{"id":192,"date":"2018-01-06T14:29:57","date_gmt":"2018-01-06T11:29:57","guid":{"rendered":"http:\/\/2017.liberty.ua\/?p=192"},"modified":"2018-01-06T14:36:46","modified_gmt":"2018-01-06T12:36:46","slug":"coca-cola","status":"publish","type":"post","link":"https:\/\/liberty.ua\/en\/library\/pr-campaigns\/coca-cola\/","title":{"rendered":"Coca Cola Olympic salute to folk art"},"content":{"rendered":"<p><strong>Coca Cola Company<\/strong><br \/>\n<em>Silver Anvil Award for 1997<\/em><\/p>\n<p><strong>General overview<\/strong><br \/>\nCoca Cola abandoned its traditional embossed bottle in the 1970s and 1980s, when larger, usually flat-walled, packaging began to gain ground on the market. That all changed in 1994, when a new technology enabled the production of embossed plastic packaging and the company began to use the embossed bottle again to clearly differentiate its drink from all other soft drinks.<br \/>\nTo support the global embossed bottle initiative, Coca Cola's six-person marketing team was asked to develop and execute a programme that would target consumers of all ages and cultures and lifestyles.<\/p>\n<p><strong>Research.<\/strong><br \/>\nFormal consumer research has confirmed that nothing matches the image<strong>\u00a0Coca Cola<\/strong>The research showed, however, that companies should not only emphasise the \"rational\" benefits of the bottle (easy to carry, lightweight, etc.). This research showed, however, that the company should not only emphasise the \"rational\" benefits of the bottle (easy to carry, lightweight, etc.), but also re-ignite the \"emotional\" connection with the consumer through the packaging. He needed to remind them why the embossed bottle is truly special. To add to this problem, many young people had never bought an embossed bottle and the shape was less important to them.<br \/>\nThe study also showed that many people find the embossed bottle aesthetically pleasing, a kind of folk art. Indeed, artists, including Howard Finster from Georgia, have consistently used the bottle in their work. Experts in painting have confirmed that the shape of this bottle has deep roots in traditional folk art and that similar shapes exist in the traditions of almost every world culture.<\/p>\n<p><strong>Planning<\/strong><br \/>\nBased on this research, the marketing team created a one-of-a-kind exhibition based on the traditions of folk art, using the embossed bottle as a common element. The Coca Cola Olympic Salute to Folk Art project, which took place against the backdrop of a global sporting event - the centenary of the 1996 Olympic Games - had the following objectives:<\/p>\n<ul>\n<li>clearly communicate that Coca Cola is a special and unlike any other soft drink (\"Only Coca Cola!\");<\/li>\n<li>to consolidate the position where Coca Cola is a mandatory part of everyday life;<\/li>\n<li>create a sense of ownership of the embossed bottle among consumers.<\/li>\n<\/ul>\n<p>At the heart of it is the message: \"Nothing captures the essence and spirit of Coca Cola like an embossed bottle, and nothing captures the essence and spirit of a people like their traditional art.\"<br \/>\nCountries participating in the Olympics were invited to join the project. Additional information was requested from Coca Cola offices, and the project was refined, with a detailed description developed to convince colleagues in other countries to take part in the programme.<br \/>\nBy design, each participating country determined its own approach to the creation of the sculpture - some appointed artists, others held selection competitions, and some worked with schools and universities. Artists were given the freedom to come up with designs that best reflected their local culture. The Museum of American Folk Art helped to select five American artists to create the bottles, representing different regions of the country and using different mediums of artistic expression.<br \/>\nThe total two-year budget was $400,000, of which $242,000 (60%) was spent on the preparation of the exhibition and the delivery, storage and restoration of the bottles (excluding artist fees and international promotion).<br \/>\nThe marketing team coordinated all aspects of the programme. They had to solve thousands of logistical problems, from transporting and restoring bottles to curating the exhibition itself and recruiting staff.<\/p>\n<p><strong>Implementation<\/strong><\/p>\n<ul>\n<li>The result exceeded all expectations, as folk artists from 54 countries created colourful, three-dimensional bottles (2 to 12 feet* in height) from local materials. The artists were as diverse as a wood carver from Belize, a toy maker from Uruguay, a schoolteacher from the Fiji Islands, an Irish schoolgirl, a former maid from South Africa and Finster, the inspiration behind the programme.<\/li>\n<li>A local PR campaign was carried out in each market to raise awareness of the programme. A variety of approaches were tried, including opening ceremonies with the participation of heads of state, competitions with public voting, events to coincide with the shipment of the exhibit, and exhibitions in shopping centres and public places.<\/li>\n<li>In recognition of their efforts, all participating artists were awarded gold medals resembling Olympic medals, which reinforced the sense of Olympic spirit.<\/li>\n<li>The multi-layered PR approach included the first display of Finster's folk-style bottle at an exhibition at the Atlanta Museum of Art and additional studio sessions where 3,000 children decorated the 20-ounce** relief bottles; a promotional giveaway consisting of a fun postcard and Finster's autographed brush in a plastic relief bottle; separate promotional events in the hometowns of the artists representing the US; periodic displays of the new bottles on the Coca Cola website and other events.<\/li>\n<li>Videos of the bottle making process were provided to television companies around the world, filmed in China, South Africa, Uruguay and other countries. In addition, a preview of 15 bottles was held for employees at the company's headquarters in Atlanta for one month, during which artists from Brazil created their new bottle.<\/li>\n<li>Maintaining an objective tone in the materials prepared fuelled a \"sense of discovery\". Linking cultural images to a commercial product required special care in PR approaches. It was important that \"art speaks for itself\".<\/li>\n<li>During the Olympic Games, the bottle collection was on display for free. The exhibition was housed in a historic Georgia Freight Depot building alongside the company's Olympic merchandising centre. Two American artists created their bottles during the 22-day exhibition to generate media interest and meet audience expectations.<\/li>\n<li>A six-bottle folklore-style package placed in the arrivals hall of Atlanta International Airport welcomed thousands of Olympic guests to make them feel \"at home\".<\/li>\n<li>Evaluation and analysis<\/li>\n<li>A report was prepared for senior management and our foreign colleagues, which included: 1) an overview of the results of a representative sample of 500,000 consumers who visited the exhibition; 2) the results of a survey conducted among foreign managers to determine the significance of the project for their market and their assessment of corporate PR support; and 3) global media coverage by country.<\/li>\n<li>Following positive feedback during the 1997 Olympics, the bottles were sent on a world tour to 10 European countries. During the tour, it was planned to create new bottles for the permanent collection, which will continue to expand.<\/li>\n<li>Images of the bottles in folklore style were used in television commercials, in commemorative gifts presented to famous Americans, and in the company's half-yearly report to shareholders. The success of the exhibition also led to the launch of a line of licensed collectible souvenirs.<\/li>\n<li>A total of 1,228 publications were confirmed to have been placed in the global media, generating 2.1 billion media contacts. Particularly extensive coverage was received in China, India and other emerging markets that are key to the company.<\/li>\n<\/ul>\n<p>Media coverage in the US included the Associated Press, USA Today, NBC Today Show and other publications and TV channels. The project was so successful in strengthening the brand and highlighting Coca Cola's individuality that the marketing team was asked to prepare a detailed study for the company's marketing managers around the world.<\/p>","protected":false},"excerpt":{"rendered":"<p>\u041a\u043e\u043c\u043f\u0430\u043d\u0438\u044f Coca Cola \u041f\u0440\u0435\u043c\u0438\u044f \u00ab\u0421\u0435\u0440\u0435\u0431\u0440\u044f\u043d\u0430\u044f \u043d\u0430\u043a\u043e\u0432\u0430\u043b\u044c\u043d\u044f\u00bb \u0437\u0430 1997 \u0433 \u041e\u0431\u0449\u0438\u0439 \u043e\u0431\u0437\u043e\u0440 \u041e\u0442 \u0441\u0432\u043e\u0435\u0439 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u043d\u043e\u0439 \u0440\u0435\u043b\u044c\u0435\u0444\u043d\u043e\u0439 \u0431\u0443\u0442\u044b\u043b\u043a\u0438 \u043a\u043e\u043c\u043f\u0430\u043d\u0438\u044f Coca Cola \u043e\u0442\u043e\u0448\u043b\u0430&#8230;<\/p>","protected":false},"author":1,"featured_media":196,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","inline_featured_image":false,"footnotes":""},"categories":[21],"tags":[],"class_list":["post-192","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pr-campaigns"],"_links":{"self":[{"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/posts\/192","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/comments?post=192"}],"version-history":[{"count":1,"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/posts\/192\/revisions"}],"predecessor-version":[{"id":193,"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/posts\/192\/revisions\/193"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/media\/196"}],"wp:attachment":[{"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/media?parent=192"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/categories?post=192"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/liberty.ua\/en\/wp-json\/wp\/v2\/tags?post=192"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}