Havas Sports & Entertainment 2016 Marketing Trends

TRENDS
MaRKETING
2 0 1 6
our annu al look at what's on the horizon

TABLE oF
Foreword
2016 - trends predictions
2015's TrEndS review
& BEST campaigns
THANK you
Sources
CONTENTS/
Trendy Trends
Content is King
Digging into Digital with Christel Quek
Power to the People
Logics of Engagement
2015's Top Trends Review
2015's Best Campaigns
05
06
15
27
35
75
76
45
03
49
61
47

FOREWORDFOREWORD
The end of one year and the
beginning of another. A time to
reflect, question, look around
oneself, the world and the
industry in which we work, to
take that annual marketing
temperature and get a sense
of how we’re all doing, where it’s
all going and why we're doing it.
Last year we focused on the
collision of entertainment,
marketing and communica-
tions, where brands source
their communications content
from people’s passions (music
to sports, gaming to pop culture,
fashion to…). This year we’re
seeing people simply tune out
the noise and tune in to what
matters: their needs served up
their way. It’s not just entertain-
ment they’re after, but rather
relevance, value, intrigue,
intellectual challenge and
some good old fashioned fun.
This year thanks to our trend
hunters from around the world,
we’re getting a prettygood sense
of the next seismic shift that has
already begun to rock ourworld,
how these changes will affect
us, and what we need to do to
stay on our toes to avoid getting
blocked by savvy consumers who
frankly don’t give a damn.
Over to you Fredda...
FROM iMMERSiVE EXPERiENCES
TO AD BLOCKERS...
Thanks, Jérôme.
Ourtrend hunters' initial findings
have already pinpointed two
main challenges we'll need
to take on in 2016. Challenge
#1: frustrated customers are
increasingly blocking brand
messaging, and challenge #2:
the quiet rise ofthe robot - it's not
quite yet Terminator or artificial
intelligence (AI) gone mad, but
these soulless creatures are far
more prevalent than one can
imagine.
So where does this leave us? For
brands it’s putting a pretty hefty
demand on them to provide
value more than just produce
content, to tailor activations
more than just target audiences,
to engage in genuine storytell-
ing more than just classic,
transactional selling, and to
ignite passions more than just
instigate connections. 2016 will
be a year of high expectations
from consumers globally, and
the quality of crafted content
will triumph over the quantity
of general marketing initiatives.
To all the marketers, commu-
nicators, creatives, innovators,
planners, techies, dreamers and
realists, let's go forth and ignite
everyone’s passions, our own
included.
Happy reading!
...THE AGE OF
"MY CONTENT, MY WAY"
iS HERE TO STAY
JÉRÔME DE CHAUNAC
GLOBAL CHIEF OPERATING OFFICER
HAVAS SPORTS & ENTERTAINMENT
@jdechaunac
FREDDA HURWITZ
GLOBAL CHIEF STRATEGY OFFICER
HAVAS SPORTS & ENTERTAINMENT
@FreddaHurwitz
3 4

/TRENDY TRENDS
2016 - TRENDS
PREDICTIONS

Over the course of the last
decade, digital platforms have
seized control of the information
economy by establishing cen-
tralized infrastructures. Players
like Amazon, Apple, Facebook
and YouTube have gained a
monopoly on vertical transac-
tions in the digital space, from
hardware systems to social
sharing to video distribution.
In their roles as intermediaries,
platforms have created the rules
by which content is produced,
distributed, and consumed. This
centralization has limited the
ability for creative expression in
their user base.
The rise of online influencers and
communities has fundamen-
tally challenged the concept of
a centralized platform. Influen-
cers move fluidly across the
digital universe and develop
their content across multiple
platforms. To their followers,
platforms are becoming nothing
more than a distribution channel
that makes up one part of a
larger media ecosystem.
In response to the potential user
exodus, platforms have aggres-
sively expanded the acquisition
and integration of additional
media channels in an attempt
to create their own ecosystems.
Amazon launched a film and
television unit and acquired the
live streaming platform Twitch,
Facebook bought the virtual
reality maker Oculus to focus its
service on video, and YouTube
has expanded into gaming and
exclusive over-the-top content.
The platform economy is shifting
towards a network of growing
media ecosystems.
While this development ensures
the continued existence of
platforms in the sharing
economy, they continue to
remain centralized. Meanwhile,
users will likely look to break free
from platform-driven ecosys-
tems and will look instead to
create their own, allowing them
to have direct access to content
and its creators. A new genera-
tion of creators and makers will
embraceadecentralizedmindset
to create their own ecosystems,
ushering in a more transparent
and open era of media.
FRÉDÉRIC JOSUÉ
GLOBAL EXECUTIVE ADVISOR, HAVAS 18 HUBS DIRECTOR - @fredericjosue
”
...users will likely look to break free
from platform-driven ecosystems
and will look instead to create their
own, allowing them to have direct
access to content.
7 8
Goodbye
platfOrms,
HellO
ECOSYSTEMS
GoodbyeGoodbyeGoodbyeGoodbye
2016 - TRENDS PREDICTIONS

More than an app,
A SoCiAL EXPERiENCE
With more than 80% of
consumers spending time on
mobile apps, it’s only natural
that brands want to create their
own. Not only are apps able to
offer an incredible opportu-
nity for brands to engage and
connect with their customers,
but they’re also able to boost
brand recognition and drive
in-app sales and store traffic.
Here‘s the catch: despite the
sheer magnitude of the afore-
mentioned number, only 25%
of the installed apps are used
frequently1
. This means that all
of the other apps which were
downloaded – because they
looked cool, fun or useful – were
quickly forgotten.
When thinking about mobile
app marketing strategies for
2016, and prior to brands
creating their branded app,
they should first ask them-
selves a few questions: Where
are my consumers? What are
their touchpoints? What kind of
apps and content do they enjoy
engaging with? How and where
can I create value for them?
If we take a closer look at
mobile usage, we see that
social networking apps have
the highest daily use with 68%
of smartphone owners using a
social app at least once a day1
.
Brands must take this social
behavior into account, and
provide valuable experiences
that match the current codes
andusagesoftoday’sconsumer.
For example, Shazam went
beyond voice recognition and
now offers visual recognition
capabilities; everything from
print ads to packaged goods is
"shazamable," instantly creating
custom mobile experiences.
Not only does this let brands
tell deeper stories, with mobile
marketing taking center stage,
it also allows them to engage
with a massive audience (100M
monthly active users) in a single
tap.
Brands that succeed in the
app world may not be those
that actually create their own
branded app, but rather are
those that find and engage their
consumers on third-party "star"
apps, such as Google Maps or
Facebook.
1
Mobile App Marketing Insights - Google, 2015
MARCO RIGON
GLOBAL HEAD OF MOBEXT - @brancaleone75
”
80% of consumers
spend time on mobile
apps, but only 25% of
the installed apps are
frequently used.
10

From theater to opera, to the
early days of cinema when music
was a key component of silent
films, music and storytelling have
always been closely intertwined,
and many iconic movies such
as West Side Story, Fame and
Mamma Mia have helped shape
the musical evolution of cinema.
Similar to the attraction of a
stellar cast, music is increasingly
becoming a strong asset with
which to spark people’s interest
in a movie, from both a creative
and marketing aspect.
Straight Outta Compton, the
2015 American biographical
film about the rise and fall of the
hip hop group N.W.A., was a big
hit in theaters worldwide as it
touched on two major passion
points: cinema and music.
Another great example is the
publicity that was done for the
sultry film 50 Shades of Grey.
The movie soundtrack was atyp-
ically released before the film
itself, and proved to be a strong
marketing asset which peaked
people’s interest prior to its of-
ficial release.
In the coming years this trend
will continue to grow, and the
fusion of music and film will
expand globally. This will provide
movie-goers with a more visually
intense and musical experience,
thus wholly immersing them
within the context of the film.
DIDIER LUPFER
CHAIRMAN AND CEO OF STUDIOCANAL
11 12
CREATING
SWEET MUSIC
& FILM
TOGETHER
MUMU

ARtificial
intelligence, YESBut With a Hint of Caution
Artificial intelligence (AI) has
already infiltrated our lives much
more than we realize. We plan
trips using GPS systems that
rely on AI to cut through the
complexity of millions of routes
to help us find the best one.
Our smartphones understand
speech, and Siri, Cortana, and
Google Now are getting better
at understanding our intentions.
In 2016 AI will grow by leaps
and bounds, and brands will
fully begin to capitalize on this
technology. Car manufacturers
such as BMW have begun
experimenting with AI. This
German automotive group
launched its first electric car
with iGenius – a technology that
is able to answer customers’
questions about the newvehicle
via mobile, web and social media
platforms. Not only can iGenius
have hundreds of conversations
at the same time, it can also
memorize previous questions
to generate the most pertinent
answers.
Facebook and Google are both
building neural networksthat can
recognize spoken words, target
ads, and learn howto identify key
features in digital images such
as cars, landmarks and even the
aging process in people’s faces.
In media agencies however,
the programmatic buying and
serving of ads is driving real-time
campaign decisions at speeds
impossible for the human brain
to replicate.
But we must remain cautious.
In orderto avoid hurtlingtowards
a future that no longer takes
people or our relationships
with brands into account, we
need to ensure that in 2016
meaningfulness is factored into
AI.Without this,AI runs the risk of
seeing us withdrawfrom physical
experiences, ultimately resulting
in a destabilized society due to
synthetic robots taking over roles
that should be carried out by
humans.
If your job demands creativity,
social interaction, physical
dexterity and mobility, consider
yourselfsafe. Ifit doesn’t, beware
of the robots!
JEZ JOWETT
GLOBAL HEAD OF CREATIVE TECHNOLOGY, HAVAS MEDIA GROUP - @Jezmond
”
If your job demands
creativity, social interaction,
physical dexterity and
mobility, consider yourself
safe. If it doesn’t, beware of
the robots!
14

Ad blocking has certainly hit the
headlines since Apple introduced
the abilityfor consumers to block
ads on their iOS mobile devices.
This is not something that’s about
to disappear, even though the
world’s biggest advertisers may
want it to.
While this undoubtedly signals
a clear and present danger for
paid and programmatic, it also
represents an opportunity for
native content, or "earned" me-
dia, to come of age and occupy
a more meaningful place in a
communications plan.
In 2016, branded content is poised
to become the key beneficiary
of emerging technologies that
enables consumers to swerve
marketing messages that are
felt to be obtrusive or irrelevant.
However these obstacles will
be overcome, and let’s be clear,
paid creative messaging that is
smart and well targeted is still
as potent a tool as ever. In the
meantime, the door is ajar for
branded or native content to
seize the moment and become
the MVP that many of us believe
it has the potential to be.
To do this, branded content needs
to develop a sharper edge to its
game. One example of this is the
shoppable YouTube video Havas
SE Cake UK created forVery.co.uk.
This online retailer wanted to be
the "go-to" brandthis past summer
and raise awareness ofits fashion
offering as well as championing
its non-clothing departments.
The agency devised the #Sum-
mertime campaign; working with
Universal Music Group to bring on
board British hip hop duo Rizzle
Kicks to recreate the iconic 90's
summer anthem "Summertime."
The video itself features Very’s
clothes modelled by the artists,
and viewers can click through to
the full collection directly from
YouTube. The result was a piece
of great original content, mas-
sive pick up on and offline, £1.4M
in revenue generated via video
viewers, with 45% of sales coming
from first-time users ofVery.co.uk.
For brands (and agencies), the
focus in 2016 should be on creating
meaningful content that people
will genuinelywant to engage and
interact with. Branded content
capable of directly selling pro-
ducts and services? Now there’s
a trend that might just catch on…
ADRIAN PETTETT
CEO, HAVAS SPORTS & ENTERTAINMENT CAKE UK - @aepettett
17 18
AD BLOCKERS
WILL BRING
BRANDED
CONTENT TO
THE FORE
AD BLOCKE

Discovering the benefits of
intellectuAl
prOperty
2016 will be the year when
brands really begin investing
in content creation and owning
Intellectual Property (IP). Many
advertisers believe that investing
in content is more expensive and
more complicated than the usual
fare, however 2016 will show
them that this is not necessarily
true.
Given that brands need to cut
through the noise, the world of
IP truly helps advertisers stand
out and build increased and
long-lasting consumer loyalty.
The Lego Movie is a very
powerful example, but let’s be
clear, producing a Hollywood
blockbusteris notthe onlywayfor
brands to benefit from IP. There
are many other opportunities
available, from online content to
TV programs. An excellent case
in point is the choice made by
the American restaurant chain
Denny’s that wanted to rejuv-
enate their 37-year old breakfast
menu.
Rather than changing the
actual menu, Denny’s created
playful cartoon food characters
dubbed "The Grand Slams,"1
and for an entire year they
regularly released their hilarious
adventures online.The series was
such a hit that it not only changed
consumer perception of the
menu, but it also made Denny’s
a hot propertyworth partnering
with. For example customers and
fans of The Hobbit, were able to
eat a Hobbit-inspired menu.
The bottom line: in 2016 IP is
goingtobeanincrediblypowerful
way of engaging consumers,
completely reinventing the
relationship between them and
brands.
DAMIEN MARCHI
GLOBAL HEAD OF CONTENT, HAVAS MEDIA GROUP - @damienmarchi
”
IP helps advertisers stand
out and build long-lasting
consumer loyalty.
1
http://www.thegrandslams.com
20

HallYu 2.0/
Korean
Content is
taking Center
Stage
The Korean content wave, or
Hallyu 2.01
in Korean, is a new
term referring to the increase in
popularityand influence of South
Korean culture.
Over the past 20 years, Japan,
China, Thailand, Vietnam and
various other Asian countries
have adopted Korean pop
culture en masse. Today with
Korean content having per-
meated the Middle East, Europe
and the Americas, Asian fans
are following Korean superstars
across the globe.
The Korean creative industry has
evolved as a result of globaliza-
tion, with the first K-wave being
driven bythe export ofTV shows,
or “Korean dramas,” across Asia.
Hallyu 2.0 however is being
propelled by social media and
advancements in multimedia
and telecommunication tech-
nologies. While Korean dramas
are still gaining in popularity, the
country has now emerged as a
global leader in e-sports, anime
(Japanese animated produc-
tions) and music.
This meteoric rise has occurred
in part because both K-pop fans
and e-gamers are now able to
consume massive amounts of
local content online without
restrictions. This is thanks to
video streaming sites such as
Dailymotion and YouTube that
continue to transform the way
creative content is produced,
distributed, and consumed. Seoul
may only be the “Hollywood of
the East” today, but in the next
decade it just might take over...
1
Hallyu 2.0 is a term coined by the editors of
the book Hallyu 2.0: The Korean Wave in the
Age of Social Media, by Sangjoon Lee and
Abé Mark Nornes.
MARTIN ROGARD
CHIEF OPERATING OFFICER, DAILYMOTION - @martinrogard
21 22

”
6 out of 10 people watch
short videos on mobile
devices on a daily basis.
For your viewing pleasure
original
MObile COntent
Thanks to the development
of mobile networks and the
improvement of overall mobile
reception, 6 out of 10 people
watch short videos on mobile
devices on a daily basis1
.
eMarketer estimated that more
than 105M U.S. smartphone
users watched videos at least
once a month on their devices
in 2015, representing 55.5% of
the total smartphone user base
and a 13.9% increase over 20142
.
With this growing phenomenon,
Europe, Africa and Asia are set
to adopt the same practices.
There are some basic reasons
for this rise in viewers. In addi-
tion to being a highly personal
commodity, a smartphone is a
highly addictive device; throw
engaging content into the mix
and this makes for a highly ad-
dictive pastime!
Sports clips, movie trailers and
music videos are currently the
most watched content, although
semi-professional content such
as tutorials, video blogs and viral
videos are also racking up huge
numbers of views.
Watching videos vertically on a
mobile phone has become the
norm thanks to Snapchat and
Facebook. Some great examples
ofthis trend include a Californian
production company that built a
"vertical" kitchen film set fortheir
cooking series, "Tastemade" on
Snapchat Discover3
.
In France, SAVE FERRIS
(Havas) produced a digital
mobile series called "FRAT,"4
making CANALPLAY the first
subscription video on demand
(SVOD) platform to offer this
unique content. Last but not least
is the promising development
of virtual reality (VR) videos for
Oculus Rift and lookalike VR
headsets.
This mobile content revolution is
only just beginning, so keep an
eye on 2016 when we’ll witness
the birth of a plethora of origi-
nal productions for our viewing
pleasure.
1
https://www.youtube.com/watch?v=FCv1GiuYgeo
2
eMarketer - http://www.emarketer.com/
Article/Mobile-Video-Challenges-Hold-Back-Advertisers/
1012563#sthash.W7kd9wq4.dpuf
3
http://usat.ly/1OU1fuw
4
https://www.youtube.com/watch?v=FCv1GiuYgeo
MANUEL ALDUY
DIRECTOR OF CANAL OTT - @Manald1
24

THE AGE OF
THE CONSUMER
THE AGE OTHE AGE OTHE AGE O
CONSUCONSUMERCONSUCONSU
Consumers today engage with
brands through multiple digital
touchpoints, but the data that
gets tracked is disjointed, there-
fore making it difficult to follow
the consumer’s online decision
journey.
We are totally immersed in the
Age of the Customer; they are
"always on," a reality fueled by
the explosion of channels and
multi-device usage, in addition
to real-time based analytics that
are able to extract and define
multiple user profiles.
This priceless data can then be
referred to prospects or existing
customers with real-time unified
profiles that are actionable for
marketing initiatives. Howeverfor
this type of customer centricityto
have a real impact and monetary
value, we have to intelligently
analyze, manage and categorize
massiveamountsofdata,inorder
to activate meaningful customer
engagement experiences.
So, how to make sense of all
this data? How can advertisers
better understand their cus-
tomers? A profile engine can
help in this respect.
This robust technology gathers
data about an individual’s online
surfing and buying habits; it
serves as both a record for
marketing model building and
real-time activation, from a real
profile to a segment, and from
personally identifiable informa-
tion (PII)1
to non-PII which feeds
data management platforms
supporting programmatic buying
engines. Both parties, the brand
and the customer, benefit from
this ecosystem. More relevant
messages targeting the right
audience will drive revenues
up for brands, and in turn the
customer benefits from content
tailored to their interests.
That being said, 2016 will see
tighter collaboration between
media and creative agencies in
order to generate greater value
between an owned, earned and
paid environment. Media and
creative agencies will need to
team up in order to successfully
deliver truly personalized ex-
periences throughout the entire
customer decision journey. This
experience will be enhanced
and intricately tailored to the
customer, thanks to CRM data
specialists that either sit on the
media, creative or brand side.
1
Information that can be used on its own or
with other information to identify, contact, or
locate a single person, or to identify an indi-
vidual in context.
HOSSEIN HOUSSAINI
GLOBAL HEAD OF PROGRAMMATIC SOLUTIONS, HAVAS MEDIA GROUP - @houssaini_h
25 26

DIGGING INTO DIGITAL
/TRENDS
CHRiSTEL QuEK
BRANDWATCH | VP, SOUTHEAST ASIA
@ladyxtel

TRENDS FOCUS: DIGGING INTO DIGITAL
Messaging Apps:
The Core Hub of
Social Activity
The rise of messaging appli-
cations will dominate the
social landscape in the next
year. Presently, the top four
messaging apps have eclipsed
traditional social platforms such
as Twitter, Pinterest and LinkedIn
in monthly active users (MAUs).
The current kingpins of the
messaging landscape include
WhatsApp (900M MAUs),
Facebook Messenger (700M
MAUs), WeChat and QQ Mobile
(600M MAUs each), Viber (250M
MAUs) and LINE (220M MAUs).
The reason behind this is simple:
messaging has become a core
hub of social activity beyond
the simple act of sending text
messages in 160 characters
via SMS. Messaging apps have
now evolved into ecosystems
for users to conduct payment
transactions, consume rich-
media branded content, partake
in artificial intelligence and even
play in-app games.
The innovation in this messaging
experience first started in
Asia-Pacific. LINE, which has
a stronghold in countries such
as Japan, Thailand, Malaysia
and Singapore, was the first
messaging app to introduce
an in-app App Store amongst
the messaging players in
2012. Since then LINE has
continued to innovate at scale
by allowing users to book taxis,
listen to music, watch TV, make
payments and play games
within the application. In a
similar way, WeChat, a Chinese
messaging app, allows users to
make grocery deliveries, track
their fitness, apply for personal
loans and even feature in-app
commerce stores for brands.
Not to be left behind, Facebook
Messenger has achieved a
growth spurt in 2015 thanks to
its laser-focused strategywhich
added new layers on top of the
core messaging platform. This
included the introduction of a
Messenger App Store in August
2015, allowing users to install
apps for photos (PicCollage,
Pic Stitch), audio (Sound Clips,
FlipLip Voice Changer) and
GIFs (GIF keyboard) to provide
a richer media experience.
This was subsequently
followed in September 2015
by the introduction of a
Virtual Assistant “M” within
the platform, an artificial
intelligence feature which
allows users to text “M” to ask
for restaurant recommendations
and make reservations. With
the introduction of person-
alized recommendations and
increasing relevancy for users
through machine learning, the
monetization strategy through
tie-ups with retail and small-
medium businesses is huge.
Think messaging is just about
connecting with your circle of
friends? Then think again. 2016
promises to herald even more
exciting innovations in how users
will use these apps as a hub for
their everyday activity.
29 30

DEvELopErS, take heed:
hardware to capture software
In 2016 developers will no longer
be able to build businesses and
monetize their in-app audiences
as easily as before from just a
simple app. Crucially user dis-
coverability continues to be a
huge barrier for developers, as
cost-per-install for applications
increases across advertising
platforms such as Facebook and
Twitter. In the meantime, while
the sheervolume of applications
available has increased (nearly
double to 1.5M active applica-
tions available in the U.S. App
Store in 2015), the number
of user downloads year-on-
year (approximately nine app
downloads per month) has not
changed. With greater competi-
tion and choice, increased cost in
user acquisition and unchanged
user habits, the landscape
for developers who want to
monetize their apps through
App Store revenue looks bleaker
by the year. Already more than
half of the top 20 apps in the
App Store globally including
Facebook, YouTube, Facebook
Messenger, Google Search,
Google Maps and Instagram,
do not generate any App Store
revenue directly, but rely on
monetization and building
businesses outside of the App
Store.
To capture and retain an
audience, ecosystems are
being built off hardware
with re-engagement and
monetization through software.
For example Xiaomi, a Chinese
technology powerhouse, sells
most of its devices at cost-price1
or makes very low margins off
hardware to capture that
valuable market share in China.
Xiaomi is already China’s number
two smartphone maker, with
over 130M monthly active users
and consumers who use their
handsets 115 times a day. Most
oftheir revenue is driven through
their developer community,
with improvements to their
user interface “MiUI” and the Mi
App Store. Xiaomi now makes
a plethora of devices such as
handsets, tablets, TVs, cameras
and even air purifiers.
Software is great for building
audiences and distribution, but
it takes a combination of both
hardware and software to build
a truly monetizable ecosystem
for the long haul.
Businesses such as Airbnb and
Uber would not have achieved
their unprecedented success
today without the brokering of
physical goods with distribution
through software.
1
The cost price represents the specific value
that represents unit price purchased. This
value is used as a key factor in determining
profitability.
31 32

and in this corner...
Facebook & apple take
cues from each other
in the ring
“King Zuck” continues to be
a shrewd investor in the
development of technology.
Mark Zuckerberg’s acquisition
of Instagram at $1B was soon
eclipsed by his acquisition of
WhatsApp for $19B two years
later in 2014. While Facebook
is currently the king of the
multi-app universe (Facebook
Mobile, Instagram, WhatsApp
and Messenger), Zuckerberg is
making a bigger bet on virtual
reality as the future, and in
particular, immersive content
experiences.
Let’s recall his $2B bet on virtual
reality by acquiring Oculus. The
Oculus Rift headset might seem
cumbersome and unfashionable
to some, but it is in fact Face-
book’s first step in finally owning
a device that could allow users,
potentially 1B of us, to connect
with one another in the future.
It’s no surprise who Facebook
takes its cues from: Apple, the
most profitable company in the
world. It has sold over 700M iOS
devices since 2007, is responsible
for over 9B photo uploads to the
iOS photo stream, has built a
formidable software ecosystem
(capturing over 79% ofthe public
sector enterprise market) and
remains a brand users will pay
premium for (more than half
of new device activations on
Christmas Day in 2014 were iOS
devices).
Apple has ventured beyond the
Mac to create multiple operating
systems, including the Apple
TVOS, iOS, Mac OS and the
WatchOS, and it’s only just the
beginning. The TVOS could very
well be the bedrock for a smart
home, the iOS as the ecosystem
in a user’s pocket, the Mac OS as
the fundamental for the enter-
prise software market (who
would've thought that Apple
and Microsoft could ever do a
joint demonstration at an Apple
event in 2015?), and finally the
WatchOS as Apple’s first foray
into owning your body as a
"wearable" OS. The trajectories
of these two internet giants can
only continue.
With Facebook making invest-
ments in drones and internet
coverage, and Apple quietly (or
not so quietly) working on an
Apple car, the future of tech-
nology with such innovation will
truly benefit consumers with
more choice, convenience and
excitement.
33 34

In 2016 we will see lifestyle and
luxury brands and retailers
develop integrated peer com-
munities around their brands:
the two parties will realize that
brand-led peer-to-peerengage-
ment yields closer relationships
between the consumer and
brand, with loyaltyand increased
sales as the result.
Developing a brand-led
community requires active
community management and
a comprehensive program to
encourage involvement and
reward members.
To date, the cosmetic brand
Sephora has been a true pioneer.
They have created a complete
customer ecosystem that is
omnichannel, with different tiers
of customers who can interact
with peers, sharetips and receive
benefits based on their seniority
in the Sephora community.
Another great example comes
from ASOS that created its
"#AsSeenOnMe" platform. Here
its community of fashion enthu-
siasts can show off their ASOS
purchases as well as buy new
items, effectively recognizing
its customers as its best sales-
people and brand ambassadors.
If we look at a totally different
brand ecosystem, for example
Rapha, the upscale cycling
retailer, we see a smart example
of how to foster and encourage
community involvement.
Rapha holds frequent events,
classes and social interaction
opportunities for members via
its Cycle Club. They also have
an extensive blog featuring
brand-led content and contri-
butions from its members with
cycling information, art and
design, photos and interviews.
By drawing on what makes
your brand special, you have
the potential to engage with
consumers on a profound level
and be a part of their everyday
lives through communities. The
rewards, in terms of loyalty and
sales, can be huge.
MORE INFORMATION
TAMMY SMULDERS
MANAGING PARTNER & GLOBAL EXECUTIVE DIRECTOR, HAVAS LUXHUB - @Tammyks
http://community.sephora.com
http://www.asos.com/discover/as-seen-on-me
http://pages.rapha.cc/
37 38

Co-CREATIONfosters Connections between Brands & consumers
Today, the majority of consumers
feel that brands should play a
more active role in contributingto
their well-being. However when
asked if brands are indeed taking
this role seriously, the majority of
people saythat 61%haven’t quite
caught on1
. So, how does a brand
engage people in orderto drive a
meaningful connection that will
in turn drive business results?
One of the most effective ways
is by inviting consumers into their
world. Encouraging consumersto
co-create (where brands design
and develop with the customer
and not just for the customer)
turns a group of people into a
community of active partners
in the process of innovation. In
essence, co-creation engages
the customer in the brand’s
success thus changing the
brand-customer relationship
dynamic.
The co-creation approach to
brand innovation is a win-win
model across many industry
sectors.
Dell IdeaStorm is a website
launched by Dell where
customers can submit ideas to
improve the company’s products
and services and vote on the
ideas of others. Since launching,
this platform has received about
18,000 ideas, and as a result
more than 500 customer ideas
have been implemented.
In 2016 customer engagement
through co-creation will lead
to the development of new
products and servicesthat better
respond to customer needs.
Most importantly, co-creation
will foster an increased sense
of belonging to something
bigger, ultimately driving a more
meaningful relationship between
people and brands.
1
Meaningful Brands®
- Havas Media Group,
2015
MARIA GARRIDO
GLOBAL HEAD OF DATA & CONSUMER INSIGHTS, HAVAS MEDIA GROUP - @TheMariaGarrido
40
Encouraging consumers to
co-create turns a group of
people into a community of
active partners in the process
of innovation.

SOCiAL
iNFLuENC
AS Native
FRANCHiSES Thus far, social influencers
have only been addressed as
an additional media channel
to place ads. Current market
valuation is in favor of Snapchat
and Facebook rather than
Shonduras, Snapchat’s first
homegrown celebrity, or Logan
Paul, one of the most famous
Viners. A strong focus on in-
fluencers bears the risk of being
dependent on a single person to
develop a business; but at a time
when audience fragmentation is
increasing, as is the landscape,
is it really better to be stuck on
a single platform?
Whatever the wording du jour
is, native content or organic
marketing, the end goal is the
same: to further blur the bound-
aries between advertising,
platforms and content. In 2016
no one will be in a better position
to accomplish this than influen-
cers. They are the newfranchises
that generate the audience of
major online platforms. They
deliver the content and value.
If brands want to be part of
this conversation, as opposed
to just following it, working with
influencers through a struc-
tured, consistent, and long-term
strategy will be key.
Top social influencers are already
producing thousands of branded
short-form content on social
platforms, organically featuring
products and services. Examples
include product launches, mobile
app development and serial-
ized storytelling, all of which
drive awareness with massive
conversion rates - for example
a viral campaign from Havas
Sports & Entertainment for Coke
around the Ubisoft and Just
Dance partnership gathered
15M+ views.
In addition, the talent discovery
opportunity on these social
platforms is widely underesti-
mated, reinforcing the sustaina-
bility of the overall model.
Investing in top social platform
talent opens the doorto an entire
network of influencers, and one
which goes beyond the U.S.
Prime examples of this are the
vines of Logan Paul, Cameron
Dallas and King Bach, together
with the other so far unknown
talent sharing the screen.
THOMAS JORION
HAVAS 18 HUBS - LOS ANGELES GM - @TJORION / @18HUBS
41 42

The era of pushing products
down the throats of the
uninformed is over. Consumers
aretoosmartandtoodiscerning
when it comes to traditional
forms of advertising content;
nearly 200 million people are
using ad-blockers, and those
that don’t block will skip them1
.
Morover, 69% of people say
that content from brands has
no meaning to them, and 50%
statethatsomecontentactually
turns them off the brand2
.
From now on, it’s about story-
telling, not selling. Stories have
a meaning we can relate to,
with the music stars of our
age courting an audience of
billions to prove the connec-
tion. From YouTubers to legacy
recording artists, where there
is a story, there is a following.
Brands will start to go beyond
badging content and will
collaborate with music artists
and record labels to deliver
stories with soul, reflecting the
emotions and experiences that
consumers crave.
How will this be done? By
understanding the values of
brands and music, and placing
them in the context of what
consumers desire the most,
brands will begin to communi-
cate informatsthat are popular
and easily understood.
Stories told in this way will be
shareable, and when aligned
with iconic figures of popular
culture they will be widely
consumed, providing not just
reach but also engagement
and intimacy that past forms
of advertising no longer deliver.
Go native and get emotional,
just like Jeep did in their "Living
Like We're Renegades" com-
mercial featuring X Ambas-
sadors' hit song, "Renegades."
Check it out:
http://y2u.be/YM-th85hRUU
1
PageFair
2
AIMA Global
GO NaTiVePut Some Soul Into Your Selling
OLIVIER ROBERT-MURPHY
GLOBAL HEAD OF NEW BUSINESS, UNIVERSAL MUSIC GROUP - @orobertmurphy ”
Brands will collaborate with talent,
artists and entertainment owners to
deliver stories with soul, reflecting
the emotions and experiences that
consumers crave.
44

2015'S TRENDS REVIEW
& BEST CAMPAIGNS

When the fan participates virtually or in
real life in music-related activities, including
playing an instrument or composing music.
LOGIC OF PLAY
When the fan has a strong desire to discover
new songs, artists or genres, which they are
likely to share with their community.
LOGIC OF EXPLORATION
When the fan relishes learning and under-
standing the details about music, often
expressing their strong opinions on music
theory and various genres.
LOGIC OF MASTERY
When the fan mainly uses music to create
or deepen relationships with a community
of other fans or friends.
LOGIC OF SOCIAL CONNECTION
When the fan considers their fanship a sub-
stantial element of their identity, associating
music to their cultural origins or a time and
a place in their life.
LOGIC OF IDENTIFICATION
LOGIC OF IMMERSION
When the fan’s purpose (conscious or
unconscious) is to enter a world related to
music and lose themself in the emotion of
the music and to think of nothing else but
the music they are listening to.
When a fan expresses an opinion to defend
a musical taste and/or other music-related
issues, like the reputation of an artist.
LOGIC OF ADVOCACY
When the fan enjoys the overall experience
and atmosphere of music - a tune, a show
or any content supporting the story around
their favorite artist.
LOGIC OF ENTERTAINMENT
HAvas SE's LOGiCS
OF ENGAgEMENT
At Havas Sports & Entertainment,
fans and passion lie at the
heart of what we do. We strive
to understand what makes a
fan a fan, how they live their
passions, and what drives their
engagement with sports and
entertainment.
In 2014 we launched an extensive
research project, FANS.
PASSIONS.BRANDS (FPB), in
partnership with the University of
Southern California’s Annenberg
Innovation Lab (USC) to look at
fans more closely, ultimately
helping us advise our clients
about how to better engage with
diverse groups and mindsets.
We decrypted the passions
of 21,000 people across 16
countries, spoke to football fans
in Rio during the FIFAWorld Cup
2014, and collected and analyzed
over 9M tweets thanks to our
partner IBM. In 2015 we turned
our attention to music which,
perhaps unsurprisingly, proved
to be consistentlythe number one
passion point around the world.
The result? A new framework
to understand fan behaviors,
attitudes and perceptions called
the Logics of Engagement and in
the case ofmusic,the introduction
of the Shuffle Age1
.
We applied these same logics
(see right) to our review of the
top 5 trends predictions in 2015,
and also to our favorite brand
engagement campaigns to see
how they would fare and gauge
if brands recognize the power of
these triggers when engaging
with current and/or future fans.
An interesting key finding that
came out of our second year
undertaking FPB, is that although
the logics are music focused,
they’re broadly relevant in the
context of most passion points.
Our 2015 music study unearthed
a new logic, that of Exploration,
however the other seven are
consistent with our 2014 findings.
Check out the featured
campaigns to see how brands,
consciously or not, are leveraging
the logics of engagement for
maximum brand storytelling
and relationship building.
1
Havas SE's FANS.PASSIONS.BRANDS
2015 Music Study
- Read the press release:
http://bit.ly/1NdqCJa
- Check out the infographic:
http://bit.ly/1PVYjzu
- 2014 Football Study press release:
http://bit.ly/1qJ84SA
2015'S TRENDS REVIEW & BEST CAMPAIGNS 2015'S TREND REVIEWS & BEST CAMPAIGNS
4847

/2015 TOP 5
tRENDS REViEWS
/2015's TOP 5
tRENDS REViEW

2015'S TOP 5 TRENDS REVIEW
Last year we predicted that
storyliving would flourish in 2015,
and flourish it did. A whole host
of brands and marketers turned
to immersive experiences and
virtual reality (VR) in order to
satisfy customers’ appetite for
the unexpected, unusual and all-
encompassing thrill.
Concerning the rise in VR stunts,
in 2015 Nike launched films
that allowed fans using Google
Cardboards (a VR headset) to
watch a football game through
the eyes of the world-famous
football player, Neymar. Similarly,
AIG used video technology to
allow users to feel like they were
on a rugby pitch alongside the
All Blacks as they performed the
haka, their legendary pre-match
ritual.
On the immersive experiences
side, Paramount Pictures
brought a Mission Impossible:
Rogue Nation scene to life in the
streets of Hollywood where fans
had to replicate Tom Cruise’s
film stunts. In a similar vein, the
authorJames Patterson created
the world’s first self-destructing
book, physically taking literature
from storytelling to storyliving
(see next page).
iMMERSiVE
EXPERIENCES W H AT ’ S T H E S T O R Y
American author James Patterson, the first to have sold
more than 1M e-books worldwide, came up with a very ori-
ginal way of promoting his new book Private Vegas; the ini-
tiative challenged readers to finish the book within 24 hours.
" W E L C O M E T O A N E X P E R I E N C E T H AT W I L L
B L O W Y O U R M I N D "
- 1,000 James Patterson fans were selected to read an
advance digital copy of his new book. A digital platform
was created which allowed readers to follow each other’s
reading progress.
- The digital experience included an ominous page burner
that destroyed every page after being read, and story
related animations scared readers throughout the book,
all of which led up to the grand finale of the book’s self-
destruction.
S U C C E S S
- The campaign earned 419.8M impressions.
- Private Vegas became a New York Times bestseller.
- The campaign won a 2015 Webby Award.
W H Y W E L I K E D I T
We thoroughly enjoyed this innovative activation which in a
unique twist, given the digital age we are in, awarded the
ultimate prize (the book itself) to the traditional reader,
reminding us that often old school is best!
H A V A S S E L O G I C O F E N G A G E M E N T :
I M M E R S I O N
With this experience,
Patterson encouraged
readers to focus on the
reading experience in order
to completely immerse
themselves in the drama of
the book.
THE SELF-DESTRUCTING BOOK BY JAMES PATTERSON
OR HOW TO CREATE A REALLY INTENSE READING EXPERIENCE
WATCH: http://youtu.be/idwgAKhqYBE
(Mother New York, United States)
American author James Patterson, the first to have sold
more than 1 million e-books worldwide, came up with a very
original way of promoting his new book Private Vegas. The
initiative challenged readers to finish a digital copy the book
within 24 hours.
51 52

In 2014 we predicted that the use
ofdataforcontentcreationwould
put fans at the very center of the
entertainment experience. With
more than 30% of companies
reportingtoAdobethattargeting
and personalization became a
priority in 2015, it would appear
our predictions were correct.
The increase in gathering of
consumer data has allowed
brands to gain essential
customer insights, ultimately
increasing the success of brand
activations. For example, TAM
Airlines gave their passengers a
personalized on-board magazine
which they had created using
passengers’ Facebook data. In a
similar vein, Axe Brazil, a men's
cosmetic brand, created a video
which could be programmatically
served in 100,000 different
variations depending on user’s
interests which had been
previouslycollected bythe brand.
Thanks to data analysis we can
create great content; an interest-
ing manifestation of this is the
web series Entre Panas created
by SABMiller’s Colombian beer
brand “Poker” (see next page).
ENTERTAiNMENT
CONTENT: ANYTHiNG,
ANYTiME, ANYWHERE
WATCH: http://youtu.be/UJ5HmKD4EtY
(Havas Sports & Entertainment and Arena, Colombia)
W H AT ’ S T H E S T O R Y
In a society where consumers are heavily focused on the
digital world and where friendships increasingly exist online,
Colombia’s largest beer brand “Poker” was looking for ways
to maintain and enrich their relationship with young people.
" A W E B S E R I E S B A S E D O N I N S I G H T S I N T O
T Y P I C A L C O L O M B I A N F R I E N D S H I P S "
- After 18 months of extensive research into typical
friendships, the web series Entre Panas (Among Friends)
was born.
- Well-known Colombian movie director Carlos Moreno
crafted a series of five minute episodes published weekly.
- Entre Panas created its own Facebook fan page in order
to provide the characters with a "real" presence – this fan
page had an organic reach of 17,000 within two months.
S U C C E S S
- To date the episodes and teaser videos have been viewed
over 11M times, more than any other Colombian web series.
- 70% of people who started viewing organically watched
the episode from start to finish.
- Entre Panas won a gold and a silver award and Campaign
of the Year at the Festival of Media LATAM 2015.
Entre Panas is a prime example of a campaign where
brands strategically aim to interrupt consumers as little as
possible, and allow them to consume content whenever and
wherever they want.
I D E N T I F I C AT I O N
When watching the web
series, customers iden-
tify themselves and their
friends with the characters
depicted in the series.
In a society where consumers are heavily focused on the
digital world and where friendships increasingly exist online,
Colombia’s largest beer brand "Poker," was looking for ways
to maintain and enrich their relationship with young people.
ENTRE PANAS BY POKER
OR HOW BEER CAN BRING FRIENDS TOGETHER TO HAVE A GOOD TIME
53 54

variety is
the SPice
Of Festival Life
Last year we said that the in-
creasing diversity of festivals
would lead to a greater number
of brands, notably luxury brands,
integrating themselves within the
festival experience.
Luxury brands have indeed
become a part of the festival
conversation, regardless of
whether they are a sponsor or
not. Take Coachella festival for
example where renowned artist,
TheWeeknd, took overAlexander
Wang’s Instagram account for
the first weekend of the festival,
and also the American luxury de-
partment store, Neiman Marcus,
that published a "howto dress at
Coachella" guide.
This year, the focus for sponsors
and festival organizers has been
on providing festival-goers with
first-class experiences. Pro-
duction companies such as Red
Frog "are bringing in a service
mentality that treats music fans
as customers,"1
andfestivals such
as Rock in Rio and Summerfest
have invested in Vegas-worthy
VIP spaces.
We also predicted that the op-
portunitiesfortechnologybrands
to tap into festivals and connect
with affluent consumers through
rich product engagement would
grow exponentially. Hungarian
telecom service providerTelekom
4G, seized this opportunity in an
inspiring way, launching Festival
Buddies – bots enabling digital
users connected on a dedicated
platform to interact remotely
with festival-goers (see next
page).
1
Forbes Magazine, 2015
Telekom Hungary's Telekom 4G, sponsor of the famous Hun-
garian music festivals Sziget and Balaton Sound, wanted to
illustrate the reliability of its 4G signal even during crowded
events, as well as engage fans at the festivals and those at
home who couldn’t attend.
“ T H I S I S S O C O O L ; A N Y O N E C A N J O I N
" AT T E N D T H E F E S T I V A L F R O M A N Y W H E R E
I N T H E W O R L D "
- Thanks to a tablet embedded in the head of a bot (see
photo), users online could interact with people at the festival
by chatting, instructing the bot to squirt water at someone
or even giving fist bumps.
- The bots, shaped as cool humanoids, were carried on the
shoulders of "buddy guys" – the same way festival-goers
carry a friend on their shoulders – facilitating the interaction
between online users and festival attendees.
S U C C E S S
- The bot became the center of attention at the festival and
even went on stage with an artist!
- During the festivals, 2,000 connections were established,
and the Festival Buddies succeeded in showing the festival
from a unique angle to 54,000 people.
This manifestation of telepresence was perfectly tailorbility
of the mobile network at a time when mobile signal’s noto-
riously poor.
S O C I A L C O N N E C T I O N
Telekom 4G triggered the
logic of social connec-
tion to engage customers
through their passion for
music. Thanks to the Fest-
ival Buddies, fans interac-
ted together, whether at
the festival or at home.
FESTIVAL BUDDIES BY TELEKOM
OR HOW TO REMOTELY INTERACT WITH FESTIVAL-GOERS
WATCH: https://vimeo.com/135853397
(DDB Budapest, Hungary)
This manifestation of telepresence was perfectly tailored to
the festival experience and cleverly demonstrated the relia-
bility of the mobile network at a time when mobile phone
signals are notoriously poor.
55 56
Telekom 4G triggered the
logic of social connec-
tion to engage cust-
omers through their
passion for music. Thanks
to the Festival Buddies,
fans interacted together,
whether at the festival or
at home.

As consumers become more
comfortable using biometrics to
communicate with technology,
we correctly predicted that
biometric marketing would firmly
make its mark in 2015.
Notable examples include cases
from Netflix that conceived the
"Brainwave Symphony Experi-
ment," an original piece of music
composed using brainwave
recording sensors on fans of
the Sense8 series, and Heineken
that offered consumers the
chance to explore what kind of
visual stimuli enhances their
enjoyment of electronic dance
music the most.
However the standout example
of the year comes from S7
Airlines’ "The Imagination
Machine," a concentration game
allowing participants to control
a virtual plane using only the
power of their imagination (see
next page).
THE RISE OF
BIOMETRIC
MARKETING W H AT ’ S T H E S T O R Y
To promote their 900 destinations, S7 Airlines launched the
"Fly to Any Place You Can Imagine" campaign and offered
people in Moscow the opportunity to fly to any place they
could imagine.
" C O N C E N T R AT E O N Y O U R D E S T I N AT I O N
A N D Y O U ’ L L G O T H E R E "
- S7 Airlines’ created The Imagination Machine, a concen-
tration game using a bio sensor headset which allowed
people to control a virtual plane thanks to the power of their
imagination.
- Shoppers in a Moscow mall had to select their dream des-
tination, and by concentrating on this location, fly a virtual
plane on a 2-meter globe positioned in front of them.
- Participants who managed to concentrate on the location
throughout the game won tickets to their dream destination,
and those who weren't able to successfully fly the virtual
plane still walked away with 5,000 air miles.
S U C C E S S
- 2M views of the official video in one month.
- Over 250 people took part in the one-day activation, with
49 participants winning round trip tickets to their dream
destination.
S7 Airlines successfully engaged its audience by offering
them the opportunity to discover the power of their imagi-
nation, while creatively promoting the multitude of destina-
tions the airline flies to.
I M M E R S I O N
THE IMAGINATION MACHINE
OR HOW TO TRAVEL USING YOUR BRAIN
WATCH: https://youtu.be/BoFbHTrZ1O0
(Wieden+Kennedy, Russia)
The airline invited people
to focus on their dream
destination and rewarded
those who completely
immersed themselves within
the experience.
To promote their 900 destinations, S7 Airlines launched the
"Fly to any place you can imagine" campaign, and offered
people in Moscow the opportunity to do just that by use of a
state of the art piece of technology.
57 58

Last year we said that 2015
would see a boom in campaigns
centered on "people focused" ini-
tiatives in Asia, and sure enough,
this continent has experienced
a surge in campaigns which put
people and their needs first.
InthePhilippines,Previewfashion
magazine empowered women
to defend themselves with the
clothes and accessories they
wear. In Pakistan, MoltyFoam,
a bedding and furniture brand,
created The World’s First BillBed,
which saw billboards turn into
mattresses for the homeless
at night. The success of these
campaigns highlights the impor-
tance for brands to be authentic
in their approach if they want
consumers to buy-in.
These "marketing for people"
campaigns have boomed in the
most Western part of the Asian
continent, especially in Turkey,
where Samsung launched a
video call center for the hearing
impaired and where Vodafone
created an app to help Turkish
women suffering from domestic
violence (see next page).
ASIA FOCUS:
MARKETING
FOR PEOPLE
THE RED LIGHT APP BY VODAFONE
OR HOW A SMARTPHONE APP CAN HELP PREVENT DOMESTIC VIOLENCE
WATCH: https://youtu.be/GXdV22IxljY
(Y&R – Team Red, Turkey)
With one in three women in Turkey being a victim of domest-
ic violence, Vodafone launched an app which allows women
living in unsafe domestic situations to alert their contacts.
“A SECRET WARNING APP HIDDEN FROM MEN"
- The app is designed to look just like a flashlight, and when
the phone is shaken three trusted people in the user’s
contact list receive a message that the user is in trouble, in
addition to indicating their exact location.
- Information about the app and instructions on how to use
it were embedded in content and products aimed exclusively
at female audiences.
S U C C E S S
- Over 254,000 women have downloaded the application,
the equivalent of 24% of all female smartphone users in
Turkey.
- Vodafone won the Media Grand Prix at Cannes Lions 2015.
The campaigns links creativity with connectivity to help
women in danger, and uses clever gender-specific communi-
cations sothatthe abusers have less ofa chance ofstumbling
across the hidden messages.
S O C I A L C O N N E C T I O N
This app allows women
to secretly connect with
close freinds and family to
ensure they are never left
alone in unsafe situations.
With one in three women in Turkey a victim of domestic vio-
lence, Vodafone launched a special kind of app which allows
women living in unsafe domestic situations to alert their
contacts.
59 60

2015's BEST CAMPAIGNS 2015's BEST CAMPAIGNS
SENSUSOR HOW TO READ A COMIC BOOK IN BRAILLE
The number of visually impaired school
children in Mexico is alarmingly high, and
many cannot afford glasses, causing
them to miss or leave school.
As a result, Nacional Monte de Piedad, a
nonprofit Mexican pawnshop, set out to
shed light on this issue while improving
children’s lives through one of the most
popular forms of media for children –
comic books.
Sensus, the first ever comic book that
could be read by blind and sighted
people, was written by Jorge Grajales,
a visually impaired Mexican writer and
illustrated by Bernando Fernandez, a
famous cartoonist.
The comic book was written and illus-
trated like a standard comic, thus exten-
ding the comic book’s reach to sighted
people as well.
Sensus was distributed in comic book
shops, bookstores, and in a pop-up
store that travelled around the country.
For each of the 3,000 comic books sold,
a pair of glasses was donated to a
visually impaired child living in poverty.
The comic book is innovative with
a strong social impact, helping and
entertaining the visually impaired.
- Over 500 comics were sold in the
first 20 days and all 3,000 copies
within 2 months.
- It generated $16.5M in earned media.
- The campaign won a gold award at
the Festival of Media LATAM, a silver
at the Clio Awards and a silver at the
Mexican Effie Awards.
W H AT ’ S T H E S T O RY " T H E F I R S T CO M I C B O O K I N
B R A I L L E "
S U CC E S S
WHO: Havas Sports & Entertainment WHERE: Mexico WHEN: January 2015
This braille comic book
depictsthe adventures
of a hero gone blind,
and allows readers
to directly identify
themselves with the
character.
HAVAS SE LOGIC OF ENGAGEMENT:
IDENTIFICATION
WATCH: http://youtu.be/qXHYl1_79rw
805 MILLION NAMESOR HOW TO BEAT HUNGER WITH ZLATAN
Hunger is one of the biggest issues
facing our world today. The United
Nations World Food Programme (WFP)
wanted to create a memorable initia-
tive in order to raise awareness, and
thus enlisted the help of football player
Zlatan Ibrahimovic.
Zlatan covered his body in temporary
tattoos to represent the hungry around
the world, and revealed his striking body
art after scoring during a League 1
game in early February.
The football star’s revelation to the
world created buzz on social media as
viewers speculated on the meaning of
the tattoos.
The video, released three days afterthe
game, went viral and directed viewers
to a website where they could discover
the stories behind the names as well as
make donations to support the WFP.
An original way of spreading aware-
ness about the issue of hunger thanks
to one of football’s greatest and most
respected players.
- The campaign won a Gold Cannes Lion
and two Clio Sports Grand Prix awards.
- The picture of Ibrahimovic’s football
boots (cleats) branded “805 million
names” was retweeted 9,400 times in
two days and received 90,000 likes on
Facebook.
W H AT ’ S T H E S T O RY "TATTOOED NAMES OF PEOPLE
SUFFERING FROM HUNGER"
S U CC E S S
WHO: Forsman & Bodenfors (pro-bono) WHERE: France/Sweden WHEN: February 2015
Adding temporary
tattoos to Zlatan’s
body sparked the
interest of fans who
wanted to know
everything about
their favorite player’s
body art.
MASTERY
WATCH: http://youtu.be/wDJjcL9Ya4c
63 64

Sony SIDELINE CHALLENGEOR HOW TO BECOME A PROFESSIONAL PHOTOGRAPHER IN A DAY
Sony wanted to showcase their latest
A600 camera and prove to the world
that it performs just as well as more
expensive digital SLR cameras.
In partnership with the NZ Herald,
New Zealand’s leading newspaper,
Sony launched an online competition
to select people to take over the news-
paper’s sport section using Sony’s
A600 camera.
The winners of the competition (a taxi
driver, a town planner, a nurse and a
bank officer) subsequently replaced
the newspaper’s professional photo-
graphers.
The lucky winners were sent to
different sporting events across New
Zealand, and as they captured the
live action on the A600 their photos
were sent directly to live banners on
the newspaper’s website through the
camera’s built-in Wi-Fi.
The photos taken by the amateurs
were featured in the country’s most-
read sports section, a great advert for
the A600 camera.
An awesome campaign which provided
ordinary people with a once-in-a-
lifetime opportunity to be a professionnal
photographer, while improving Samsung’s
brand image, their consumer relationship
and increasing product awareness.
- Visits to Sony’s website increased by
240%.
- Market share increased by 74%.
W H AT ’ S T H E S T O RY " S P O R T I S T H E U LT I M AT E
T E S T O F A N Y C A M E R A"
S U CC E S S
WHO: FCB WHERE: New Zealand WHEN: April 2015
With this experience
Sony offered fans a
unique opportunity to
identify themselves
with professional
sports photographers.
IDENTIFICATION
WATCH: http://youtu.be/rcKG3rjQPYA
#RUNWiTHiTOR HOW TO OFFER FANS THE OPPORTUNITY TO BASH THEIR NEMESIS
In the framework of its sponsorship of
the European Rugby Champions Cup,
Heineken wanted to surprise fans of
the Irish club, Leinster, and reward the
bravest one...
Heineken pretended to leak Neil
Back’s mobile number on their Twitter
feed and hundreds of fans phoned in
to let the notorious rugby player know
all the bad things they thought of him.
The harshest fans received a call
from Neil’s fake assistant mistaking
them for a journalist and inviting them
to pick up VIP tickets for Leinster’s
Champions Cup quarter-final match.
The bold fans, pretending to be jour-
nalists, went to pick up the tickets
but they were actually led to a press
conference with Neil Back, where they
were prompted to ask him questions,
much to their shock.
A fun way to surprise and reward
witty fans who were ready to take
advantage of the mobile number leak,
effectively bringing Heineken’s spon-
sorship with Leinster to life in a unique
and memorable way.
- 125,000+ views on YouTube.
- 500,000 views across all social
networks within 48 hours of the video
being released.
- 1.5M online media impressions.
- #RunWithIt was the number one
trending topic in Ireland on the day of
the video's release.
W H AT ’ S T H E S T O RY "A CHANCE TO BASH FORMER
ENGLISH PLAYER (AND PUBLIC
ENEMY) NEIL BACK"
S U CC E S S
WHO: Rothco WHERE: Ireland WHEN: April 2015
This campaign gave
fans an opportunityto
send blunt messages
to a former rugby
player. Even though
fans were caught red-
handed, they were
rewarded by Heineken
for their boldness.
ADVOCACY
WATCH: http://youtu.be/EX9ZGOgjVB8
65 66

NivEA DOLLOR HOW TO TEACH KIDS TO USE SUNBLOCK
Everyone looks forward to summertime
when they can go to the beach and soak
up the sun.
For parents however it’s not always
easy, particularly when it comes to
getting their kids to put on sunblock.
To counter this, Nivea Brazil created an
engaging way to help children under-
stand the importance of using sunblock.
Nivea teams targeted Rio de Janeiro’s
beaches to give away UV-sensitive dolls
to children and parents.
When exposed to the sun without pro-
tection, the doll’s skin would turn bright
red, mimicking what would happen if
sunblock was not applied.
When the child applied sunblock to the
doll, the redness disappeared.
Despite a campaign which interrupted
children’s playtime, Nivea managed to
produce an engaging and innovative
approach which ensured participation
from this young audience.
The campaign won several awards,
notably a Cannes Lions and a Clio.
W H AT ’ S T H E S T O RY " P R O T E C T YO U R S K I N A N D
P L AY AWAY "
S U CC E S S
WHO: FCB WHERE: Brazil WHEN: June 2015
Nivea invited children
to identify them-
selves with the doll
they were playing
with so that they
would understand
their own need for
sunblock.
IDENTIFICATION
WATCH: http://youtu.be/StvAe98BfwY
THE CONCERT NO ONE EXPECTEDOR HOW TO BRING 14,000 SINGERS TOGETHER TO HELP A VOICELESS ARTIST PERFORM
BBVA wanted to reinforce its positio-
ning as "the bank of the people," and
thus decided to unite Peruvians in their
love for the iconic singer, Pedro Suarez
Vertiz.
Since 2011 Pedro has suffered from
spinal dysaphism which prevents him
from speaking and singing, however
BBVAfound an unexpected wayto bring
Pedro back on stage…
BBVA challenged Peruvians: if one
million people asked Pedro to come
back on stage, he would.
To participate, Peruvians had to visit
BBVA’s website and "sing" a petition;
over one million people participated,
and in return BBVA delivered on its
promise.
800 microphones were installed
around the stadium enabling the
14,000-person crowd and musicians
to "replace" Pedro's voice by singing
his songs.
The brand brought Pedro’s music back to
life, showing clients and fans that BBVA
is a bank that cares.
- 1.4M people participated on social
media.
- $1.5 million in earned media.
- Awarded "Concert of the Year" at the
prestigious Peruvian Lights Awards,
beating Paul McCartney!
W H AT ’ S T H E S T O RY "A CONCERT FEATURING AN ARTIST
WHO IS NO LONGER ABLE TO SING"
S U CC E S S
WHO: Fahrenheit DDB WHERE: Peru WHEN: May 2015
T h i s a c t i v a t i o n
empowered Peruvian
fans to campaign for
the return of Pedro
to the big stage.
Following the success
of the petition, BBVA
put on the concert the
fans had pushed for.
ADVOCACY
WATCH: http://youtu.be/DFz8R0oto7c
67 68

THE INTERACTIVE FORMOR HOW TO MAKE SUBSCRIBING TO A SERVICE FUN AND ENTERTAINING
Subscribing to an online service is
usually complicated, boring and tedious.
Canal+, the subscription-based French
TV channel, noticed that the mundane
nature of its subscription form was
putting people off from signing up.
The channel decided to engage future
subscribers by using two popular char-
acters from one of the biggest talk
shows on the channel, Le Petit Journal.
The characters, Catherine and Liliane,
guide the suscriber step by step through
the process of signing up to Canal+ while
making fun of them along the way.
The campaign demonstrates that
subscribing to services doesn’t have to
be boring and tedious. On the contrary,
it can be an opportunity to reach a
brand’s target audience and provide
them with a great experience.
- The number of subscriptions increased
by 18%.
- The website received 400,000 unique
visitors.
- The company received 10,000 positive
emails about the campaign.
- It won a gold Cannes Lions.
W H AT ’ S T H E S T O RY "A SUBSCRIPTION FORM AS ENTER-
TAINING AS THE CANAL+ CHANNEL"
S U CC E S S
WHO: BETC WHERE: France WHEN: June 2015
Canal+ used char-
acters from a widely
loved TV show to
transform the boring
process of suscribing
to a service into
an entertaining
experience.
ENTERTAINMENT
WATCH: http://youtu.be/E-viEhAx5JY
SOuND BITE INTERACTIVE RECORD TABLEOR HOW TO LISTEN TO MUSIC THROUGH A TABLE
Kentucky Fried Chicken (KFC) South
Africa wanted to increase the relevance
of its brand, as well as drive an exciting
in-store experience to create brand love
and return visits from young people.
Research shows that music is young
people’s number one passion point, so
KFC decided to hone in on this fact in
their quest to attract young people to
their restaurants.
Named the "KFC Sound Bite," the record
table diffuses music from local artists
allowing KFC’s music-loving audience to
listen to music while they eat their food.
The Sound Bite functions when users
place their elbows on the table's
surface and put their hands to their
ears; it generates an immersive musical
experience without disturbing those
around them.
- The activation supports and amplifies
local up-and-coming artists.
- People could share the music they
listened to with their friends via social
media.
The campaign won several awards,
including the Grand Prix for Digital &
Interactive Applications at the Loerie
Awards.
W H AT ’ S T H E S T O RY " I N S T E A D O F A R E CO R D L A B E L ,
W H Y N O T A R E CO R D TA B L E ? "
S U CC E S S
WHO: Gloo@Ogilvy WHERE: South Africa WHEN: July 2015
EXPLORATION
WATCH: http://youtu.be/_ZpwQMG6TeU
69 70

MEN IN BLACK SAFETY DEFENDERSOR HOW TO MAKE SAFETY INSTRUCTIONS ENTERTAINING
Air New Zealand wanted to celebrate
the extension of its sponsorship with the
New Zealand Rugby Federation as well
as ensure it became part of the Rugby
World Cup buzz one month before the
tournament began.
The airline signed a dealwith Colombia
Pictures for the Men in Black licence
and made a parody of the video clip
with safety instructions rapped to the
original soundtrack by the All Blacks.
In the framework of the Men in Black
headquarters, the All Blacks players
(dressed as Men in Black) acted out
the safety instructions with cameos
from movie characters and interna-
tional rugby legends dressed as aliens.
A well-crafted piece of content that
capitalizes on people's passion points,
smartly piqued their interest and edu-
cates them on how to keep sake in the
sky.
- Over 3.3M views on YouTube.
- Widespread press coverage, including
being broadcasted during rugby
halftime shows.
W H AT ’ S T H E S T O RY "THE ALL BLACKS TAKE PART
IN AIR NEW ZEALAND’S FLIGHT
SAFETY VIDEO"
S U CC E S S
WHO: True WHERE: New Zealand WHEN: August 2015
The airline provided
fans with entertaining
content which mixed
their passion for sport,
music and cinema
so that they would
enjoy the experience
of watching a safety
video and for once, pay
attention!
ENTERTAINMENT
WATCH: http://youtu.be/ji65WI5QLZI
SUNDAY GRANNIESOR HOW TO BEAT LONELINESS AMONGST THE ELDERLY
With over 40% of elderly people
in Romania living alone, Vodafone
wanted to help combat loneliness
while proving that mobile inter-
net could be an empowering force
amongst this age group.
Vodafone started off by teaching two
grannies how to use social media,
and from there, these women who
love cooking but no longer have large
families to feed, created Sunday lunch
menus and shared them on Facebook.
The grannies connected with college
students by inviting them to their
homes to enjoy a home-cooked meal.
The campaign used the actual value of
a product – the convenience of mobile
technology and internet connectivity
– to try and resolve the social issue of
loneliness amongst the elderly.
W H AT ’ S T H E S T O RY " CO M E J O I N T H E G R A N N I E S
F O R A H O M E - CO O K E D M E A L"
WHO: McCann, Bucharest WHERE: Romania WHEN: August 2015
Vodafone empowered
grannies to create
social connections
with young people by
sharing their passion
for cooking with them .
SOCIAL CONNECTION
WATCH: http://youtu.be/BZNuTfQeDss
- The campaign attracted 380M
media impressions.
- Facebook profiles of Romanians over
the age of 65 increased by 20%, and
sales of 4G smartphones skyrocketed
by 79%.
- Most importantly, the grannies
much enjoyed interacting with these
students and their feelings of lone-
liness soon subsided.
S U CC E S S
71 72

2015's BEST CAMPAIGNS
AMAZING IN MOTIONOR HOW TO PLAY A VIDEO GAME ON A REAL-LIFE SCALE
Lexus was on the hunt for an innova-
tive way to promote the arrival of its
new Lexus NX crossover in Europe.
Lexus Europe worked with the rapper
Will.i.am to create a real-life video
game experience inspired by the video
game Guitar Hero. The brand used a
runway to mimic a guitar neck, and a
set of motion-sensitive laser projec-
tors to display the notes.
Three stunt drivers had to carefully
follow the speed and rhythm imposed
by Will.i.am, and strike the notes at the
right time to ensure that the music – a
remix of Will.i.am’s song #thatPOWER
– continued to play.
The campaign supports the idea of
Lexus being different, young and inno-
vative, while illustrating the vehicle's
qualities such as its speed, braking
capacities and steering control.
- Over 1.6M views on YouTube.
- The Lexus NX, introduced in autumn
2014, has quickly become established
as one of Lexus’ fastest-selling models
in the UK and Europe.
W H AT ’ S T H E S T O RY "A R E A L- L I F E G U I TA R H E R O " S U CC E S S
WHO: Freuds WHERE: Europe WHEN: August 2015
Music fans can relate
to and really appre-
ciate this video
game-like experience
where a car plays
the music notes on a
real-life runway.
PLAY
WATCH: http://youtu.be/iyTFhbmU1p0
73 74

THANK YOU, MERCI,
GRACIAS, GRAZIE, ETC. ETC.
As ever, we’re fortunate to be
able to count amongst our
contributors an incredible group
of experts from a wide range of
backgrounds and industries.
A big shout out to everyone who
took the time in their busy lives to
provide their invaluable thoughts
and predictions with us including:
Maria Garrido, Hossein Houssaini,
Thomas Jorion, Frédéric Josué,
Jez Jowett, Damien Marchi,
Adrian Pettett, Marco Rigon and
Tammy Smulders from across
Havas Media Group; Manuel
Alduy, Director of CANAL OTT,
Didier Lupfer, Chairman and
CEO of STUDIOCANAL, Olivier
Robert-Murphy, Global Head of
New Business at Universal Music
Group and Martin Rogard, Chief
Operating Officer, Dailymotion.
A special thanks goes to Christel
Quek, Vice President Southeast
Asia, BrandWatch.
Hats off to the editorial team:
Magalie Bourgeois, Alexis Grardel,
Alice Hewitt and Fredda Hurwitz
from Havas Sports & Entertaintment
Global. AndafinalthankyoutoAnne
Awad, our Junior Art Designer who
did a stellarjob onthisyear’s edition.
You guys rock!
Have any burning questions?
Curious for more information?
All thoughts, suggestions or
recommendations are welcome.
Get in touch with Fredda Hurwitz,
Global Chief Strategy Officer:
fredda.hurwitz@havas-se.com
Thanks for taking the time to read
our 2016 edition of Marketing
Trends. We hope that our look
towards the future has inspired
you and perhaps made you think
differently about the year to come.
Until next year...
SOURCES
COnnect
with Us
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HAVAS_SE GLOBAL STUDY ON FANS’ ENGAGEMENT
FANS • PASSI NS • BRANDS
2015 Music Study Press Release:
http://bit.ly/1NdqCJa
2014 Football Study Press Release:
http://bit.ly/1qJ84SA
75 76

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