| Titre | Comic Strip 2 |
| Agence | 180 Amsterdam |
| Campagne | Every Team Needs The Spark - adidas |
| Annonceur | adidas |
| Marque | adidas |
| Mise en ligne | Juillet 2010 |
| Produit | F50i |
| Secteur d'activité | Chaussures de sport |
| Synopsis | SUMMARY: The objectives of the adidas campaign were to increase F50 sales without undermining margin, to drive a new interest in the F50 boot: inspire and get the audience to find out more about the product and to increase engagement in the overall adidas football brand and the business. The core audience is hardcore football players. The hardcore audience is concerned ultimately about how products can affect their game on the pitch. Whilst Nike took first mover advantage, research showed that speed positioning alone was actually not especially motivating; what the audience wanted was speed with the ball and the F50 had all the features to deliver that. adidas celebrated the role of the 'fast footwork player' and gave the F50 greater relevance within the team key to de-position the competitor boot that only talked about straight line speed of individuals. "Every Team Needs" was the campaign's creative foundation. By building on the personas that underpinned the 'fast' playing style we could bring more depth and flexibility to the message. In order to tell these stories in the most compelling and distinct way possible, adidas needed a bold visual approach: the solution was a graphic novel style. This graphic world allowed the agency to bring to life super hero alter egos representing players' skills and their role on the pitch, beginning with Lionel Messi as The Spark. The campaign narrative showed Zinedine Zidane as a mysterious individual scouting the world to identify and gather the players that every team needs. Results show that the campaign transformed online football audience into brand advocates though their blogs (Comscore estimates advocates are worth 2x to 3x more than average consumers).In addition, F50 sales grew consistently in main European football markets whilst protecting margin. Looking at overall sales and dividing that by marketing investment, the campaign showed an improvement year on year of 76%. |
| Type de média | Presse & publications |
| Marché | France, Allemagne, Royaume-Uni, Italie, Espagne |
| Directeur de la création | Andy Fackrell |
| Directeur de la création | Richard Bullock |
| Directeur artistique | Martin Terhart |
| Concepteur / rédacteur | Peter Albores |
| Réalisateur | Rupert Sanders |
| Maison de production | Morton Jankel Zander (MJZ) |
| Directeur de la photo | Alwin Kuchler |
| Producteur | Nell Jordan |
| Producteur | Jane Dillworth |
| Producteur exécutif | Debbie Turner |
| Directeur de clientèle | Matt Jennings |
| Producteur, agence | Joe Togneri |
| Responsable de budget agence | Feliciano Robayna |
| Monteur | Neil Harris |
| Montage | Work Editorial |
| Montage | The Mill London |
| Post-Production audio | Wave Amsterdam |
| Télécinéma | Adam Scott |
| Sociéte de création sonore | Alex Nicholls Lee |
| Producteur son | Daniel Cross |
| Acteur / vedette | Zinedine Zidane |
| Acteur / vedette | Lionel Messi |
| Responsable de la publicité (annonceur) | Levin Reyher |
| Responsable de la publicité (annonceur) | Andrew Lux |
| Responsable de la publicité (annonceur) | Timo Kaemmer |
| Régie publicitaire | Carat |
| Head of Account | Dan Gibson |
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