WALLACE & GROMIT STAMPS by Proximity London for Royal Mail

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WALLACE & GROMIT STAMPS

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Industry Postal, Courier, Shipping & Freight services
Media Direct marketing
Market United Kingdom
Agency Proximity London
Executive Creative Director Caitlin Ryan
Creative Director Dan Efergan
Art Director Jo Jenkins, Chris Georgiou
Copywriter Rob Kavanagh
Released November 2010

Awards

Caples Awards 2011
Campaigns Interactive campaign Silver
Digital Campaign Microsite Bronze

Credits & Description

Category: Direct Response Digital: E-commerce, Online Advertising, Brand Awareness & Social Media
Advertiser: ROYAL MAIL
Product/Service: STAMPS
Agency: PROXIMITY LONDON
Date of First Appearance: Nov 10 2010
Entrant Company: PROXIMITY LONDON, UNITED KINGDOM
Entry URL: http://www.agencyentry.com/wallaceandgromit/
Executive Creative Director: Caitlin Ryan (Proximity)
Art Director: Jo Jenkins (Proximity)
Copywriter: Rob Kavanagh (Proximity)
Art Director: Chris Georgiou (Proximity)
Head of Design: Albert Selezynov (Proximity)
Head of Production: Jana Geary (Proximity)
Account Director: Nick Myers (Proximity)
Account Manager: Nick Adams (Proximity)
Account Executive: Will Harvey (Proximity)
Plannner: Sharon Curr (Proximity)
Web Developer: Jamie Whittle (Proximity)
Web Producer: Jemma Kamara (Aardman)
Creative Director: Dan Efergan (Aardman)
Technical Director: Richard Davey (Aardman)
Media placement: Facebooks Ads - Facebook - 1 Nov 2010
Media placement: Online Display - MSN - 1 Nov 2010
Describe the brief/objective of the direct campaign.
Get a new digital generation interested in stamps by promoting Royal Mail’s special Wallace & Gromit themed Christmas stamps. Without the luxury of a big broadcast budget, our task was to sign up 16,500 for future stamp communications by email or post. We needed an idea that could engage and then spread virally – easier said than done when associating with stamps is usually a fast track to social ostracism…
Describe the creative solution to the brief/objective with reference to the projected response rates and desired outcome.
We teamed up with Aardman Digital creating sharable Wallace & Gromit stamp avatars. Users could put their image on Facebook, or turn it into a real stamp book (perfect for Xmas cards). The social idea was supported by a social site that allowed social sharing to spread word and attract sign-ups. As an added hook we offered visitors a chance to win a real life Wallace & Gromit style clay model of themselves.
Explain why the creative execution was relevant to the product or service.
Our creative execution was unique – user-generated 3D CGI avatars modelled from virtual clay. The avatars looked like they’d stepped right out of the world of Wallace & Gromit. They could be almost infinitely personalised through skin tone, facial features, hair styles etc. This created a greater emotional connection to the campaign and, most importantly, spurred our users to share our campaign socially via Facebook profile photo updates and by creating their very own real ‘Smilers’ stamps. Art direction, copy and the general tone throughout our campaign was in keeping with the well-loved Wallace & Gromit brand.
Describe the results in as much detail as possible with particular reference to the RESPONSE of the target audience including deliverability statistics, response rates, click throughs, sales cost per response, relationships built and overall return on investment.
We made stamps not only social… but somewhat of a phenomenon. Through PR the stamps were a no.7 trending topic on Twitter on day 1. 138,000 people created a character. Social sharing was so prevalent we turned off paid banner ads a month early. 70,000 people signed up for future stamps communications – smashing our target of 16,500 by 420%. In addition to interaction and high engagement we clocked up 3,000 likes on Facebook in just a few weeks. For a brief moment, good old stamps were cool.