[:en]My money for a good think – Chris Catchpole[:sl]Moj denar za dobro stvar – Chris Catchpole[:]

[:en]British eminent of direct marketing Chris Catchpole from the agency catchpole & friends, who will be the speaker of event ProMarket in Ljubljana, represents some not only superior creative even highly successful direct marketing cases – but he also asks himself why all of charitable areas.[:sl]Ugledni britanski direktni tržnik Chris Catchpole iz agencije catchpole&friends, ki bo  tudi eden izmed predavateljev na ProMarket-u, predstavlja nekaj ne le vrhunsko kreativnih, tudi izjemno uspešnih projektov direktnega marketinga – a se tudi sam sprašuje, zakaj so vsi iz dobrodelnega področja.[:][:en]

How do judges judge? What gives them the right? And how do you know they’re right? I always noticed a strong correlation between those who were judging in an awards panel and those who went on to win. You could point out that the very best people tend to win awards and that you want the very best people on the panel. I’m not so sure that the best work wins every time, after all, truly brilliant work often polarises opinion. In selecting the following work, I do as I always do – I ask a few searching questions.

Firstly, if catchpole&friends had produced this, would we be happy? As Creative Partner, would I be able to stand in front of an audience of my peers and talk passionately and believably about the work? Would we proudly add it to our portfolio to show off to the very next client we called upon? Would it be worth entering the numerous awards lotteries throughout the year?

When I review or judge work, I’m harsh. My theory is that if you want someone to love and be gushing about every piece of work you do, show your mum. She loves everything you do simply because you did it.

I once judged a room full of 76 entries and my first shortlist was 4. I went round the room again and still had just 4 shortlisted. I found myself apologising to the Chairman for having chosen so few (you’re meant to have around 10 on your list…) Embarrassed, I spoke to another well-known judge there whose opinion I greatly respect and he said he had 7. He justified this by saying that we probably shared the same 4 and he had a further 3 that were done by my agency – you’re not allowed to vote for your own work. I then asked another judge if they’d had difficulty arriving at a shortlist and he said that he had too. His first shortlist was 26. A second visit to the tables helped him drop to 18. At his third and final visit (and he actually ran out of time), he got down to 16. My question is to one and all – should someone like this be judging? Do they really know good from bad? Do they really have what it takes? Are they any different from a collection of the mothers of the entrants?… Perhaps we should get our mums to defend/sell our work – can you imagine the pride and the predudice?


I decided to make my shortlist from the 2006 and 2005 DMA Gold award winners. Now, there is better work I could have chosen. In my opinion, The AA hitchhiker postcard, The Skoda badge DM, many of the wonderful LandRover pieces of old, the RAF ‘Airfix’ Kit – all were Gold winners at some stage in the past, all are superb examples of our craft. But I thought I’d keep all the work fairly up-to-date.

Because the DMA juries have to mark equally strategy, creativity and results in most categories, it does give a fairly accurate representation of the work, so that is not only great creatively but worked well too. There have been some brilliantly creative campaigns over the years that have utterly bombed in terms of ROI – I should know, I’ve done one or two… On the other hand, some creative stinkers have pulled like express trains. The judgment here is purely my own but I’d happily fight anyone who disagrees with me!

Enough of this idle banter. On to my chosen few.


This is a dramatic and highly relevant piece of work that was produced for Refuge, women’s charity. Based on the shocking statistic that 1 in 4 women in the UK will suffer from domestic violence at some point in their lives.

As well as being a physical act of aggression, ‘Slap’ is also a slang word for make-up in the English language. In the creative work, ‘Slap’ became a fictional brand of concealer stick – make-up being of universal interest to young women (the target group for this work.) The clever targeting of these women was in gym changing rooms, beauty salons and hairdressers. The key reason for this was that it was something they had to pick up themselves rather than be mailed – after all, anything suggesting domestic violence made be viewed by the violent partner.

My ‘favourite’ (if you can use this word with such a shocking piece of direct marketing) copy line in this pack is the twist on ‘not tested on animals’ – it reads ‘tested on women by animals’.

I chose and vigorously defended this work at last year’s DMA Awards in the Creative Solutions category. It is an outstandingly abruptive piece of work which makes an undeniably strong claim in a thought-provoking and intelligent way.

The production values are very high – it is a real concealer stick (donated by a manufacturer) and the blister pack and backboard are exactly what you would buy in a high street cosmetic store. Results-wise, £3.14 was raised for every £1 spent and drive to the Refuge website increased by 33%.

So, would I be happy if my agency had produced this? I certainly would. A well crafted piece of work based on a severe but dramatic insight.


Not only did this one win a DMA Gold, it scooped the Grand Prix too. For a bank to have this level of charm, to display this level of genuine warmth and cosiness is almost unprecedented. There really isn’t another bank in the UK that could pull off a pack like this and it be believable.

First Direct’s ‘Chase’ programme is one that targets prospects over a period of months, identifying certain high value individuals to whom packs such as this one were sent – those who would be higher value customers in the future. This is an expensive pack to produce and to mail so you have to target well. The results were good – almost 3.5 times as many new customers delivered by this pack as the control piece.

Would this go in the catchpole&friends portfolio? For such a brave piece of work for a financial client, yes it would. Creatively and with my always difficult approach to reviewing work, I’m not so sure. I’m not a fan of pastiches. Any borrowed brand associations to me mean you have less of a pure idea and rely on more of a guaranteed positive, pre-programmed nature of response. Still, it worked well so what do I know?


When you see a beautifully simple, elegant and clever piece of DM like this that performs wonders for the charity and in awards ceremonies (DMA Grand Prix 2005), it restores your faith in the general public and in those awards nights. With a new mobile ultrasound scanner, surgeons would not need to operate on the children in the hospital to diagnose them. An easy message to understand, a solution which rationally delivers the message and then ask very directly for donations, with not a hint of emotional blackmail.

In the ‘wished I’d done that’ category, I’d have to tick the box for this one. catchpole&friends has a well-known hospital as one of our clients. We work with its fundraising arm as well as with the hospital. I wish we’d got this brief and I wish I’d come up with such a lovely solution to it.

Which leads me on to my next one. Another contender for ‘why didn’t we think of that’?


On the backrest of the bench wrote: “On this bench is like sitting Susan James – and thanks to the cancer research she still like to sit downon it.” ‘But is it direct marketing?’ How we debated. How we argued. How we over-analysed this one. Direct response? Yes it is – you have an emotional attachment to the charity as soon as you get to the end of the sentence. Then there’s the phone number to donate. An absolute gem. ‘But how much money was donated because of this bench?’ I hear those few voices of dissention snarling in the faces of the defence. Well, £250,000 of PR was generated – a slightly dodgy way to value a campaign (we do use this ourselves at c&f however to show results for some campaigns that are difficult to track.) ‘Where’s the reply coupon?’ says another but we all ignore him.

Even more wonderful is the fact that the names on the benches are real people and the agency (with the charity’s backing) was able to convince local councils to put the benches where those people wanted them. Touches like this take work like this into a different league.

In the catchpole&friends portfolio? I’d even squeeze a sample of it in there if I could.


Got to stick one of our own in here to finish. In Summer 2006, we entered a small campaign for the Samantha Dickson Brain Tumour Trust (SDBTT) into the international Sappi paper awards and won. We received €50,000 to run the work for the charity. National press, posters, Pedicabs (bicycle taxis in London), direct mail, postcards, inserts, handouts, mobile, website and a sophisticated PR campaign followed. We even designed a new logo for them.

Much of the work was developed to highlight the symptoms of brain tumours, many of which are still unknown to the vast majority of GPs throughout the world. A second stage to the campaign used some of SDBTT’s celebrity patrons to help raise the profile of the charity and its work. Dawn French and Jonny Wilkinson were extremely high profile at that time, directly after Comic Relief (Dawn) and the England rugby match that saw Jonny return to play brilliantly for his country after a long absence.

A high profile event at The House of Commons on 6 March 2007 was attended to 100 people, including politicians, surgeons, brain cancers sufferers and those who had recovered and supporters/fundraisers. The campaign got national exposure on ITV and Channel 4 with dedicated short films about the charity and its work. Over 50 press and radio slots covered the day. Donations are currently over £100,000 with many new regular donors on board now. The PR exposure of the campaign runs at over £2.1m.

3 DMA awards in 2007, 1 nomination at Precision Marketing in 2008.

Already in our portfolio – but would you put it in yours?


I’m sorry there’s so much charity stuff in here. It seems to be getting harder and harder to produce truly great work for other sectors. Are clients less brave than ever or are UK agencies less challenging or just less creative? Our work is more ‘on brand’ than ever before but does that help produce more exciting work, work that has ever more stand-out? I’m not sure that it does. I’ll never be disheartened though. I love what we do so much, I can’t wait for the next brief – any brief. All briefs can initiate wonderful work, you just have to believe this.


I say ‘judge for yourself’. Be the harshest critic. Be the uncompromising difficult one. Be demanding. Be brilliant. Never stop lusting for better and better work. It’s what we love. It’s why we do this thing called work. And to think we get paid to do it![:sl]

Kako se odločajo člani žirij? Kaj jim daje pravico, da to počnejo? In kako veste, da imajo prav? Med člani žirije in prijavitelji namreč vedno opažam močno podobnost. Lahko bi rekli, da nagrade praviloma pobirajo najboljši in da si take želimo tudi v žirijah. Sam nisem prepričan, da vsakič zmaga najboljše delo, saj so mnenja glede resnično vrhunskih dosežkov pogosto različna. Pri žiriranju se vedno držim istega načela – zastavim si nekaj raziskovalnih vprašanj.

Prvo od njih je, ali bi bili zadovoljni, če bi projekt izdelala naša agencija, torej catchpole&friends. Ali bi kot kreativni partner lahko stopil pred občinstvo, ki ga sestavljajo kolegi, ter jim z navdušenjem in prepričljivo predstavil projekt? Ali bi ga lahko s ponosom vnesel na naš seznam dosežkov in ga predstavil naslednji stranki, s katero bi radi vzpostavili sodelovanje? Ali bi bilo vredno udeleževati se številnih nagradnih natečajev z zelo nepredvidljivim izidom skozi celo leto?

Ko pregledujem ali presojam katerokoli delo, sem zelo strog. Moje mnenje je: če želite zgolj sodnika, ki bo z ljubeznijo in navdušenjem presojal vsako vaše delo, pokažite izdelek svoji materi. Njej bo všeč vsako vaše delo, in sicer iz preprostega razloga, ker ste ga naredili vi.

Nekoč sem ocenjeval 76 izdelkov in moj ožji izbor je štel le štiri favorite. Nato sem se opravičeval predsedniku, ker sem jih izbral tako malo (moral bi jih bil izbrati okrog 10). V zadregi sem se obrnil na še enega člana žirije, katerega mnenje zelo cenim, ta pa mi je povedal, da jih ima sedem. Svoj izbor je upravičil z domnevo, da imava najbrž štiri iste favorite, on pa ima na seznamu še tri dela moje agencije.Nato sem vprašal drugega člana, ali je imel tudi on težave, in njegov odgovor je bil pritrdilen. Njegov prvi izbor je štel 26 finalistov. Drugi ogled mu je pomagal, da je seznam skrčil na 18. Pri zadnjem, tretjem ogledu, ko je že prekoračil dovoljeni čas, je seznam skrajšal na 16 kandidatov.

Moje vprašanje pa je, ali je takšna oseba lahko sodnik? Ali so takšne osebe resnično zmožne ločiti dobre izdelke od slabih? Ali se sploh v čem razlikujejo od mater ljudi, ki se potegujejo za nagrade? Morda bi morali na tekmovanja pripeljati svoje matere, da bi zagovarjale oziroma prodajale naše izdelke – si lahko predstavljate toliko prevzetnosti in pristranosti bi bilo na takih dogodkih?


Ker mora žirija za podelitev nagrad pri DMA enakovredno oceniti strategijo, ustvarjalnost in rezultate v večini kategorij, je njeno ocenjevanje izdelka precej natančno. Tako ni dovolj, da je delo zgolj ustvarjalno, služiti mora tudi svojemu namenu. Rad bi vam predstavil nekaj del, ki se mi zdijo resnično vrhunska.


Gre za odmeven in pomemben projekt, ki vključuje zavetišča oziroma dobrodelne ustanove za ženske. Povod za projekt so bili pretresljivi statistični podatki, ki pričajo, da v Združenem kraljestvu vsaka četrta ženska vsaj enkrat v življenju trpi zaradi nasilja v družini.

Beseda »slap« ima v angleščini pomen agresivnega dejanja oziroma označuje klofuto, v žargonu pa lahko pomeni tudi ličilo. V procesu ustvarjalnega dela je torej beseda »slap« postala namišljena znamka pudra v stiku oziroma ličila, ki ga na splošno uporabljajo mlade ženske, te pa so tudi ciljna skupina projekta. Domiseln pristop k ciljni skupini je bil dosežen z razdeljevanjem materiala v garderobah športnih dvoran ter lepotilnih in frizerskih salonih. Ključni razlog za tako strategijo je bil, da bi ženske same vzele oglasni paket in jim ta ne bi bil poslan po pošti na dom, saj nasilnim partnerjem ne smemo pokazati ničesar, kar bi omenjalo nasilje v družini.

Moja najljubša vrstica sporočila v tem materialu, če pri oglaševanju s tako pretresljivim ozadjem lahko sploh uporabimo besedo »najljubša«, je bila sprememba običajnega navedka »Ni preizkušeno na živalih«. Ta je bil na paketu zapisan kot »Živali preizkusile na ženskah«.

Ta projekt sem uvrstil na seznam najboljših in ga vneto zagovarjal na lanski podelitvi nagrad DMA v kategoriji ustvarjalnih rešitev. Gre za izjemno delo, ki nas na inteligenten način prisili k razmišljanju in nam hkrati sporoča dejstvo, ki ga ne moremo zanikati.

Vrednost izdelka je velika, saj je paket zares vseboval trdi puder (sponzor je bil proizvajalec znamke priloženega pudra), tovrstna embalaža s pudrom pa je natančen posnetek tiste, ki bi jo kupili v trgovini s kozmetičnimi izdelki na glavni mestni ulici. Rezultat akcije je bil naslednji: na vsak vloženi angleški funt (1 £) je bilo z donatorskimi sredstvi pridobljenih 3,14 funta, obisk spletne strani zavetišča pa se je povečal za 33 odstotkov.

Ali bi bil torej zadovoljen, če bi to kampanjo zasnovala moja agencija? Odgovor je vsekakor pritrdilen. Gre namreč za vrhunsko izpeljan projekt, ki temelji na kruti resnici.


Ko zagledate preprost, eleganten in domiseln primerek neposrednega trženja, kot je tale, ki dela čudeže na področju zbiranja sredstev v dobrodelne namene in pobira nagrade na podelitvah (velika nagrada DMA 2005), se vam povrne vera v odzivnost širše javnosti in verodostojnost izbiranja najboljših dosežkov na podelitvah nagrad iz naše stroke. Z novim mobilnim ultrazvočnim skenerjem zdravnikom ne bo treba pošiljati otrok v bolnišnice, da bi določili diagnozo. Gre za sporočilo, ki ga lahko razume vsakdo – smiselno sporočilo, ki neposredno nagovarja ljudi, naj prispevajo denar, pri čemer ni niti sledu o čustvenem izsiljevanju.

Delo se vsekakor uvršča v kategorijo tistih izdelkov, za katere si želim, da bi jih naredil sam. Ena izmed strank agencije catchpole&friends je tudi znana bolnišnica. V agenciji delamo tako z njihovim timom za pridobivanje donatorskih sredstev kot tudi s samo bolnišnico. Želel bi si, da bila tudi nam zaupana taka naloga in da bi se sam spomnil tako sijajne rešitve.

In ko smo že pri tem, velja omeniti naslednji projekt, ki sem ga izbral. Tukaj je še en kandidat za uvrstitev na seznam z naslovom »Le zakaj se nisem jaz tega spomnil?«.


Na naslonjalu klopi piše: “Na tej klopi je rada sedela Susan James – in po zaslugi raziskav raka na njej še vedno rada sedi.” Ali gre tukaj sploh za direktni marketing? Oh, kako so se kresala mnenja o tem! Kako smo razpravljali! Kako smo analizirali ta projekt! In kakšen je bil neposreden odziv? Da, prav gotovo gre za direktni marketing, saj se ciljni bralec čuti čustveno povezanega s projektom zbiranja donatorskih sredstev takoj, ko preberete oglasni stavek. Potem je tu še telefonska številka za prispevke. Nesporen biser med projekti direktnega trženja. ‘Nato pa smo prišli do vprašanja, koliko denarja je bilo zbranega s projektom.’ Slišal sem tiho godrnjanje tistih, ki so nasprotovali zagovornikom projekta. Naj povem, da je bilo zbranih za 250.000 £ sredstev – rahlo kočljiv način za ocenjevanje akcije (čeprav ga pri agenciji catchpole&friends tudi sami uporabljamo, da bi prikazali rezultate nekaterih kampanj, ki jih je sicer težko spremljati). Najlepše od vsega je, da imena na klopeh pripadajo resničnim osebam in da je agenciji s podporo dobrodelne ustanove uspelo prepričati občinski svet, da namesti klopi na krajih, ki so jih te osebe tudi izbrale. Tovrstna dejanja uvrščajo ta projekt v posebno katerogijo.

In na koncu vprašanje, ali bi se projekt uvrstil na seznam dosežkov agencije catchpole&friends. Seveda. In če bi lahko, bi vanj stlačil celo klop.


Za konec si ne morem kaj, da ne bi omenil enega izmed naših projektov. Poleti leta 2006 smo z manjšo kampanjo, ki smo jo izvedli za dobrodelni sklad obolelih za rakom na možganih Samantha Dickson Brain Tumour Trust (SDBTT), sodelovali na tekmovanju za mednarodno nagrado Sappi in zmagali. Prejeli smo 50.000 evrov za vodenje projekta v dobrodelne namene. Sledili so tiskani mediji, plakati, kolesarji-taksisti v Londonu, direktna pošta, razglednice, letaki, mobilna sporočila ter spletne in druge napredne oblike obveščanja javnosti. Oblikovali smo tudi nov logotip.

Veliko projektov je bilo izdelanih z namenom, da bi seznanili javnost s simptomi raka na možganih, večino katerih ne pozna niti velika večina splošnih zdravnikov po svetu.

Zelo pomemben dogodek v Spodnjem domu angleškega parlamenta se je zgodil 6. marca 2007, ko se je zbralo 100 udeležencev, vključno s politiki, zdravniki, obolelimi za rakom na možganih in tistimi, ki so po tej bolezni okrevali, ter njihovimi sorodniki in tistimi, ki pridobivajo sredstva.

Objavljenih je bilo več kot 50 prispevkov v tiskanih in radijskih medijih in s kampanjo je bilo zbranih več kot 2,1 milijona funtov.

Opravičujem se, ker je povzetek tako natrpan z dobrodelnimi projekti. Zdi se, da je vse težje izdelati resnično izjemen projekt za druge sektorje. Ne vem, ali so stranke manj pogumne kot kadarkoli prej, ali pa so agencije v Združenem kraljestvu manj pripravljene na izzive ali preprosto manj ustvarjalne. Naše delo je danes bolj kot v preteklosti povezano z blagovnimi znamkami, toda vprašanje je, ali to pomaga pri izdelavi dobrih projektov , ki zares izstopajo. O tem nisem prepričan, čeprav glede tega nikoli ne bom obupal. Delo v svoji stroki imam zelo rad in kar ne morem dočakati naslednje naloge – kakršnakoli že je. Vsaka zamisel je lahko začetek čudovitega izdelka, v to je preprosto treba verjeti.

Moj nasvet je: »presodite sami«. Bodite sami svoj najostrejši kritik. Bodite nepopustljivi in strogi. Bodite zahtevni. Bodite izjemni. Nikoli ne izgubite želje po tem, da bi zasnovali še boljši izdelek. To je razlog, zakaj  se ukvarjamo z njim. To in misel, da smo za svoje delo plačani.[:][:en][:sl][:]

Dodaj odgovor

Vaš e-naslov ne bo objavljen. * označuje zahtevana polja

This site uses Akismet to reduce spam. Learn how your comment data is processed.