Episodios

  • Nestlé’s Antonia Farquhar on why KitKat and F1 joined forces
    Sep 24 2025
    On the latest episode of The Big Impression, Nestlé’s Antonia Farquhar talks about striking unexpected partnerships, like KitKat with Formula One, to keep the 90-year-old chocolate brand fresh. It’s part of a larger strategy to connect with new audiences through live cultural moments. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're spotlighting one of the most ambitious shifts happening in brand marketing, Nestle's global push to redefine performance in a world where reach, relevance and streaming. Now go hand in hand.Damian Fowler (00:21):Our guest is Antonia Farquhar, global head of Media and partnerships at Nestle. Antonia has been at the forefront of Nestle's pivot towards connected TV and long-term brand building across categories, continents, and campaigns.Ilyse Liffreing (00:35):From Formula One to Gen Z coffee drinkers, she's helping Nestle rethink what media performance really means in a CTV first world and how brands can use new tools and data to close the loop between awareness and action.Damian Fowler (00:50):Let's get into it.Ilyse Liffreing (00:52):Antonia. So I understand that you guys are sponsoring Kit Kat's Formula One. I'm very curious to learn more about that.Antonia Farquhar (01:03):Yeah, one of the reasons that the Kit Kat team put that sponsorship together was to really, they've got an existing brand strategy, have a break, have a Kit Kat, right?Damian Fowler (01:14):Everybody loves that.Antonia Farquhar (01:14):Which is decades and decades old. I think it's way over 75 years old, that consistency of brand message is there and it's really part of the foundations of that brand. But the break is more important than ever in a busy world that we all live in today. And so it was really putting the brand at the heart of also everybody needs a break. How can we capitalize on that? And F1 has gone from being very much, I think known as a petrol head sports, to really bringing in different audiences, so younger, more diverse across the genders and it's global and Kit Kat is a major global brand of ours. So it was an excellent opportunity to really bring together the brand and I guess wouldn't have been an expected place. And then to capitalize on that, on giving people a better break as well.Ilyse Liffreing (02:08):Can you give me a little bit of background about why sports and why Formula One?Antonia Farquhar (02:15):I think for me, sports is one of the last truly appointment of view. Live viewing. You do not want to miss the race. You do not want to miss the final, you do not. There's so many of those moments now where it is also, people are talking about it, who won, how's the lineup, where is it? Et cetera. So it's part of cultural conversations and really the opportunity for our brands is to connect into what's happening, making sure we are injecting our brands with freshness and bringing in that new conversations. And I think sponsorship like the F1, and we also did Coffee Mate and the Super Bowl early this year, again, to really capitalize on where's the real excitement happening and how do we inject our brands in a distinct way. Obviously being true to their brand codes to new and different audiences,Damian Fowler (03:13):A thought a 30,000 foot view, you look across the landscaping like, well, these are the moments where we need to show upAntonia Farquhar (03:20):For sure. I mean, one of the role within the team is to really inspire and provoke and drive that distinctiveness for our brands. We are privileged to have a lot of huge global brands, but we're also over 150 years old as a company. So it's how do you inject that freshness? How do you stand out in a increasingly fragmented media landscape? So I think this is where we want brands to really lean in and as I said, it is holding on what is your brand territory? Where is that strategic foundations that hold true and need to be consistent, but how do you punch and become a little bit more maybe unexpected? Unexpected places is clearly one of the themes that I'm seeing in the industry lately that it drives that attention.Damian Fowler (04:20):When you talk about unexpected places. Could you say a bit more about that?Antonia Farquhar (04:26):I mean, we all know we are living in a very attention. Yeah, the second you wake up the phones, the amount of apps on your phones, it's increasingly hard and I think it'll continue to get harder to really drive connectivity to brands with people. And so I think doing something a little bit different and perhaps wouldn't, it's not predictable for that brand to be in that particular place or speaking in a different environment. I think that's an opportunity going forward. And I think when you look at a lot of the award-winning ...
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    21 m
  • Roku’s Sarah Harms on building the future of CTV advertising
    Sep 17 2025
    Connected TV is no longer just a buzzword in the ad world — it’s where the industry is being reinvented. Audiences aren’t just watching differently; they’re shopping, engaging, and co-viewing in ways that open new creative doors for brands. And sitting at the intersection of entertainment and advertising is Roku, a company that’s helping marketers meet these shifts head-on.In this episode of The Big Impression, Roku’s VP of advertising, marketing & measurement, Sarah Harms, explains why the company is uniquely positioned as a publisher and an operating system. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're talking about how streaming and connected TV are transforming not just how we watch, but how brands connect with audiences.Damian Fowler (00:17):Our guest is Sarah Harms vice president of advertising, marketing and measurement at Roku. She leads the strategy behind Roku's advertising business, helping brands tap into streaming's growing audience while building smarter measurement tools along the way.Ilyse Liffreing (00:32):Before Roku, Sarah built her expertise across both the buy and sell sides of the industry with leadership roles at Microsoft XR and wpp giving her a unique perspective on how ad tech data and storytelling all come together on Connected tv.Damian Fowler (00:49):We'll talk about how Roku's helping brands of all scientists meet new viewer behaviors, build more effective campaigns, and push the creative boundaries of what's possible on CTV.Ilyse Liffreing (01:00):So let's get into it.Damian Fowler (01:03):So Sarah Roku is in a pretty unique spot right now, right? Between entertainment and ads with this latest brand or measurement move, what got it started? Was there an insight or audience need that really stood out to you?Sarah Harms (01:17):Yeah, so in my role I run ad marketing and measurement. So much of my job is us as a marketer, so marketing roku's, advertising proposition, but also in support of our marketers. And so that makes my job very fun. And so a lot of this conversation today, I'm going to go back and forth between my job as a marketer, but also my job in B2B advertising of driving marketers results on our platform. Something that's really fun about Roku is that we're a publisher, but we're also the largest operating system in the us. We see consumers come through our front door to get to the content they know and love and care about. And so that gives us a really rich canvas for supporting some of our marketers initiatives. And so for example, the Super Bowl was very fun for us, whether it was using our platform to drive traffic to Tuby or to build really fun brand experiences on our canvases.(02:13):So we had, when Sally met Hellman's and we had Hellman's and Roku City and we had the Super Bowl ad and a really lovely zone destination to drive shopping and drive purchases of Hellman's mayonnaise, which you really wouldn't expect from a television advertising experience. And so I think that was a fun one from us in supportive marketers. And then a whole part of my job is making sure our advertisers really know about the Roku experience. And so while it's B2B, it would be silly not to address them in a B2C capacity because our marketers could also be customers, the need to understand the value of the Roku experience even if they don't have a televisionDamian Fowler (02:53):From ro. Once you realize your customers could be businesses, consumers, or both, how did that shift your strategy? Did it change the way you approach things?Sarah Harms (03:01):I think it's just strategic use of our resources and a strategic use of our messaging. We certainly think the Roku experience as an operating system is delightful and easy and intuitive. We talk about how your mother-in-law can set it up herself as the example we always use. And so we certainly want our advertising customers to know that too because it really is a beautiful, elegant experience for advertising as well, for watching content.Ilyse Liffreing (03:28):So you've got such a big range of advertisers from big Fortune five hundreds to D two C brands to B2B. How do you build campaigns or measurements that flex for either of them but still stay true to your own approach?Sarah Harms (03:44):Great. So I'll address that as a speaking to the advertising community part of my job, we certainly are on a journey to evolve our strategy to be more flexible and meet our customers where they want us to be, whether it being in their buying platforms of choice or providing optionality to a D two C customer by giving them a very lightweight, intuitive self-service platform like Roku Ads Manager. And so I think a lot of it from a measurement standpoint is doing some ...
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    17 m
  • People Inc.’s Jonathan Roberts on the untapped power of content
    Sep 10 2025
    Cookies are out, context is in. People Inc.’s Jonathan Roberts joins The Big Impression to talk about how America’s biggest publisher is using AI to reinvent contextual advertising with real-time intent.From Game of Thrones maps to the open web, Roberts believes content is king in the AI economy. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler, and welcome to this edition of The Big Impression. Today we're looking at how publishers are using AI to reinvent contextual advertising and why it's becoming an important and powerful alternative to identity-based targeting. My guest is Jonathan Roberts, chief Innovation Officer at People Inc. America's largest publisher, formerly known as Meredith. He's leading the charge with decipher an AI platform that helps advertisers reach audiences based on real time intent across all of People Inc. Site and the Open Web. We're going to break down how it works, what it means for advertisers in a privacy first world and why Jonathan's side hustle. Creating maps for Game of Thrones has something for teachers about building smarter ad tech. So let's get into it. One note, this episode was recorded before the company changed its name. After the Meredith merger, you had some challenges getting the business going again. What made you realize that sort of rethinking targeting with decipher could be the way to go?Jonathan Roberts (01:17):We had a really strong belief and always have had a strong belief in the power of great content and also great content that helps people do things. Notably and Meredith are both in the olden times, you would call them service journalism. They help people do things, they inspire people. It's not news, it's not sports. If you go to Better Homes and Gardens to understand how to refresh your living room for spring, you're going to go into purchase a lot of stuff for your living room. If you're planting seeds for a great garden, you're also going to buy garden furniture. If you're going to health.com, you're there because you're managing a condition. If you're going to all recipes, you're shopping for dinner. These are all places where the publisher and the content is a critical path on the purchase to doing something like an economically valuable something. And so putting these two businesses together to build the largest publisher in the US and one of the largest in the world was a real privilege. All combinations are hard. When we acquired Meredith, it is a big, big business. We became the largest print publisher overnight.(02:23):What we see now, because we've been growing strongly for many, many quarters, and that growth is continuing, we're public. You can see our numbers, the performance is there, the premium is there, and you can always sell anything once. The trick is will people renew when they come back? And now we're in a world where our advertising revenue, which is the majority of our digital revenue, is stable and growing, deeply reliable and just really large. And we underpin that with decipher. Decipher simply is a belief that what you're reading right now tells a lot more about who you are and what you are going to do than a cookie signal, which is two days late and not relevant. What you did yesterday is less relevant to what you need to do than what you're doing right now. And so using content as a real time predictive signal is very, very performant. It's a hundred percent addressable, right? Everyone's reading content when we target to, they're on our content and we guaranteed it would outperform cookies, and we run a huge amount of ad revenue and we've never had to pay it in a guarantee.Damian Fowler (03:34):It's interesting that you're talking about contextual, but you're talking about contextual in real time, which seems to be the difference. I mean, because some people hear contextually, they go, oh, well, that's what you used to do, place an ad next to a piece of content in the garden supplement or the lifestyle supplement, but this is different.Jonathan Roberts (03:53):Yes. Yeah. I mean, ensemble say it's 2001 called and once it's at Targeting strategy back, but all things are new again, and I think they're newly fresh and newly relevant, newly accurate because it can do things now that we were never able to do before. So one of the huge strengths of Meredith as a platform is because we own People magazine, we dominate entertainment, we have better homes and gardens and spruce, we really cover home. We have all recipes. We literally have all the recipes plus cereal, seeds plus food and wine. So we cover food. We also do tech, travel, finance and health, and you could run those as a hazard brands, and they're all great in their own, but there's no network effect. What we discovered was because I know we have a pet site and we also have real simple, and we know that if you are getting a puppy or you have an aging ...
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    28 m
  • Spotify’s Brian Berner on the ‘untapped’ potential of audio
    Aug 27 2025

    Spotify’s Brian Berner joins The Big Impression to talk about how brands are looking for speed, flexibility and smarter ways to connect with audiences.


    Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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    24 m
  • State Farm’s Patty Morris on pulling off an NFL crossover in less than two days
    Aug 13 2025
    Taylor Swift and Travis Kelce’s relationship was still only a fresh rumor in 2023, when State Farm brought together Travis’ mother, Donna Kelce, and Jake from State Farm at an NFL game.On a new episode of The Big Impression, State Farm’s Patty Morris dives into how the company quickly capitalized on the opportunity despite being risk-averse. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing,Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're diving into one of the most buzzworthy brand moments in recent memory when Jake from State Farm crashed the Taylor Swift NFL multiverse in a way only he could.Damian Fowler (00:20):Our guest is Patty Morris, head of brand at State Farm. Patty and her team turned a viral cultural moment into a strategic marketing win from the sidelines of an NFL game to the front lines of CTV social and beyond.Ilyse Liffreing (00:34):We're talking about that famous seat swap with Mama Kelsey, and then digging into why Jake keeps showing up in all the right places and how State Farm is rewriting the playbook on building a culturally fluent brand.Damian Fowler (00:47):So let's get into it. We're going to go back to the fall of 2023 when Taylor Swift shows up at a chiefs game and sits next to Mama Kelsey and days later, Jake from State Farm's. In that seat, could you take us behind the scenes and how the idea came together so quickly?Patty Morris (01:07):Okay. Well first let me just back us up a little bit. Okay. State Farm is 103 year old, brand 103, so we have certain ways of doing things,Ilyse Liffreing (01:19):A lot of legacy there right?Patty Morris (01:19):Yes. A lot of legacy we, I think, have been successful as marketers and done a lot of great things over the decades, but we have a way of doing things and you can imagine we're an insurance company, we're risk averse, all of those things. I would just say knowing that context, how do you get from that to an agency calling you on a Friday night and saying, we have this big idea and we think you need to execute it, and it's in about 40 hours. And also it's on probably one of the biggest stages there is, and you say yes to that of course, but how do you get from A to BI think is your question. How did you make that happen? And I would just say a couple of things. One, you have to set the right conditions so that you are part of the cultural Lex Conna in a way that those opportunities come to you. And I think we had done that over time with Jake from State Farm, being really methodical about that and getting him out there in a way that people want to see him and in a way that is a best representation of our brand and allows us to be in cultural places that we otherwise couldn't without that physical brand asset.Damian Fowler (02:30):I mean, everyone obviously wanted to be part of that moment, and it's interesting that you bring up the fact that State Farm is risk averse, and yet you made it in it into that moment. Why was your connection to the Kelsey family and Jake's cultural capital so critical to making it land?Patty Morris (02:47):Yeah, I mean, I think the other context in the background around a moment like that is we've spent a long time over a decade really working to be endemic in the football landscape. Whether it was our longstanding campaign with Aaron Rogers and now Patrick Mahomes, we had brought Travis Kelsey into our football creative for the season and he was part of that work. If you remember, the Mahomes and Otto commercial was the best bundle in the league.Damian Fowler (03:15):Oh yeah, yeah, I do remember.Patty Morris (03:16):So we had all of those things working together, plus all the work we had done to make Jake from State Farm who he is, and you get this lightning moment where you have the right to be there because you have Jake and people love him, and he's a physical manifestation of an intangible product that you can put in these environments. We've built a brand that's endemic in football and is recognized in that space and just I think hats off to the creative mindset at maximum effort for calling us and saying, we think this could be a really great joyful cultural moment. And not many people could go sit in that seat next to Mama Kelsey the week after, but we think fans will love this and risk averse or not. When you hear an idea like that and you are able to put your brand in a position like that, you say yes. And if there's anybody that understands maximizing a cultural moment and doing it in the right way, I think it's maximum effort. So you trust them in that moment to do that with you. And man, we did it very quickly.Ilyse Liffreing (04:23):Very cool. Yeah, no, I know. I was just going to say it was very fast. The timing was impeccable.Patty Morris (04:30):Yeah, I think a week later ...
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    24 m
  • Diageo’s Sophie Kelly on why great brand-building starts offline
    Aug 6 2025
    In this episode of The Big Impression, Kelly breaks down how Diageo is turning tequila into a global cultural force. One standout example: a six-city collaboration with DJ and fashion icon Peggy Gou that combined out-of-home, merch drops, pop-up events and hyperlocal storytelling. From a Hong Kong hot pot party to a Milan piazza activation, every detail was designed to blur the line between brand and experience. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio. Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:08):Today we're talking about how one of the fastest growing categories in the spirits industry, tequila and mezcal, is being shaped by culture, identity, and global consumer trends.Damian Fowler (00:20):Our guest is Sophie Kelly, SVP of Global Tequila and Mezcal Categories. At Diageo, she's leading the strategy behind some of the world's most iconic tequila brands, helping Diageo navigate its growth, changing cultural expectations, and the new ways consumers connect with celebration.Ilyse Liffreing (00:39):We'll talk about how Diageo is bouncing global scale with local storytelling, and in short, how tequila has become a cultural force beyond just the shot glass.Damian Fowler (00:50):So let's get into it.Ilyse Liffreing (00:51):Diageo is no stranger to bold campaigns and really intersecting in today's culture. How does your latest work in the tequila and mezcal category continue that legacy? And with your latest campaigns, what was one core story or rather insight that you're trying to bring to life?Sophie Kelly (01:13):Our moment of consumption is normally when people are out socializing, trying to have the best times of their lives or celebrate a major moment in their life. So think birthdays, weddings,Ilyse Liffreing (01:25):Or even here atSophie Kelly (01:26):Can, even here at can, right festivals. So what is really important for us as we build our brands and think about how we go to market is that we are creating experiences for consumers to participate in. I think some of my favorite stuff across the category is on Don Julio. I mean, we launched a brand new product, 1942 Manys, which was a 50 ml supposed to allow people to access the luxury of 1942 at a better price point in a fun format. And we did that in the Oscars, right? But the most recent one, which I just adore and am still obsessed with and is still going, would be our cultural global collaboration with Peggy Goo. She is a number one DJ globally. She's also an icon in the fashion world, and she creates a load of fashion jewelry. We discovered her in Southeast Asia and she was a massive fan of 1942.(02:32):As marketers, we just started to ride along with her and gift her and be a part of her experience. So we approached her and said, any interest in creating a 1942 special limited edition with us? And she was blown away. She was like, yes, but can I design the product? Can I design the experience? Can it be global? Can it travel? Can it be teased? We said yes to all of the above. So we started off in Miami where we had an intimate party, but that intimate party probably had influences at it that had over a hundred thousand followers on Instagram. So we started to tease the collaboration, which was called the 1942 goo. And that's a really important element because we changed the logo of 1942 to be 1942 goo. We teased the campaign with outdoor and these events and we went from Miami to New York, to London to Milan and then to Seoul and then to Hong Kong. New York had a pop-up souvenir store in a car park. When we went to Milan, we did it in a piazza. When we went to London, we did it differently. When we were in Hong Kong, we did a hot pot pop-up. One of the most special parts of the experience was in Seoul, right in her home neighborhood and right next to where she was going to perform. And that was already up six weeks before it came. So we are teasing the drum roll in and the desire for people to be a part of this limited experience.Ilyse Liffreing (04:12):Now, I know you're talking a lot about out of home, but what were some of the other marketing channels that you leaned into for this campaign?Sophie Kelly (04:18):Everything in the popup was consumable or was collectible. So whether it was the key chains, whether it was the hats, whether it was her specifically designed scars, consumers could collect it, they could create content on it and they could share it broader. So then what started to happen was they were creating their own content. She was creating her own content and influencers within her sphere were creating their own content. And then there was the tease that we were moving to a new city. So that was creating a hype in that. So when you think about channel mix, it was digital, it was static, it was experiences, real life ...
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    14 m
  • Kinective Media’s James Rothwell on United’s sky-high media ambitions
    Jul 30 2025
    In this episode of The Big Impression, we’re joined by James Rothwell, managing director of brand marketing at Kinective Media. Rothwell walks us through what’s changed since launch — from major brand partnerships and custom content integrations to a headline-making alliance with JetBlue. With over 110 million traveler profiles and 63 million MileagePlus members, Kinective is fast becoming one of the most compelling new players in commerce media. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio. Damian Fowler (00:00):I'm Damian Fowler.Ilyse Liffreing (00:01):And I'm Ilyse Liffreing.Damian Fowler (00:02):And welcome to this edition of The Big Impression.Ilyse Liffreing (00:09):Today we're checking back in on one of the boldest moves in airline media, connected media by United Airlines as they've redefined what's possible in the world of Traveler Media Networks.Damian Fowler (00:22):Our guest is James Rothwell, managing director of brand marketing at Connective Media. James and his team are helping United leverage the power of 110 million traveler profiles, create new opportunities for brands across the entire customer journey.Ilyse Liffreing (00:38):We actually spoke with Connective on this podcast just last year and just a week after they launched. A lot has happened since then from major brand partnerships to rapid innovation in tech content and measurement, and today we're catching up on what's new. So let's get into it.Damian Fowler (00:57):So James, this time last year, United had just launched Connective Media. It was June, 2024 at CAN, and it was the first airline media network. Could you walk us through what's happened since then? How has the network grown? How has it attracted brand campaigns and how is it working?James Rothwell (01:20):Yeah, absolutely. And thank you Damian, for having me on. This is great to be here. We just celebrated our first birthday, which is a wonderful thing. We're engaging with so many different types of brands who are interested in reaching a premium traveler audience. We've seen some success in most of the key verticals that you would imagine, and then some surprising ones too. And obviously it's a slam dunk for a travel brand or a destination brand, but those non-endemic brands, the non-endemic advertisers who are trying to reach travelers, no matter where they are in their journey or even in between journeys, we're finding really interesting use cases, really interesting targeting options and ways for them to be able to reach them across all of our screens. And on,Damian Fowler (02:08):Let's get into it a little further. Can you give us some examples? And you mentioned non endemics as well, but maybe we could start with the endemics and then move on to the non endemics.James Rothwell (02:17):No, absolutely. I think travel as a category is a growth sector right now. I think ever since the pandemic, people have been looking to explore the world and get out of the, I mean, they were cooped up for quite a while there, and so travel's never been more popular. Like any industry, you've got to break through the noise and the options that you have out there. Right? World's a big place.(02:43):Luckily we fly to a lot of different places. We have over 330 different destinations. One really interesting case study that we've just completed was with the Cayman Islands tourist board, and they were looking to drive passengers travelers to the Cayman Islands, and they worked with us across all of our media, and we were able to do closed loop attribution based on the bookings that were then made to those destinations. So for us, measurement and measurability is incredibly strong in the travel sector and the travel space. We were able to see basically with Cayman Islands, that 9,000 bookings came from exposure to the ads that ran across email, across our club lounges and in our entertainment seat back screens on the planes. So we were able to drive awareness, intent, and then conversion, and we were able to track that and they saw a 13 times return on an ad spend against that campaign. We were incredibly happy with that. They were incredibly happy with that. We obviously made some travelers very happy to go enjoy the wonderful blues ocean around the Cayman Islands.Damian Fowler (03:58):Yeah, there's something nice when you see that on screen. You'reJames Rothwell (04:01):Like that, I'm going to go there. Yeah, that looks nice. That one sells itself. ItIlyse Liffreing (04:05):Does. So you mentioned non-endemic brands too. That's really interesting.James Rothwell (04:09):Yeah, I mean, we're all travelers, right? We all got on a plane to be here in Cannes. It doesn't define us, but certainly it helps to give context and potentially insights around who we are as individuals and what we like to spend our money on where we like to spend our time. And so that translates into a really interesting audience segment for ...
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    22 m
  • Unilever’s Ryu Yokoi on Dove’s sweet-smelling campaign
    Jul 23 2025
    This week, we’re talking to Ryu Yokoi, chief media and marketing capabilities officer for North America at Unilever, about Dove’s “Hot Seats” campaign — a bold, culture-hacking activation that shows up where the sweat is real and the stakes are surprisingly high. Episode TranscriptPlease note, this transcript may contain minor inconsistencies compared to the episode audio.Damian Fowler (00:00):I'm Damian Fowler, and welcome to this edition of The Big Impression. Today we are talking about how Unilever is breaking taboos, opening up new kinds of conversations and connecting with consumers in some unexpected places. Our guest is Ryu Yokoi Chief Media and Marketing Capabilities Officer for North America at Unilever. We're going to dive into DO'S Hot Seats campaign. It's a bold effort to normalize conversations around full body freshness and engage people across both digital and real world spaces. We'll be talking about how this campaign's activating across concerts, social, retail, and digital platforms. So let's get into it.Ryu Yokoi (00:46):It always starts with understanding our audience and also try to make our products really relevant and desirable in that context. And so the hot seats are originated from social listening within the community. And in particular, one of our, actually her name's Dana Pucci, who leads our PR and influencer work on Dove for North America is a big Charlie XCX fan. And she noted that the Incredible Sweat tour, which was driving and kind of owning the culture last summer in the brat summer, that was(01:21):Unfortunately the Sweat tour smelled not great. And it turned out that Charlie and Troy Sivan were going to be performing in Los Angeles the week before the launch of our new whole body deodorant. We kind did a takeover putting our product in the bathrooms. We sent in creators to sort of experience what a show is like when you can make sweats smell great. And the results were kind of magic because we got just unbelievable. The UVC on this and the Delight with folks attending a concert that actually smelled great was really fascinating, just fantastic response. And that week we had a really great launch of the product, first hitting the digital shells on Amazon and doing great.Damian Fowler (02:02):That sounded like a very fast activation for a campaign.Ryu Yokoi (02:06):It happened literally within 10 days.Damian Fowler (02:08):What was the war room like for that 10 days? How did you strategize to get that done?Ryu Yokoi (02:14):We always emphasize we want to build worlds instead of chasing moments. So when you have an idea of what you're trying to build with the brand, how you show up, then it becomes a lot easier.Damian Fowler (02:25):And tell me a little bit about the tone. I mean, one of you mentioned the humor element of it. Why is that real talk, that humor so key to Dove campaigns?Ryu Yokoi (02:34):Well, I think there's a real authenticity that the brand has earned. We say, oh, it's an authentic, it's only authentic if people believe it. The brand is really comfortable in its own skin. We have a sharp understanding. I think that goes beyond a positioning statement to really understanding what this brand stands for, how it shows up in real life, what it would be like if you were to meet it and still be consistent in our building of that brand means to people.Damian Fowler (03:00):Yeah, I mean, I've got to say I live in New York and I've noticed the campaign on the New York, out of digital, out of home subway screens and it just totally cuts through and I noticed it. And of course you're standing on a New York City platform in terrible heat, humidity, and everyone's sweating. It's like a perfect placement.Ryu Yokoi (03:19):Well, I would say the subway work you've seen is really telegraphing that benefit, right? If you're blessed to be next to somebody who's wearing dove on the subway, then wow, this is a good ride. We've sponsored Charlie's spring tour and we're also showing up at other festivals like Lollapalooza, which have just provide another canvas for us to tell the story.Damian Fowler (03:38):Is it a case that once the campaign's out there in the wild, it builds its own momentum? Or are you actively trying to find new events, new points of pop culture? Kind of.Ryu Yokoi (03:47):That's exactly what we're trying to find, right, is we understand that if we're able to actually become part of the discourse, we're not just broadcasting ourselves in, but actively playing a role and helping people. And we had a similar case where the first weekend of Coachella people were again, lamenting unfortunately didn't smell great, and in this case somebody not us posted saying, well, I wish Dov would come and help here. We really had a lot of fun with it. We flew a plane over Coachella the second week saying, the cavalry's coming help is on the way we hear you need.Damian Fowler (04:24):That's good.Ryu Yokoi (04:25):Some help. And we're going to be there. We ...
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