Sutherland, Caleb Goodman – Account Directors
Julie McGregor – Account Manager
Kareem Boulos – Director of Account Planning
Jolene Macleod – Supervisor of Account Planning
Daniel Mak – Account Planner
Jenna Bowie – Account Planner

Case: Boston Pizza All Meat Wings Double % sign corrected in Results by DR Dec 3

Client: Boston Pizza International

Agency: TAXI Canada

Award: Events, Seasonal & Short-Term — Bronze

Overview: Boston Pizza re-invents the boneless chicken wing.

Situation Analysis: When you’re called Boston Pizza (BP) it’s understandable that wings might not be your signature item. But if you want to be competitive as a sports bar great wings are a must. So, in 2010/11, BP significantly upgraded their product, such that wings became the fastest-selling menu item in their history. After this success it was important to continue the momentum, so after a lot of research and development the big news for 2012 would be boneless chicken wings. But these were already offered by BP’s competitors. So how could BP make their boneless wings feel like something new. 

Strategy & Insight: As it turned out, boneless wings are a contentious subject with wings enthusiasts, with some saying that they are nothing but glorified chicken nuggets. This led to an important decision – that to be seen as a leader it was better to avoid the debate altogether. Instead, BP would reinvent the category by launching a major discovery – the world’s first ALL MEAT WINGS.™

Execution: Just in time for the 2012 NHL playoffs BP introduced the stunningly charismatic Terry Peters, a internationally renowned fictional food innovator (one part Tony Stark, one part Kenny Powers, and one part Steve Jobs) who introduced ALL MEAT WINGS.™ He was active on LinkedIn, Twitter, Facebook, and Xbox, and he also interacted with bloggers. On television, Terry launched ALL MEAT WINGS™ like a new Apple product, with :60, :30 and 15-second spots. Radio and POS also followed suit.

Results: ALL MEAT WINGS™ were massively popular. By the end of the nine-week launch period wings sales were as high as +55% VYA, and ALL MEAT WINGS™ accounted for more than 50% of total wings sold.

Cause & Effect: Spending was on par with historical effort, and there was no out-of-the-ordinary pricing or promotional activity. Product obviously played a role, but given that the product was, in essence, the familiar boneless chicken wing, it’s reasonable to assume that it was the advertising of the product, rather than the product itself, that caused the sales response.

Client Credits: Boston Pizza International

Steve Silverstone – EVP, Marketing
Joanne Forrester – VP, Marketing
Tanya Thomson – Associate Marketing Manager

Agency Credits: TAXI Canada

Darren Clarke – Executive Creative Director
Niall Kelly – Associate Creative Director
Scott Johnson – Art Director
Chris Duffett – Writer
Brooke Hennessy – Designer
Dave Luxton – Associate Creative Director Interactive
Edith Rosa – Group Account Director
Anna Halfpenny – Account Director
Tamara Gervais, Natalie Street – Account Managers
Andre Louis – Agency Planner
Mike Rumble – Connections Planner
Adam Brain – Digital Strategist
Cynthia Heyd – VP, Integrated Production
Ben Sharpe – Broadcast Producer
Jen Shapiro – Print Producer
Lidiya Naydek – Interactive Producer
Esther Sanchez, Brooke Hennessy – Illustrators
Karthika Balendran – Mac Artist
Leslie Babin – Production Designer
Sons & Daughters – Production Company
Posterboy Edit – Editing Company
High Road Communications – PR Agency
Axyz – Post Production Company
Grayson Matthews – Audio Production Company
PHD – Media Company

Case: Bell - Let's Talk

Client: Bell

Agency: lg2

Award: Events, Seasonal & Short-Term — Bronze

Overview: Bell gets Canadians to talk about mental health.

Situation Analysis: In Canada, one out of every five people will suffer from mental illness during their lifetime. Three of them will suffer in silence because the subject remains a taboo. That’s why in 2011, in addition to a commitment to donate $50 million to the cause in the next five years, Bell decided to organize Let’s Talk Day. They invited Canadians to talk and text about mental illness, and help dispel the stigma. They also promised to donate 5 cents for each sent text message and long distance call made on that day. This was a great success (generating a Canadian one-day record for sent text messages and completed long distance calls) and Bell decided to renew the effort for February 8, 2012.

Strategy & Insight: Consumers are bombarded with requests to give, and they don't have time to shop around for the right cause. So how could Bell stand out? For the majority of people this came down to a simple insight, perhaps not entirely flattering, but true nonetheless. People want to look good by saying they give, without having to step out of their way to actually do it. In other words, donating had to be effortless.

Execution:The campaign ran nationwide from January 16 2012 – February 11 2012, using print, TV, OOH, radio, web, on-site Bell properties, PR, Twitter and Facebook. In addition to last year’s spokesperson (Olympic medalist Clara Hughes) the campaign used two other spokespeople who’ve overcome severe mental illness - pop singer Stefie Shock and African-Canadian comedian Michel Mpambara. Through their iconic smiles they encouraged Bell and Bell Aliant customers to take part.

Results: The 2012 “Let’s Talk” day resonated overwhelmingly with Canadians, beating the 2011 record. There were 78 million sent text messages and completed long distance calls (a 19% increase compared to 2011). This meant that Bell donated an additional $3.9 million to mental health, beating last year’s donation by more than $600,000. Bell is also now perceived as the leader in supporting mental health, ahead of Tim Hortons, Canada Post and RBC.

Cause & Effect: The Let's Talk campaign was the single element that could have caused the flurry of messages and calls described in the case.

Client Credits: Bell

Rick Seifeddine – Senior Vice President of Brand
Élaine Bissonnette – Director, Brand Strategy
Loring Phinney – Vice President, Corporate Marketing
François D'Amour – Associate Director, Brand Management

Agency Credits: lg2

Marc Fortin – Vice-president, Creative Director
Claude Auchu – Vice-president, Creative Director

Nicolas Dion – Creative Director
Jennifer Varvaresso, Marilou Aubin – Interactive Creative Directors
Geneviève Langlois, Jonathan Rosman, Andrew Morgan, Jean-François Perreault, Marilou Aubin – Copywriters
Geneviève Jannelle, Denis Brodeur, Jean-François Clermont – Art Directors
Alexis Robin – Director, Interactive
Rafik Belmesk – Strategic Planner Interactive
Samia Chebeir – Vice-president Account Services
David Legendre – Supervisor, Account Services
Alexandre Normand – Interactive Supervisor
Jacinthe Meek-Baillot – Coordinator, Account Services

Electronic Production – Élyse Bleau
Photography – John Londono, Rodéo Production
Director – Jérémie Saindon / Director of photography –Steve Danyluk
Production – Quatre Zéro Un, Philippe Lalande/ Sound – Boogie Studio / Music: L'Oreille
Logo – Serge Côté, lg2boutique / Print production – lg2fabrique
Web site –Teehan Lax / Media – Media Experts.

Case: Mountain Dew - The Wrecking Ball

Client: PepsiCo Beverages Canada

Agency: BBDO Canada Corp.

Award: Events, Seasonal & Short-Term — Bronze

Overview: Mountain Dew makes a big splash.

Situation Analysis: Despite being the best-selling non-cola soft drink in the US, Mountain Dew didn’t crack the top 10 in Canada. In fact, its business had declined by 80% over the preceding decade, and it had not been supported since 2006. As a legacy of historical efforts the brand did have 84% awareness, but this was not very specific – for example people could not recall or describe Mountain Dew’s flavour. The Canadian formula also lacked the caffeine that was in the US brand. But Health Canada had recently changed its regulations. So for March 2012 Pepsico would be bringing the US formula to Canada.

Strategy & Insight: Mountain Dew had its greatest appeal to teenage guys, but with less than a 1% share something special would be needed to get their attention. Then came the insight. The new formulation had an intense Citrus Charge flavour, and a sub-set of teenage guys want to live on the edge. So the new Mountain Dew would be positioned as the accompaniment to exhilarating experiences.

Execution: – This was based on the kind of drama that is a must share Two tall cranes face each other. From one hangs a gigantic balloon filled with Mountain Dew. From the other hangs a daredevil. He launches himself into space, straight toward the balloon. There’s a huge collision and a massive Mountain Dew splash. This event was turned into the launch TV, and became the basis for a major engagement plan involving TV, Pre-Roll, YouTube and Facebook.

Results: In 2011, Mountain Dew’s share was 0.6, and for March – July 2012 this share has more than doubled to 1.6

Net revenue has also more than doubled - reaching $22.2 million for the launch period.

Cause & Effect: In just four months since launch, Mountain Dew`s Brand Health & Equity Scores have jumped ahead. (Details were supplied.) Facebook likes indexed at 160 versus 2011, and online views were 1.34 million, five times the target. True, this was the first year of support since 2006, but support in prior years had not managed to lift the brand. Product was also improved by the addition of caffeine, but this was not the focus of the advertising. All told, it’s reasonable to conclude that the advertising drove the success.

Client Credits: PepsiCo Beverages Canada
Greg Lyons – VP Marketing
Ryan Collis – Marketing Director
Ronit Soroksky – Brand Manager
Alexandra Collins – Assistant Marketing Manager

Agency Credits: BBDO Canada Corp.

Carlos Moreno – SVP, Executive Creative Director
Peter Ignazi – SVP, Executive Creative Director
Jason Perdue – Writer
Jeff Cheung – Art Director
Ariel Vinizki – Account Director
Tania Montemarano – Account Supervisor
Beatrice Bodogh – VP, Head of Broadcast Production
The Cornerstore – Production Company
Jennie Montford/Tom Lowe – Production Co-Producers
Steve Hudson – Director
Marcelo Durst – Cinematographer
Panic & Bob – Editing House
Michelle Czukar – Editor
RMW Music – Music/Sound
Notch, Billy Ferwerda – Colour Correction
Ricochet Post – Online

Case: Fédération des producteurs de porcs du Québec

Client: Fédération des producteurs de porcs du Québec Agency: lg2

Award: Events, Seasonal & Short-Term — Bronze

Overview: Quebec Pork gets an image makeover.

Situation Analysis: Quebec pork is amongst the finest in the world, and is very different from the pork of 25 years ago. However, it isn’t top of the grocery list because the perception of pork has basically not changed over that time. To make things worse, while Quebec pork is exported to more than 125 countries, Quebec stores continue to buy low-end pork from around the globe. In fact, 30% of pork sold in provincial groceries is imported. But the offshore origins are not identified on packaging, and this deprives Quebec pork of the “homegrown” argument.

Strategy & Insight: For the Primary Grocery Shopper (35 – 54 year old women) health and nutrition are becoming more and more important, and against this, pork was not doing well. For example, it has been years since top-quality pork was a fatty meat, but that was its image. This led to three decisions (a) convince the target that pork is a delicious, healthy, lean meat with 30% less fat than 25 years ago (b) differentiate Quebec pork from foreign pork (c) introduce new pork cuts unique to Quebec – osso buco and racks. From this the campaign strategy emerged – to focus on change.

Execution: Television, the centerpiece of the campaign, featured endearing characters resistant to novelty who finally evolve thanks to Quebec pork. Other effort (print, web banners, website, POS, newspaper stunt and in-store tactical event) also delivered the concept of change, captured in the line "Quebec pork has changed. Change for pork." The campaign ran from September 19, 2011, to December 19, 2011.

Results: The perception that pork is a lean meat grew by 5 points, from 19% to 24%, and the average weekly consumption of pork (fresh cuts only) grew by 9 points from 32% to 41%.

Cause & Effect: With no other marketing activity or aggressive price promotion running at the time, the campaign is the only viable cause of the results.

Client Credits: Fédération des producteurs de porcs du Québec

Julie Gélinas – Marketing Director

Agency Credits: lg2

Marc Fortin – Creative Director
Lysa Petraccone – Art Director
François Sauvé – Copywriter
Jennifer Varvaress – Interactive Creative Director
Marc-André Fafard – Strategic Planner
Julie Dubé – Vice-President Account Services
Annie Tremblay – Account Executive
Claudia Joly – Supervisor - Group Account
Natacha Laflamme – Account Executive
Adurey Dignard – Coordinator - Group Acount
Claudia Lemire – Electronic Production
Jean-François Asselin – Director
André Turpi – Director of Photography
Production House – Cinélande
Post Production House – Technicolor
Sound – Boogie Studio, Denis-Éric Pednault
Music – L'Oreille Cassée
Branding – lg2boutique - Claude Auchu, Serge Côté
Public Relations – Velocity - Claudia Gervais, Patricia Laurence
Media – Carat - Lucie Gauvin, Katia Rassi, Maryse Archambault, Vanessa Julianno, Joëlle Lavigne

Case: Western Union 5 for 50

Client: Western Union Canada

Agency: AV Communications

Award: Events, Seasonal & Short-Term — Bronze

Overview: Western Union spreads Christmas cheer by creating virtual card stores

Situation Analysis: Western Union is the dominant money transfer player, but there are over thirty major retail competitors in Canada, along with online operators.  For people who are far from their loved ones at Christmas, sending money as a gift is a popular choice – so for the 2011 holiday season Western Union announced a reduced fee of $5 (from $8) to send $50 worldwide. However, some competitors were offering fees as low as $2 on a $50 transfer, so simply announcing a $5 fee would not make competitive users rush to Western Union.

Strategy & Insight: The target market was Canadians who send money to family and friends in other countries. The challenge was to turn what might have been a simple price promotion into something exciting, fresh, relevant and impactful. The insight? Before the internet, people used to enclose money in holiday cards that went to loved ones by mail – and those cards were a way to stay close in spirit. And the eureka moment? Find a way to rekindle this feeling, and incorporate a high-tech twist to make it even more exciting.

Execution: This was based on virtual holiday card stores set up in transit stations, street cars, buses and on the walls of shopping centres. People would scan the QR code at the bottom of the card, and this would take them to a micro-site where they could send a card electronically. This included an invitation to send $50 for $5, all under the umbrella of SPREAD THE CHEER.

Results: At the end of the month long campaign, sales were up 30%; double the growth for Christmas 2010. The website got 132,000 pages visits – closing in on triple the goal of 50,000. And the marketing spend was less than 2% of the revenue delivered.

Cause & Effect: It could be argued that the $3 reduction in transfer fee led to the sales lift, but that is unlikely, since this fee was more like an equalizer in the intensely competitive holiday season. With no other variables in the market, it seems clear that the break-through advertising plan was the cause.

Client Credits: Western Union Canada

Joycelyn David – Marketing Director

Agency Credits: AV Communications

Marvi Yap – Partner 

Anna Maramba – Partner
Loiee Pangan – Creative Director
Zeno Lam – Creative Director
Caspar Sun – Account Manager
Joyce Lau – Media Specialist

Case: Long Live the Home - IKEA

Client: IKEA

Agency: Leo Burnett, Toronto

Award: Off to a Good Start — Bronze

Overview: IKEA captures the universal truth that home is where the heart is.

Situation Analysis: Despite being one of the world’s most iconic brands, IKEA was facing flattening brand awareness, decreasing product range awareness, negative visitor development, and increasing competition from stores like Home Depot, Rona, The Brick, Sears, Canadian Tire, Wal-Mart, HomeSense, and The Bay. Added to this, the top three competitors averaged 234 stores to IKEA’s 11, and invested up to three times more advertising dollars than IKEA does. Something had to be done.

Strategy & Insight: The first step was an anthropological journey, where participants built up a relationship with each room in their house as if it were a real person. This uncovered an example of the law of unintended consequences – namely that IKEA’s long-term emphasis on style and price had weakened its reputation for quality. IKEA needed to stand for style WITH substance – anchored by the idea that the home is the most important place on earth.

Execution: The campaign launched in August 2011 with a 60-second anthem, and a new theme line – “Long Live the Home.” This was followed by multi-media effort for individual rooms, based on the deep meanings uncovered during the anthropological exercise. Media included 60-second, 30-second and 15-second TV; Radio :30s and remotes; OOH; Events; Magazines; Newspaper; Direct Marketing; Digital pre-roll; Social Media; Search; and the IKEA catalogue.

Results: In the six months since launch same-store traffic is up close to double the objective, and sales have increased on target. Note that this is in the face of declining consumer confidence, higher consumer debt, and incomes that have been lagging the cost of living. (Details were supplied.)

Cause & Effect: IKEA has the 2nd lowest share-of-voice in its competitive set, yet advertising was clearly breaking through, with aided awareness and brand consideration now in the #1 position. As for spending, pricing, distribution, product and sales promotion, these were all at normative levels.

Client Credits: IKEA
Deputy Marketing Manager – Hilary Lloyd
Jungle Media – Connection Planning Director - Brooke Leland
Jungle Media – Media Buying Supervisor - Krystal Seymour
Production Company – Soft Citizen, Suneeva
Director – Arni Thor Jonsson, Mike Long
Director of Photography – Martin Hill, Chris Mably, Eric Tremi
Editor - Panic & Bob – Michelle Czukar, David Findlay
Editor - Poster Boy – Brian Williams, Mitch Finn
Music – Eggplant

Agency Credits: Leo Burnett, Toronto

Chief Creative Officer – Judy John
Creative Director – Judy John, Lisa Greenberg
Group Creative Director – David Federico, Morgan Kurchak
Digital Associate Creative Director – Ian Kay
Copywriter – Morgan Kurchak, Stephen Stahl, Marcus Sagar, Matt Williamson, Andrew Caie, Marty Hoefkes
Art Director – David Federico, Mike Cook, Noreel Asuro, Monique Kelley, Noel Fenn, Mike Morelli
Digital Copywriter – Len Preskow
Digital Art Director – Sean Perkins, Trevor Bell, Ian Kay
Designer – David Federico, Lisa Greenberg
Photographer – Arash Moallemi, Stacey Brandford
Art Buyer – Leila Courey
Broadcast Producer – Franca Piacente, Melanie Palmer
Print Producer – Anne Peck, David Eades
Director, Creative Technology – Felix Wardene
Developer – David Freedman
Group Account Director – David Kennedy
Digital Account Director – Joseph Meyers
Account Director – Jennifer Kelly, Natasha Dagenais
Account Supervisor – Kirk Round, Danielle Iozzo
Account Executive – Kristin Meier, Allison Tang
Planner – Brent Nelsen, Dustin Rideout
Social Media Planner – Heather Morrison
Digital Project Manager – Thomas Degez
Project Manager – Lyndsay Cattermole

Case: President's Choice Modifications made by DR Dec 3

Client: Loblaw Company Ltd Agency: Bensimon Byrne Inc.

Award: Packaged Goods Food/Other — Bronze

Overview: President’s Choice® shows why it’s the Chairman’s choice.

Situation Analysis: With competitors nipping at the heels of the President’s Choice® brand it became increasingly important to ensure that it remained the leader in the control brand category. In 2007 the new “Chairman Campaign” – featuring Galen Weston as spokesperson – focused on corporate social responsibility with President’s Choice® products as proof points. This was successful, but increased pressure from competitive control brands and big national brands meant that for 2011 the campaign had to evolve.

Strategy & Insight: Back in the 80s, then-president Dave Nichol endeared President’s Choice® to many Canadians, bringing them affordable tastes from around the world. The ads were so effective that Nichol’s name continued to come up occasionally in recent consumer research, even though he left the company over 15 years ago. Based on this, it was hard to ignore the fact that the brand’s DNA was in food. All indicators (tracking results, articles, sales) also showed that Galen Weston was an extremely successful spokesperson. So the objective was to re-focus on food, while using Galen to maximum effect.

Execution: The original idea was to use scripted commercials with actors, but this quickly gave way to live TV spots – shotin various locations around Toronto – capturing Galen interacting with real people. Hundreds of citizens got to try out the newest President’s Choice® products. And to date there have been over 70 of these spots.

Results: Total sales of the President’s Choice® brand have increased year over year since the Galen campaign debuted, with 2011 sales up 6½% VYA. And for Brand Health President’s Choice® is now ranked #2 in Canada, ahead of all but one of the national brands. (Ipsos Research).

Cause & Effect: Research confirms that the Galen campaign increased propensity to purchase the President’s Choice® brand products, as well as increased consumers’ interest in the brand. Every ad tested drove motivation to buy the brand at levels significantly above norm.

Client Credits: Loblaw Company Ltd
Allan Lindsay – VP, Brand Marketing & Marketing Services
Ryan Brown – Senior Director, Brand Marketing
Guylaine Lessard – Senior Director of Marketing, Strategic Content
Uwe Stueckmann – Senior VP, Marketing
Trinh Tham – Senior Director, Brand Marketing

Agency Credits: Bensimon Byrne Inc.

David Rosenberg – Chief Creative Officer
John McDougall – Associate Creative Director
Janice Boduch – VP Group Account Director
James Grant – VP Group Account Director
Charlotte Osborne – Account Director
Michelle Pilling – Director of Production Services

Case: The Joy of Finger Cooking

Client: Boston Pizza International

Agency: TAXI Canada

Awards: Services General — Bronze. Best Launch — Bronze

Overview: Boston Pizza shows men the ideal way to cook.

Situation Analysis: As Canada’s #1 casual dining chain, Boston Pizza wanted to be a leader in Take-Out and Delivery (TOD). But they had no interest in being another player in a sea of promotions and endless discount offers. They needed a point of difference and decided on their 100-item menu – a big advantage over the Pizza Pizzas and Domino’s of this world. But would that be enough to take them to #1?

Strategy & Insight: We tend to think of dinner as Mom’s domain, but given the pressures on families nowadays there are nights when Dad is in charge of the cooking. This led to a convention-breaking decision – to focus on Dads. But what kind of cooking would Dads embrace? One that only required the ability to use a finger and a computer.  Finger Cooking was born.

Execution: In September 2010 Dads were introduced to a special kind of cooking show – Finger Cooking with Bill. Bill doesn’t believe in pots and pans. So (via TV, digital, OOH, Direct Mail and POS) he shows Dads how to Finger Cook using Boston Pizza’s online TOD service. This works, and in January 2012 the campaign evolves with the launch of The Joy of Finger Cooking – a cookbook that allows Dads to avoid cooking altogether. The launch entailed a 2 million Direct Mail drop of the cookbook, supported by TV, POS, PR, rich banners, pre-roll, a Facebook tab, and an improved BostonPizza.com website.

Results:  At the end of Year 1 online TOD sales were up 21%. This continued in Year 2 to-date, with TOD same store sales up by +19%. Also, and very significant, TOD growth did not cannibalize in-store sales.

Cause & Effect: Boston Pizza’s online ordering service had been around since May 2009, but had not delivered dramatic results until the Finger Cooking campaign. There were also no other significant variables to explain the success.

Client Credits: Boston Pizza International

Steve Silverstone – EVP, Marketing
Alex Green – VP, Marketing
Andrew Borsk – Marketing Manager

Agency Credits: TAXI Canada

Darren Clarke – Executive Creative Director
Niall Kelly – Associate Creative Director
Irfan Khan; Darren Clarke; Niall Kelly – Writers
Brooke Hennessy and Niall Kelly – Designers
Dave Luxton – Associate Creative Director
Edith Rosa – Group Account Director
Anna Halfpenny – Account Director
Tamara Gervais – Account Manager
Adam Brain – Digital Strategist
Brie Gowan – Integrated Producer
Jen Shapiro – Print Producer
Esther Sanchez and Brooke Hennessy – Illustrators
PHD – Media Agency
High Road Communications – PR Agency

Case: Atlantic Lottery - Askaway

Client: Atlantic Lottery

Agency: Revolve

Award: Services General — Bronze

Overview: Transparency pays off.

Situation Analysis: Atlantic Lottery is a crown corporation responsible for the operation, regulation and management of the Atlantic Canada lottery, and since 1976 it has generated over $6 billion to help fund roads, healthcare and education in the area. The problem was that few Atlantic Canadians understood the positive impact the lottery was having. Worse, there was mistrust and misconception – egged on by media stories about gambling addiction, and retailers winning more than they should. Starting in June 2011 Atlantic Lottery would start to redress the balance.

Strategy & Insight: The target audience was Involved Atlantic Canadians (IACs). They are 35+, well educated, active in public affairs, and leaders of public opinion. They seek out information. And they can see through corporate spin. How do you involve such people? Talking at them would clearly not work. It was time to put transparency to the test.

Execution: The campaign started in June 2011, and was centred on Askaway.ca – a central hub that encouraged totally transparent Q&A’s between the Lottery and Atlantic Canadians. The site presented the lottery in a way Atlantic Canadians had never seen before. Everything was conversational, friendly and human, with the message carried by 60 and 30-second TV, newspapers, business magazines, video pre-roll, and Facebook.

Results: This was the first year of a five-year campaign, with objectives carefully set. At the end of Year One unfavourable opinion had decreased from 38% to 34% (Objective 36%.) Awareness of public ownership jumped from 36% to 43%. (Obj. 39%.) Awareness of transparency increased from 28% to 31%. (Obj. 29%.) And awareness that the lottery provided a safe & regulated gambling increased from 26% to 29%. (Obj. 27%.)

Cause & Effect: Ask Away represented an entirely new communications effort, and there was a clear correlation between the advertising campaign and the interactions on AskAway.ca.

Client Credits: Atlantic Lottery

Maureen Wojick – Category Manager

Agency Credits: Revolve

Matthew Allen – Creative Director
John Smith – Senior Copywriter
Sam Archibald – Art Director
Nelson Angel – Group Account Director
Patricia Nelis – Account Director
Kim Mosher – Account Co-ordinator
Victoria DeWolfe – Account Co-ordinator
Adam Kruszynski – Digital Director
DIGITALKITCHEN – Production Partner

Case: Scotties: it's what's outside that counts

Client: Kruger Product LP

Agency: john st.

Award: Sustained Success — Bronze

Overview: Scotties thinks outside the box, literally.

Situation Analysis: In 2006, the facial tissue category was a case study for low involvement, with no branded player having a commanding share. Puffs was at 5.6% tonnage, Kleenex 12%, Royale 18%, Scotties 21.7% and Private Label 41%.  Equally troubling, volume was flat, and advertisers had recently doubled media spend in a fight for share. Nonetheless, Scotties was under a mandate from the newly established Kruger Products (formerly Scott Paper) to become the clear branded leader in the category – despite a share of voice that would always be lower than its share of market.

Strategy & Insight: Low involvement categories are riddled with advertising conventions and facial tissue is no exception. Puffs had its cartoon kids, Royale had its kittens, and even Scotties had its ‘Softie’ character. Up until 2006, Scotties (like all its competitors) had been playing the softness game. But while softness was the number one claimed benefit, it wasn’t different enough. This led to a key question – what if the reason people claim to buy one brand over another isn’t the real reason they do.” And this led to an out-of-the-box thought, literally. Facial tissues live on display in the home. What if the appearance of the box could be the differentiator?

Execution: Starting in 2007, the Inspired Design idea was born, as a themed collection of box designs. Business responded, and in 2008 this evolved into the Scotties Design Challenge – where people submit ted a design idea for a chance to win a room makeover, and see their idea become a Scotties box. This also worked, and in 2009 it led to Flower Power – a partnership with Umbra to create a designer series of three abstract floral boxes. Finally, for 2010 and 2011, the box (and corresponding creative) featured nature-inspired designs. From a media point of view the goal was to break away from the conventional space. So, for example, throughout 2010 and 2011 Scotties had a regular print series in House & Home and Style at Home, and also partnered with the “Steven and Chris” TV show. Over and above this, the media plan featured magazine effort, online promotion and TV billboards.

Results: In the four and a half years since the campaign started Scotties went from 21.7% tonnage share to 29.4% – an increase of 35% in a declining category. In dollars, this equated to an incremental $21 million in sales, for an advertising investment of $7.5 million. This definitely made Scotties the clear branded leader.

Cause & Effect: As noted, SOV was not a factor. Nor was pricing or promotion – as evidenced by the dollar sales growth. From this, it’s clear that the Inspired Design campaign delivered the results.

Client Credits: Kruger Product LP

Nancy Marcus – Corporate Vice President Marketing
Oliver Bukvic – Category Director - Facial Tissue
Cindy Chen – Marketing Manager - Facial Tissue
Alex Amon – Director - Market Research

Agency Credits: john st.

Angus Tucker – Co-Creative Director
Stephen Jurisic – Co-Creative Director
Nellie Kim – Associate Creative Director, Art Director
Chris Hirsch – Associate Creative Director, Copywriter
Emily Bain – Director of Strategic Planning
Sarah Henderson – Sr. Strategic Planner
Heather Crawley – Team Leader

Case: Building The Most Valuable Brand in Canada - Comfortably

Client: TD Bank Group

Agency: DraftFCB

Award: Sustained Success — Bronze

Overview: A pair of grumpy old men deliver great results.

Situation Analysis: The major Canadian banks had historically operated in a world of parity offerings. TD broke this pattern with its promise of longer retail hours, but over time other banks moved into this area as well. TD also introduced other initiatives under the theme of “Making banking comfortable,” but it was not especially getting credit from consumers for this. This case, which runs for close to five years, shows how the bank built business by expanding its reputation for putting customers first

Strategy & Insight: The banking category was stuck in the past.  Banks had rules and you were forced to live by them. Bankers Hours were by definition not your hours.  It’s no wonder that Canadians loved to hate banks. The exception was TD Canada Trust. It was seen to be different. But this had not come through strongly enough. It needed to be reinforced in an engaging and differentiated way.

Execution:It was a big decision to launch a campaign starring two old geezers. But “Grumpy Old Men” allowed TD to stand out from the competition, while retaining a folksy charm. It unfolded with multiple executions – for extended hours, mobile mortgage specialists, no appointment meetings with an advisor, Sunday banking, savings strategies, and a mortgage vacation. TV and online video were the core media, supported by other online media and in-branch communications.

Results:  Net revenue for the bank rose 6% in 2008, 7% in 2009, 9.6% in 2010 and 10.4% in 2011, with 80% of adjusted earnings coming from retail. In line with this, TD has performed better than the other four major banks in terms of share price, with an increase of over 35% between 2007 and 2012 – a period that included the financial meltdown. Interbrand also named TD the #1 brand in Canada for 2012, ahead of such icons as Tim Hortons.

Cause & Effect: KPI’s for all “Grumpy Old Men” messages were well above norms with no major impact from spending, pricing, distribution or sales promotion. (Details were supplied.)

Client Credits: TD Bank Group

Dianne Smith-Sanderson – VP Global Brand & Advertising
Michael Armstrong – AVP Advertising & Brand Communications
Jennifer Matto – Senior Marketing Manager, Advertising and Media Strategy
Heather Sutton – VP Direct and Marketing Services

Agency Credits: DraftFCB

Robin Heisey – Chief Creative Officer
Sunil Sekhar – VP Management Director
Jeff Hilts – VP Group Creative Head
Roy Gruia – Group Account Director

Case: It's All Good™ - McCain

Client: McCain Foods Canada

Agency: TAXI Canada

Award: Sustained Success — Bronze

Overview: McCain gets rid of unpronounceable ingredients, and the results are all good.

Situation Analysis: Three years ago McCain made a commitment to change the way its Canadian products are made. This was dubbed “McCain It’s all good™” (IAG). Unpronounceable ingredients were out; real ingredients were in – and the new products had to be equal to or better than the current ones and the competition’s. This was a massive undertaking, and the case details progress from January 2010.

Strategy & Insight: Most moms rely, at least a few nights a week, on convenience food, and many of them don’t have the time or inclination to scrutinize the ingredient lists. At the same time, there’s a nagging voice in her head, because there’s something about sodium stearoyl lactylate and diglycerides that just doesn’t sound right. Then the insight hit home. For the new McCain products, shouldn’t the only ingredient in food be, well, food? 

Execution: Knowing that moms feel a certain amount of guilt about using convenience food, the creative avoided anything that might feel judgmental. It took a more thoughtful approach, using simple but provocative questions. Launch TV, for example, re-framed “what’s for dinner” as “what’s IN dinner” – and used this (along with other media) to introduce IAG. Over the following two years a fully integrated plan unfolded with television, print, PR, new packaging, a new website, digital display, rich media, page takeovers, blogger partnerships, and internal communications.

Results: Goals for the first two years of IAG were established for McCain Frozen Potatoes, McCain Superfries and McCain Frozen Pizza. All of these grew dollar sales, share and household penetration ahead of expectations. (Details were supplied.)

Cause & Effect: With no other major changes in marketing activity, Millward Brown tracking showed a significant increase in awareness of the IAG brand promise, along with strong lifts in Master Brand attributes, and purchase intent. McCain also jumped from 23rd to 13th place in the Marketing/Leger 2010 Corporate Reputation Survey – the biggest jump the survey had ever seen.

Client Credits: McCain Foods Canada

Fred Schaeffer – Regional CEO
Darryl Rowe – President, Canada
Heather Crees – VP Marketing
Bettie Lye – VP Research
Mike O'Brien – Brand Director, Potato & Appetizer
Paul Tralla – Brand Director, Potato (As of 2011)
Paul Gallagher – Brand Director, Pizza, Snacks & Desserts
Paul Kurvits – Brand Director, Strategy & Innovation
Irene Stathakos – Director of Marketing Insights
Kelly Switzer – Senior Brand Manager, Pizza
Elizabeth O'Neill – Brand Manager, Potato

Agency Credits: TAXI Canada

Maxine Thomas – VP Executive Strategic Director
Talke Krauskopf – Group Account Director
Kate Horne – Account Director
Nicole Libfeld – Account Manager
Darren Clarke – Executive Creative Director
Rose Sauquillo – Creative Director
Heather Hnatiuk – Creative Director
Irfan Khan – Creative Director
Maria Ward – Art Director
Sam Benson – Broadcast Producer
Eugene Marchio – Broadcast Producer
Anthem, AOR Media Management Inc., Capital C, Veritas Communications Inc.

Cassies 13 winners – from the flip charts

Yellow shading = multiple winner, with the awards at the same level

Green shading = multiple winner, with the awards at different levels





Pain Squad



Boston Pizza (Meat)


Mountain Dew

Quebec Porc

Western Union


Auto Trader





Make Death Wait


Long live Home

PG Food


P Choice

PG Bev


Services Gen

Finger Cooking

Atlantic Lottery


Home Depot



B Insight

IKEA Moving Day



B Integrated



Home Depot

B Launch

M Leaf Selections


Finger Cooking

B Media

IKEA Moving Day

S Success



9 wins -- 8 unique




16 wins -- 13 unique


TD Bank

McCain All Good

17 wins -- 12 unique