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Under the microscope: Lessons from iconic British TV advertising
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TV is a huge part of everyday life, with iconic British soaps like Coronation Street and Eastenders still going strong today. Alongside these shows, certain British adverts have made a lasting impression on viewers. We all have memories of particular ads that just won’t leave our heads, and some have claimed space as an essential part of British culture.

These iconic British adverts can be a source of inspiration for marketers, alongside digital marketing books and social media. From BOGOF deals to drumming gorillas, here’s what we can learn from the iconic marketing campaigns that have appeared on our screens…

1) Mascots make money

118 118

Let’s start with the 118 men – no one can forget those strong moustaches and tiny red shorts. Although phone directories haven’t been commonplace in a good few years, it was hard to turn on the TV in the early 2000s without their presence.

Such was the impact of the 118 118 men, they even became a popular fancy dress outfit that you might still see out today. The two mascots featured in many different adverts, and created spoofs of other content, such as the movie ‘Rocky’ and even one Honda campaign. Despite the differences in ad themes, the two mascots were easily recognisable, and the numbers on their shirts were an unshakable link back to the brand. This effective campaigning positioned 118 118 at the top of their industry thanks to their memorable mascots.

Compare the Meerkat

You’d think Russian meerkats would make a rather strange figurehead for a comparison site. But, Compare The Market took a risk with a play on words and then continued to roll with it. Their successful campaign, Compare the Meerkat, first introduced Aleksandr Orlov, a talking meerkat with his own website – comparethemeerkat.com.

The campaign has since skyrocketed, and Aleksandr and his Meerkat coworker, Sergei, have gained somewhat of a celebrity status. They have hundreds of thousands of social media followers, and have even established detailed backstories for their lives. An insurance comparison site isn’t likely to amass lots of social media followers for its riveting content, so creating interesting mascots is a great workaround for attracting audiences.

2) We’re a nation of animal lovers

Three’s moonwalking pony

What are two things the nation loves? Animals and Fleetwood Mac. Three combined the two in a genius marketing campaign that depicted a moonwalking pony to Fleetwood Mac’s ‘Everywhere’. Their ad carried the tagline ‘Silly Stuff. It Matters.’ Clearly taking a step away from the more technical side of their services, the brand decided to appeal to public opinion with this lighthearted ad.

The video gained over 3 million views within a week of its release, and around 250,000 shares. A clever addition from Three was the hashtag #DancePonyDance, which trended on Twitter and helped circulate the video across other social media platforms. If there’s one thing we can learn from Three’s viral campaign, it’s that animals doing funny things will always get clicks and shares.

Churchill

Churchill Insurance really knew how to play up the patriotism with their bulldog mascot. Well known for his catchphrase ‘Oh yes!’, Churchill the dog still holds a place in Brits’ hearts with his famous nodding head. The Churchill craze was so widespread that lots of Brits bought their own mini nodding bulldog as a car accessory. This associated Churchill the dog with cars and everyday life, meaning Churchill Insurance was impossible to forget about. He even featured in 22 pantomimes around the UK back in 2009, proving he was more than just a brand representative. Creating a lovable animal mascot really worked in Churchill’s favour, establishing them as an iconic part of British history and culture.

3) Humour can send you viral

Moneysupermarket

When you think of memorable marketing campaigns, it’s usually the funniest ones that immediately stick out. One example is Moneysupermarket’s ‘Dave’s Epic Strut’ ad, which featured a businessman strutting down the street in hot pants and heels. Dave felt so epic after saving money on his car insurance that he sassily struts his stuff to ‘Don’t Cha’ by The Pussycat Dolls. The brand’s image isn’t lost in this ad though, as a deep voiceover says ‘You’re so Moneysupermarket’. After receiving an immediate boost in website traffic, the brand has continued to release humorous ads with the tagline ‘You’re so Moneysupermarket’.

But, there’s always a risk that comes with experimental marketing campaigns. For instance, ‘Dave’s Epic Strut’ attracted over 1,500 complaints to the Advertising Standards Authority (ASA) claiming ‘overtly sexual’ content. The ASA, however, did not uphold these claims and deemed the advert not offensive. The advert gained lots of press coverage for its bold approach, which was only boosted by the outrage. Not everyone has the same sense of humour, but implementing it can certainly go far in running an effective campaign.

Cadbury’s Drumming Gorilla

Possibly one of the most ridiculous campaigns to hit the screens, Cadbury’s drumming gorilla ad is also one of the best performing. Viewers were drawn in by the randomness of the ad, and it went viral quickly.

In fact, the campaign was a massive lifesaver for Cadbury, who previously had to recall over a million chocolate bars because of a salmonella scare. Luckily for Cadbury, the campaign received an overwhelmingly positive response from the public, and even won the top prize at Cannes Lions in 2008. But on top of its viral outreach, Cadbury also benefited from a 10% sales increase. This ad was undoubtedly an example of PR done right, and put Cadbury back in the public’s good graces.

4) Empathy can do a lot

John Lewis’ bear and the hare

It’s amazing how much impact advertisements can have on the British public. Once a certain time of year rolls around, you’ll often find eager Brits anticipating the newest John Lewis ad. There’s a reason for this – the brand’s ad campaigns target nostalgia and empathy to really tug at their audience’s heartstrings.

One of their most iconic campaigns, ‘The Bear and the Hare’, was accompanied by Lily Allen’s cover of ‘Somewhere Only We Know’ and follows the friendship of a bear and a hare. A study found that 48% of people who viewed the advert felt ‘intense positive emotions’, compared to an average 29% for other UK advertisements.

Both the song and the animation were a great success, sending Lily Allen’s cover into the charts. John Lewis was on everyone’s minds, with the advert playing on Christmas TV programming, and the song constantly played on the radio. From their clever campaigning, John Lewis has become synonymous with the festive season in the UK. Their yearly ad campaigns are proof that advertisements don’t need to be flashy and obnoxious to be effective.

5) Earworms are the perfect tool

There’s no better way to stay on someone’s mind than with a catchy jingle or phrase. Some of the biggest brands in the world have memorable catchlines, and when done right, they can skyrocket in popularity.

GoCompare

Car insurance has a wide target audience – car drivers live all over the country and exist within a very broad age bracket. So, how could GoCompare design a campaign that would appeal to so many people? Their inescapable advert ‘Tenor’ featured an opera singer telling viewers to choose GoCompare for insurance comparisons.

The advert has been criticised as annoying, but its longevity and GoCompare’s success seem to outweigh the complaints. Whether you view it as light-hearted fun or an irritating nuisance, audiences across the UK have probably had the tune stuck in their head at some point. The Guardian even reported that the catchy jingle was the most-played music in adverts in the whole of 2012. Annoying or not, it was certainly effective.

SafeStyle ‘Buy One Get One Free’

Although everyone loves a good sing-song, it’s not necessarily just songs that can be catchy. Many Brits will remember SafeStyle’s TV frontman Jeff Brown, who told viewers that ‘You buy one, you get one free’.

‘Buy One Get One Free’ aka ‘BOGOF’ is a common marketing tactic used by brands to sell products. However, SafeStyle’s comedic adverts firmly planted their ads into the minds of the British public whenever they heard the phrase. Maybe it was the strong Northern accent, or the bizarreness of the ad on the whole, but this advert soon became famous (or infamous) for its phrase.

SafeStyle recently tried to move away from their previous campaigns, taking a more serious approach. But, it’s safe to say that many Brits will remember them for their iconic marketing campaign back in the day.

6) Brits love a celeb cameo

PG Tips

PG Tips ads famously featured dynamic duo Monkey and Al. Although Monkey became a popular mascot for the brand, it was Johnny Vegas’ portrayal of Al which really left a lasting impression. The comedian’s strong Lancashire pronunciation of Monkey as ‘Munkeh’ was widely quoted and associated with the brand. Although it’s not everyone’s tea bag of choice, it’s hard to think of a more iconic campaign for the quintessential British beverage.

What’s so clever about celebrity mascots for brands is that they’re going to appear in non-advertisement spaces. Johnny Vegas has appeared on a wide range of TV shows, from Celebrity Gogglebox to Benidorm. We’re well aware of Vegas’ success as a comedian, but there have also definitely been moments of: “Oh look, it’s the PG Tips guy!” One of Vegas’ most associated catchphrases is indeed ‘Munkeh’, so PG Tips did a great job in establishing their brand identity with a popular comedian.

Just Eat and Snoop Dogg

Just Eat were finding that lots of consumers found their jingle annoying, so they needed a way to make it cooler. And what better way than enlisting the help of Snoop Dogg?

Creating a rap version of the brand’s jingle, the ad undeniably made a fun watch on screens. Thanks to this move, the brand saw a 50% increase in consumers who said they were willing to order from Just Eat. Two thirds of viewers also said that Snoop Dogg’s involvement made them feel more positively about Just Eat as a business. It just goes to show how much celebrity endorsement can influence the public!

7) Viral doesn’t always mean profit

Evian babies

In the days when going viral seems to be the be all and end all of marketing, it’s important to remember that campaigns should be driving sales too. Most of us fondly remember Evian’s dancing babies campaign, and the brand even recreated the ad once more in 2019. We can’t deny that the advert was a huge viral success, and it was difficult to find someone who hadn’t seen the hilarious video. However, the same year that their ad campaign went viral, Evian’s sales dropped 25%. Seems shocking for a campaign that attracted 50 million views in a year, right?

A theory for Evian’s mishap was that they didn’t establish their brand strongly enough within the video, like we saw with Moneysupermarket or GoCompare. It’s an important lesson to learn – although a viral campaign can be exciting, it still needs to successfully push consumers to support your business.

Empowering virtual creativity in marketing
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Creatives are losing patience with digital tools. Every client, outsourcer and freelancer seems to rely on a different software solution, leaving creatives struggling to retain control over the ever increasing volume of content. And it is causing problems. How many campaigns have been pulled after the incorrect artwork went to print?

How many agencies already struggling to recruit and retain staff are losing talent due to low employee morale as they wrestle with tedious administrative tasks and struggle with version control? How many are also spending thousands of pounds every month on an ever expanding list of software subscriptions?

Every business needs to work digitally. Yet while project management tools are great at coordinating a dispersed team, they aren’t working for creative tasks. So how can companies achieve end to end visibility of creative projects and free up talented individuals to create, not chase admin tasks?

Jon Simcox, Managing Director and Founder, Oppolis, explains why providing control in a virtual world will empower creative teams to maximise talent while still meeting tight deadlines to achieve the best possible design outcome.

Frustrating Compromise 

Creative agencies and digital marketing experts are in demand. From personalisation and the ever important unboxing experience to innovative technologies such as 3D, creative talent is transforming the way businesses engage with customers. Yet achieving the desired level of creative innovation, even meeting client demands is increasingly tough. A shortage of expertise plus a reliance on multiple outsourced and freelance resources is combining with hybrid working to create an ever more complex, disparate and disrupted creative process. It is unsatisfying for employees, companies and clients.

The individual tools used to support elements of the creative process are great. Digital tools are fabulous at enabling specific creative tasks and activities – from design to proofing, video to artwork. Project management tools do an excellent job at managing specific administrative tasks. Messaging tools are essential, especially for a dispersed team. But the plethora of tools now in use has led to an administrative and creative nightmare.

There is no visibility of creative task status. No single view of the process – or version. No audit trail or way to track content reviews. And no way to confidently share information with clients or other stakeholders. The more distributed the process becomes – and with the addition of innovative technology, businesses want to explore ever more exciting creative options which are unlikely to be in-house – the more complex, expensive and risky it becomes.

Broken Model

Even the standard task of commissioning a new piece of artwork can result in the use of multiple different tools – none of which is linked to the Project Management tool. The result is a time consuming and resource intensive creative process that focuses heavily on administration and management rather than creativity.

With poor version control, errors can slip through – leading to expensive mistakes. The tedium of arduous version control and review processes leads frustrated individuals to accept ‘good enough’ rather than push for perfection, especially under tight time pressure. The result is a compromised creative process that will have an implication for a company’s competitive edge.

With the ever present pressure on staff retention, this environment is morale sapping. When creative individuals can see friends and colleagues in other organisations freed up from the constraints of technology to be truly creative, the danger is clear.

Transparent Control

For an annual project to update packaging or the corporate identity, this convoluted approach is manageable – just. But for any creative business, this process is hugely damaging. This artwork will be used on packaging, social media, videos, websites. The entire business – or client’s business – will depend upon the fast creation of consistent, high quality content.

Clients also demand visibility. They want a say in the entire process. They do not expect to be asked to trawl through old Teams meetings to find the document that was shared. Or to have to repeatedly make the same request for a different colour. When the latest in design technology allows agencies to change the look and feel of product shots in 3D in near real-time, it makes no sense to attempt to share such innovation through email or We Transfer. It’s clunky, inefficient and unprofessional.

Everyone needs to be part of the process and that means using the same, coherent toolset that supports every single step of the creative project. With one tool, project owners can manage the entire content creation exercise, mark every milestone, within the project management system. Campaigns can be archived in one place, providing a full audit trail in one location, ensuring any confusion about content sign off can be immediately reviewed. Rigorous version control eradicates the danger of using the incorrect artwork in a campaign. Plus, of course, by consolidating onto one tool, companies can reduce the number of monthly subscriptions for the extensive digital toolset. Critically, scarce, talented creative individuals are freed up to maximise their creative time.

Creative Explosion

The digital technologies that enabled a virtual creative process served their purpose. They solved an immediate problem and enabled organisations to manage hybrid working, reach out and work with new freelancers, and access talent globally. But these disparate tools are not allowing these virtual teams to work together in a truly effective and creative manner.

By adopting a single tool designed to support every step of any creative process, companies can attract and retain individuals with the promise of achieving their creative best. By eradicating tedious admin tasks and the frustration associated with chasing versions, companies avoid errors and, more critically, enable creative staff to prioritise the activities they love. Plus, at every stage all stakeholders – including clients – have full visibility of the process and everyone will feel confident to add new creative talent, explore new areas of innovation without any fear of losing control.

The expanding digital creative toolset is no longer a boon; it is a business risk and one that needs to be urgently addressed.

Demand versus Brand – the dangers of fragmented marketing
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Marketing excellence is a prerequisite to 21st century business success. But while budgets soar and  CMO profiles rise, escalating marketing awareness to board level is creating a dangerous fragmentation of the marketing strategy.

Good CMOs are, unfortunately, spending more time justifying strategy than delivering. They are navigating a c-suite often polarised between brand and demand; obsessed with performance and ROI. They have to explain why it is important to explore multiple digital channels to market, even if one outperforms the others. Less confident individuals are caving in to pressure – undermining business performance as a result. 

With the latest generation of marketing recruits demonstrating more confidence with marketingtechnology (MarTech) than converting sentiment into effective creatives, the essence of successful marketing risks being side-lined just as it is becoming more important than ever. Norman Guadagno, CMO, Acoustic, explains why good marketing is a holistic mix of brand and demand — and why MarTech should support, not replace, creative expertise…

Centre Stage

Marketing has never been more important. In a world where the quality of customer experience dominates consumer and, therefore, corporate thinking, marketing is at the centre of many business initiatives. According to the latest CMO Survey, 73% of UK marketing leaders confirm the role of marketing in their companies increased in importance during the last year.

Yet this strategic role creates new challenges for marketers. CMOs have the ear of the board – even a seat at the board – for the first time, and very few c-suites have any real insight into the complexities or intricacies of successful marketing. This is understandable, to a degree, given the astonishing pace with which marketing has evolved over the past decade, from the increasing sophistication of new digital channels to the ever-extending marketing technology stack.

The result, however, is often divergent attitudes and priorities. For every board member citing the Oatly story, the company that has built a $10 billion ‘oat and water’ business on the back of a brand image that resonates with a health, environmental and wellness-focused customer audience, will be another lauding the value of demand-focused marketing, with the ability to compare lead generation performance in granular detail across a multiplicity of channels.

Brand and Demand

Both points-of-view have merit – but they are driving a worrying fragmentation in marketingactivity. CMOs are spending less time creating strategy and far more refereeing misinformed ‘brand’ versus ‘demand’ battles in the board room.

Brand and demand are two sides of the same coin. A brilliantly crafted demand generation campaign that presents the perfect message, in front of the ideal prospect, at the best time, will deliver far better results if that prospect already has some form of brand knowledge and understanding. Operating a demand campaign in a brand vacuum is a massive waste of marketing resources.

Successful marketing takes a holistic approach and even the most skilled expert in demand generation needs to understand brand to ensure every aspect of the marketing mix works.

Obsessive Measurement

Of course, many of the loudest voices in the c-suite will shout that ‘brand’ is a nebulous concept while ‘demand’ can be tracked and assessed in extraordinary detail. Again, this reinforces the lack of understanding into how good marketing works. In many ways, digital marketing’s inherent ‘measurability’ is its Achilles heel, encouraging the judgement of marketing activity only on quantitative performance.

Companies are endlessly demanding measurement of brand perception and brand awareness – and ROI from brand campaigns. This totally misses the point – brand as a holistic concept is not implicitly measurable (although investors certainly flock towards companies with excellent brand recognition) but it is hugely valuable within the overall marketing mix. Strong brand awareness coupled with positive brand perception will make it far easier to create marketing qualified leads (MQLs); it will ease the conversion process; it will set the foundation for customer expectation.

In addition to explaining the value of combining strong brand and demand campaigns many CMOs also have to justify the basics of marketing activity. Why, ask management teams, is money being wasted on multiple customer acquisition channels when one or two so clearly outperform the rest?

Wrong Questions

While such questions may make sense in a linear operational process – manufacturing or logistics, for example – marketing, irrespective of technology and metrics, remains a far more nuanced activity.

Good marketers know the importance of testing, evolving strategy and building the right messaging. They know that in a constantly changing market, performance is never static. Customer expectations change, cultural events will influence the relevance, even appropriateness, of activity. Yet there is a risk that less experienced individuals will cave into to management pressure to focus only on demand, on today’s top performing channels – and the business will suffer as a result.

Success should be analysed not just by the numbers. Companies need to understand the effectiveness and relevance of messaging: Does it reflect current cultural events? Is it enhancing the brand? Does it provide value to the customer or prospect?

Creative Expertise

The risk for marketers is that in an increasingly technology- and measurement-driven discipline, the essence of creativity — of recognising how to speak to the customer with the right sentiment — will be lost. Indeed, growing numbers of young marketers are now arriving in a business with a great understanding of the mechanics of successful campaign delivery and technology expertise but little, if not zero, insight into how to craft the correct message, one that piques the customer’s interest.

Technology should not drive marketing – and marketing teams need to be creative first, ‘mar-technicians’ second.  Technology should provide the entire team with a complete view of how, where and when customers interact with marketing activity to ensure the strategy is infused into every message.

It should empower individuals to experiment with messaging, delivering rapid insight – through A/B testing for example – into how customers respond to small changes in emphasis. It should help a company understand how best to approach a new market, to measure existing brand awareness, for example, but the creative skills of the marketing team are then vital to identify how to entice that new audience, to create the best messaging to tap into their mindset.

Conclusion

Marketing is not a linear activity. Customer expectations, experiences and desires change constantly; the way they can interact with a brand evolves continuously. Good marketing will be judicious mix of innovation and consistency. And the best CMOs will balance brand with demand; they will maximise the value of proven channels while always looking towards – and experimenting with – the new.

Marketing teams require a holistic skillset that blends creativity with technical confidence. And business leaders need to recognise that while MarTech provides a great insight into marketingvalue, it is not the be all and end all of marketing success. Pitching brand against demand makes no sense – it is the way in which a company reaches out to customers that is key. It is the message, not the channel, that resonates.