The IPM’s very own Regulatory Affairs Manager Mani Roberts shed lights on the effects of Covid-19 on our industry and support measures available for businesses and individuals in need of assistance.

The effect of the Covid-19 crisis on the promotional marketing and advertising sector has been profound. The financial implications of the current situation have severely impacted the industry as revenue disappears and client relationships are put on hold.

The government has introduced a number of measures to support businesses and individuals in need of assistance that will go some way towards reducing the impact of coronavirus on the industry. Find out more and how else you can help your company at this tough time below.

Small and medium-sized companies can access the government’s Coronavirus Business Interruption Loan Scheme which opened on 23^rd March. Support comes in the form of access to interest-free loans, overdrafts and finance options of up to £5m subject to prove that Covid-19 has negatively impacted an actively trading organisation.

A grant payment to cover interest and initial fees for 12 months will be provided with the government guaranteeing 80% of the loan which will be provided by one of a number of lenders including high street banks. It’s recommended however to approach your own bank prior to applying to the initiative.

The scheme is scheduled to run for six months and is open to sole traders, limited partnerships, the self-employed and freelancers so it could benefit a significant part of the sector.

If your turnover is in excess of £45m the government has opened the Covid Corporate Finance Facility with the ability to provide short term funds for businesses with an excellent credit rating and proof of good financial health. This cashflow support could be beneficial in helping businesses through this immediate period.

Changes to staffing arrangements will help companies manage this period effectively. The widely reported staff furlough scheme introduced by the government allows staff to be retained with 80% of their salary paid by the HMRC up to £2500 a month subject to standard NI and tax deductions.

It’s available to all staff employed on or prior to February 28^th this year on the majority of contracts. Currently scheduled to run until May 31^st it may be extended depending on the situation develops.

Each business has individual needs so alternate or supplementary options to the scheme are offering staff part-time roles during the pandemic to maintain workflow or, as in other sectors, senior staff reducing their pay.

The HMRC is offering additional support in the form of deferred VAT payments for any payments due between March 20^th and June 30^th. It’s available to UK VAT-registered companies and covers a three-month period.

In addition, they’re also offering support to businesses unable to pay corporation tax, VAT and PAYE by waiving penalties for late payment and interest on missed payments. Also, their new ‘Time to Pay’ scheme allows firms to defer tax payments with the debt required to be paid across 12 months in instalments in most circumstances.

As can be seen the government has attempted to assist firms in trouble due to Covid-19 but there are steps businesses can take themselves to reduce the impact of the virus and ensure they’re ready for the future.

Communicate with those you do business with. Regular updates and clear communication will maintain good working relationships in a tough environment.

Explaining to suppliers, for example, that payment will be delayed as you’ve not been paid by a client and actively engaging should benefit companies. By working with them firms may be able to delay financial obligations and extend payment terms.

Communicating effectively with clients will allow businesses to get a better sense of how they’re coping with the current situation and allow effective business decisions to be made in regards payment structures, financial arrangements and what revenue may be incoming in the immediate future.

With income impacted firms need to analyse their processes and arrangements to see where possible savings can be made. Discussing a rent payment holiday with property landlords can help reduce the pain companies are feeling, with government assurances that no businesses will be evicted if any payments are missed until the end of June it’s a good opportunity to discuss rent arrangements.

Requesting payment of outstanding invoices and amending future invoices to insist on immediate payment will also protect companies whilst the coronavirus is affecting the way the industry operates. Companies should also check their insurance arrangements to verify whether their policy allows for any claims to be made in these circumstances.

Assistance is available for struggling businesses so utilising the new schemes and initiatives the government has created will soften the blow of these troubled times.

The IPM is here to support your business in the current situation. Our Legal Affairs Manager, Mani Roberts is contactable at legal@theipm.org.uk with any queries.

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Ocean Outdoor has launched @ The Local, a UK wide community of digital citizens which gives voice to the diverse views and values of young, highly mobile consumers living in the nations and regions outside of London.

Designed as an interactive online community, @ The Local provides a live snapshot of consumer trends, mindsets and behaviours to better understand peoples’ views on multiple topics  – and how these may differ from Southampton and Bristol to Newcastle and Glasgow.

The engagement of communities in a two-way conversation will also help Local Authorities better understand their citizens’ ideas and thoughts on community issues and initiatives. @ The Local will also host surveys and discussion forums on relevant topics and host product testing sessions and focus groups to better inform brand communications and product development.

@ The Local forms part of Ocean’s Digital Cities for Digital Citizens proposition which sets out the role of Ocean’s digital out of home portfolio in the evolution of connected, smart modern cities.

Phil Hall, Managing Director at Ocean Outdoor UK, said:  “We are recruiting an audience of digital citizens – those young, hard to reach, highly mobile and digital citizens in key cities and regions who are often overlooked due to the ever-growing London-centric bias. The formation of this new research led community creates a valuable two-way conversation with highly engaged consumers and key stakeholders – be that brands, councils, or anyone in-between. Broad statements don’t always cut it. @ The Local helps brands and advertisers to tap into consumers at a granular level to understand what concerns, motivates and inspires people in different parts of the UK. These insights will inform communications strategy and show how best to use a dynamic OOH creative platform which is perfectly positioned to have those conversations on both a one to one and a one to many basis.”

There are many ways to participate in @ The Local. In response to a range of different activities, people can post comments, reply to other user’s posts and comments, give “likes”, participate in a discussion, stay updated via the communicate blog or participate in surveys, discussion forums and product testing in return for rewards and special events. The hub will also measure media preferences and viewing trends, shopping, social and leisure habits.

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Birds Eye, the frozen food giant brand, is launching ‘The Birds Eye Butties 2020’, a campaign to recognise Britain’s favourite fish finger sandwich. The initiative was developed in partnership with creative agency ELVIS.

The campaign is a new take on Birds Eye’s Fish Finger Sandwich Awards, which originally launched in 2017, and aims to create buzz and engagement as well as driving sales of Birds Eye fish fingers.

With the launch of ‘The Birds Eye Butties 2020’, the brand is opening up the search for the best fish finger sandwich in Britain to a people’s vote for the first time. The campaign invites people to make their own fish finger sandwich and upload a recipe to social channels, using the #BirdsEyeButties hashtag. Consumers will then have the chance to choose from one of four finalists selected by Birds Eye, with the winner being announced on social media and awarded a year’s supply of fish fingers.

ELVIS and Birds Eye have developed a social push to support the launch, with content showcasing different ways to enjoy a fish finger sandwich, all designed to inspire people to create their own, unique take on the comfort food classic. Activity will run across Facebook and Instagram.

Media planning and buying for the campaign is by Zenith, with PR by Cirkle.

Sarah Koppens, Marketing Director, Birds Eye, said: “Fish finger sandwiches are an iconic part of our culture. We wanted to tap into the huge love for them and get the whole country voting for their ultimate version. ‘The Birds Eye Butties 2020’ is a step towards making the brand even more synonymous with this classic British favourite. We want to encourage people to eat more fish via exciting recipes and by inspiring them with infinite combinations.”

Neale Horrigan, Executive Creative Director, ELVIS, added: “There aren’t many people who don’t love a fish finger sandwich or at least have an opinion on what constitutes the perfect one. Creating ‘The Birds Eye Butties 2020’ means that Birds Eye – who almost have a duty as the originator – are able to facilitate this debate. And, as excited as we are to be a part of this, we are even more excited to find out what wins.”

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Brass agencies Content, PR and Media teams come together to share their thoughts on Love Island and what marketers can learn from it.

Whether you love it or hate it (and TBH we fall into both camps), there’s no getting away from Love Island every summer. Whether it’s the daily show, slogan tees in Primark or meme accounts that infiltrate every social platform for 2 months; the show is one of ITV’s biggest success. And, unsurprisingly brands want in on the action. So if Love Island sounds like a bit of you, we share our view on what marketers can learn from it.

Nikky (Senior Content Executive) explains why brands should think ‘that’s a bit of me(mes)’.

“Are you even a Love Island fan if you don’t spend the ad break sifting through memes on Twitter?

The hashtag #LoveIsland was used nearly 200,000 times on the UK 2019 launch date as viewers competed to win the internet with the perfect meme, and before the first ad break we already knew that “It is what it is” was the catchphrase of the series.

Each night, our feeds are filling up with memes about the islanders. But what does this mean for brands? Meme marketing works because memes are native to the language of social media, and because of the amount of noise the show makes, Love Island provides an opportunity to be reactive and relevant with sharable branded content. Just make sure it’s a good fit for the brand. Royal Mail did this brilliantly by creating the ‘Loyal Mail’ meme with 2018 star, Georgia, after she made the phrase ‘I’m loyal’ notorious”

Why are brands coupling up with Love Island? Jenny (PR Account Executive) tells all.

“With 5.8m people watching Love Island already this year, brands have huge PR opportunities available to them by getting into bed with the show.

However, caution should be taken with this type of partnership. With so many people watching the show, slip ups can quickly go viral and potentially damage a brand’s reputation via association. Whether directly involved in the programme or simply jumping on the back of the latest catchphrase, brands that embark on capitalising on popular culture events or TV shows should always have a plan in place just in case a PR blunder happens.

Anyone remember the Carphone Warehouse sponsorship of Big Brother that went sour during the controversy with Jade Goody, Jo O’Meara and Danielle Lloyd?”

Becky (Organic Search Content Manager) spills the tea on whether Love Island’s content marketing approach is her type on paper.

“We can take a lot of content marketing lessons from Love Island, however the main lesson is that they really understand their core audience, and have got to grips with their lifestyle choices and interests, even down to what they read online.

Love Island has become more than just a TV show. People can join in with conversations online, watch behind the scenes footage, download an app and even purchase items used in the Love Island villa. Take these insights and apply them when developing your new campaign. Think about how you can get the most out of it, just like Love Island have done. Review different formats, partnership opportunities and ways you can personalise your content.”

Tom (Senior Organic Search Manager and non-Love Island fan) tells us why ITV need to pie off their current search strategy. 

“From a search perspective the way that ITV have utilised their news section on Love Island is almost as bizarre as the popularity of the show. Considering they have a huge advantage in terms of releasing news and “first looks” they almost never rank for their show’s own news stories. This is down to how poorly optimised their Love Island news section is and the fact they haven’t leveraged their newsworthy advantage to ensure people are linking to their news articles. They have likely neglected the news section due to the success that newspapers have had in terms of increasing viewing figures. Yet it can’t help but feel short-sighted, if they had built up rankings and traffic they could’ve leveraged this to launch the next painful reality show when people inevitably grow tired of Love Island.”

Fran (Social & Content Manager) gives us an insight into the power of coupling up.

“It’s no surprise that the contestants of Love Island go on to have successful stints as influencers, given 4.4 million people tuned into the opening three episodes alone. A large percentage of whom, we can (fairly) confidently say will have contributed to the thousands of overnight followers the contestants gained on social media.

The show itself is largely based on image, and as a result, brands such as Missguided and I Saw it First have snapped up the opportunity to be the show’s official partner, providing contestants with clothes that commonly sell out shortly after an episode has aired.

However with influencers increasingly losing trust amongst consumers, a Love Islander promoting your brand on Instagram may have been effective a few years ago, now it’s more crucial for brands to create meaningful experiences with their audience – especially as we’re seeing industry reports saying over half of all their followers are fake! Less promo codes and more personality, please.”

Caroline (Media Group Account Director) is asking whether Love Island advertising could be a bit of you?

“With viewing up 16% (+0.8m) year on year and total viewers reaching 5.8m this year already Love Island continues to be commercial televisions biggest ratings puller for viewers aged 16 – 34. With an average of 51% of viewers falling into this category. It’s no surprise that when it comes to influencing this audience group, Love Island becomes a solid contender for media investment. However, whilst this age bracket is not surprisingly the highest, what is interesting is the audience breakdown overall and the volume of viewers the show attracts across the board:

The opportunity to reach your audience is vast, and with opportunities in both linear and nonlinear, Love Island could be a great addition to your media strategy, generating both brand and commercial success.”

Love Island might not be your cup of tea, but there’s no denying that we can learn a lot from it – good and bad. It’s caught the nation’s attention and created a buzz, something most brands would fall head over heels for.

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The Kraken Black Spiced Rum has partnered with Kinetic, the UK’s leading out-of-home (OOH) agency, to bring the brand’s iconic mythical beast to life on the streets of East London as part of a major new creative 3D OOH campaign.

Activity will run across digital channels throughout the four-week duration of the campaign and influencers will encourage followers to visit the mural for promotional giveaways.

Those tagging themselves with the beast will also be in with a chance of winning a range of amazing prizes, from diving courses to mural masterclasses, as well as free cocktails to redeem at participating bars.

The out-of-the-ordinary execution, named The Kraken Mural, will see photorealistic artwork of the mystical sea beast wrapping its tentacles around the side of The Great Eastern Wall Gallery on Great Eastern Street in Shoreditch. The artwork is set to turn heads of an estimated 2.1 million people who pass by the site each month and encourage sharing on social channels.

The dramatic design will incorporate a unique 3D element, with the Kraken’s terrifying tentacles emerging from the mural to occupy the space above the roof of the building.

The creation of The Kraken Mural began on 16th July, with photography and time-lapse video previewing the artwork across The Kraken Rum’s social media channels as it builds towards completion on 19th July – remaining on display until 12th August.

On 26th July, the brand is bringing back its legendary Kraken Crawl to celebrate the launch of the mural, which will visit five of the area’s most popular bars for its loyal rum fans to sample cocktails paired perfectly with the location to get a true taste of London’s East End.

Suren Sathiaraj, Creative Account Manager for Kinetic Active, says: “We know that the legendary sea beast the Kraken can’t be contained within a mural – which is why we needed to do something unique for this campaign. The 3D element really adds a splash of surprise and drama, bringing the legend of the Kraken to life and putting a creative out-of-home element right at the heart of this multi-channel campaign.”

Kinetic is the world’s largest planner and digital innovator of Out-of-Home advertising, using mobile and social, location-based experiences and in-transit to deliver new ways to make OOH interactive and amplifiable.

Kinetic is a global agency within WPP’s tenthavenue, serving hundreds of agencies and brands.

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Calvet Wines has just launched its ‘Rue du Calvet’ campaign at the Blenheim Palace Flower Show this past weekend with an experiential activation featuring sampling and a celebrity chef.

Sampling a Sauvignon Blanc, a Muscadet and a St. Emilion, attendees were invited to try the wines with a selection of complimentary canapes designed by Calvet’s ambassador, Michelin-starred chef Glynn Purnell.

The activation, created for Calvet by experiential agency ignis, saw Purnell create dishes inspired by his memories and stories of France, then pairing them with the wines. This was captured on video and will be seeded across social channels over the summer. Brand Ambassadors were on hand to educate visitors about the brand and the wider ‘Rue du Calvet’ campaign.

“The Rue du Calvet campaign celebrates everything that is wonderful about France,” says ignis Executive Creative Director, Nick Peters, “at Blenheim we were able to engage with our audience in a tactile and multi-sensorial way, bringing the wine to life with stories that inspire people to take pleasure from great wine and good food in the way that our French friends do.  The quality conversations we had are a testament to this approach, and we’re excited to share this on social and broaden the conversation even further.”

Over the course of the three days (June 22nd to June 24th), six and a half thousand samples of wine were enjoyed by those who engaged with the activity.  The ‘Rue du Calvet’ campaign will run throughout 2018, celebrating and inspiring people to live with a little more ‘joie de vivre’ and create their own unique stories with Calvet.

Calvet Wines was founded in 1818 at Tain l’Hermitage in the Rhône Valley. It is a pan-appellation brand.

ignis is a multi-award winning independent brand experience agency based in Fulham. Over its 29-year history it has worked with a wide range of clients ranging from Jameson, Fuller’s to Betfair and Chivas.

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Behavioural communications agency HeyHuman has announced the appointment of Liz Brown to the new role of Associate Creative Director, with a focus on online and social media content. Her hiring brings an all-female creative lead to HeyHuman, alongside Executive Creative Director, Shnoosee Bailey, and Creative Director, Carole Davids.

Brown joins HeyHuman with over a decade’s worth of experience at agencies including Doner (as Associate Creative Director), LIDA (Senior Creative/Copywriter) and Karmarama, where she led the social creative drive for Costa Coffee and Onken.

She began her career as an integrated creative copywriter, learning to craft campaigns through all touchpoints of the customer experience before specialising in the delivery of engaging social content, a skillset she will deploy in her role at HeyHuman.

Brown has worked on integrated campaigns for the likes of Boots, Ikea, and Huawei and, in 2017, handled live social content for London, Paris and Milan Fashion Weeks.

HeyHuman’s Executive Creative Director Shnoosee Bailey says: “The social media landscape is constantly evolving and we need someone on board who understands it implicitly to ensure our client campaigns harness the full potential of the medium. Liz is just the person. Her expertise in creating social content that people want to engage with not only answers a brand need; it fits perfectly with the empathetic, human-first approach we bring to every brief.”

Liz Brown adds: “Social wasn’t even a ‘thing’ when my career started, but it’s where so much important work happens today. The idea of building a story over a period of time, over a variety of platforms, is both an opportunity and a challenge that really appeals to me. Social weaves ideas, things and scenarios directly into people’s lives like no other medium can – you can build a brand and create meaningful relationships this way.”

HeyHuman is an independent behavioural communications agency that specialises in brand, content, social and experiential. With around 100 staff, HeyHuman supports the relationship between brands and consumers via a focus on building ‘Human Brands’ and specialisms in brand, content, social and experiential. Current clients include Sony, Unilever, Diageo, Slimfast and Mondelez.

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American Express has joined forces with leading figures from the worlds of music and food to launch ‘Backed By’, a nationwide initiative offering two members of the public the chance to win backing from music legend Nile Rodgers or culinary innovator Gizzi Erskine.

Launched as a continuation of its new brand campaign, ‘Powerful Backing: Don’t Do Business/Don’t Live Life Without It’, ‘Backed By’ celebrates the powerful backing American Express has been giving customers throughout its 168-year history.

In addition to advice and practical support – whether that’s words of encouragement, industry introductions or constructive criticism to help further their musical dreams or foodie business idea – the two winners will have access to life-enriching experiences, such as spending time in the world-famous Abbey Road Studios alongside Nile Rodgers and joining him on the road or cooking in the vibrant Mare Street Market kitchens in Hackney alongside Gizzi Erskine. The successful applicants will be given inspiration and support to propel their passion forward.

In addition to Backed By, as part of its new brand campaign in the UK, American Express has also created an immersive experience that will be bringing the message of powerful backing to life in London’s EC1.

Popping up in in Exchange Square beside Liverpool Street Station, the experience runs from Tuesday June 12^th to Thursday June 14^th and is open to the public between 11.00am and 8.00pm.

Soundtracked by DJ and broadcaster Maya Jama, there are three zones to explore – a restoring Japanese Forest, the Neon Jungle dance space and the Inspiration Zone.

The PR and content-led campaign will be supported through a media partnership with the Huffington Post on a newly created ‘Backed By’ channel on their website.

To be backed by one of these inspirational ambassadors, applicants are invited to submit a portfolio of their work at backedby.co.uk from June 12th 2018.

Caroline Bouvet, Vice President of Brand and Marketing UK, American Express, says: “At American Express we recognise the importance of powerful backing and have a rich heritage championing both new and established talent in the worlds of music and food through our Amex Invites entertainment programme. We are thrilled to be working with Nile Rodgers and Gizzi Erskine on ‘Backed By’ and giving one budding musician and one passionate foodie this once in a lifetime opportunity to learn from the best.”

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The Black Tomato Travel Group has launched a new interactive video service, BLACKWIRE, a joint venture between its content division, Studio Black Tomato, and leading interactive video technology company, WIREWAX.

Studio Black Tomato is a content creation and marketing agency which produces content and media campaigns for some of the biggest brands in the world. Black Tomato Travel Group also owns a multi-award-winning incentive and motivation travel company, Black Tomato Agency.

The BLACKWIRE platform combines Studio Black Tomato’s expertise in shooting video content which brings destinations, and the properties and experiences they offer, to life, and combines it with WIREWAX’s leading interactive video technology.

BLACKWIRE integrates calls to action and hotspots within videos that viewers can touch, click or interact with, allowing them to switch camera views and uncover real-time insights or determine the video’s path and outcome. The two partners claim BLACKWIRE can provide grants brands with “a more subtle, authentic marketing approach” which enriches content and interest, rather than trying to control the user’s experience.

The result is a content offering where viewers can uncover details beyond the images they see on screen. It means they can discover more about destinations and book experiences within the video they are watching, without having to leave the video player.

For example, built-in geo-intelligence and live pricing could allow audiences viewing a video of a travel destination to simply hover their cursor over a hidden hotspot and discover live weather data on a destination, prices and hotel availability, as well as uncovering behind the scenes details.

The two partners say that live interaction of this sort can bring brands to life, double dwell time and produce more memorable long-term results than the short-term benefits associated with a traditional non-interactive video.

Tom Marchant, co-founder of the Black Tomato Group, says “The immediacy of interaction opens up incredible opportunity and there are hugely powerful benefits here for our clients and their consumers”.

Dan Garraway, co-founder of WIREWAX, observes: “Viewers have come to expect to touch every screen they use and this new partnership with WIREWAX and Studio Black Tomato truly maps the landscape for how brands can monetize in meaningful, creative and experiential ways with their consumers.”

WIREWAX is an award-winning technology powering 90% of the world’s interactive video. WIREWAX helps brands, agencies and broadcasters take ordinary videos and make them interactive.

Black Tomato Agency is a member of the Institute of Promotional Marketing, the owner of www.promomarketing.info.

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To celebrate the wedding of Prince Harry to American actress Meghan Markle – which takes place at 5.30am New York Time – Kellogg’s NYC Café, in iconic Union Square, New York, will open its doors for early risers to watch the televised ceremony, enjoy a modern cereal-centric breakfast and even create their own Kellogg’s-inspired fascinator from a cereal box.

Kellogg’s – which holds a Royal Warrant from the Queen – has teamed up with former royal chef Darren McGrady to create a celebratory, multicourse breakfast that elevates the watch party experience and helps cereal lovers reimagine the breakfast staple. The company has also linked with fashion designer Kelly Dempsey (who came to fame on the US TV show Project Runway, in which she way runner-up in 2014) to host a live demo to show guests how to create a cereal box fascinator hat with a regal twist.

Kellogg’s is also offering US cereal lovers the opportunity to join in the fun, with DIY recipes and tutorials to throw a cereal-inspired watch party of their own.

McGrady, who spent 15 years with the royal household cooking for Queen Elizabeth II, Diana, Princess of Wales and Princes William and Harry, and has also cooked for five US Presidents, says: “There are plenty of ways to add regal flair to a meal, and I’m thrilled to demonstrate that with something as fun and exciting as cereal. Whether you’re celebrating this global event with Kellogg’s in NYC or re-creating the menu for your own guests, you’ll be wowed by all of the ways you can reimagine cereal beyond the bowl.”

His menu includes:

• Stately Scones: Kellogg’s Frosted Flakes Scones with Macerated Strawberries, Basil and Whipped Froot Loops Cream
• Krispy Gems: Rice Krispies-Encrusted Scotch Eggs with Sausage & Bacon
• Bars of Gold: Kellogg’s Corn Flakes English Flapjacks with Seeds
• Special Krown: Kellogg’s Special K Royal Breakfast Bowl
• Imperial Pudding: Kellogg’s Frosted Mini-Wheats “Bread and Butter” Chocolate and Banana Pudding
• Majestic Pops: Kellogg’s Froot Loops Caramel Banana Cake Push Pops
• Lemon Luster Wedding Cake: Kellogg’s Raisin Bran Cake with Lemon Elderflower Cream Cheese Frosting, Edible Gold and Fresh Flowers
• Frosted Flakes “Rose Pouchong” and Raisin Bran “Lemon Elderflower” Cereal Milk Teas

For any royal family enthusiasts who oversleep, select menu items will be available for purchase following the early-morning affair.

Kellogg’s NYC is an “immersive cereal experience” which opened in Union Square in December 2017 and covers 5,000 square feet, will be celebrating the upcoming royal nuptials and other exciting announcements on Instagram and Facebook. It replaces an earlier version which opened in Times Square in July 2016.

Kellogg Company brands include Pringles, Cheez-It, Keebler, Special K, Kellogg’s Frosted Flakes, Pop-Tarts, Kellogg’s Corn Flakes, Rice Krispies, Eggo, Mini-Wheats, Kashi, RXBAR and more. Net sales in 2017 were approximately $13 billion, comprised principally of snacks and convenience foods like cereal and frozen foods.

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