THE 1997 DMA/ROYAL MAIL DIRECT MARKETING AWARDS: CREATIVITY IN DM - COPY

WINNER

WINNER



Client: Saatchi & Saatchi



Agency: In-house



Copywriter: Gary Sharpen



Art director: Dave Hobbs



SECOND



Client: Audi



Agency: Limbo



Copywriter: Paul Fraser



Art director: Alasdair Welsh



THIRD



Client: Seagram UK



Agency: M-S-B+K London



Copywriter: Tim Lines



Art director: Chris Martin



WINNER



More than 1500 graduates apply to join Saatchi & Saatchi every year.



From these, around half a dozen are offered jobs. These numbers prompted

the agency to produce a recruitment pack which would provide a powerful

reason for making Saatchis their first career choice and simultaneously

aid the short-listing of the best candidates.



The copy and the questions that applicants were required to answer made

the pack a self-selection process, designed to identify those who would

fit into the Saatchis culture and weed out those who would not.



By setting graduates a challenging, enjoyable task, the pack enabled the

initial list to be reduced by 50%, against past reductions at this stage

of 25%. Yet the calibre of applicants at the interview stage was

higher.



The judges were intrigued by the fact that, unlike all the other

entries, this was one which sought to depress response. ’They chose to

dramatise how it felt to be an account handler at Saatchis. There is not

a word too many of copy, it takes you through the situation beautifully,

the timing is so perfectly crafted. It is very funny. It’s

inspirational.



It conveys the Saatchis brand. You are either a Saatchis person or you

are not.’



SECOND



When Audi announced its A3 model, there was press speculation that it

would be a small and cheap entry-level car. It was necessary to convey

to a young and affluent audience that the A3 brought ’Audiness’ to a

sporty three-door.



The copy of the piece mailed by Audi dealers to their prospects took an

enfant terrible theme, and was designed to engage and amuse a

heavily-targeted audience which had become cynical toward car

marketing.



THIRD



To persuade young (under 40) regular spirit drinkers to include Martell

in their drinks repertoire, the copy had to overcome the perception that

cognac is a tipple for oldies. The non-conformist side of Martell’s

character was dramatised, underpinned by messages of a 1715 heritage,

authentic excellence and smoothness.



There were significant increases in awareness, preference and

purchase.



The feedback enabled the identification of high-volume drinkers,

established competitive consumption and identified retailers for

co-promotional support.



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