Creativity is no longer a soft skill. It is a strategic capability. In a world where markets shift overnight, competitors emerge from nowhere, and AI accelerates everything, the ability to think differently is a key business weapon.

Marketing directors sit at the crossroads of customer insight, brand strategy, commercial growth, and innovation. That makes them uniquely placed to lead creativity across the organisation. Yet many still rely on ad-hoc brainstorming or outdated workshop formats that generate more Post-it notes than real breakthroughs.

This long-form guide reframes creativity as a repeatable, teachable, commercially focused discipline—supported by proven creativity techniques, modern frameworks, and the structured processes outlined in The Marketing Director’s Handbook, Chapter 21, Creativity and Problem Solving.

So, if you want to generate better ideas, solve bigger problems, and lead your organisation’s innovation agenda, this is your playbook.

Why Creativity Is Now a Core Business Weapon

The pace of change has accelerated dramatically. Entire categories can be reshaped in months, not years. The companies that thrive—Netflix, Airbnb, Tesla, Monzo—are those that continually reimagine customer value.

History is littered with businesses who failed to grow, because they failed to see a problem coming or failed to think differently. Today’s cautionary tales include:

• Twitter/X losing advertiser trust
• Meta pivoting to the metaverse too early
• Peloton misreading post-pandemic demand
• WeWork collapsing under flawed assumptions

Creativity techniques help marketing directors anticipate change, reframe challenges, and unlock new growth opportunities.

AI has levelled the playing field

When everyone has access to the same data, dashboards, and automation tools, creativity becomes the differentiator.

Customers expect constant innovation

So brands must continually refresh:

• value propositions
• experiences
• content
• service models

Creativity techniques provide the fuel.

Creativity reduces risk

While counterintuitive, it is true. Structured creativity techniques help teams:

• explore more options
• test assumptions
• uncover blind spots
• pressure-test ideas early

Creativity is not a recipe for chaos or just a personality trait, it is a process of disciplined exploration.

Creativity Skills Can Be Learned—By Anyone

While creativity was once just the domain of “the creatives”, today it is a leadership capability. Creative ideas can be generated by anyone … simply using creativity techniques or tools and creating the right conditions for creativity to flourish.

Creativity techniques are structured thinking tools that help teams generate ideas, uncover insights, and also solve complex business problems. In a world where markets shift weekly and competitors emerge overnight, creativity is no longer a “nice to have”—it provides strategic advantage.

Modern creativity is:

• cross-functional (marketing, R&D/product, sales, ops, finance working together)
• hybrid (in-person + digital collaboration)
• AI-augmented (ChatGPT, Claude, CoPilot, Gemini, etc.)
• customer-collaborative (guided by insights and behavioural information, and to assist in identifying and developing ideas)

And marketing directors are the natural orchestrators.

The Three Core Thinking Modes Behind Creativity Techniques

1. Divergent Thinking: Generating Many Possibilities

Divergent thinking is the engine of idea generation. It asks: “What are all the ways we could solve this?” It as a process where “a problem directly inspires many new solutions.”

When marketing directors can use divergent thinking:

• Generating campaign ideas
• Exploring new customer segments
• Reimagining brand positionings
• Identifying new product or service opportunities
• Brainstorming growth strategies

Modern divergent creativity techniques include:

• SCAMPER (Substitute, Combine, Adapt, Modify, Put to another use, Eliminate, Reverse)
• Crazy 8s
• AI-assisted brainstorming (generate 100 ideas in minutes)
• Random stimulus (images, objects, words)
• What-if scenario generation
• Forced connections

Figure 1: Divergent Creativity Techniques

Divergence is about quantity, not quality. You want volume, variety, and velocity.

2. Linear (Sequential) Thinking: Reframing the Problem

Linear thinking is the art of breaking down a challenge and reassembling it in new ways. Thus it is both analytical, a source of insight and inspiration.

For example, by reframing a problem, or changing the conditions surrounding the problem, makes it easier to solve. In the instance of a challenge “to hydrate skin”, this could be reframed as a challenge to hydrate another part of the body,  whole body or another object . Or to re-express “hydration”, for example, as a exposure or immersion in, a waterfall, dew, rain, snow, sand, wind etc.  Re-expression requires each part of the problem to be delineated and expressed individually. Then for the individual elements to be analysed and recombined in new ways. 

When marketing directors can use linear thinking:

• Diagnosing brand problems
• Breaking down complex problems
• Reframing challenges
• Identifying root causes
• Mapping customer journeys
• Structuring insight development

Modern linear creativity techniques include:

• Jobs to Be Done analysis (JTBD)
• Design Thinking
• Insight laddering
• Customer problem trees
• AI-powered pattern recognition
• Re-expression frameworks

Figure 2: Example Linear (Sequential) Thinking Technique: Reframing

Linear thinking is the bridge between insight and idea.

3. Convergent Thinking: Selecting the Best Ideas

Marketing Directors can reverse convergent thinking to analyse a series of options and determine which is best. This is where creativity becomes commercial.

When marketing directors can use convergent thinking:

• Prioritising ideas
• Evaluating feasibility
• Assessing commercial impact
• Aligning stakeholders
• Building business cases

Modern convergent creativity techniques include:

• Impact vs. Effort/Cost matrices
• RICE scoring (Reach, Impact, Confidence, Effort)
• Feasibility-Desirability-Viability analysis
• AI- assisted idea scoring
• Dot or simple voting

Figure 3: Example Convergent Thinking Technique (Impact vs. Effort/Cost Matrix)

Top Creativity Techniques Every Marketing Director Should Master

• SCAMPER
• Design Thinking
• Jobs to Be Done
• Six Thinking Hats (Edward De Bono)
• TRIZ
• Mind Mapping
• Insight Laddering
• Reverse Brainstorming
• Forced Connections
• Customer Journey Mapping
• Value Proposition Canvas
• AI-assisted ideation and evaluation

Many of these techniques appear in Chapter 21 of The Marketing Director’s Handbook, which provides step-by-step guidance on how to apply them in real business contexts.

How to Run a High-Impact Creativity Workshop

Here is a contemporary, high-impact format used by leading marketing teams:

1. Define the challenge

Be clear, insight-led, customer-centred, seek multiple views

2. Warm-up exercise

To break cognitive patterns, remove from day-to-day e.g. “You are a Martian, so what do you need … “

3. Divergent idea generation

Use 2-3 techniques with different group dynamics (SCAMPER, random stimulus, AI prompts)

4. Cluster and theme ideas

Group by customer need, behaviour, opportunity space or type

5. Convergent evaluation

Use impact vs. effort or cost matrices, feasibility scoring, RICE

6. Build, prototype or storyboard

Develop and visualise the top ideas

7. Assign responsibilities and next steps

Creativity without ownership and execution is theatre!

Marketing Inspiration

Creativity is not magic. It is a method.

Marketing directors who master creativity techniques don’t just generate better ideas—they build more innovative teams, more resilient brands, and more future-proof businesses. Marketing directors should rise to the challenge to lead creativity across the business because:

1. Marketing is a a natural creativity engine

Today, marketing also understands and leads:

• customers
• brand meaning
• communication
• commercial impact

Together with their (your) understanding of different parts of the business and culture, this makes marketers natural leaders of creativity.

2. Creativity is essential for navigating change

From multichannel experience, to product, sustainability and AI, creativity elevates ideas and provides the glue that powers change programmes and also holds transformation together.

3. Creativity is a team sport

No one has a monopoly on good ideas. Talent is everywhere, and everyone has some innate creativity within them, so use it. Modern creativity requires:

• cross-functional collaboration
• hybrid workshops
• customer understanding and co-creation
• AI-human ideation loops

Marketing directors can orchestrate all of this.

Further Reading

1. The Marketing Director’s Handbook, Chapter 21: Creativity and Problem Solving — a comprehensive guide to processes, techniques, and workshop design.
2. Mycoted: 192 Creativity Techniques — a rich directory of tools and methods.
3. IDEO: Design Thinking resources.
4. Clayton Christensen: Competing Against Luck (Jobs to Be Done). 

Product innovation is the lifeblood of many businesses. In fast-moving markets, new products can contribute over 50% of annual sales, though in technology sectors, this figure can be much higher. Yet, despite the critical importance of innovation, many products fail. Why? More importantly, what can you do to ensure success? Here are seven enemies of product innovation—identify and eliminate them to stay ahead.

1. Failure to Identify or Meet a Consumer Need

Research suggests that 75% of product failures occur because they do not address a real consumer need (1). This is particularly common in technology markets, where new features are often introduced without clear evidence of demand.

Even the now-iconic Sony Walkman initially struggled. Consumers asked, “Why do I need a portable tape player when I have one at home?” Only when Sony repositioned the product as a way to enhance mood and lifestyle did it take off.

To succeed, products must:

• Solve a real problem or create a new desire.
• Differentiate from competitors.
• Convert consumer needs into wants through branding and positioning.

2. Cultural Myopia – “We’ve Always Done It This Way”

Success can lead to complacency. Companies that resist change often fall victim to disruption—just ask Borders (overtaken by Amazon) or Kodak (slow to adopt digital photography).

To combat this:

• Encourage independent innovation teams.
• Involve external consultants for fresh perspectives.
• Foster a culture that rewards experimentation and calculated risk-taking.

3. Lack of Creativity in Product Innovation

Creativity fuels innovation, yet many businesses mistakenly believe only a select few can be creative. In reality, creativity is a skill that can be nurtured.

Try these strategies:

• Reframing – Look at challenges from a different angle.
• Breaking industry rules – Challenge conventional wisdom.
• Cross-industry learning – Draw inspiration from other sectors (e.g., how Formula 1 pit stops influenced hospital efficiency).
• Consumer co-creation – Involve customers early to spark new ideas.

4. Lack of Time, Determination, or Due Process

Product innovation is not a one-time event—it’s a process requiring patience and persistence. The famous Post-it Notes took 12 years from discovery to commercial success. Without 3M scientist Spence Silver’s unwavering belief in his “weak glue” and Art Fry’s application idea, the product may never have made it.

Best practices for sustaining innovation:

• Allocate dedicated time for brainstorming and iteration.
• Follow a structured innovation pipeline to test and refine ideas.
• Maintain a portfolio approach, knowing that product innovation is partly a numbers game, and not all ideas will succeed (2).
• Use agile methodologies to prototype, test, and iterate quickly.

5. Lack of Teamwork

While lone inventors often get credit for breakthroughs, most successful innovations are the result of teamwork. Collaboration ensures diverse thinking and strengthens execution.

Examples of teamwork-driven innovation:

• Apple’s iPhone – A result of seamless collaboration across hardware, software, and design teams.
• Pixar’s success – A creative culture where ideas are shaped by collective input.
• Virgin Atlantic’s launch – A result of Richard Branson’s ability to unite aviation experts, customer service leaders, and brand visionaries.

So encourage cross-functional collaboration to improve problem-solving and execution speed.

6. Lack of Brand Understanding or Vision

Great brands don’t just sell products; they create emotional connections. Understanding your brand’s strengths can unlock new opportunities.

Brand extension or innovation successes:

• Caterpillar – Originally known for construction vehicles, it leveraged its rugged identity to extend its brand into footwear, clothing, and toys.
• Sony – In the 1950s, the company set a vision to “change perceptions of Japanese goods worldwide.” Today, Sony is synonymous with innovation and quality.
• Mr. Clean (Flash in the UK, Monsieur Propre in France) – Initially a household cleaner, the brand extended into car washing.

A clear brand vision ensures innovations align with consumer expectations and business goals.

7. Lack of Customer Involvement

Ignoring customer input can be a fatal mistake. While some creative industries fear that consumer research “dumbs down” ideas, the truth is that consumers can enhance innovation when engaged correctly.

Ways to involve customers:

• Crowdsourcing – LEGO allows fans to submit designs, turning top-voted ideas into real products.
• Beta testing – Tech companies like Google and Apple rely on user feedback before launching updates.
• Community-driven innovation – Brands like Starbucks use platforms like “My Starbucks Idea” to gather and implement customer suggestions.

Engaged consumers don’t just provide feedback—they help create the next big thing.

Marketing Inspiration for Product Innovation

To drive successful product innovation, keep these principles in mind:

1. Establish a flexible innovation process – Adapt it based on challenges and market conditions.
2. Generate lots of ideas and let them evolve – Nurture concepts before dismissing them.
3. Consult diverse stakeholders – No single person has a monopoly on great ideas.
4. Use creativity techniques – Encourage lateral thinking to spark new possibilities.
5. Engage customers early – They can contribute to both idea generation and validation.

By slaying these seven enemies of product innovation, you can dramatically increase your chances of success.

For more insights on The Marketing Directors’ approach to creative market research, product innovation and brand strategy, get in touch.

References

(1) Cooper, Robert G. Winning at New Products, 1993
(2) Product Development and Management Association (PDMA), www.pdma.org, 1991. The PDMA found that ten serious ideas or concepts are needed to bring one product to market successfully.

Researching the Halloween market we discovered the market is not as shocking as it might first seem. While the tradition of Halloween originated on this side of the pond, the United States commercialised the event. As a result Halloween is now the third highest revenue producing US event, representing around £4 billion pounds a year.

Halloween market statistics

This equates to a mean household spend of £34 (1). Further, the UK Halloween market was worth a modest £310m (2011), with average UK household spend at just one-third of our US cousins. Yet the UK market has grown at twice the rate of the US since 2005 (1). So what market and product development lessons can we learn in order to grab a slice of the market pie?

Understanding the cultural context and origin of Halloween, different consumers, their needs, drivers and attitudes to Halloween, and the range and nature of Halloween offers and promotions around the world reveals new market and product development opportunities.

What is Halloween?

Halloween is an abbreviation of All Hallows Even, the night before All Hallows Day (All Saints Day). It started out as the Celtic celebration of  Samhain when the Celts believed that the border between this world and the ‘other world’ became thin and allowed spirits (both harmless and harmful) to pass through. All Saints Day was founded by Pope Gregory III (690-784) to remember saints and those that died. It is recognised globally as a time to honour ancestors and departed souls. In addition, wearing costumes and masks originated as a custom to copy or placate evil spirits. Begging for food also dates from the Middle Ages when the poor went door-to-door, seeking food in return for prayers for the dead. So called ‘souling’.

Growing popularity of Halloween

Awareness and interest in Halloween is fueled by popular culture, such as Hollywood movies, The Hollow and Halloween, and cultural crossovers such as Stephanie Meyers’s Twilight – driving interest in the ‘undead’ amongst teen girls and middle-aged mums.

US corporations including McDonald’s, Coca-Cola, Disney and Wal-Mart embrace Halloween as their own. Making it more appealing and accessible to customers. They built Halloween into an event to fill the relatively ‘dead’ period between the Summer and Christmas.  In the UK, Asda Wal-Mart developed the Halloween market and remains market leader with around a 50% market share. Asda’s Halloween event runs for 6 weeks from late September. Much of their merchandise is also ‘own-brand’.

So how can you grab a slice of the growing Halloween market pie?

Understand traditional needs and reveal new needs to inspire ideas

Consumers include both adults and children. Both seek a Halloween emotional experience. Beyond the traditional activities like carving pumpkins or turnips, and apple bobbing, needs include a ‘scary’ experience and to ‘trick or treat’ friends and neighbours. Also to socialise, look cool, be a good host, and of course, entertain. Adults seek gifts to satisfy trick or treaters, items for children’s and their own parties, or a day or night out. Children seek fun ways to spend their pocket-money.

Uncovering, defining and delineating needs, reveals new product opportunities. From confectionery, food and drink, scary stuff to entertainment, games, dressing-up gear and make-up – to go with the pumpkins, skeletons, turnips, and party fare.

Understanding and building on the rituals, such as pumpkin and turnip carving sparks needs for design inspiration, cutters, carving kits, tea lights and other decorative or special effects.

Trick o’treating, prompts needs for mixed bags of sweets. An area increasingly served, for example, by Swizzels Scary Mix, Cadbury Screme Eggs, Haribo and more. Thinking about combining needs, accentuating the emotional experience, stimulating or depriving the senses,  inspires more product ideas. For example, the sense of touch can add intrigue, shock or surprise to the sweet selection process. Using sound, light, colour or special effects adds decorative drama to a room or walk up a garden path.

Emotional and self-image needs such as socialising and looking cool are increasingly important. This is evidenced in, and suggests demand for products for sharing/making together. Also having a laugh, surprising and bonding to more dramatic make-over solutions. Thinking about the broad range of markets where needs could be fulfilled, such as food and drink, games, entertainment, mobile telephony prompts more ideas.

Excite and engage by combining ‘fun’ with terror

Being scared is fun, creating an adrenaline rush is like riding a roller-coaster. Most retail displays incorporate colours and symbols associated with the harvest (orange, pumpkins) or death (black, skeletons, bats). Adding more vibrant colours tones down the scary nature of the offer while providing a cultural signpost inviting people to explore the Halloween aisle. For example, greens, yellows and purples are colours that occur in nature, and cuddly ‘full-of-life’ characters. This year’s Asda theme is ‘Party time’ and ‘trick or treating’. While bats and skeletons abound, the aim is to engage and encourage partying rather than frighten away.

Looking overseas to mainland Europe, parts of Asia and Latin America provides further Halloween market insights and product ideas. Auchan in France takes the ‘fun’ a step further by hosting live entertainment – both to attract traffic as well as enhance the brand.

Halloween Marketing Inspiration

Successful Halloween marketing and product innovation requires clear understanding of the market, cultural and psychological variables. Using market research or alternatively, a few simple thinking tools helps better understand and interpret what consumers think and feel. And thus better reveal new needs and product opportunities.

Utilising Halloween colours, symbols, artefacts and rituals further helps match deep cultural and emotional needs. Thus stimulating demand, and enabling more inelastic pricing.

The insight and ideation tools applied to understand the Halloween market apply any market, occasion or consumer experience. Try them out and you may even shock yourself ;-).

References

(1)   The Marketing Directors’ secondary research and analysis based on various trade sources, the ONS and US Bureau of the Census.

Should writers and illustrators lead tv programme development? Or researchers and marketers who know what sells best in the crazily competitive world of children’s media? According to Simon Cowell, “Research just kills creativity because people lie or they say things they think the person wants to hear, or they over think it”. But is he right? Here’s a summary of the debate at The Children’s Media Conference (1). Moderated by Guy Tomlinson, Managing Director, The Marketing Directors, the session involved John Rice, CEO at Jam Media, Esra Cafer, Vice President Brand Management and Marketing at Chorion Ltd and researcher, Shari Donnenfeld.

Different views on TV programme development

It’s all about serendipity – John Rice, Jam Media

According to John, the ideas behind Jam Media’s successful children’s programmes emerged in different ways. By serendipity – happy accidents!

PICME started out as a multimedia invitation for John’s daughter Rebecca’s two year birthday party. One friend was so enthusiastic about it that he even offered to pay for it.

Roy, the Badly Drawn Boy was created in the opposite way to PICME. The film originated by John’s partner as a parody of his life; as a bitter 28-year-old who couldn’t find work in animation because he was so badly drawn. A CBBC development executive spotted the idea and thought that the fish out of water theme appealing to the CBBC audience. In the tv series the bitter 28-year-old is turned into fun loving everyday boy.

Tilly and Friends evolved from a series of stories by Polly Dunbar. By bringing in a child psychologist the story world expanded from 16 pages to 26 episodes!

Use research to create and support – Shari Donnenfeld, Researcher

Shari argued that research should support the creative process, as the process is complex. There are also lots of fingers in the creative pie, and it is easy for creatives to be removed from a child’s world.

Many creatives think they know kids, yet they are adults, who use razors and drink alcohol. Some are also parents who care for kids. There are however also some creatives who act like kids, but even if they do, they still don’t necessarily know what kids are about.

Children inhabit a different world, a more digital world than their parents. They are exposed to multi-million pound movies, games, e-books and ipads. It is hard to know what’s in their heads at a point in time. The sons and daughters of creatives inhabit an even more different world to ordinary kids. A world where words like 3D and CGI are regularly passed over the dinner table. As a result these children are neither normal nor representative.

Further, unlike live entertainers, tv programme makers are unable to adapt to live audience responses. A clown, for example, can easily change his or her act if he dies on his feet. However, programme makers can’t. So programme makers need to think like the clown and go and talk to children first.

Doing research with kids is like inviting them to the board-room table. They can help create a programme, while not heading the table. However, even though children are a worthy audience, research should facilitate creativity rather than act as a barrier to creativity or simply to ‘green-light’ programme development. Kids are naturally created and enthusiastic – so involve them as partners in the creative process.

Think about building brands – Esra Cafer, Chorion

Esra argued that there is a value in using brand management in the making of tv programmes. Brand marketing is a process to define the target, the programme and product offer. Also to communicate that offer to audiences and forge an enduring relationship. In other words to create brand love!

Chorion starts with characters, settings, worlds and stories already in place. It aims to understand, create, update, and extend brand properties to make sure that audiences love them. Rather than just translate the written word to the screen, research understands and defines the brand, the brand DNA, i.e. what makes it unique and appealing. Rather than dampen creativity, brand thinking reveals new opportunities and maximises relevance.

Make Way for Noddy has a traditional preschool audience of 3 to 5 year olds. So when developing Noddy in Toyland, research verified the audience, who they are and what they want. Findings revealed an audience that was growing-up and moving on to competitive products, such as Moshi Monsters, sooner than thought. This insight focused programme development on 3-4 year olds.

Research also spotted opportunities to extend the brand. It revealed that Noddy is a safe brand, to use in home, and not to show off to friends. This provided the confidence to focus on developing home products such as bedding and pyjamas, rather than lunchboxes or coats.

TV Programme Development Inspiration

Each programme development project is different. Some require more creativity and others more research. What’s right depends on the stage of development and whether more or less is known about the intended audience. Thus use creativity, research and marketing together – they are fine bedfellows!

1. Development is the most important part of the creative process

Get this right to establish a foundation for success. Further, for every show in production, have several in development. As innovation is a numbers game, this allows some to fall by the wayside.

Also create the right conditions for creativity to flourish.  While great ideas occur over a pint of Guinness or through sheer hard work, creativity is not limited to writers nor bottled and poured on. So prefer a more inclusive approach involving different disciplines.

2. Apply simple marketing principles

In other words, enable your audience to fuel creativity and be the main arbiter of choice. You’ll find this liberating!

3. Tailor research to circumstances

First, adapt the research process to reflect property origins, differences, challenges, risks and rewards.

Start by involving marketers and researchers at an early stage (via a short low-cost meeting). This will better represent target audiences’ needs, eliminate biases and also generate more saleable ideas.

Next, conduct informal research with family members and friends by showing programme materials before more substantial laboratory-esque research. And then talk to the trade and licensing people, for example, to understand cultural issues and what works in certain territories.

Finally, design audience research to fuel the creative process rather than evaluate or dampen it! Avoid closed questions such as “don’t you love this green dress?” as this invalidates the results.

4. Create a compelling pitch

Also use research to shape the brand strategy or ‘brand book’ and guide writers, illustrators and animators. Help all know the audience, and their needs. This empowers creatives to make the pilot and develop the series while retaining management control.

Create two scripts, a ‘brand book’ and a pilot to justify brand stand-out and appeal and also woo co-funders. While every tv programme development differs, the end game is the same – to secure funds.

References

(1)  The Childrens Media Conference takes place annually in early July in Sheffield.

It is a downer returning home from your holidays. You know all good things come to an end. You also expect a tedious wait at the airport and a tiring journey home.

So it was with squeals of delight that we discovered the Bubba Gump Shrimp Company at our departure airport. “That’s the company founded by Forrest Gump” shouted the little one. It is a fabulous brand development story.

The Bubba Gump Shrimp Company

The neon sign first caught the eye. It shouts all American and come and look at me.

Bubba Gump Brand Development

So what could a company that originated in shrimp fishing possibly have to offer? Lots more than we imagined. Firstly, merchandise. The little one tried on a snug- fitting t-shirt emblazoned with the company logo. In a trice she became a cool able seaman on Bubba’s boat. Then we found some shrimp plush toys. And lots of sporting goods including football jerseys, water bottles and also table tennis bats. All stuff connected to the Forrest Gump film. And also based on the novel of the same name by Winston Groom. As a result, the miscellany of stuff and colourful displays were irresistible.

Some Forrest Gump Sayings

So we had to discover more. The diner itself was like a shack. Wooden beams held up a corrugated iron roof. In addition, three different ‘rooms’ decorated with US car number plates and signs also outlined simple morals or beliefs:

“When all else fails, try doing what the captain suggested”

“A promise is a promise”

“If the customer wants vanilla, give him vanilla”

The Bubba Gump Brand Experience

To get the waiters’ attention, we waved a “Stop Forrest Stop” sign. And when we were happy, we then displayed the sign “Run Forrest Run”. We ordered “Bubba Gump’s Shrimp Heaven”. The choice was essentially shrimp or shrimp. Either boiled, broiled, fried, baked, sauteed, steamed or barbecued. But hey that’s the difference. The coconut shrimp were divine as were the shrimp balls.

With the family engaged, we enjoyed a happy hour reliving and conversing about the film. As the little one remarked; “this would be a great place to go with a first date.”

Marketing Inspiration

Turn ideas in a winning brand by evolving a compelling brand story, and delivering a great experience

Every great business or brand starts with a great brand strategy or idea. The idea behind the Bubba Gump Shrimp Company are the characters and also the content of the film and novel. From the Forrest Gump story thus emerges a heart-warming and distinctive business and brand proposition.

Use clever brand presentation to reinforce the core brand idea and attract and engage

Experiencing the Bubba Gump Shrimp Company is like peeling back the layers of an onion to reveal the magic of the brand within. Through attention-getting signage, to the fun physical environment and displays, to products and then the people.

Build ‘a must talk-about’ brand experience by including magical moments

Combining lots of little things adds up to a memorable experience – one that you want to tell your friends about. The staff were part of the fun – hence the reason they appear in our photographs!

Prove the business model and then drive rapid global brand development

Founded in 1996, The Bubba Gump Shrimp Co was proven in the US before expanding to Mexico, Asia and now the UK. At the time of writing there are 33 sites with sales per location of c. $5.5m per annum. Merchandise sales add value beyond expectations of a pure-play restaurant. As the company’s website says, the idea was inspired by Paramount Pictures, and turned into a concept by Rusty Pelican Restaurants. This then led to a ‘licensing agreement’ based on the motion picture property.

To create and deliver a compelling and distinctive brand experience, check out our brand strategy services and also  brand masterclasses.

And as Forrest would say, “that’s all I have to say about that.”

All photographs © Guy Tomlinson 2010

Marketing technology requires imagination

So imagine riding a roller coaster.  That’s how viewing The Polar Express on a 3D cinema screen felt as the train sped through gorges and swayed over mountains en route to the North Pole.  And hear the screams and feel the fear as several hundred rats surge over the edge of a stage and towards you in Disney theme park’s showing of Honey, I Shrunk the Audience.

Will 3D TV be a heart-pounding experience like 3D cinema?

3D tv trials have already taken place in the UK, Japan, and Brazil (among others). And you may have your own views….

Marketing technology is difficult. Much fails. So how do you mitigate the risk of failure? It is important to think from the audience pint of view, and consider their needs, and try and fast forward into the future.

Potential barriers and drivers to 3D TV?

1. Wearing nerdy glasses :

Stereoscopy is the most widely accepted method for recording and delivering 3D video. This requires capturing stereo images in the right place to show convincing scene depth. The images are then coded for broadcast and viewing. In the UK, Sky used alternate lines of pixels for transmission. However, at the low-cost end of the spectrum, viewing with polarised glasses provides a work-around. Wearing glasses is a bit of a hassle and a tad nerdy. Viewing ideally requires purpose-built 3D televisions.

2. Access and Cost :

In the UK, Sky initially used their existing HD infrastructure to access some 1.6m+ homes (Oct 2009) with compatible set-top boxes though the compromise remained, to wear glasses. However, creating new 3D compatible tvs obviate the need for glasses. Thus far, several manufacturers have started producing sets with autostereoscopic displays. However, these are higher cost, and high cost is a barrier to demand.

3. Risk of technology redundancy :

The first tv sets require users to wear glasses before autostereoscopic screens become available. Further, 3D blu-ray and 3D tv broadcasts are likely to use different technologies. This means that standardisation or multiple technologies will needed within tv receivers to allow viewing of both blu-ray dvds and tv broadcasts on the same tv. Thus there is a high probability of technology redundancy. While this may not be an issue for early adopters it is a barrier to attract the masses.

4. Safety :

Watching 3D movies risks stomach churn. Audience trials are important to understand potential issues. Beyond this, clear guidance and reassurance is important to allay potential fears.

5. Ease of use :

The more complicated a system is to use, the greater the barrier to view. Therefore, easy-to-use and fool-proof equipment, or easy-to-plug-in add-ons to current equipment, will maximise viewing.

6. Experiential benefits :

So will the quality of the experience outweight the disadvantages? In the UK, the chief broadcast engineer at BSkyB, Chris Johns suggests that 3D could herald a step change in the same way that colour did versus black and white.

However, offering features rather than tangible benefits is a common error in technology marketing. Further, the demise of Betamax and the original BSB digital broadcasting company suggest that ‘quality’ is subjective, and does not necessarily ‘sell’.

The programme and film makers are key to delivering quality too. But what is quality? Watching a newsreader in 3D is unlikely to be as compelling as ducking out-of-the-way when a football  hurtles towards you.

The challenge is also to find which genres and experiences work in 3D, and both draw, and retain audiences. The movie makers already plan a series of 3D films.  Sometimes audiences will wish to ride a roller coaster!

Technology Marketing Inspiration

1. The difficulty and trap with marketing technology is often that technology is often a collection of features trying to meet a need. Thus the most common reason new technology fails is because it fails to meet a need. Most probably because the need simply doesn’t exist.  Thus if the need doesn’t exist, you need to figure how to create a need. So use marketing research to understand audience needs, and anticipate drivers and barriers to buy. Also how to turn the need to a ‘want’. Some audiences no doubt want to ride a roller coaster! But perhaps not every day.

2. There will always be some who fear new technology. So to kick-start demand, first, identify potential early adopters, and focus your marketing on them.

3. Understand drivers and barriers to purchasing and usage. And then communicate the benefits of the new technology while also addressing potential fears. Don’t underestimate the fears, they are often entrenched in past usage behaviour. And then work hard to over-come the barriers and solicit trial. For example, by providing free trial experiences. Use the trial experiences to overcome barriers too : such as affordability, access issues and thus better help potential customers weigh-up the benefits for themselves.

4. Plan for the long-term. The trouble with marketing technology is potential product redundancy, and failure to consider where demand comes from, a competitor or …? So fast forward into the future. Consider how technology might or might not evolve, and consider segments, and develop marketing scenarios, beyond an initial product launch. By imagining the future and planning for the future today will help you grow and lead the market. Also to maximise both short and long-term market share.

There is widespread recognition among children’s tv producers that income from tv programme sales is seldom enough to cover production costs so brand licensing is often centre stage to increase revenue.  However, if you start by thinking about brand innovation the upside is even greater.

Current Brand Licencing Model

The current brand licencing process is typically an auction. A producer makes a show. It’s then sold to broadcasters and aired. Production of a ‘style guide’ follows, with a synopsis of the show, the key characters and design elements. It’s usually an impressive tome, a wonderful work of art. This is then sent to potential licensees with a brief asking them to come up with new product ideas. The product rights are then sold to the highest bidder.

Label Slapping Limits Value

But the current model often leads to little more than putting a label on a product. While there are a few bucks in adding a logo to a pair of pyjamas, pencil-case or rucksack, the benefits seem marginal. Does the label aid brand recognition, stand-out or value? More likely it relegates your brand to a commodity found in cheap and cheerful stores. Thus undermining the brand.

Out-Smart Your Competitors

Therefore thinking from a supply-push product development mindset alone isn’t enough. It’s akin to throwing mud at a wall – and hoping it sticks.

Moreover, markets are increasingly competitive. Media owners compete against retailers, and consumer goods companies. These businesses are amongst the most sophisticated organisations in the world. So, learning from, and out-thinking them, is helpful.

Invest in Consumer ‘Insights’

Consumers choose based on their needs; whether an offer meets their needs, and also by weighing up the benefits of competing offers. They subsequently buy when their ‘needs’ become ‘wants’. The retail trade also buys and stocks-up similarly.  Based on what sets their store apart, and also drives store traffic and meets their customer’s needs.

So invest in audience research to make better product development and brand innovation decisions. In particular, invest in meaningful insights on consumers’ needs and behaviours. Also understand what engages and sets your tv series apart. Look for unusual character and personality quirks.  Do this at the same time as programme production, in order to maximise both programme development and brand innovation opportunities.

Create Stimuli to Push Boundaries

Stimuli (1) brings to life ideas.  Thus better enabling consumers to react to ideas, and challenge and build them. It therefore moves conversations beyond the superficial to the detailed.  In turn, helping to uncover more insights. In addition, insights become more meaningful and better articulate how to differentiate products and services, and also command a premium. All can then be hard-wired into ‘style guides’ and also brand marketing plans in order to deliver the return on investment you need.

Marketing Inspiration

Brand licensing is a valid and powerful means of extending a brand into new markets and growing sales. However there are commercial upsides in thinking beyond slapping your label on a product. So think about what currently sets your brand apart or could in the future, and develop a brand strategy based on these insights.

Extending programmes beyond the tv screen to create brands requires the programme’s unique essence to be truly understood. Do this by seeing through the audience’s eyes. Also by using creative stimuli to explore, and push creative boundaries.

The same thinking process applies to any organisation thinking about how to extend their product or service into new markets. Carpe diem.

References

(1) Stimuli reproduced courtesy BBC Worldwide. These are just a handful of some 70 plus ideas created in order to explore new product and brand innovation opportunities for The Secret Show. Read more about our approach to brand extension and using creative stimuli in research.

National Geographic – A Great Brand Experience?

The greatest brands have high awareness and a clear and distinctive image. Also an ability to evoke a strong rational and emotional bond with audiences, stretch into new markets as well as change with the times. With the opening of its London store, The National Geographic Society delivered a great brand experience.

The National Geographic Society

It all started in 1888 when 33 explorers and scientists gathered to form the National Geographic Society ‘for the increase and diffusion of geographical knowledge’. Over the years, the Society has supported many expeditions and research projects including polar and undersea expeditions, studies of animals, such as Dian Fossey’s study of mountain gorillas. It has also enabled discoveries such as the wreck of the Titanic (Robert Ballard) and the man-like Zinjanthropus in Tanzania (Louis Leakey).

Brand extensions

The first brand extension, National Geographic magazine appeared in 1888. Then with its articles on geography, science, world history and current events, dramatic photographs from around the world, and trademarked yellow border, it became an icon of our times. Also a coffee table essential for the chattering classes.

In June 1985, National Geographic chose a close-up of an ‘Afghan girl’ as the cover photo for an article on the refugee crisis in Afghanistan.

Photographed by Steve McCurry, the girl had sea green eyes striped with blue and yellow. She peered with a mixture of bitterness and courage from within a tattered burgundy scarf. As a result her picture touched the souls of millions.

Emergence of a media brand

In 1964, the brand extended onto television with stories of adventure and science. In turn, it gave fame to marine explorer and ecologist Jacques Cousteau and his adventures on board Calypso. The first TV channel then followed in 1997. Then in 2007, National Geographic created a global media group comprising all of its magazine, book publishing, television, film, music, radio, digital and maps units.

The new National Geographic store

Together with franchise partner, Worldwide Retail Store, National Geographic opened in Regent Street in November 2008. It is (or was*) a fantastic sensory experience.

On walking in you are greeted by a staff member from one of the many nations represented in the store. To the right are magazines and videos, all with the iconic yellow border, neatly displayed in a small pagoda-like structure. Beyond is a café with rustic tables and chairs. It is a great place to chat and enjoy a drink and pastry or pincho created by the fabulous Spanish chef.

An artistic experience

All is interposed with state of the art interactive screens and video walls bringing HD quality pictures from around the world up close and real. After hours, the merchandise then packs away and the room becomes a lecture theatre.

Inside the door are a series of horse sculptures carefully crafted from driftwood. Beyond are rows of hanging prints taken by National Geographic photographers. Also a market-place brimming with hand-crafted furnishings and artefacts from all over the world.

And lots of practical stuff

In the basement you’ll find clothing for the great outdoors as well as the most fashion conscious. Also a cold chamber to test the weather-proofing abilities of the outerwear. This includes a wind turbine, block of ice, thermal imaging camera and visual display to add dramatic effect. The shirts are priced at £119 therefore demonstrating the premium that great brands command.

Finally, on the top floor polished wooden desks adorned with glowing globes signal this is where to book your expedition (or holiday). In the nearby technology department the latest camera and optical equipment is showcased in sturdy steel cases. Dressed in their khaki safari gear, staff are unobtrusive yet close to hand. For example, to advise on what’s best to see the stars or (photographically) shoot beasts in the bush. All that seems missing is a Masai warrior or lion on the loose…… but then again, did I really look everywhere?

Marketing Inspiration

While many great brands evolved by accident, what’s critical is management vision and conviction to push the boundaries. Also rigorous attention to detail to inspire and deliver consistently through all activities. As with all great brand experiences you should see, hear, think and feel the quality, value and difference.

*Sadly the London store closed in 2017, and its demise is our loss. Thus, we presume the high cost of a Regent Street venue, and associated high costs of merchandise, were insufficient to keep the business in the black. And/or alternatively following Disney’s acquisition of 67% of the shares, the place to visit is now the Disney Store. 

Nevertheless, even without a stand-alone London store, National Geographic remains a great brand experience, with clever brand extensions, and underpinned by a clear brand strategy!

Read another example of great scientific brand experiences.

Photo credits: Afghan girl by Steve McCurry, other photos of the National Geographic Store © Guy Tomlinson 2009.