Heritage sports brands may be tempted to rely on their history to appeal to a new generation that wasn’t there to see it. But in the fast-moving digital attention economy, that’s a mistake, says Antonio Gnocchini, chief marketing officer at Diadora.

He joins The Big Impression podcast to explain how the iconic Italian brand is reclaiming its spot in the performance market. By leaning into a challenger brand mindset during the Paris 2024 Olympics — without the price tag of official sponsorship — Gnocchini and his team are shifting the focus from nostalgia to high-performance innovation.

Episode Transcript

Please 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 a heritage sportswear brand carved out its own spotlight at the Paris 2024 Olympics without being an official sponsor. My guest is Antonio Gnocchini, Chief Marketing Officer at Diadora, the iconic Italian brand known for its made in Italy craftsmanship. In the lead of the Paris, Antonio and his team launched a global brand campaign built around Diadora's roster of Italian athletes from Trackstar, Larissa, Yapacino, defensers and speed skaters, all while showcasing innovations like the Atomo Running Shoe. That's the first high mileage running shoe made in Italy in three decades. We're going to break down how Diadora timed its campaign to maximize the Olympic moment, how it differentiates itself from giants like Nike and LVMH, and what this strategy says about building awareness in a crowded high-stakes marketing landscape. So let's get into it.

(01:07):

Antonio, can you tell us about why the Paris Olympics was such an important moment for Diadora as it sought to elevate its brand name again?

Antonio Gnocchini (01:18):

So if you are a multi-category sport brand, Olympics is certainly the big event, the main event, your main catwalk of the main show. And you prepare for it for a long time because you need to be in one of the most competitive environment with the best product, competitive athletes. Everything needs to be perfect. And it's also one of those moments in which you can go deeper with attention, with messages. If you are serious about sport and you want to communicate, sport brand values, what you really stand for, it's not easy, especially today in moments in which the attention is not much, few seconds from everybody. Channels are very fast and flattened messages very easily. The Olympics is a moment in which for a few weeks you have the attention. You have people connected and engaged. You have people who care. And so it's a perfect environment to talk again about what you stand for.

(02:41):

And so going back to the Olympics was a statement to say, we actually are a competitive sport brands, a performance brand, not only lifestyle of it. And so yeah, it was such an important environment for us. Also, these Olympics was maybe one of the first ones that I've seen since I started doing this job when you could see some challengers brands activating and being visible.

(03:15):

In the past, this was really an event only for main sponsors and official sponsors mostly. Now this is a moment of challengers. And if you find the right way and if you had a good connection with your outlets, you could be doing a successful marketing campaigns and actions.

Damian Fowler (03:35):

That's really interesting to hear you say that. And I think, and I'm curious to hear your thoughts on this. Is the kind of media environment that we exist in now, does that make it possible for challenger brands to find a way to reach audiences that they otherwise might not be able to find back when it was the main TV channels and big glossy mags, there are more niches now in many ways.

Antonio Gnocchini (04:00):

There's a very interesting report that Business of Fashion and McKinsey release every year. And the most recent one was a study from McKinsey, which they were showing displaying how the sport market, which was dominated by only few incumbents. And you could see that at Olympics, still today, the most recent one, the usual suspects are dominated most of the sports. But in this past few years, there is a change going on in which incumbents are really under pressure from Challengers brand in the sport industry. They're gaining momentum. Challenges are gaining space, gaining market share, and also visibility. And you can say that maybe this is linked to the explosion of running as a global movement, but it's not only that. Running certainly as contributed, because running is one of those categories that is really extremely democratic. And yeah, sure, track and field main athletes, famous names help, but you can become a successful running brand without having only the most amazing hundred meters runners.

(05:37):

You can be successful by working in other ways. And you see brands starting to become more visible through running in the sport industry.

Damian Fowler (05:47):

What's interesting about Diadora is that it has this very significant legacy as a sports brand. I mean, I think back to my childhood when I used to absolutely love Beyond Borg. And as soon as I saw the name Diadora, I remember Borg. And of course there's other soccer legends like Roberto Baggio or Francesco Totti. But in recent years, it's been a little bit maybe eclipsed by bigger brands that you just mentioned. So you're a challenger brand, but you're also a legacy brand. Could you explain a bit more of the context around the history of the brand?

Antonio Gnocchini (06:24):

If you are passionate about sport, when you land at Diadora and you visit the museum, it is a kid in a candy store. That was my experience at the museum is you could see in real life the objects of desire of your youth. In my bedroom, I had posters of all these heroes and there's a moment, there's a scene in King Richard with Will Smith, in which you hear for a moment in the movie, you hear Venus and Serena Williams coach telling Richard Williams to wait on the Nike offer because the perfect offer for any tennis player at the time was the one Jennifer Capriati was getting from Diadora. When I watched the movie, I was like, whoa. So we wear really the tennis brand and the brand that was in relation with athletes, especially tennis athletes. We were the tennis athletes brand. What happened?

(07:34):

I think that the brand, the company really focused for few decades on product, product marketing, sports marketing contracts, traditional marketing actions. While in the meantime, other brands, other sport brands have become very sophisticated, very innovative in their marketing strategies, films where Nike's main language and they were exciting product of their marketing department. I think the brand here, the Theodo has been focusing on other things and lost the engagement with consumers globally. And then for a few years, as I was saying, the focus had been really on capitalizing on its legacy and becoming more of a lifestyle brand. But in reality, the market can tell you that if you're not serious about sport, you lose your credibility as a lifestyle of sport brand.

Damian Fowler (08:42):

Yeah. So the new campaign or the more recent campaign is about reasserting that sports connection. How else would you define the brand as it is now?

Antonio Gnocchini (08:57):

I think that what we needed to do ... So the first thing that I wanted to do is to prove that the sensation, the feeling that we had was correct. So we run a long and insightful brand health monitor study, and the results of that study was showing that, yes, that we were a legacy brand, people recognized the name, but they couldn't really link it any longer to specific performance product, and they were not buying performance product any longer from the Adora. So we were also associated linked to values like being Italian, but at the same time, it was this idea of romantic Italian, quaint, Italian, traditional. If you want to be successful in sports, you have to talk about innovation, you have to be recognized for your capacity of being a technological advanced company. And so the main effort for us in the beginning was to go back into making sure that our research and development center was up to speed and that the marketing department was capable of telling these type of stories because these stories were in fact very important for our consumer, for our focused consumers, the focus of our target, a younger consumer that wanted to talk about sport, they wanted to be capable also of discovering innovative brand sports.

(10:44):

So even if we were not one of the main incumbents by being authentic in sport, especially in running and in other categories, by being authentic, we could engage with this young consumers who was interested in discovering new brands that have an innovation angle that was really relevant.

Damian Fowler (11:11):

Yeah, that absolutely makes sense. I'm interested to hear you talk a bit more about that audience group that you really wanted to reach and the profile of that group. And presumably there's an element of conquesting going on because you've got to get them from some of the bigger names that we've already talked about.

Antonio Gnocchini (11:29):

Yeah. As I was saying, running has become one of those category, goes beyond just track and field, goes beyond the daily jogger, goes beyond ... It is really something that touches wellness, fashion is playing into running a lot. Everybody is doing running collections today, not just the usual suspects. We wanted to make sure that in this environment in which you had a lot of noise, we could be recognized as authentic, as separate from the noise. So we wanted to talk with a niche and then make sure that that authentic young athlete was putting the mileage out. So it wasn't talking about running, but putting also the miles and the sweat in running. There were those consumers that were scheduling all their weekends around the run, around the race, so the real authentic runner could recognize that we weren't distracted by all this running noise. We were serious.

(12:48):

So our messages were we run a campaign that is called Normalize iMileage that was directed only to that type of consumers that could recognize the acts and the gestures and the typical struggle of that type of runners. Even if that meant alienating for a little bit a wider audience, because we know that with a wider audience, we had less capacity of rich. We didn't have the muscle for them. But we see today that when you are authentic and strong with that type of niche, that niche creates expansion and creates influence, and then you start to resonate also in other markets and with other type of consumers.

Damian Fowler (13:39):

Yeah. Can you talk a little bit more about how you set the stage leading up to Paris to build that buzz that's going to resonate across all these different outlets?

Antonio Gnocchini (13:51):

Yeah. We decided, as you can imagine, getting attention is ex extremely difficult, especially today. The new channels are flattening everything and everything is so few fraction of a seconds between your thumb and in your face, it's very hard to go deeper with messages. And if you want to go deeper, you need to find ways in which you can. And for us, our strategy was, okay, we need to stop their attention, stop their eyes for longer.

Damian Fowler (14:35):

I'm curious now to see, given the kind of media exposure that you started to establish, how did it play out during and after the Olympics, and how did you capitalize on it essentially?

Antonio Gnocchini (14:49):

So we monitor during the main events at the Arsenal, we made sure that all the guests and all the people, all the stakeholders of sport were well-informed and also capable of giving the right message out with the proper information. And then we started collecting and amplify this type of information, then feed them also to our partners in the market, retailers, key accounts. All of this helped us make sure that the product was properly displayed and also was selling out in the right moment in time. And by being nimble and agile and fast, we had a great success on this. The content that we had created, we noticed that they were getting a completion rate of 97, 98%. We never had completion rates so high. So we knew that we had something that was resonating. We only needed to be insisting on it and fasting the reaction by feeding athletes, giving the same content to them, and that's it.

Damian Fowler (16:08):

And you mentioned that 97% completion rate on videos and things like that. That's obviously an important metric. What else did you do to measure brand buzz? And then maybe then how did you connect that to sales?

Antonio Gnocchini (16:21):

Every year we do a brand study, a brand health monitor in order to understand the feeling and how our values are perceived by consumers. If there is any change in what we're doing that is affecting their point of view on the brand. Then we do social monitoring on a daily base, especially when we post and when we have athletes performing our.com and a good connection with key accounts, get us data on results and how what we do resonates on the market. That's pretty much what keep us informed and get us a good understanding of what we're doing.

Damian Fowler (17:05):

How did this push around Paris help define the current market right now? And what does it also tell you about where you should build next?

Antonio Gnocchini (17:15):

It is a confirmation that it is a challenger moment. It is a confirmation that if you establish a conversation with your consumers, you can expand and you can gain market in a market that was completely polarized and dominated by only a few brands. It is also confirmation that if you are authentic, at times, maybe even very vertical in your attack to the market through the category, we don't do every sport. We only are focusing now on few sports, but to do them with authenticity, this is also resonating a lot and you have to be ready for sport moments, which means every sport moment that it's not only Olympics, even minor sport moments, if you're capable of being ready and capitalize on it with your athletes, it's a great tool.

Damian Fowler (18:20):

You talked about using innovation, being on the cutting edge to reach a new generation of fans, but do you also still infuse that with some of the golden age narrative that Diadora has? Yes,

Antonio Gnocchini (18:33):

We do. We balance. We try to balance the messaging in that sense, but I think what I've learned in this past few years here is that this is no longer the sneaker culture generation where you could go and have long session and education and talk about the history of that specific model, and you would have this passionate nerd of Sneakers that would then storytell the whole thing to Hollist friends and everybody were buying into it. Everybody was buying into it. I think every time we preach about our history, every time about we try to give lessons, especially the younger generation, it doesn't seem to be interesting and doesn't like it also. But what we see that they like is what they discover. So we have to be ready with the right information. We have to give them a story that is compelling in term of product, in term of innovation, and then let them discover the history behind it, the art, let's say, the origin of the whole story, and where is this coming from?

(19:54):

So maybe one thing that I'm seeing that it's also a learning is the fact that brands ... I've seen brands just trying to capitalize on the fact that one product story has to be successful because it's linked to this specific moment in time, and you consumers should know about it and should buy about it because of that. It doesn't really resonate to consumer any longer. You need more than that. And so, yeah.

Damian Fowler (20:27):

I love that. I think it's so interesting to hear you say you can't preach to consumers, but you can allow them the opportunity to discover. I think that's such a great insight. I think that goes for any storytelling, to be honest.

Antonio Gnocchini (20:45):

I think you're right, but I think it's specifically more valid now in which I believe that you need to have your story perfect and you need to have the details of your story needs to be really well done. People think that you can simply post in every second and be very fast in making sure that consumers will see fresh things every second, digest it very quickly, and then post new ones. Especially for us, this doesn't prove to be right.

Damian Fowler (21:24):

I had a good guest on this podcast a few editions ago who talked about how brand messaging is in everything, the tactile element of the brand. He used Harley Davidson as an example, it's not just a bike, it's everything you encounter in the showroom, the quality of the materials. And I'm getting that sense when I look at Diadora and the Diadora site that their brand messaging comes through in the product line.

Antonio Gnocchini (21:55):

This is very true and very valid. Again, if you want to be serious in your relationship, in your conversation with that niche audience, it means that every touchpoint, every single touchpoint needs to tell something about that story, otherwise they will immediately perceive that it's not authentic

Damian Fowler (22:21):

Any longer. So let me ask you big picture here. So for marketers listening, what's the lesson here that you can tell? You came from Nike, but now you're at Diadora. So you've seen what the big heavyweight brand has done and can do, but what can a smaller brand learn from your experience, I guess, whether it be about future forward channels like CTV or retail media or programmatic or social? Sorry, let me just ask you ask that more simply. What can a marketer learn from your experience trying to market this, bring this brand back into view? I

Antonio Gnocchini (23:04):

Think the most important thing for us has been to be capable of focusing on doing few things and do them perfectly, or at least as perfect as we could do. You are challenged to be very active and be reactive and also try to capitalize on every single product you have in the line and every sport that is played is an opportunity of doing something. The reality is if you want to start to resonate, you need to establish a valid conversation with your core focused consumers. And to do that, you need focus. And this means also at times being capable of saying no to things that you could be doing or that you get pressure from anybody or everybody in the company to do, and also the pressure from the market many times. Again, let's remember that this was a market in which you were supposed to drop a new product every few weeks, so we don't do that.

(24:23):

And we try to talk about innovation only when we have real innovation to communicate. And then when you do build an authentic story and a strong story with every touchpoint connected in the right way, this to me proved to be successful.

Damian Fowler (24:44):

Going back to Paris, that was obviously a huge high watermark for sport last year. As you look ahead to next year, is there anything that's on your calendar that's one of those moments where brand and moment have that synchronicity?

Antonio Gnocchini (25:01):

Olympics is not something that you prepare the season before. So next Olympics is already something that we are studying, preparing for, sweating about. We have to prepare all our innovations. We have to be ready with the right messaging. We have to find the right athletes, and we have to have a strategy on what type of messages we want to focus on. So LA Olympics is certainly something that we look at and we dream of.

Damian Fowler (25:40):

Let me turn to the last section here and just ask you some quick fire questions, if I may. One of the things I wanted to ask you is, is there a sports marketing trend that you think is overrated?

Antonio Gnocchini (25:51):

Maybe there is something that is a bit underrated, which is the fact that some lesser known sport events and maybe not the main athletes, but the local athletes, they are underrated. You can build excellent engaging campaign through those.

Damian Fowler (26:17):

What matters more in the next five years? Heritage, innovation, or cultural storytelling?

Antonio Gnocchini (26:24):

If I may try to put them in order, I would say cultural storytelling for me, then innovation and then heritage. If you do cultural storytelling well, I think your legacy, your heritage is probably already well told in there, but I think that you, again, it's a moment in time which I will never stop stressing the fact that you need to be capable in storytelling properly.

Damian Fowler (26:57):

Is there anything missing in the ad marketplace today that you perceive?

Antonio Gnocchini (27:01):

Data that goes beyond just the reach of a campaign. And even the reach at times is not really ... And not everything is so perfect and reliable. If you could find a way ... You remember where you were studying marketing and the sentence from Wanamaker, I don't know which half of my money spent is wasted. I go back to that. I've been promised by these new tools and these new digital tools that I will know better, but it seems that to be capable of really reading through the noise and getting valuable data that goes just beyond rich, it's still hard and it's still at times not that reliable. And then the other thing is I see an inflation in the attention economy that makes me think that I need to find new ways and new channels and not only finding great storytelling. The reality is my stories, if I even have a great way of telling, if even when I have a great story, at times I need to change it and distort it in order to be played in these new environments, in new digital channels.

(28:40):

These channels at times distort the values of my brand, and I want that not to happen. So I need to find better ways and better channels.

Damian Fowler (28:55):

And that's it for this edition of The Big Impression. This show is produced by Molten Heart. Our theme is by Love and Caliber and our associate producer is Sydney Cairns. And remember.

Antonio Gnocchini (29:04):

I think the most important thing for us has been to be capable of focusing on doing few things and do them perfectly.

Damian Fowler (29:15):

I'm Damian, and we'll see you next time.

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

As Dish Media’s new head of programmatic partnerships, Kristinnsson is helping turn advanced TV into a single, addressable marketplace. 

Episode Transcript

Please 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 joined by Liam Kristinnsson, head of programmatic partnerships at Dish Media, where he's helping shape how the company connects advertisers with premium audiences across both linear and digital environments.

Damian Fowler (00:23):

Dish has been pushing hard into the programmatic space. From Dish Connected, it's addressable solution across the ecosystem to Advantage, which links programmatic buying with linear inventory in real time. It's all part of a broader move to bring automation and accountability to advanced TV.

Ilyse Liffreing (00:39):

We'll talk with Liam about how Dish is tackling fragmentation, what premium really means in a mixed green world, and where the next phase of programmatic growth is headed.

Damian Fowler (00:51):

So let's get into it.

Liam Kristinnsson (00:57):

Dish Connected has really revolutionized our product in the marketplace. We've been able to convert an additional four million to five million households into tangible CTV devices across real-time bidding systems across the industry. And it's kind of given us a leg up against some of our more linear competition where we now have full autonomy over our inventory and can enable and provide transparency downstream to any client.

Damian Fowler (01:28):

That's amazing. I mean, there was a moment there where there was a sort of either all linear or CTV, but this is something that's kind of connecting those

Liam Kristinnsson (01:38):

Two worlds. I think this is the start of the convergence. I know it probably truly started post-pandemic, I would say, but the reality is now that what is perceived as underutilized impression-based audiences are now becoming tangible and kind of overlapping with their traditional legacy linear purchases. And there's much more value to it because we are not enabling people to find attribution in a more roundabout extrapolated way, but we can provide meaningful real time results to third party attribution vendors or measurement vendors.

Damian Fowler (02:20):

And that brings us to Advantage, which you introduced in May to Power Programmatic and Linear at the same time. Could you tell us a little bit more about that?

Liam Kristinnsson (02:30):

Yeah. So the beauty of Advantage is it really expands upon what we've already built for Programmatic in Disconnected, but it provides solutions across the whole suite of products we have. Our addressable business can tap into real-time kind of innovations, real-time optimizations against audiences, ensure that we are better delivering across the target audience and finding that incremental reach that in the past may have been next to impossible to verify. And now we have all that inventory in one place. It's kind of like a grocery store when I think the industry has become accustomed to going to a bodega. That's very New York with me, I understand. I like that. But sometimes bodegas have eggs, they have a deli, they might have milk, but they might not always have milk and seltzer and all the little things that you want on a day-to-day basis. And the reality is something lacking when it comes to you being able to actually fill your fridge.

(03:35):

Now we have all those components that the customer or the client is looking for.

Damian Fowler (03:40):

Yeah. I like that analogy.

Ilyse Liffreing (03:41):

It's a good one. Yeah, no, I like that. And now Liam, I'm curious about the advertisers you're working with. Is there a new segment of buyers that Programmatic is really opening the door to here? What is basically your sense of that cohort?

Liam Kristinnsson (03:58):

Yeah, I think it really has grown overnight programmatic in general, but I think it allows us to have expanded exposure across all clients that are looking for that more meaningful kind of results. I think we are seeing a lot of success in generating a lot of traction across the CPG world, the direct to consumer world. And I think we're finding a nice overlap from a category perspective of what we traditionally looked at as direct IO or addressable business, but maybe not all those brands or clients in maybe like a pharmaceutical vertical would tap or earmark dollars for commitments early in their planning phase. Now they have the liberty and the luxury to find that right audience and enable dollars downstream where we're just not hunting in that lane and now we can kind of, instead of spreading ourselves thin, the technology can enable us to really kind of tap into all those brands, whether it be the CPG or the pharmaceuticals.

(05:05):

Now on the CPG side, I would double down further. I think because in the linear world, traditionally there's a level of fragmentation when you were to buy linear and you're only getting a percentage of the marketplace. Now the transparency and data that we're passing downstream really changes that, right? Because now these CPG brands are looking to trade off their kind of gross rating points, but kind of understand, all right, am I serving a family that would buy my products? And now we're freeing up the inventory and making it available to those brands that maybe were not always keen on addressable or linear didn't provide enough eyeballs. We're compensating for that with the data we're

Ilyse Liffreing (05:49):

Providing. Do you have an example of a brand you're working with?

Liam Kristinnsson (05:52):

Yeah. So I mean, more specifically, even though that wasn't in some of the categories I called out, there was one or two major financial brands that we've been able to elevate our profile quite significantly with and then partner with them around some of their initiatives on the backend. And I think it kind of shows some of the flexibility that a publisher can now provide brands that I don't think they ever associated with a conglomerate or a media company like ourselves.

Damian Fowler (06:23):

On that point, there is a perception that the space is fragmented and that there's linear here and then there's streaming here. Do you think that that is changing that perception, maybe thanks to some of the work that you're doing?

Liam Kristinnsson (06:36):

I think that's a lot of our goal. I think that we are simplifying the process and enabling a household or a device level, right? And the device level tends to be at the unique user level and we have the ability to kind of triangulate that and make sure that we're providing good and strong data down to our partners. I think that as a marketplace holistically, I think the fragmentation has changed and I think a lot of that's around some consumer behavior that has changed or specifically around the way consumers are watching more free content or there's pockets where they're not required to provide a subscription. And I think that there's still a gap there and we do have some front porch access to our apps, but we are looking on our end to continue to develop and then enable through Advantage how we can kind of provide those, specifically those returning viewers, that clean look to the advertisers on the back end and really kind of leveraging deterministic data and first party signals to really define that audience more cleanly in some ways that competitors of ours maybe can't do.

Ilyse Liffreing (07:53):

Overall, how would you describe your measuring the success of these programmatic partnerships?

Liam Kristinnsson (08:00):

Yeah. So I think that that's a really unique place because that's something that has been our bread and butter. We have our own targeting and attribution team. They've worked very diligently on the direct IO side. I think a lot of the legacy information that they've been able to provide clients and the insights and the ways that we've been able to either cut our inventory or kind of group or the target audiences for these clients have helped demonstrate the programmatic partners the value in not just our audience, which I think is somewhat being underserved because Dish tends to be middle America and maybe they have less apps or maybe they leverage less apps. So they have been underserved. We have a legacy of success around specific verticals and we're able to kind of provide that to these brands. I think the challenge is it's a little bit of a black hole sometimes of how they tie it back to each other.

(08:56):

And I think there needs to be a little bit more assistance on our end. And by us, I mean the royal we across the industry of like providing some of those insights that I kind of alluded to earlier, whether it's, are we targeting and talking about unique users? Are we looking at success at a household level? And there is some innovation that's required there in the industry, but I think what we're doing is really at the forefront of enabling that.

Ilyse Liffreing (09:23):

Are there any particular channels that have surprised you in terms of performance or even advertiser adoption?

Liam Kristinnsson (09:31):

Sure. I mean, I think I imagine everybody talks about the success of sports. Sports has been a real catalyst to the boon of CTV enablement in general, but I think that I'd be remiss not to call out that a lot of our entertainment brands have shined, but not in the ways that traditionally they've been leveraged, right? Even though certain pockets of inventory is not super desirable in the marketplace at times, like news, there are a ton of clients that we've seen a lot of traction there and like pick up incremental success and really drive reach by anonymizing the content that they buy and focusing on the audience.

Damian Fowler (10:20):

That's interesting. Is there still some resistance to the idea of being around current affairs and news?

Liam Kristinnsson (10:26):

Yeah. I think I myself came from the website world years ago and I saw firsthand when a certain brand would be next to a certain type of content. And I understand the urgent need to not expose a valuable legacy luxury brand to something that may or may not be bad, right? Yeah. But the reality is often there is a disconnect from the content being consumed and the pod of commercials that's watched, right? Yeah. And while we often, and I'm sure we ... My mother certainly will watch news for hours and hours upon day, which is maybe not healthy for her lifestyle, but I think what's great about it, specifically when she goes to sit down, she is glued in to the TV. And that's something I think that a lot of people are trying to figure out, are people watching? Are they tuned in? Are they walking away?

(11:30):

And that's the black box of advertising, but I know that people that watch news are glued into the TV and consuming the content between segments. It's kind of like sports, right? Yeah.

Damian Fowler (11:43):

I think that's true. And I think that's true across all channels as far as I know people reading digital news as well, but I don't want to go off on a massive digression about news, but anyway. But it is fantastic. Can we pull back and look at the big picture a little bit? And we were wondering if there were any precedents or points of inspiration inside or outside of media that inform how you think about programmatic partnerships at Dish?

Liam Kristinnsson (12:10):

Sure. I mean, I think that back to what I was saying about evolution, I think often in the media industry, we look at things like baseball teams are run today. Not to use a sports analogy. I know you guys are probably sick of them, but- We love sports analogies here. Nelly said the trade death.

(12:32):

But the reality is these days people want home run hitters. And I think back in the day, that's a little bit of a cyclical history. People always want home run hitters and like big stats, but you win championships with diversity. And I think what partnerships means today is not what it maybe meant 12 or 13 years ago. I think there's a ... We're becoming a world where people, we're all playing Tetris and there's a way to make it all fit together if we cooperate and enable each other. So it's not one size fit all fits all. I think there's a lot of small partnerships and that's good for the competition of the industry and it doesn't take away from the value of these big partnerships. And I think I don't think in my time in TV there's ever been more opportunity there than there is today.

Ilyse Liffreing (13:28):

Something we often write about at the current is the value of like premium content versus maybe like user generated. For instance, what would you say is the importance of premium and I guess what kind of premium content is most popular? I mean, you brought up sports, but are there any others?

Liam Kristinnsson (13:50):

Yeah. I mean, I think premium content, I'm sure many people discuss across the course of ad week or just in the industry and in general, how valuable, unique and what's deemed as traditionally primetime TV is. But the reality is it's even more valuable than that because you are in a lot of ways demanding an eclectic audience to watch your spectrum of content and you can't always guarantee that in other places. There is also, sure there's some oversaturation for specific channels and maybe the product that they air, but the reality is it is not what everybody is consuming these days, right? It's Halloween. Everybody can find a bunch of great horror movies or Halloween's coming up, I should say. Everybody could find a bunch of great horror movies across the board, can't always guarantee what is in that content, how glued in they are versus just kind of like, "Oh, it's in season." I think with premium content, specifically around live TV, there's 365 days a year of people competing against each other from a content perspective, but it demands eyeballs.

(15:07):

And I think we're also starting to see a surprising jump in the youth getting app fatigue, I suppose, that is better enabling that premium content to ensure eyeballs there, but they're paying attention and I cannot stress that enough. In a world of a short attention span, they want to know what's going on and they consume

Damian Fowler (15:28):

It. I would almost say it's short form content fatigue to a certain extent. There's something nice about a long form, a game,

Liam Kristinnsson (15:41):

A

Damian Fowler (15:41):

Football game,

Liam Kristinnsson (15:42):

A soccer game, or a movie. To that point, right? I was probably part of the problem with TV from a consumer point of view. I became like a cinephile which didn't help a company's ability to monetize myself, but the more meshed I get into the industry and the more, I don't know, popular I get, the less time I have to go find a film, right? The more time I have to maybe watch a drama about women in New York and I will watch the rerun that I just saw the week before at eight o'clock in anticipation of what's going to happen at nine o'clock, but really because I want to see the reunion or the interview at 10 o'clock, right? So now I'm consuming the same content twice, but I'm even more engaged in the live TV and there's something afterwards that is actually, maybe taped, but it feels live, right?

(16:37):

Yeah.

Damian Fowler (16:37):

And that's the proposition that Dish is getting into. I'd want to ask you, how's Dish Media building on the momentum that you've already created?

Liam Kristinnsson (16:45):

Yeah, I think right now it's what more can we do and how can we keep providing and enabling inventory for the right providers? I think that the assumption in the marketplace for any new product that comes out is, wow, this is it, it's here. 100% of it's enabled. That's never the case, right? It takes a year to ramp up typically for the average product, sometimes as much as three for us. We've been hitting the gas and I think now we're about to go from fifth to sixth speed and really kind of enable our inventory holistically to the marketplace. So for us, it's a little bit of crawl, walk, run from an enablement perspective and with that comes even greater insights into what are they consuming, what's the audience? How do we help define and clean up that audience downstream and then let others maybe do what they do best.

(17:45):

But we are really in a great position to keep kind of growing that and exposing net new insights about users that I'm not sure everybody's contemplating.

Damian Fowler (17:56):

Yeah, I'm sure.

Ilyse Liffreing (17:57):

Very cool. I have a question here about the economy and as you know, and everybody does, it's on kind of shaky ground, you don't know. How do you see spend evolving in the programmatic space at this time?

Liam Kristinnsson (18:16):

Well, I'm glad you asked that. I think there is marketplace concerns about what is happening on the demand side and a lot of them are valid. A lot of them are maybe being overthought perhaps, but I think there's some rocky roads ahead for specific industries, but it presents a unique opportunity. And I think from a publisher perspective, maintaining the value of inventory and the premium content that they have is absolutely a must because we are going to continue to provide insights and improve products that ultimately will provide better outcomes for backend users. If we kind of enable knee-jerk reactive spend, I think that actually goes against the grain of supply path optimization and increasing outcomes holistically under the guise of potentially lower rates or what have you. But I truly believe that if one category is down, another needs to go up. And I think advertising is like a mutual fund like that where I have lived in Europe in the past and there's a phrase in Scandinavia that like, no matter what happens to our small economy, people will advertise beer because somebody will buy it, right?

(19:46):

And I think that's much more universal than just in a few select small countries. And I think in a lot of ways we saw that in the pandemic, right? Direct to consumer brands, a lot more variety of entertainment companies or hardware products or TVs were able to kind of put their best foot forward and give the consumer options, right? And I think it's some of their responsibility to provide those options. What we, the publishers can do is enable and ensure they're getting the right results for the content and fitting them in the content or audiences that they really can get the best out of them, right?

Damian Fowler (20:28):

Absolutely. Okay. We're going to bring this home now with some quick fire questions, right? And here's the first one. What are you obsessed with figuring out right now?

Liam Kristinnsson (20:38):

Well, this might be a little divisive, but I am obsessed with continuing to improve supply path optimization, but I believe that comes with the slow sunsetting of linear. When I got to Dish, we were still primarily, while our bread and butter was addressable, we were still primarily from a percentage basis, linear, right? Since then, we've completely flipped the script. We are by far and away, mostly impression based. And the reality is I think that we are leveraging too many legacy tools to tell and provide stories on outcomes that are not always as accurate as they should be. We live in a world where transparency is key, maybe not full transparency all the time, but enough transparency where I, the client or brand should be getting a return on our investment or understanding why the audience or the content I was targeting is not working for me.

(21:42):

And I think that's, those are the pockets we need to start exploring and understanding, not so much the, how do I understand foot traffic on a day-to-day basis, but not convert that to sales when I'm extrapolating out 32 families, right? So that's really, really what I think needs to happen. And I think there's a lot of work to be done there and it's not going to happen overnight, but it starts here and starts with an advantage really.

Ilyse Liffreing (22:06):

Wow. And why do you think that the slow death of linear, as you said, has to happen for that?

Liam Kristinnsson (22:15):

I shouldn't say it has to happen. I think there is a time and a place for it, right? I think if I'm going to a bodega and I think I want a soft drink, that's their goal is to make sure that the first thing I think of is whatever the product is, but I think that time and a place is actually creating a lot of noise downstream and creating a lot of challenges for folks on the attribution and measurement side to actually understand and holistically look at their media purchases. And I think it's okay to have gross in terms of volume, ways of looking at how media should be purchased and leveraged, but I believe nine out of 10 clients really, they deserve the insights and the understanding of who is buying their products and how we can figure out how to kind of tie that together and improve into the next year.

(23:10):

That's how their products are going to build, especially with some of this like in certain categories. There's maybe too many brands or too little, right? Better data will inform beyond individual clients, but it'll enable people to start unique businesses that can compete in an area where there's clearly a lot of eager consumers,

(23:35):

Right?

Ilyse Liffreing (23:36):

Very cool. What's one piece of wisdom you'd pass on to other media leaders navigating the shift to programmatic?

Liam Kristinnsson (23:43):

Yeah. So I hate to say the same thing twice, but if I were to give one piece of wisdom is value your inventory that is going to be the future of your business and there are ways that you can improve your product and enable and improve a third party client or vendor's product, but racing to the bottom for what is happening tomorrow will not enable you next year. And it's a real concern in the marketplace, but my concern is actually twofold that it doesn't actually just hurt publishers, but it ends up ultimately hurting the brands and the people buying the inventory because they are going to receive exponentially more noise, right? And I think that as an industry with a lot of noise, we should really think about like how we can kind of isolate it into, and harness it into, into actual meaningful outcomes.

Damian Fowler (24:48):

If you could pick one brand that's really nailing programmatic right now, who would it be?

Liam Kristinnsson (24:53):

Without explicitly calling out a unique brand, but I'll give you two types of folks that are really nailing programmatic. One, I think is second tier auto brands where they are unlocking, and I really think Disconnected plays a great role here. They are unlocking and understanding how they can better access inventory for the right audiences, period. That could be isolating and understanding how I could serve ads from a reach perspective across the city of Des Moines, or it can be somebody looking for blonde-haired men that have two boxer dogs. Secondly, and I think this is part of the paradigm shift across the industry. I think there's quite a number of CPG brands that legacy-wise have really had outstanding success reaching mass eyeballs, whether it's through billboards, radio, traditional linear television. But now again, like they are able to fill a void across the whole ecosystem by getting better, more dynamic insights into the audiences that they're selling to, but also they're actually getting insights, period.

(26:13):

Retail data, you're talking about? Retail data, yes. And I think if I'm a chip brand, sometimes I want people to know my name first. And that's great. There's a need for that, but eventually you have to start focusing on how you can get money back from that. It's not just about getting your name out there, or it could be diversified. Maybe your name is out there, but now other names have come in, right? Now, how do you leverage the dynamic component of programmatic to diversify your creative and your ability to deliver to the same audience? It'll change the way we think and look at maybe traditional frequency capping or traditional exposure, but now the brand through Programmatic can really lead the new age of creative storytelling and how people understand or change the way people think they know products.

Damian Fowler (27:13):

And that's it for this edition of The Big Impression.

Ilyse Liffreing (27:15):

This show is produced by Molten Heart. Our theme is by Love and Caliber, and our associate producer is Sydney Cairns.

Liam Kristinnsson (27:22):

And remember ... We're also starting to see a surprising jump in the youth kind of getting app fatigue, I suppose, that is better enabling that premium content to ensure eyeballs there, but they're paying attention.

Ilyse Liffreing (27:37):

I'm Damian. And I'm

Damian Fowler (27:38):

Ilyse. And we'll see you next time.

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

Editor’s note: This episode of The Big Impression was recorded prior to Jessica Bryndza’s departure from Lyft.

For years, ride-hailing has been optimized for speed, price and efficiency. Jessica Bryndza believes that’s only part of the story. During her tenure as Lyft’s vice president of brand marketing, she focused on reminding people that getting from Point A to Point B can still be personal — shaped by emotion, culture and the everyday moments that happen along the way.

That philosophy is at the heart of Lyft’s new “Check Lyft” campaign, which launched last fall in San Francisco and New York City. The work reframes transportation as something human and choice-driven, not just transactional.  

Bryndza argues that the future of mobility won’t be defined solely by technology, but by how intentional and human the experience feels when you’re actually inside the ride.

“I’ve cried in the back of Lyfts; I’ve laughed with friends,” she says on The Big Impression. “We have this spectrum of emotions.” Rather than treating mobility as a pure utility, Check Lyft taps into those moments — the small trade-offs, the waiting, the savings and the lived reality of getting around a city.”

Bryndza also discusses how Lyft’s founding DNA continues to influence its brand voice, why empathy matters more than ever in the battle for attention and how the campaign comes together across out-of-home, social, in-app and hyperlocal executions, with no “AI slop” in sight.  

“There’s a lot of slop out there,” Bryndza says. “How do we respect our customers enough to not put crappy work in front of them?” 

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

In conversation with The Big Impression, Brian Monahan, SVP of retail media at Albertsons Media Collective, explores how shopper insights, creative storytelling and omnichannel strategies intersect.

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

CMO Kimberly Ito shares how Mitsubishi, a challenger brand, drives big impact through audience insight, digital precision and a redefined spirit of adventure.

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

Discover how Kate Wik, CMO of Las Vegas, drives bold innovation and storytelling to transform the city into a global destination brand.
 

Episode Transcript

Please 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 joined by Kate Wik, chief Marketing Officer at the Las Vegas Convention and Visitors Authority. The team behind the city's newest brand campaign, which launched in September,

Damian Fowler (00:20):

Las Vegas, is known around the world for its energy, its entertainment, and its edge. But this ladies' campaign takes a closer look at what the city means today beyond the casinos and into its growing identity as a cultural and sports destination.

Ilyse Liffreing (00:34):

We'll talk with Kate about the ideas behind the campaign, how Vegas is connecting with new audiences, and what it takes to evolve one of the most recognizable brands in the world. Q,

Damian Fowler (00:45):

Frank Sinatra. It's okay. You have an unusual role in that you represent a city as an iconic one, but could you tell us about the role?

Kate Wik (00:56):

That's exactly right. So I work for the Las Vegas Convention and Visitors Authority. Nobody knows what that is or what that means. So really, I shorthand it and I say I am the CMO of four Las Vegas. Las Vegas is my product, which is very unique. It is a city, it's a destination. It's unbelievably dynamic. And what's so unique and thrilling for a CMO of Las Vegas is that our product is always changing, always evolving. If you think back, we were known as the gaming destination. We've evolved into, we're the number one hospitality destination in the US with more hotel rooms than any other destination. And we are the entertainment capital of the world. You've got the world's best artists coming and performing on stages across destination every single night. And we've worked really hard to evolve ourselves into the sports destination as well through a lot of recent things. So really the exciting thing for me in this role is no one day is ever the same. Our product is constantly iterating and evolving, and that is a marketer's dream come true.

Damian Fowler (02:10):

Just on that point about the evolution of the city and the perception of it, how fast has that happened in the last, say, five, 10 years?

Kate Wik (02:20):

Yeah, absolutely. Incredibly fast. And so today we are known as the sports and entertainment capital of the world, but less than 10 years ago, we did not have any sports teams. Yes, sports has kind of always been in our DNA. We'd host major boxing matches in the eighties, NFR we've had for decades. NBA, we hosted their in-season tournament, NBA Summer League, but really it was through infrastructure development that really led to the explosion of sports today. So what I mean by that is we had T-Mobile Arena, which was a joint venture between MGM resorts and a EG that enabled NHL to come to town with the Vegas Golden Knights in 20 17, 20 18, we purchased the WNBA team, which we renamed the Las Vegas ACEs. And so now we've got A-W-N-B-A team. And then in 2020, of course with Allegiant Stadium, we welcome the Raiders. And so now we've got the Las Vegas Raiders, and we are, so actually in four years, we went from having zero professional sports teams to having three, and we're actively working to bring our fourth to town, which is the major league baseball. We're welcoming the Las Vegas a,

Damian Fowler (03:34):

Not to mention Formula One.

Kate Wik (03:36):

Yes, exactly. And Formula One now an annual event on our calendar. So it's a lot. It's a lot. And it creates new reasons to come to Las Vegas for our visitors. And what we found through research actually, is that the sports traveler, number one, we know sports tourism has just exploded the sports traveler. Through our research, we found that it creates a new reason to come to Las Vegas for those that haven't been here before. It creates a reason to explore the destination, see it, consider it, and then ultimately come. And then most importantly, we find that they spend more money than the average leisure traveler. So it's a really rich new audience for Las Vegas. And F1 has definitely exploded that for us too.

Ilyse Liffreing (04:24):

Do you know by just how much more do they spend?

Kate Wik (04:27):

It's usually anywhere from 500 to 800 more per trip.

Ilyse Liffreing (04:31):

Wow, that's a lot. And the rest on gambling,

Kate Wik (04:36):

Anything

Ilyse Liffreing (04:36):

Extra? It's

Kate Wik (04:37):

Funny. Gambling hasn't been, revenue from gaming hasn't been the primary source of how consumers are spending their budget while they're in town. Hasn't been that for over a decade.

Ilyse Liffreing (04:51):

And

Kate Wik (04:51):

I think it speaks to the diversification of the experience in Las Vegas. And when I say we're the entertainment capital of the world, we absolutely are. People come here to see shows, to see comedians, to experience not just like a touring show, but unbelievable residencies where our property resorts will build these amazing theaters where Lady Gaga performs, Bruno Mars performs, Adele performs, they'll create these residencies, which is unlike nowhere else in the US or world.

Damian Fowler (05:26):

I mean, I've been aware of that. I mean, obviously it goes right back to the Rat Pack, but more recently, like Sting had a residency there. I've been aware, I

Kate Wik (05:34):

Just saw Backstreet Boys at the Spear, which was probably mind blowing, which was mind blowing. That's a whole nother level to the entertainment experience where it's just completely immersive that has changed the game for live music.

Damian Fowler (05:48):

The perception of Vegas has changed or is changing, and maybe that teases up to talk a little bit now about the new brand campaign and why this is the right moment to do it.

Kate Wik (06:00):

Yeah, absolutely. So we just launched a new campaign September of this year, so just a couple of weeks ago really. And the intent behind it is this notion that there are so many different reasons to come to Vegas, but there are also so many different vacation options. What we wanted to do was break through the noise and make sure that people understood that Vegas is the ultimate destination regardless of the experience you're looking for. We have it all, the breadth and depth that exists within our destination iss, it's uncomparable to any other destination. So we needed to get out there and get that message out there in big form. And why now what we found was through a lack of big brand messaging over the summer, we actually took a hit with a lot of negative headlines. And so we needed to get in front of that. And I think one of the big takeaways for marketers out there is that if you're not actively talking about your brand day in and day out, you create room for others to create their own narrative. And so after we launched the campaign, it's been about a month in market, we've seen a lot of that negativity drop because now everybody's covering, oh, here's the new elements, here are the new promotions they're doing, here are the new experiences that you can find. So it's really about driving the narrative that you want for your brand.

Ilyse Liffreing (07:29):

Very cool. And could you tell us a little bit about the campaign itself, maybe the creative, and then what channels are you leaning into?

Kate Wik (07:36):

Yeah, absolutely. In looking at how we were going to develop the work around this new brand campaign, what we wanted first and foremost was to be really authentic about Las Vegas and be very unique to a message that only Las Vegas can deliver. And so we took inspiration from our iconic welcome to Fabulous Las Vegas sign. So it's the sign that exists literally on Las Vegas Boulevard as you drive into town. And that sign, it's 65 years old today, but it is more iconic. And the awareness on that is it puts it as one of the highest elements assets within our portfolio. So you think Las Vegas, you think of Bellagio, you think of Wynn, even Luxor or all these amazing resorts. When we show that sign, the amount of awareness of what that is and where it is and what it's for just exceeds every other asset that we have out there. So we took inspiration from that. We took the neon, the lights, the really, the notion of setting the example of fabulous Las Vegas. That's the experience that our visitors can come to expect when they come to Las Vegas. So it truly has been our brand promise for over 65 years. So that's the inspiration behind the campaign.

Damian Fowler (08:57):

Yeah, I can see that sign now.

Ilyse Liffreing (08:59):

Yes,

Kate Wik (08:59):

That's right.

Ilyse Liffreing (09:00):

Yeah, that's right. Do you have a sense of the audience that you're trying to reach and through, I guess, which channels are you trying to reach them?

Kate Wik (09:10):

Yeah, so we have a really diverse audience set, which is very unique for a marketer, which usually has a single product or they've got a very specific audience for that product. Vegas is really the 21 and older adult playground. And so if you look at just an average audience, it's like a 45-year-old split, 50 50 male, female, et cetera. But what we offer is an unbelievable unbeatable experience at every single price point. So we absolutely cater to that high-end luxury market, that luxury traveler, all the way down to the entry level budget conscious traveler. And so we've got products from a circus circus all the way up to a win Las Vegas. And so for us, our audience is very broad, but generally it's adult travelers, people that have traveled in the past year looking to travel again,

Ilyse Liffreing (10:11):

We just had Marriott on the podcast and we were talking about how more travelers now are singles and single people. And I would think that might be particularly true for Vegas. For some reason, people are coming for a new experience and to get away.

Kate Wik (10:28):

I think that's exactly right. Not necessarily single travelers, but the idea of it's a getaway, it's a new experience. What we find from our visitors is number one, it's really high repeat visitation because every time they come, they're finding something new. So we usually get at least 80% repeat visitation from our visitors and really high satisfaction rate, but it's that mindset of wanting to try something new. For sure. Yeah.

Damian Fowler (10:56):

One thing that just occurs to me as we are talking is how the awareness of Las Vegas has been so kind of embodied in so many movies and TV shows. I was just thinking, I watched the studio recently, the Seth Rogan

Kate Wik (11:09):

Show,

Damian Fowler (11:09):

Which I think that has a combination in Vegas while

Kate Wik (11:12):

I actually haven't seen it yet. So no spoilers on my list.

Damian Fowler (11:16):

I mean, I was thinking about Oceans 11, you can go back and back. I have to see it. But that is all kind of part of the kind of braided cultural iconography as it were of the city, I guess.

Kate Wik (11:27):

Yeah, I think movies represent, you almost have to think of it as a channel for marketing. It represents an amazing opportunity to penetrate culture, reach new audiences that you wouldn't normally get to talk to. And so we have a history of iconic movies. Actually this past summer, you might've seen it, but the F1 movie, that was a partnership that we did with them to make sure that they filmed in Las Vegas and the Las Vegas Grand Prix circuit. That was really important. But again, reaching new audiences, keeping us sort of at the pinnacle and sort of leading culture. Also really awesome to have Brad Pitt lead in that. I'm not going to lie. That was pretty awesome. But a ton of movies. And it's kind of interesting to think of it as almost like a marketing channel, not a traditional

Ilyse Liffreing (12:17):

One, but yes. Yeah, like free marketing too sometimes, because a lot of things are based in Vegas,

Kate Wik (12:22):

Right? On the marketing channel front, I know you had sort of asked about how do we launch the campaign, and it was very much an integrated multi-channel approach. We did everything from brand marketing, product marketing, I call it value, but it's really promotional as well as experiential. So of course, from a brand marketing point of view, TV or movies are wonderful, but there's also tv. And we launched the campaign actually with NFL kickoff, so September 4th. We know that when people tune into tv, they're tuning in really into an NFL game. That's where the most eyeballs are at any single time. So from a marketing point of view, it's great return on your investment there. So we launched with a 62nd ad on September 4th on kickoff, but really it was about making sure that this is not just a TV campaign, but it's a platform that reaches the consumer at every different touch point throughout their travel journey or through their daily life.

(13:27):

And so we maximized the viewership by making sure that, yes, we had a TV spot, but we partnered with the Raiders to actually take over the tunnel walk. And so when players arrive at the stadium, any stadium across the us, it's usually sort of this gray back of house space. And what we did was we installed neon all over the wall as the backdrop. And so it gave our players the sense of pride as they're walking in where they see this huge fabulous Las Vegas neon sign, and then they get a bit of a swagger. And then we partnered with GQ to cover sort of the fit that the players are wearing because that's a whole thing, this sort of new cultural moment where you've got the intersection of professional sports and these athletes in fashion. And so GQ wants to cover that. And so now the backdrop for all of this is the fabulous Las Vegas neon sign that we installed.

(14:22):

And so then CVS and ESPN want to cover it because they're like, oh, what's going on with the Vegas tunnel walk? And so every time Vegas shows up, we want to make sure that we're sort of breaking through the clutter. We're doing something very unique, bold and different, and whatever we do, it's sort of Vegas worthy. So I guess another channel is outdoor. We don't just buy outdoor. We worked with media partners to find these super high impact spectacular units that just command attention. So around the corner, in Times Square, we have this huge 3D board where you've got a 3D view of the iconic welcome to Las Vegas sign that rotates and dice come out, chips come out, an F1 race car comes out, right? It's a showstopper. And when you walk into Times Square, you see people taking pictures of advertising and that blows your mind.

(15:21):

And then on the other side of the country, we've got an actual neon installation on Sunset Boulevard. So we took, quite frankly, one of the ideas behind the campaign is let's take the neon and export it. Let's take our Neon National. And so we've got these big neon relics all across the us and so this one on Sunset Boulevard is spectacular. And then you walk across any of our resorts in Las Vegas and you see our Neon Signs Launch week. We took over all of our, well in our top 10 markets, we took over our digital outdoor boards and we had a roadblock for the whole week of launch. So just doing these big spectacular moments to capture the attention of our viewers. Wow,

Damian Fowler (16:08):

That's a lot that you're doing a tremendous amount, but on the other side of it, how are you kind of measuring and tracking all of these moments that you've created?

Kate Wik (16:18):

Yeah, I think measurement is incredibly important for any brand. We are actually consistently in market every single week with a research tracker, a brand health tracker. We've been doing it for decades. Making sure that we're keeping a finger on the pulse of our consumer is really important to us. So before we launched the campaign, obviously we tested it to see, number one, does it break through? Does it resonate? Does it deliver on the message of escape? Does it make people want to go to Las Vegas? It actually tested stronger than any other campaign that we've tested, and we test all of our campaigns. So that was pretty exciting. And then post-launch, again, we're in the market every single week. We found that we continue to uptick in terms of likability of the campaign, the campaign that makes you want to travel to Las Vegas. Those metrics are really important to us, intent to travel, and so it's continued to climb every single week since we've been in market. That's really strong. I think outside of traditional campaign testing, something that we consistently do is social listening, and so understanding what the current conversation is on social, I had mentioned this summer was a little bit rough. There was a lot of negativity out there for us. What we found was we had peaked in terms of negativity online in, gosh, in August. We launched Campaign in September, and that number has dramatically reduced, which is fantastic. It goes back to this point of you have to constantly be talking and driving your own narrative.

(18:01):

Otherwise if there's a void, others are going to fill it for you. That's was a

Ilyse Liffreing (18:05):

Quick turnaround time too from

Kate Wik (18:07):

In

Ilyse Liffreing (18:07):

August to launching in

Kate Wik (18:08):

September. Absolutely. So a couple weeks. So I would say early August was peak and then Campaign formally launched September 4th, but working with our property partners to seed components of the campaign before, that was a big part of it as well. And then I think a very tactical measurement is we launched actually the first ever destination wide sale, so we called it the Fabulous Five Day Sale. Our campaign is Welcome to Fabulous, so fabulous five day sale. We wanted to make sure that we were putting a spotlight on the value that exists across the destination. And what we found was we drove four times the amount of website volume that we normally do to visit las vegas.com and that we actually were driving more referrals, so people were coming in to see what these deals were, what the sale was, this first ever limited sale, and then the traffic, the referral traffic that we were sending out to the booking engines of each of our property partners. That was 120 times the normal weekly average that we have in terms of, oh my gosh, yeah, referral, wait. So really unbelievable. It was kind of mind blowing for us in terms of the results of that. Nice.

Ilyse Liffreing (19:28):

And what was the reception from businesses in Las Vegas too, because that involved all of them?

Kate Wik (19:34):

Absolutely. Yeah. We don't launch a campaign without the support of our property partners. The reception was fabulous to use a cliche, incredibly fabulous. They leaned into it, you'll see part of the campaign. We created these neon elements and literally handed over this toolkit to our property partners so they can push out on all of their digital signage, on all of their marketing elements, sort of reflections of the campaign work as well and tie into it.

Damian Fowler (20:05):

Great. Just out of curiosity, is the campaign driven from the ground up by businesses or does it come top down as it were, from what your office, what's the kind of interaction?

Kate Wik (20:19):

Yeah. Well, the interaction is we are the DMO, the destination marketing organization for Las Vegas. So what we do is we work closely with our property partners to understand what's the business needs, what are the trends they're seeing. We do research and provide them top level trends, and then we work with them on what do we need the advertising to accomplish, and then we develop the campaigns. We're funded by them. We're actually funded by a room tax, which is paid by our visitors. And so there is complete coordination with our property partners, and we really do all of the upper funnel marketing for them. That's kind of the role we play for them.

Damian Fowler (21:00):

Interesting. Yeah. Yeah. I want to ask you, actually, I guess this is a big picture question. Are there other big cities that kind of have similar outreach or similar marketing campaigns, or are you unique in lots of ways?

Kate Wik (21:15):

I think the big destinations like New York, la, they will have a tourism authority within their destination that we'll do it for them. I think what's unique about Las Vegas is how we're funded. Again, it is through this room tax. And so generally, I'm not out there every day trying to drum up membership funds or anything. Our job is to go market the destination 365 days a year. That is why we exist. And so I think other destinations have something similar, but not quite the structure or the support behind it. And I think what is unique for Las Vegas is tourism is the number one economic driver for southern Nevada, and so we're the engine behind that. We have to make sure we're continuing to fuel that. Tourism represents 55 million or 55 billion, excuse me, in direct economic impact. That's visitors coming, spending fueling the local economy. And so the role we play matters. The advertising that we do matters because it fuels the entire ecosystem and the economic climate for Southern Nevada. Wow.

Damian Fowler (22:33):

Another quick question, follow up question there because you keep making me think of things. You have a lot of international visitors. Do you have a sense of where the majority of them are coming

Kate Wik (22:42):

From? Yeah. Yeah. So international visitors are really important to us. Interesting. Canada's typically is our number one market. We have seen a decrease this year from our Canadian visitors. That's true for the US overall. We love our neighbors to the north and we welcome them back. But Canada is generally number one. Mexico is number two. Mexico is still going strong. They've actually seen growth year over year. UK is our number three market. We love our UK visitors and our partnership with F1 continues to grow that, which is phenomenal. And then interesting, our fourth market is actually Australia, and we don't have a direct flight there today, but it's an easy stopover from la. But the Australians and the Aussies, they love coming to Las Vegas. Great cultural alignment, but in general, we love all of our international visitors, and it's about anywhere from 10 to 15% of our overall visitor mix,

Damian Fowler (23:46):

So Cool.

Ilyse Liffreing (23:47):

Well, so along with just how many changes Las Vegas has seen, how would you, I guess, describe the expectations around hospitality and how that has changed over the years?

Kate Wik (23:59):

Gosh, hospitality, not unlike marketing, it's really fueled by tech innovation. Everything from keyless check-in, you can check in on your phone, you can use your phone as your key. All of these things have been unbelievable accelerants to a great experience, but that's across the board in every city, across the world. Technology has fueled that. I think what's unique for Las Vegas is actually doubling down on the core of who we are. And that's about service, and that's about kind of going back to the brand promise of the campaign where the welcome to fabulous Las Vegas isn't just a sign. It is the brand promise of the experience you're going to have here. And before we launched the campaign, we actually went around to all the CEOs and all the presidents of all our resort property partners to say and to remind them, we're going to launch this campaign, we're going to go back to the roots of Las Vegas. And the roots of that is hospitality, and it's about making every individual feel like somebody special that is so uniquely Las Vegas. You can walk into a circus, circus, an Excalibur, and have this mind blowing unbelievable experience. You could also walk into a Bellagio, an aria, a fountain blue, and have a mind blowing unbelievable experience. It's not based on your economic value or your financial worth. It's based on who you are as a visitor coming. We're going to deliver that unbelievable experience, and that is service related, hospitality related for us.

Ilyse Liffreing (25:39):

Very cool. So what's next then? How are you planning to build on the success?

Kate Wik (25:44):

I think for us, welcome to Fabulous is not just like an A Flash in the Pan ad campaign. What we intended to do was create a marketing platform that will just stand the test of time that will continue to iterate off of it. We have three big announcements, not yet announced, but still coming out later this year that just continue to build on this platform. So it's a platform for us as the DMO, but it's also a platform for our property partners to continue to iterate because it is so unique to us.

Damian Fowler (26:20):

Now we've got some kind of quickfire questions now we've looked at that big

Kate Wik (26:24):

Picture.

Damian Fowler (26:25):

What are you obsessed with figuring out right now?

Kate Wik (26:29):

I am obsessed with figuring out how you hack the social algorithms. And I think what's super interesting is something that can go viral that isn't necessarily representative of the brand or the experience that you have. And so really making sure that for us, it's fueling a ton of content out there to make sure that we're dominating what that narrative is. And that's not just from brand voice, it's influencers or whatever, but that social algorithms I think is really important for

Damian Fowler (27:05):

Brands. Yeah, absolutely. I would love to figure that out too. It seems like a kind of a magic unlock.

Ilyse Liffreing (27:11):

Yes. Right.

Damian Fowler (27:14):

Okay.

Ilyse Liffreing (27:15):

This year you are included on the Forbes list of 50 Fierce Global leaders.

Kate Wik (27:20):

Yes.

Ilyse Liffreing (27:20):

Congratulations. Thank you. What is one piece of wisdom you'd pass on to other marketers?

Kate Wik (27:27):

Oh gosh. Constant learning, constant iteration. Nothing is ever done, right? You put something out in the world, there's always a chance to continue to iterate and learn and get feedback and continue to push it further. Yeah.

Damian Fowler (27:44):

Another is ai, a marketer's friend.

Kate Wik (27:46):

Yeah, absolutely. But actually, let's be careful with that. It's a friend, but it's like a starting point, right? I think using it as information, as research, as sort of an input but not a final output is really important.

Damian Fowler (28:01):

I like that. That distinction is important.

Ilyse Liffreing (28:03):

One last fun one for you, maybe outside of the Brad Pitt movie from the summer. What's your favorite movie set in Las

Kate Wik (28:12):

Vegas? Oh, gosh. I love Oceans 11. I mean, how can you not? I mean, it's still Brad Pitt, but

Damian Fowler (28:20):

Oh, yeah.

Kate Wik (28:20):

But it's an icon. He can be at anything, everything.

Ilyse Liffreing (28:27):

And that's

Damian Fowler (28:27):

It for this edition of The Big Impression.

Ilyse Liffreing (28:29):

This show is produced by Molten Hart. Our theme is by Love and caliber, and our associate producer is Sydney Cairns.

Damian Fowler (28:36):

And remember,

Kate Wik (28:37):

If you're not actively talking about your brand day in and day out, you create room for others to create their own narrative.

Damian Fowler (28:45):

I'm Damian, and I'm Ilyse, and we'll see you next time.

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

Formula 1 Chief Commercial Officer Emily Prazer joins The Big Impression to accelerate the motorsport’s hold on Americans with year-round content and venue in Las Vegas.

Episode Transcript

Please 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 joined by Emily Prazer, president and CEO of the Las Vegas Grand Prix and the Chief Commercial Officer of Formula One. She's helping transform F1 into one of the fastest growing sports brands in the world, leading strategy partnerships and fan engagement across markets from Miami to Melbourne.

Damian Fowler (00:30):

Emily's here to talk about the road to the last Vegas Grand Prix on November the 22nd. Now, in its third year, the Vegas Grand Prix turns the strip into a global stage where sport, entertainment and culture collide under the neon lights.

Ilyse Liffreing (00:46):

I love that. From the 100 day countdown events to new sponsorship models and digital fan experiences, formula One is redefining what a modern sports brand can look like, especially in the U.S. market.

Damian Fowler (01:02):

In past years, the marketing around Las Vegas, the Grand Prix has felt like a crescendo building over several months. What's been your strategy this year as you build, it's the third year, right? As you build towards those?

Emily Prazer (01:14):

Yeah, this third year, so I think the difference this year is we've had two years of a foundation to figure out what works and what doesn't work, but equally we've had our building open all year, so prior, well the first year we're obviously building the building for those that dunno, it's called Grand Prix Plaza. It's the length of three NFL fields, so it's not small. It's designed and built to service the Formula One Paddock Club, which is the most high-end hospitality that we offer in Formula One. Underneath that is where the garages are and where the teams hang out, so it's quite a significant building. When we first moved to Vegas, we purchased the 39 acres of land and have invested around $500 million in this infrastructure and so the difference I think is obviously the first year we were building it, the second year we were getting to grips with owning such a significant property in Las Vegas and then moving into the third year of the event, the building's been open all year and we built something called F1 Drive, which is carting.

(02:10):

We've had a restaurant up there called Fool and Fork, which is Formula One, themed food and beverage as you'd expect. We built an immersive Formula one experience called F1 X and so the marketing's ramped up, but that's because locally we've been able to activate since the day after the race last year all the way through to this year, and obviously how we market is very different depending on what we're trying to do, whether it's selling tickets or whether it's driving foot traffic to the building. It's all the awareness that we need in Las Vegas to continue to grow our fan base.

Damian Fowler (02:41):

The a hundred day countdown, that's important,

Emily Prazer (02:43):

Right? That was a big one. We always go big around a hundred days. We did a strip takeover, we made sure people understood that it was a hundred days ago. We did similar for 50 days, so we use those milestones to make sure, obviously Vegas is somewhat a last minute market. Some Grand Prix go on sale and sell out in 90 minutes. We see the most amount of activity from a hundred days through to November.

Damian Fowler (03:04):

That's very interesting. How do you decide which moments where you target your marketing strategy in that a hundred day buildup?

Emily Prazer (03:12):

Oh, well, we're very fortunate that the racing continues For those, again, that aren't familiar, formula One is a 24 race calendar, which spans globally, so we typically go big around the big races as you'd expect. We've just come out of Singapore where hopefully people have seen that McLaren won the Constructors Championship. We'll go big again around Austin and Mexico. They're both feeder markets to the Las Vegas Grand Prix and we'll just continue to make sure we've got major announcements, whether it be food and beverage merchandise programming all the way through between now and race day.

Ilyse Liffreing (03:42):

Now, can you also talk a little bit about the F1 business summits because you're also launching that during race week? Sure. How intentional is the idea of making Vegas not just a race, but a business and cultural destination?

Emily Prazer (03:56):

Sure. Well, if you look at what Vegas do around other major sports, it's not that we're trying to reinvent the wheel, we're taking learnings from how well the NFL have operated there with the Super Bowl, even around WWE where you see them extend from a one or two day event through to a whole week. We are very fortunate that again, for those that dunno, formula One kicks off on Thursday with free practice, we have qualifying on Friday and then on Saturday is the race. And so we are lucky that we actually have really good opportunity for shoulder programming and so it was a lot of requests coming through from multiple stakeholders saying we'd love to get the ecosystem together and talk about how we've shifted Formula One culturally into something very different. Obviously it's a sport first and foremost, but I think everyone's now seeing the change into more of a lifestyle brand and a proposition around how we're executing with some partners, which I'm sure we'll get to, but I think a lot of it has been around how we kind of talk about that strategy and how we've grown the sport over the last five years.

(04:54):

So it was very intentional, it's had really great uptake and as you'll see as we get closer to the race, we'll start talking about what we're doing kind of Tuesday, Wednesday all the way through.

Damian Fowler (05:04):

It was interesting you brought up the mention of partners and the fact that Formula One now transcends the racetrack and I for one say follow some Formula One drivers on Instagram. How do you play into that whole notion now that Formula One is this lifestyle brand and what does that mean when it comes to partnerships?

Emily Prazer (05:26):

Well, we've been really fortunate that we've, formula One was bought by Liberty Media in 2017 and the handcuffs were taken off per se, where social media was something that didn't really exist in the sport prior to that and the drivers have done a great job and the teams have done a great job of giving us access collectively to the drivers. They're all a lot younger than they have been before, so we've been fortunate enough to help them build their profiles through social, but obviously the pivot came with Drive to Survive. Everyone knows that that was a big leap of faith that Formula One took to be able to give behind the scenes access. It's a complicated sport that had traditionally been kept to a different type of club and we've opened up those floodgates and obviously we're reaping the rewards of that at the moment.

(06:10):

It hasn't been easy, but ultimately when you have the likes of Netflix wanting to display what we do, hopefully everyone's seen the Formula One movie with Brad Pitt, which is now I think the highest grossing sporting movie of all time and Brad Pitt's highest grossing movie of all time. So that again, is a great explainer if you take that concept, the strategy around all of it has to create this always on dynamic, which isn't just about the 24 race weekends, it's about how to have brand extension through partnerships 24 7, 365 days a year that's come to life through our licensing business, which I can get to and also our sponsorship business, that the thought process was we want to sign less B2B organizations more consumer brands, not because we don't appreciate, we are always going to have a B2B element Formula One lives in that space, especially on the technical side of the sport, but as it talks about how we penetrate the fan base, how we acquire new fans and how we talk to fans differently.

(07:06):

One of the big pieces of it was, well, how do we show up in every shopping mall, not just in North America, but globally and using the likes of Lego? You would've seen our recent announcement with Tag Hoya. You now go to these shopping malls and you see these different brands actually activating and taking some learnings from how the US sports do it, where everywhere you go you can buy a t-shirt. I think one of my proudest moments was being at the Super Bowl last year in New Orleans and seeing people in the parade wearing Formula one T-shirts.

(07:32):

I was like, that shows that the strategy is working. In addition to we acknowledge that pricing of Grand Prix is expensive, they're also places you typically have to travel to, and so brand extension through license partners has been really important. We have something called F1 Drive, which we'll be rolling out, which is the carting proposition I mentioned in Vegas we have F1 arcade, which is now opening up and popping up all over North America. We have F1 exhibition, which is a tribute to the history of the sport and we'll keep growing as we want to keep penetrating and explaining to those fans

Ilyse Liffreing (08:07):

Fans. That is really interesting hearing you describe just how different the strategy here is in the US too because F1 is such a global brand. How do you I guess, keep the brand though true to its global roots at the same time as also making it feel like America's race?

Emily Prazer (08:25):

Definitely not trying to make it feel like America's race. I think taking the learnings of how to speak to the audience we've acquired wherever we go, the benefit of being a global sport is we're global, but in each of those destinations we act very local. So when you're there, you very much know that when you're at the British Grand Prix that you're at Silverstone and there's all of the heritage around it, Monza, there's nothing more special in global sport in my opinion, than seeing the ZI on a Sunday run onto the grid with the Ferrari flags and what have you that you can't take that passion and bottle it up and just pop it into a US race. The US market is different, but if you look at how Miami has identified itself, you for sure know where you are. Same with Austin, where it's Texas and everybody is in cowboy boots and you know that you're in Texas and then Vegas takes it to a different level because we partner with our friends at the L-B-C-V-A and other partners in Vegas to bring that kind of extreme entertainment to life. So yeah, wherever you go, you really do know where you are and that's where I think the local element comes into play.

Ilyse Liffreing (09:28):

Has anything changed in the sports rights context in order for Formula One to really be able to create more social and organic marketing tied to the event?

Emily Prazer (09:41):

Yeah, I think it's that we've got the confidence to try different things and have given different types of access. So you'll see obviously that we have lots of short form content. Now we're noticing that this generation of fandom that we're trying to continue to excite wants to look at things slightly differently, whether it be through YouTube or TikTok. I think we're launching our first TikTok store in a couple of weeks, which I never thought we would be in a place to do, but it's a testament to where the sports got to. So I don't think the rights have changed. I think our approach to it has changed where we have the confidence because of the excitement around destinations like Las Vegas to shift our mindset. Like I say, we're not going to do it everywhere. We're going to pick specific places to test it, and Vegas for us for the last three years has served as that test testbed.

(10:28):

You'll see the collaborations alone that we do in the merchandise space we've not been able to replicate prior and we're proud of it. What we're doing there is giving us the confidence to deliver new partnerships across the sport. American Express is a prime example where they came in as a Vegas only partner, did a year of that, a year later became a regional partner, so they activated across the Americas and then a year after that became a global partner. So it's just showing that we can bring in these more consumer led brands, but also how we've shifted our mindset to be able to deliver against it.

Damian Fowler (11:00):

That happened very fast. It's kind of amazing. You touched on this a little bit, but the different audiences in the different markets. What have you learned after the first two years of hosting Grand Prix in the United States about American fans specifically?

Emily Prazer (11:16):

Just that you need to give them variety. They aren't going to come in and behave the same way as a traditional Motorsport fan that has been or has grown up with. The heritage of the British audience is a great example where I mentioned Silverstone goes on sale and sells out. We've had to adjust the product to make sure that we're very much catering to that audience and the programming around it, like we talked about, has been super important. People don't want to come just for one session, but they want the option to come and leave and go to a casino or go to a different show and what have you. So they're looking for all round entertainment, not just coming to watch the Formula One event, which we focus specifically on making sure that we deliver against.

Damian Fowler (11:59):

One thing that's interesting about Vegas as well is that it's a big draw for tourism globally as well and people fly in. So maybe that fan base is also kind of a mix of international and local.

Emily Prazer (12:11):

Yeah, well interestingly, we've seen the majority of our fan base come from Mexico, Canada, and within the United States. I think Vegas obviously is incredibly special that they cater to everyone. I think they have something like 150,000 hotel rooms that spam from five star all the way through, and so one of the things that we had to pivot from in the first year where we expected Vegas to be this really, really high end proposition was actually that we needed to cater for all different types of ticket package and hospitality package. So we've learned those differences. We thought that it would be very, very high end and mostly international. It's actually around 80% domestic, but drive in traffic and fly in traffic from other US markets in. Like I said, Canada and Mexico have been significant buyers of the Grand Prix and Vegas.

Ilyse Liffreing (12:59):

Very cool. I'm very curious what kind of feedback you've gotten so far from those fans, sponsors, broadcasters, anybody watching the sport in Vegas?

Emily Prazer (13:09):

Well, the sponsors love it because it's something different. Like I said, we put a lot of emphasis on the production. What we were all really surprised about was the quality of the racing. I think it has the most overtakes on the Formula one calendar, so that was something we weren't going to know until you can do simulations, but until you see cars going around the track in the first year, we didn't really acknowledge or understand how great the actual racing would be. So I think that was the biggest surprise around feedback and what the broadcasters and general audience have been quite positive about shifting. The mentality and mindset has been something that we're proud of, but it's all stemming from the confidence we've gained through promoting our own event.

Ilyse Liffreing (13:47):

When you look at success, what KPIs are you most interested in? Is it ticket sales or,

Emily Prazer (13:54):

I think it's all around halo effect for the sport ticket sales and revenue is obviously my ultimate goal. I'm the chief commercial officer of Formula One, so I don't think I can sit here and say otherwise, but brand extension and growing the fandom and being engaged, giving another touch point to the US audience when again, I mentioned Liberty bought Formula One in 2017, they were very clear that they had two very strategic objectives. One was growing the sport in the United States, the other was growing the sport in Asia and obviously Asia's taken a little bit longer for obvious reasons with COVID and what have you, but we're starting to see the momentum pick up again there. The US we heavily focused on signing Miami as a starting point as a partnership with the Miami Dolphins, which we're really happy with, proud of as they have shown us how to do it. Seeing how they put their event on before we even put on Vegas meant that we could really take their learnings. But yeah, the expectations are that we continue to grow it, that the production level remains incredibly high and that it's our tempo event in the Formula one calendar.

Damian Fowler (14:55):

Now, you mentioned the Netflix show Drive to Survive, and obviously there's been a lot of media around the importance of that show. Could you talk a little bit about the significance of that show, how it helps or not inspire marketing strategy?

Emily Prazer (15:09):

Yeah, it comes back to this always on point that I mentioned before, which is Formula One needs to be accessible for the next generation of fans to truly understand it and the next generation of fans care about the competitive nature of the racing, but they also want to understand the personalities behind the sport, and I think it gave us the opportunity to open up to be able to show who we all are. The technical terminology, the filming that went into that and the movie to be honest, has given us the opportunity to use that content to be able to explain what DRS means or what is the significance of each Grand Prix, what does it actually mean? So these drivers like the NFL, when a player puts on a helmet, it's hard to understand the emotion, but being able to get to know the drivers and the team behind the drivers, which is also incredibly important, has been really helpful in our marketing strategy.

(16:01):

But what it inspired was how do we talk to the different audience? Like I said before, you can't talk to that audience the same way that you talk to the 75-year-old fan that's been going to Silverstone since its inception. So a lot of it has been about how we change our thoughts around short form content and how we use different platforms. To talk to a different audience in different markets has just meant that we've had to learn how to engage and pivot from just broadcast on a Sunday to every minute of every day coming up with new ideas to talk to the fan base.

Damian Fowler (16:34):

That's pressure for sure. You also mentioned the different channels, and we do talk about a lot about how live sports is now available across many, many different channels and tech platforms are bidding next to traditional broadcasters. I wonder in the mix of things, and especially when it comes to the show and when you broadcast it, how important has that kind of explosion as it were of channels been?

Emily Prazer (17:00):

I mean we have been ahead on the curve on that somewhat for we are different. Formula One owns its own broadcast capability. We have an office or a building in the UK in Big and Hill and Kent for those that have been in London, been to Kent around London and it's incredible. We own and operate again the whole thing. So every camera, every fiber optic cable, everything you see at a Grand Prix is being produced by Formula One. We have remote operations at the track that go back to Big and Hill and we have 180 broadcasters globally. So we've always been slightly different to other mainstream sports in that regard because we produce our own show, which is helpful for us around sponsorship and what have you. But generally speaking, I think obviously the world is changing and we've got to make sure we keep up with it.

Ilyse Liffreing (17:47):

Looking forward, which marketing innovations, there's obviously a lot right now, but ai, contextual, programmatic, what excites you the most? Is there any digital marketing innovations?

Emily Prazer (18:02):

Yeah, I think AI is something that we are excited but cautious. Again, with the sport that's so technologically advanced, you've got to be thoughtful about how we use it. We also don't want to lock ourselves in one direction or the other. So we're doing a lot of work without Formula One has the most unbelievable roster of tech partners. If you think about Salesforce, AWS, Lenovo globin to name a few, they're going to tell us how to use AI to benefit our sport, not just commercially, but on the tech side. So we are very excited about it, not just from a marketing point of view, but from a just general point of view. How does AI benefit the sport? We're taking a massive amount of time to think about just general activations. I know that sounds kind of immature if you think about Formula One, but how do we bring different activity to the track outside of just races? I'm not sure if either of you saw what we did in Miami with Lego, where Lego built 10 full size cars for the drivers to race Lego cars around the track.

Damian Fowler (19:05):

I show my son that. That's

Emily Prazer (19:06):

So cool. If you think about the content that that created around marketing, that was probably the most viral thing we've done in a very, very long time. So our marketing strategy at the moment is about solidifying the brand equity, making sure that we deliver against our partnership objectives and that we continue to grow our social platforms. I'm not going to say that we're not technically as advanced, but the data capabilities is all quite new to Formula One. Loyalty programs are all quite new to us, so for us, I keep coming back to it, but it's really about figuring out how to engage with the audience and have something to sell them. Again, we're a rights holder that doesn't have tons of assets to sell ourselves. We license a lot out, and so really it's about coming up with these creative ideas to be kind of 10 steps ahead of anyone else.

(19:53):

And I think we are in a very unique space. We're very lean, which means we can be very nimble. So when we're making a lot of these decisions, it's me going to Stefano who's the CEO of Formula one saying, how do you feel about us trying something like this? And that's again, where we link the Vegas piece together with the broader marketing strategy to continue to keep everyone engaged rather than it just being like a technical marketing play. Obviously we do that day in, day out, but I think for us it's the confidence we've got now to really push the boundaries and be the first to do a lot of different things, whether it be what we're doing in the broadcast around all of the different types of digital advertising and what have you. I think again, if you watch the races, you'll start to see that we are trying and testing new technologies in that

Ilyse Liffreing (20:37):

Way. And on that note, we talked a little bit before about the timing of the race in Vegas. In

Emily Prazer (20:46):

Vegas. Yeah.

Ilyse Liffreing (20:47):

Because it's a new time for you guys that

Emily Prazer (20:49):

10:00 PM Yeah, we moved it forward from 10:00 PM to 8:00 PM which is great. I think a lot of people were struggling with how that's local time, right? Local time, yeah. When we first went to Vegas, the idea was that the timing would be in line with the boxing match or the show. So it wasn't done for any other reason than 10 o'clock on a Saturday night in Vegas is when typically you start seeing things happen. The difference being is that the distance or time you need to keep between certain amounts of sessions meant that it created gaps. So if there were delays that 10:00 PM could technically be pushed. And so we had our issues in the first year. We learned from those last year operationally delivered really well, but we still felt that it was slightly too late, hence the 8:00 PM start. So everything has shifted forward. We have F1 Academy this year, which we're really excited about, so that will, I think doors now open at 2:30 PM rather than four. So it means everything will be a lot earlier, but it's all for the show.

Damian Fowler (21:48):

And presumably you have a kind of global viewership as well, so that all impacts

Emily Prazer (21:53):

The trends. Yeah, I think it obviously will be beneficial to the east coast market, not so beneficial to the rest of the world, but we still feel good about the viewership numbers and what we're seeing. So

Damian Fowler (22:03):

The true fans will

Emily Prazer (22:05):

Watch you, right? If not next. Exactly. Hands always come through. Exactly.

Damian Fowler (22:08):

Alright, so we've got some kind of quick fire questions here to wrap this up. So first off, what keeps you up at night in the lead up to this?

Emily Prazer (22:16):

Everything in the lead up? The lead up. I'm not sleeping at all my first year as A CEO, I think last year it would've been ticket sales. This year it's probably just security and all round operations. So as my role has expanded on the Vegas race particularly, it's just we are opening and closing the track every three hours. It's not like other street races keep their roads closed for up to seven days. We are having to keep it open and close it regularly. You're in one of the busiest roads in North America, so we don't really have much of a choice and we don't want to impact the locals any further. So I think it's just being responsible for the logistics is scary.

Damian Fowler (22:58):

Wow. I agree. Closing the road down is like mind blowing.

Emily Prazer (23:00):

Yeah, it is genuinely mind blowing. If you go to Vegas now, you can see that things are still are on their way to being built and it's like, oh wow, this is happening.

Ilyse Liffreing (23:10):

That is scary. I'm scary for you. What would you say is missing in the US sports sponsorship marketplace that you would love to see happen?

Emily Prazer (23:19):

Ooh, good question. I haven't thought about the answer to that. That's a hard one. I'm going to have to sit on that one for a minute. Don't worry. Yeah, I mean I can't speak for, I can only really speak for my sport, but I'd love to have the same access to the teams that N-F-L-N-B-A have as the rights holder. We definitely don't get to just sell the team IP as we see fit. We have something in Formula One called the Concord Agreement, which means that we have some restrictions there. But yeah, let me have a think about the broader space. Sorry. I like that answer One hit me.

Damian Fowler (23:52):

That's a good answer there. We can circle back and do it again if you want, but I like that to be honest. Okay. So which other sports or entertainment brands do you think are nailing their brand positioning right now?

Emily Prazer (24:03):

I think the NBA and the NFL, they just do it so unbelievably well and they have fandom here. I've never witnessed in the UK you very much see the fandom around a specific team. Here you see genuine fandom around the NFL. And what I love as a Brit in the US obviously is I still can't believe how each of the TV channels cross-promote each other for other games. So you'll be watching Fox and they'll be like, tune into CBS to watch this game. And you're like, oh wow. They really do do it for the greater good of the league. We would obviously it's different. We don't have multiple games in Formula One, but if I think about it in comparison to the Premier League, you really do follow the team. If I'm a Chelsea fan by the way, but I would watch Chelsea, I wouldn't then flip channels to watch Man United in the us.

(24:57):

I find myself on a Sunday watching three or four games and I'm like, I'm not even your core audience. It has to be something to do with the marketing that it's always there telling me what to do, telling me how to watch it. And I really admire, maybe this is actually the answer to the previous question. I actually admire how good they are at getting in my head because I think about it, I'm like, what games are on a Sunday or what playoffs are happening in the NBA and I go to watch it because it's there. Whereas like I said, premier League, as much as I'm a huge Chelsea fan and grew up with it, you just don't seem to be able to follow it like that.

Damian Fowler (25:35):

Yeah, that's very interesting. Would you say you were an NFL fan before you came to the

Emily Prazer (25:39):

Us? No, not at all. Didn't know the rules and now I'm like hardcore

Damian Fowler (25:42):

Because of the marketing, I guess.

Emily Prazer (25:43):

Wow. Must be. They just got in my head.

Damian Fowler (25:46):

Amazing. Yeah. And that's it for this edition of The Big Impression.

Ilyse Liffreing (25:54):

This show is produced by Molten Hart. Our theme is by love and caliber, and our associate producer is Sydney Cairns.

Damian Fowler (26:01):

And remember,

Emily Prazer (26:02):

We've had to learn how to engage and pivot from just kind of broadcast on a Sunday to every minute of every day coming up with new ideas to talk to the fan base.

Damian Fowler (26:13):

I'm Damian. 

Ilyse Liffreing (26:14):

And I'm Ilyse.

Damian Fowler (26:14):

And we'll see you next time.

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

Discover how Marriott International is transforming travel through personalization, commerce media and its new Media Network. EVP Peggy Roe shares insights on helping guests live a life well-traveled.

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

Ahad Afridi, CMO for the Americas at Pladis, owner of Godiva, shares how the legacy chocolate house’s “hundred-year reboot” is reshaping the brand for a new generation of snackers, particularly millennials and Gen Zers.

Episode Transcript

Please 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 joined by Ahad Afridi Chief Marketing Officer for the Americas at Pladis, the company behind the Godiva brand, those premium chocolates we all live.

Damian Fowler (00:20):

We're diving into Godiva's bold new campaign, featuring Leighton Meester portraying the legendary lady, good diver, a modern spin on an iconic story of courage and individuality.

Ilyse Liffreing (00:31):

We'll talk about how the brand is trying to stand out ahead of the holiday season and how Pladis is evolving its brands for the next generation of snackers.

Ahad Afridi (00:40):

Let's get into it. It's a comprehensive launch. It's a launch of a new product within the Godiva range called Masterpiece, but it's also the start of a brand reset. And so part of this has an eye towards the now of launching this new product that's great, but also towards activities that are going to happen over the next one year. Godiva turns 100 next year, and so what we wanted to accomplish was the first big step in this centennial, what we call re-imagining of the Godiva brand.

Speaker 2 (01:17):

Yeah, that's a legacy brand for sure.

Speaker 3 (01:18):

And happy birthday as well.

Speaker 2 (01:20):

Thank you

Speaker 3 (01:20):

A hundred years. Thank you. Thank you to Godiva. On behalf of Godiva, I'd say thank you.

Speaker 1 (01:26):

Yeah. In that hundred, how would you define what Godiva stands for as a legacy brand over that century?

Speaker 3 (01:34):

Godiva is a premium chocolate brand. It's been called a luxury chocolate brand, but we prefer to call it premium because it makes it more accessible, which we can talk about a little bit more. It's a Belgian heritage brand. Belgian chocolates are different than the normal. 

Speaker 2 (01:51):

That’s good, in my opinion,

Speaker 3 (01:53):

Different than the normal chocolate milk-based chocolate, but it's just great tasting, high quality chocolate that you feel great giving to others as a gift and having for yourself as well.

Speaker 1 (02:08):

So just to ask you about this specific campaign, what made you wanted to bring that legacy as it were up to date? Is that the right way of putting it into today's culture through this campaign?

Speaker 3 (02:18):

Yeah, in a way. Let's say it's a hundred year reboot because turning a hundred, you have to celebrate your heritage, but reposition for the future. So it's about getting contemporary, bringing some of those traditional values and equities of the brand, but modernizing them for today and starting this, what we call re-imagining with totally new offerings coming over the next one to two years. We've started with what we call Masterpiece, and Masterpiece is a small chocolate piece that comes in a bag with multiple pieces in there, and it's great for sharing with others or treating yourself. So this is the first step. We've just launched this now it's in the market. In the next few weeks you'll see a totally reimagined what we call gold box and truffle box, which is high-end premium chocolate in specialty stores and on the giva.com website where we've totally revamped chocolate and got new offerings in that. So that's coming over the holiday period, Valentine's Day, there'll be another new collection coming next fall. Towards the end of the next year, we'll have some more gifting chocolates available that will be broadly available. And that's the start. And then after that, in the year 2027, we've got other exciting things coming in. So it's a sequenced campaign. 

Speaker 2 (03:47):

Good timing for the holiday season, I'm sure.

Speaker 3 (03:50):

Exactly, exactly. Holiday seasons are important for us. Every day is important for us, but the holiday seasons are very important for us. Yes.

Speaker 2 (03:58):

Can you describe a little bit of the campaign itself and what viewers might see and experience as they witness the campaign?

Speaker 3 (04:06):

Yeah, I guess the first thing you'll see is a wonderful cinematic traditional sort of advertising, which has got some drama in it. It's got wonderful aesthetic, but at its heart it's a product centered ad and the product is celebrated in there, the taste of that. So that's let's say the hero piece or the centerpiece. But in addition, what you'll see is a lot of social content in different variations. You'll see different versions in digital tv. You'll see a billboard coming later, so some nice still art coming there. Now what's unique about this is we didn't look at it as just a specific campaign and a point of time. We look at this as a one year program where we're relaunching the brand. So you'll see Layton Meer again in the holiday periods, Valentine's period and throughout next year. Why

Speaker 1 (05:03):

Leighton Meester? I mean, I know Ilyse is a fan.

Speaker 2 (05:06):

Oh yeah. I mean Gossip Girl lover obviously.

Speaker 3 (05:10):

Well, she's a great representation of some of the values of Lady Godiva and Lady Godiv was the, let's say the initial inspiration for the brand. It's obviously called Godiva. So she, lady Godiva played a big role in the identity of the brand. But Leighton Meester is someone that we respect a lot. She's very popular, she's highly likable, she's multifaceted, great actor, musician person who has her own specific identity, and we think that's a great person to partner with in this

Speaker 2 (05:52):

Now premium chocolate, that space is a pretty packed one. How does this campaign really help the brand stand out, especially as we head into those important holiday seasons?

Speaker 3 (06:04):

Yeah, so premium chocolate is a growing segment within overall chocolate. So certainly chocolate's a very broad area, so many different offerings, and premium is a very important segment within that. And there are different offerings within premium. We like to consider Godiva as the high end of the premium segment. And there's something special. It's like in a category full of square shapes and round shapes,

Speaker 4 (06:32):

You've

Speaker 3 (06:33):

Got Godiva coming in with something totally different. And if you see the Masterpiece product, you'll see it's a very unique sort of shape there. So we pride ourselves in being kind of the premium of the premium but being accessible. And it's our goal to provide unique offerings that really tastes great and are cut above the rest of premium, but yet at let's say a fingertip away from desire.

Speaker 1 (07:04):

When you say relaunch, what does that mean? Does it mean like you're trying to reach new audiences, new consumers? How are you thinking about the people you're trying to reach? And I guess that does tie in with getting a celebrity like Leighton Meester.

Speaker 3 (07:21):

Yeah, it's important for us to connect with a broader range of consumers, younger consumers. So we're trying to get millennials and Gen Zs now, which the brand hadn't really targeted before and over a hundred year period you will have a core cohort which will age over time, and we're making a purposeful effort to try and reach a broader audience. Now contemporize the brand and our activities around doing that,

Speaker 2 (07:53):

Does that also have to do with perhaps the decision to call it premium chocolate versus luxury chocolate or what is that thinking?

Speaker 3 (08:02):

Well, the category is divine is premium chocolate, but people say good dive is a luxury brand and sometimes people talk about chocolate as being luxury. I don't think chocolate should be luxury. Chocolate should be accessible as well. And so it's really around that. It's not a conscious big effort saying, Hey, call us premium. Don't call us luxury.

Speaker 3 (08:23):

You can call us what you want, but it's just great tasting chocolate that is accessible. And our key point is luxury is often reserved for special occasions or milestones and that's certainly fine, but could dive a chocolate is also accessible every day. A little bit of happiness and a little smile is an everyday treat that we all have a right to.

Speaker 1 (08:50):

My wife reminds me of that every day. She says, should we have a chocolate? Now she's a millennium. She'll be very happy if I give her a Godiva chocolate. Well, we have them here for you to try. Okay, well we will just pause the podcast.

Speaker 1 (09:07):

We right back anyway. So just to talk about PLAs. So good diver is one of the brands within Pladis and which has a big portfolio of snacking. I just want to talk a bit more about the consumer you're trying to reach. What kind of insights have really shaped how you think about this new strategy?

Speaker 3 (09:30):

Chocolate plays a meaningful role in people's everyday lives. It's not something that's only reserved for special occasions once or twice a year. And so what we see is that people need, if you look at what we call a demand space map of consumers needs and occasions during the day, there are many opportunities in there for us to provide little bits of happiness, little bits of indulgence, a treat for yourself that is accessible and that's important for us. That's an important insight. The second is that chocolate is more than a product, but it may provide an emotional benefit. It might make you feel good, it might help you connect with others. It might be a reboot for the rest of the day, three o'clock, little piece of chocolate it with a coffee or a cup of tea or something like that is fantastic. So we've mapped consumer occasions to see that that's important. So those are really two very important insights for us.

Speaker 2 (10:38):

Curious, now that the campaign is out, I know it's early days, but are there any KPIs that you're really keeping your eye on or your hopes around brand impact that you're going to get from this campaign?

Speaker 3 (10:54):

Yes. Well, we have a broad range of metrics that we look at. You can bucket them around awareness and visibility as one. Engagement. How consumers get involved is to sentiment, what are people saying and how do they feel about it. And then importantly, fourth but not least, is the commercial impact. What kind of sales impact do we have? How's it driving the business? And we're one week into the campaign,

(11:20):

So we don't have any of those metrics now, but we will be tracking them. But what we're very encouraged by is just the initial, let's say feedback, what people are saying, how much people are talking about it and what they're saying about it. And it's very, very positive what we're hearing about this. And even in this first week, we're seeing remarkable engagement. People are even reediting bits of the ad and combining it with Layton Meer in other roles. It's a very scene in one of her previous shows, which she's very famous for where she says, lady Godiva is my only friend. So we're getting recut edits of that with snippets of the new ad. So consumers are sending those back to us.

Speaker 2 (12:09):

Now. You've talked before about how storytelling is very key to building great brands. Has this campaign changed how you think about what really connects with today's consumers?

Speaker 3 (12:22):

I think this campaign will confirm what we think is important in storytelling. And for us, storytelling has got to be something that captures people's attention, draws some interest, so they stick with it and is something that they'll remember later on. And we are trying to find new ways to deliver that and create that impact. But within that, we have to embed elements of the brand and the product experience that's so important in that. And this first centerpiece ad is a wonderful example of that because it's a captivating ad, but at the heart it is a product brand centered ad. So I think that's very important is to combine those things.

Speaker 1 (13:14):

When we look at the sort of bigger shift, and you've sort of addressed this a little bit, but I'm just curious, we are in a moment of time where people are a little bit anxious in some cases about the economy and where things are going. How do you market into that where you're talking about the importance of premium at a time, that might be something where people would think, oh, should I, shouldn't I? How do you think about that?

Speaker 3 (13:42):

Well, the good thing about chocolate is it is something that's important every day or can be important every day. It should be accessible every day. And whether the economy goes up or it goes down, it's something that's there. And available chocolates, you were talking earlier about luxury. God, IVA is not a Hermes bag. You don't have to wait two months, or sorry, two years to get that. It's something there that you can have. And if it provides that little bit of lift, that smile on your face, that moment of connection, that's something that is important for people regardless of economic conditions. And if they're having some moments in life or particular experiences in life where they need a little pick me up even more than it plays an even bigger role. So it's our job to provide the right offerings, make them accessible and be available for them.

Speaker 1 (14:45):

Does it signal anything about how you might approach other Plaice brands? I know they're very different, but just

Speaker 3 (14:52):

Yeah, we have multiple other brands around the world and some are chocolate, some are biscuits, some are cakes. And each brand has to find a way to tap into consumer desire. And our Pladis mission we say, is happiness in every bite. And that's what we're trying to deliver. And each brand has to try and deliver that in its own unique way.

Speaker 2 (15:22):

Now with a heritage brand such as Godiva, how are you still keeping it modern while staying true to its heritage? Because the snack worlds today is changing so fast, we have new wellness trends all the time, digital shopping, et cetera, et cetera.

Speaker 3 (15:39):

Well, it's such an important question because the challenge for every brand is to be relevant today. And what got you there in the heritage is helpful, but it doesn't necessarily deliver against what makes you relevant for today. It just makes people notice or gives you a little bit of credibility or trust. So a big part of this brand, re-imagining it a hundred years is about that. It's about contemporizing the brand, making sure that we stand out in today's world, that we're conveying those benefits that meet the needs of today's consumers, that we are using the right codes to communicate Kate and making it easy for consumers to notice us, to think about us, to remember us to desire us.

Speaker 2 (16:33):

How do you think about the way modern brands are going about marketing? Are there any interesting tidbits or trends that you're noticing?

Speaker 3 (16:43):

Lots of littles. There's a study by work that talks about the aggregate, let's say the cumulative effect of little bits of exposure on your brand actually deliver more than singular big pieces of visibility. And if a brand can try and do that show up in different places, just little bites, little bite size bits of

Speaker 4 (17:10):

Content

Speaker 3 (17:11):

That comes across a lot, that is a great way for connecting and getting consumers to remember you.

Speaker 1 (17:18):

We've got these kind of quick fire questions here at the end. And what's one thing that you're obsessed with figuring out in confectionary marketing right now?

Speaker 3 (17:30):

I'm obsessed with figuring out how to connect with consumers in a meaningful way. And that is evolving. It's very difficult. Consumers are bombarded with so many stimuli that the ability to connect with them in a relevant way is so important.

Speaker 2 (17:49):

Outside of snacks, do you have a brand that you really admire for nailing culture and doing just that?

Speaker 3 (17:58):

Yes, I love what Heinz is doing. They're fantastic. They're a great example of leaning into your heritage, creating distinction versus other brands in a category that seemingly doesn't have a lot of variety. They are very strong at having distinctive brand assets that they tap into all the time. Make it easy for consumers to think about them, remember them, and they're great at tapping into culture. They've got great little mini campaigns under their overall brand platform. It has to be hez that keep the brand very vibrant. I love what they're doing.

Speaker 1 (18:42):

What's the best piece of marketing advice you've ever received and do you still follow it?

Speaker 3 (18:47):

Message delivered does not mean message received. And I think that that applies not just to marketing, it applies to change management leadership. And it's something that I think about a lot, especially now. So if you think about it from a marketing perspective, a brand manager's perspective, it's easy to fall in the trap that if you create something and you put it out there that consumers are going to notice it, love it, and buy your brand. And what we try and tell them is, this is not Iowa Field of dreams. It's not a build it and they will come. You have to really work hard at creating relevance and getting noticed and the odds are stacked against you. So making sure your message or your intent is received, not just delivered is very important.

Speaker 2 (19:42):

Very nice. One more for fun. If money were no object, what's a dream marketing move you'd make?

Speaker 3 (19:52):

So I can give you the traditional answer on top of those lots of littles. It'd be great to have some big mega programs. I would love to have, we're talking about Godiva today. I'd love to have Godiva in the Super Bowl. I'd love to have Lady Godiva show up and present the trophy, the NFL trophy or the US Open Tennis trophy or I'd love that stuff, but I'll go past that. It would be great to have Lady Godiva as a Marvel superhero movie and have her deliver chocolate to save the world. Something's going on and she just comes and gives a little piece of chocolate and everything's okay. And that's it

Speaker 1 (20:36):

For this edition of The Big Impression.

Speaker 2 (20:38):

This show is produced by Molten Hart. Our theme is by love and caliber, and our associate producer is Sydney Cairns,

Speaker 3 (20:45):

And remember lots of littles. There's a study by work that talks about the aggregate, let's say the cumulative effect of little bits of exposure on your brand actually deliver more than singular big pieces of visibility.

Speaker 1 (21:03):

I'm Damian and I'm Ilyse

Speaker 3 (21:05):

And we'll

Speaker 1 (21:05):

See you next time.

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

In late September, The Guardian launched its first major U.S. marketing campaign, featuring the tagline “the whole picture.” It’s a bold statement of intent from the 204-year-old news organization aimed squarely at American audiences, which highlights The Guardian’s brand of free, independent journalism.

In this episode of The Big Impression, our hosts catch up with Sara Badler, chief advertising officer in North America for The Guardian U.S., to explore the vision behind the campaign, as well as some early takeaways since launch.

Episode Transcript

Please 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 joined by Sara Badler, the chief advertising Officer of The Guardian U.S. She's leading the charge behind the Guardian's first major US brand campaign called The Whole Picture, a bold effort to reintroduce one of the world's most trusted news organizations to American audiences.

Damian Fowler (00:29):

It's an ambitious moment for The Guardian with plans to expand coverage in New York and DC launch new US podcasts and connect with readers in fresh ways. The campaign is signaling a big step forward for the brand and for quality journalism in the digital age.

Ilyse Liffreing (00:44):

From that striking yellow billboard in Midtown Manhattan to new approaches in digital marketing and audience engagement, the Guardian is proving that serious journalism can still make a splash and drive real impact.

Damian Fowler (00:58):

Let's get into it.

Sara Badler (01:01):

The whole picture is really, it's The Guardian saying, which I think now is more important time than ever, is this idea that we are completely global perspective, we are independent and we have no paywall. Everyone can read us and we are focused and dedicated to journalism. And the whole picture really shows dedicated in every sort of way of telling the facts whether that is culturally, artistically with the World Cup coming upon us. And obviously The Guardian is a massive, one of the biggest soccer ducks in the world, if not the biggest, and really showing up in different ways the whole picture. And so I'm probably talking too much about this, but you see us on the subway, we did a live activation last week in the Meatpacking District and it's just really showing who we are and what we represent.

Damian Fowler (01:59):

Yeah, it is interesting. It's one of those things like the 1111 thing when you think about it and you notice it. Once I saw the campaign launch, then I saw it on the New York subway and it was everywhere. But I'd read that the editor of the Guardian, Catherine ER had said that this is the perfect time to reintroduce the Guardian to US audiences. And I know it's had great traction in the country for a while. Why is that? Why do you think it is the perfect time, especially in New York and metropolitan cities, why is it the right time?

Sara Badler (02:34):

I think now more than ever, we really want alternative news sources. And I say that mean the Guardian's been around for 200 years. We are not new by any means, but we are new-ish and more of a teenager here in the US and we have tons of obviously news outlets and a lot of them are owned and operated by billionaires. And there's all different things that are happening to them. There's consolidation, there's putting up more paywalls. And I think now more than ever, having something free and a truly global perspective is unique and something that we have.

Ilyse Liffreing (03:11):

And the campaign itself has such a striking centerpiece, the creative looking at it, it's bright yellow, there's words that are hidden. I'm curious if you can describe a little bit about that creative choice developed with Lucky Generals and can you walk us through basically the idea behind that concept?

Sara Badler (03:32):

It was not easy. I would say that it took our marketing and cross organizational functions a long time to come up with this with Lucky Generals to credit to them. They've been amazing and they've worked with us in the UK and now in the US and we also work with PhD as an agency, which also has been amazing. And it just took time of evolving of what our real story is and what we want people to get out of it. And I think the global perspective, free independent journalism that's factual with integrity and talking about culture in these key moments is really what we wanted people to understand. And here,

Ilyse Liffreing (04:14):

Yeah, looking at the media strategy a little bit, what was the plan for go to market and for reaching those target audiences?

Sara Badler (04:24):

And I think this is with every marketing campaign. I was actually on talking yesterday on a panel and saying there's no more, my marketing campaign is like a media plan. You've got a podcast, you've got activations, you've got events. So I think one thing to really think about or that we've thought about is how do we consistently beat a drum? And people recognize it throughout, not just one moment, but multiple moments throughout their day, whether it's on the subway through the activation and events. So that's something that we really focused on and I think we're doing that and we're continuing to do that, which I'm very excited about. We've done a few things. We did a fashion collaboration with Lingua Franca with the sweaters that we're really excited in the West Village going there after this and we're having a party tomorrow evening there. And then other things like we are going to be kicking off a residency at the net, which is super exciting with our editors. And so I think keeping the drum beat and showing up at these places is part of what we want to show. We truly are the whole picture.

Damian Fowler (05:27):

Before we get to the sort of channels you use, I just wanted to ask you about that event planning around media campaigns. Why is that an important part and piece of a marketing strategy these days? The idea of the building community around events?

Sara Badler (05:44):

Well, I think there's a couple things to that. I think obviously we're still coming out of COVID in the sense that people want to go out, people want events. I also think the cultural moments are just so important and especially for brands like ourselves who, for example, the soccer World Cup coming, which is every four years. This is a huge moment for us. And so I think planning around that and the sense of community I think is important in everything we do. Even here at Advertising Week, there's a sense of community. We live and breathe kind of the same sort of things in day in and day out. Exactly. So I feel like that's kind of something that we're trying to build and I think that if you feel a part of it, it's just so much stronger.

Ilyse Liffreing (06:32):

Speaking of the World Cup, can you say anything more about your plans there?

Sara Badler (06:37):

Yes. I mean, as I mentioned, we're one of the largest global soccer desks. We have a football weekly podcast that has been in the UK forever. I actually went to their event a few weeks ago in London and it was truly, when you talk about those cultural moments, it was one of those things that I've kind of heard about it. My husband's British and a huge football fan and listens to the podcast, but I never really understood the true fans was the strike on the tubes were happening of course while I was there. Just lucky, always, always. And then of course it's pouring down rain on and off when you think it's going to be beautiful and there's still fans from all over the world coming and it's not just for one team, it's for every team and for every. And so it's just like that is kind of the cultural moment. And so seeing that we're going to be launching that here in North America, which is super exciting.

Damian Fowler (07:35):

It's interesting. In the UK there's a very distinct sense of who reads the Guardian. I'm a guardian reader, I admit. And actually it was a Guardian contributor as well for a few years. But in the US do you have a strong sense of the Guardian readership? Is that galvanizing? Is that kind of coming together?

Sara Badler (07:54):

Yeah, I mean I think to your point of what was your media plan, and I am sure we had a podcast on with Vox that we did there and I think that we're still trying to figure it out, I would say because we don't have a paywall. We really think, and I truly do believe that everyone can be as a guardian audience at one point. We do tend to have different skews of older people that have identified in the past with The Guardian, things like that. But we're also starting to create, I think a buzz in younger generations and being out here and being on the subways and having these activations and the World Cup and other things happening. We're launching other podcasts and newsletters and things like that. We're really starting to grow audience across the board.

Ilyse Liffreing (08:45):

Are there any other channels that you're experimenting with?

Sara Badler (08:49):

Everything? We are launching video, podcast newsletters. I'm just thinking events like I mentioned the NED residency, which will kick off October 14th I want to say. So we're kind of trying to do everything. I think that's another thing as we evolve as publishers is that's just something that's kind of happening and we're really excited to be doing it.

Damian Fowler (09:15):

And I guess maybe touching on the programmatic strategy on the side of things, how has that grown as it were since you've taken this role?

Sara Badler (09:27):

Definitely. I am sure it was in the press. We were in the press with the trade desk as we launched the trade desk, which was kind of ironic obviously because I think we were, when I was at DOD Dash Meredith, we were the first publisher there and then coming to the Guardian able just do it again, but is we have really looked at our programmatic strategy and we actually kind of reorganized. And so the global programmatic strategy is actually coming out of the us which is very unique for The Guardian, which obviously everything is headquarters in the uk. And I think it really actually ties to our brand campaign of the whole picture and this global perspective is that we're really becoming one global unit. And I don't think it was like that before. I think it's been siphoned in different ways and I think now this is kind of the time. And so tying that back to the programmatic strategy is we're doing that as well. So we have one global programmatic team and strategy that we're super excited about and very good talent and we're just really excited to lean in as much as we can.

Ilyse Liffreing (10:33):

Okay, cool. So I know the campaign is so new

Sara Badler (10:36):

Still,

Ilyse Liffreing (10:36):

But what kind of reaction have you seen so far?

Sara Badler (10:40):

It's really been positive. Not that I was expecting any negative, but it's just been a lot more vibrant than I even thought it would be to your point, like the neon yellow and just seeing the signs and on the subway and just constantly seeing them. We also had billboards in different places and even the meat packing district, the activation we did there, which thank God it didn't rain, but you could take off different of the wording and we had different social media people that were activating on it. It was just cool to see. And it's also cool to see the street traffic that it gets. Also, one other funny thing is we did not funny, but we did the Lingua Franco, we did the storefronts with the Guardian gear in it. And I took my daughters last week and I was so excited and one of the sweaters was sold out and the salesperson was like, I was like, who was it? I was naming colleagues. I was like, was it Jane? Was it? And they're like, no, someone came in and bought it. And I was like, yes. So I think those are the kinds of things also that have just made it really fun.

Damian Fowler (11:50):

From your perspective as a marketing chief, are there sort of KPIs that matter most for a campaign like this? Obviously sales brand lift, engagement, how do you look at it? And I know again, to Eli's point, it's kind of early days to say for this specific campaign, but in general, what are the KPIs that you kind of track on your dashboard?

Sara Badler (12:14):

We were just talking about this, we were like, how do you quantify? And obviously my background and life of programmatic, I'm like, give me some data.

(12:25):

And I think that it's hard for us. It's hard for us to say exactly what it looks like because I would say when you quantify it from how many RFPs are we getting or is our revenue growing or how we're seeing that, but it's really actually now having meetings with proactive ideas of things that we offer that we couldn't offer before. So I think tracking our global footprint and working with clients in a way that's way more collaborative rather than, oh, you're getting this RFP and it's like a circle of something that you're checking a box, giving it to us. You saw this, I think from a consumer perspective, just having presence in all of these places and we know we're growing our audiences and we can see that. We do look at the data and research all the time on this, and actually every Thursday we're figuring out what happened this week that shows that we're still progressing. And I think the other thing that we have to remember about marketing that's been different is it can't just be a one and done thing. You have to talk about this, it launched last week, now it's ad week. What are we doing? What are we doing next week? And then what are we doing in seven weeks that's going to keep this going.

Ilyse Liffreing (13:40):

On that note, how are you tying your normal content strategy to marketing strategy?

Sara Badler (13:47):

Is there a tie in? We collaborate all the time on things. I mean, even with the sweater collaboration, we have our voices and our editors wearing these sweaters and they truly are the voices. I'm just in the background trying to make sure brands are aware and audiences grow from it, but they're the voices of The Guardian and they are, I mean, they lead with integrity and independence and we have to look at that. So that's also very important and why it's so exciting for us.

Damian Fowler (14:22):

Now, I know the Guardian has a unique kind of monetization, it has a trust, but I wondered if you could sort of break down a little bit the Guardian stands, the GUARDIANIST stands. That's a complicated thing to say on monetization between the subscription and the ad supported and everything in between. Do you think about that and how do you approach that

Sara Badler (14:45):

Every day?

(14:47):

I think about it every day. It is, it's very unique. I would say we are so lucky to be owned by the Scott Trust because we look at things and we do things like this to the whole picture that are very thought out, methodical, programmatic, they make sense. We're able to do that because owned by a trust. So we're able to say, we don't need to do or worry about something that's happening in Q2. We can think about what's happening in the World Cup or the next one and what that looks like. So that's the trust and that's what we're very lucky to have from what you touched on with reader revenue is our readers really invest in us. And that's kind of something that we can say and we can say that to clients, we can say that to marketers, consumers, everyone. We can really genuinely say people are investing in us because they want to read us, they want us to do well, and that's how we need to put our story out there. And that's how I think we overlap from an advertising and our reader revenue perspective is ultimately we're just trying to grow these audiences and for people to hear our stories.

Damian Fowler (15:53):

There's something nice about that, asking readers to contribute what they want. That model works to build loyalty. I

Sara Badler (16:01):

Expect completely. And that's something that I think it takes time. And that's why I'm saying I don't know our conversions for yesterday, but I do know that we are building somewhere that's exciting.

Ilyse Liffreing (16:15):

So you've had senior roles at Hearst, the New York Times and Doc Dash. What would you say are the biggest challenges even legacy publishers face when it comes to capturing readers today? Still?

Sara Badler (16:29):

I mean, we face all the challenges, so

Ilyse Liffreing (16:31):

Many challenges.

Sara Badler (16:32):

And I feel like I would say it's pretty consistent to your point of being at a lot of publishers that have been around for a long time and huge brands. And I think some of the things that, the struggle is obviously one, there's a lot, there's so much media to consume. It's like how do you make yourself unique and different? And in that way it's also, there's been a lot of different acquisitions and things that have happened, so it's kind of like how do you make people aware of who your true brand is and where it sits. I think those are, it also is the challenge of the times, meaning the actual time of happening where when I was at Daash and we were living through COVID was a very different time than what we're doing now. I would not suggest live events at that point, but then here we are and this is what we're doing. I would say at the New York Times, it was a place, it was right when elections were happening when I was there as well. And so I think it just, it's really, everyone's got their challenges, but everyone also has placed to their strengths and I think that's really important for publishing.

Ilyse Liffreing (17:46):

Yeah. Are there any innovations, maybe particularly in digital advertising that you see as giving you optimism for even funding quality journalism in the future?

Sara Badler (17:59):

I mean, this campaign has given me a lot of optimism. The whole picture has been amazing to see and also because I think it makes so much sense, which is really nice. I think that we also live, I live in a world where everything's just completely over complicated and just what it means is independent, factual and free. That's really, it just makes sense. And I think things like that show optimism in what's going on.

Damian Fowler (18:29):

Yeah, we talked there on innovation, which means we have to ask you a little bit about ai and that has been framed in some ways as a threat, but also an ally. Where do you stand on that?

Sara Badler (18:44):

I think we're in the middle, and that's probably the most boring answer ever. But it's good, it's fine. I mean, we are actively using it and try and figure out how and where it fits in different places, but it does not change how we report and our journalism.

Ilyse Liffreing (19:08):

Good to hear, good to hear. Now some quickfire questions for you. Let's do it. What do you think is one thing the ad market desperately needs but doesn't

Sara Badler (19:19):

Have? Oh my God, we have so much of everything. The ad market desperately needs maybe some better organization of what our products are and the different types would be something

Ilyse Liffreing (19:36):

Or streamlined,

Sara Badler (19:37):

A different streamlined approach would be something

Damian Fowler (19:42):

Less fragmentation perhaps. I dunno. Yeah, I dunno. I put words in your mouth.

Sara Badler (19:47):

I think one thing that publishers need is really to work better together to figure out what the future holds for them.

Damian Fowler (19:57):

And you may have answered this already in the podcast, but a publisher you secretly admire for how they're playing the game.

Sara Badler (20:04):

I mean, I think the New York Times has been brilliant in just how they've worked through a lot of different acquisitions they've made and things like that has been great to see. But I think all publishers have done a really great, the best that it's been a tough market and I think that even from a programmatic perspective and everything, we are just trying to do our best to get through it and also understand kind of what the world will look like quarter to quarter, which is very different. And it's not those days where you could be, I remember in past lives you'd be like year over year last year at this time and you're like, well, last year at this time was such a different,

Damian Fowler (20:47):

Such point you

Sara Badler (20:48):

Can't even compare anymore. I know. Yeah. So it's like, well last year this happened. And so I think that it's a tough thing for publishers to do.

Ilyse Liffreing (20:59):

What would you say is the boldest marketing risk you've ever taken?

Sara Badler (21:06):

That's a great question. I would say just because, just to go back to also the whole picture, I think this whole thing we've done also the collaboration with Lingua franca and the sweaters, we didn't know how people would react or the world would react or if they would react, but I think that because it's something you're just putting out there, we've never done anything in the fashion world at all. And I think that was kind of something that probably not the most scary but the most scary to me this week of doing that. I was like, I don't know if this is going to work. And we don't know how people react. And you want only positive things to come out, especially after you're doing such a big collaboration.

Ilyse Liffreing (21:53):

Nice marketing every week is different, isn't it? Yeah. Just depends on the day. Yeah. I

Damian Fowler (21:58):

Guess here's the last question. If you could steal one idea from another industry and bring it into publishing, what would that be?

Sara Badler (22:07):

Sorry,

Damian Fowler (22:08):

These are hard questions.

Sara Badler (22:09):

No idea. Well, it's funny, I was thinking, I was like fashion week, we just talked about fashion, but now we're in advertising week. So they've definitely done that. I would say, I dunno, I guess we don't have a Super Bowl or anything like that. That would be good. I think we've got enough stuff really. We should stop. Yeah, we should. I'm thinking there's South by there's can we do so many things? And I think that's one thing from my perspective that again, with the whole picture that we're really trying to do is show up in the right way where it matters. And if you try to be everywhere or nowhere, and I think that's really important for us to think about. And so trying to do something that you haven't done yet, you should definitely do, but it should feel natural.

Ilyse Liffreing (22:55):

Sara, we're recording an advertising week and I'm curious if you have a major takeaway that you could share with us.

Sara Badler (23:03):

Okay, so I mentioned day two, we're on day two and I think it does feel bigger than it's ever been or busier for sure. And it feels like there's so many things going on. The other thing though is I think because there are so many of these things that it also feels like in this world right now, we're doing a lot of in-house things, if that makes sense. We have tons of our team in town this week. I know that when I talk to clients or agencies, they're doing a lot of internal stuff. So it feels like that's a big something that's changed a little bit.

Ilyse Liffreing (23:40):

I would say there's definitely a lot more people I think this week then than I remember in years past at least.

Sara Badler (23:46):

But even every time I talk to someone, they're like, well, we have a lot of internal stuff going on. And I think that there's a lot going on. So I think that that's also something that is happening that maybe didn't happen as often.

Damian Fowler (24:05):

And that's it for this edition of The Big Impression.

Ilyse Liffreing (24:07):

This show is produced by Molten Hart. Our theme is by Love and caliber, and our associate producer is Sydney Cairns.

Damian Fowler (24:14):

And remember,

Sara Badler (24:15):

We have tons of, obviously news outlets and a lot of them are owned and operated by billionaires, and there's all different things that are happening to them. There's consolidation, there's putting up more paywalls. And I think now more than ever, having something free and a truly global perspective is unique and something that we have.

Damian Fowler (24:37):

I'm Damian

Sara Badler (24:37):

And I'm Ilyse, and we'll see you next time.

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