Leo Burnett competitors? See ranking of Leading Agency Brands Worldwide. Historical profile information for Leo Burnett. See Marketer Moves members only. In developed markets like the UK or US we don't tend to pay too much attention to advertising from Arabic markets. It's certainly the case that a large proportion of creative output from that region is pretty standard, but there are regular exceptions to the rule that are as good or better than anything in the West.
The local Leo Burnett network is a good example of a regular over-achiever, and here's a very entertaining campaign for Ikea in Saudi Arabia that borrows the styling of a Sims creation to demonstrate the ways in which the furniture store's products adapt to every life stage from cradle to grave. Must have been just as much fun to design as it is to watch. Better still, the individual room sets have also been honeycombed together, 36 at a time, to create vast poster displays hanging instore.
Adbrands Daily Update 8th Feb "Scissorhandsfree". First of all, whoever devised that original concept is a genius. Well, of course the ideal car for Edward Scissorhands would be the hands-free Cadillac Lyriq.
And then the execution is just perfect. Johnny Depp is a little too controversial just now, but the idea of the lovechild of Edward Scissorhands and the still-beloved Winona Ryder has unbeatable emotional responance. And who better to play the son of Johnny and Winona than Timothee Chalamet?
A good example is the work the agency did for United Airlines. United, although it had a large market share of the passenger air travel business, was feeling the pressure of new carriers coming into the industry. For years United had been associated with the cold stainless steel of its airplanes and began for the first time to worry about its image. When it received the account, Burnett focused on the people who ran the airline rather than on the plane itself.
This gave rise to the "Fly the Friendly Skies" campaign. Similarly, the thematic catch phrases of "the best to you each morning" for Kellogg's and "you're in good hands" for Allstate carry with them a familial warmth and all-American appeal. As successful as these campaign images were, none compares with the impact of the most famous Burnett creation, the Marlboro Man. In the s cigarette manufacturer Phillip Morris was having trouble selling its new filter-tipped Marlboros to an American public that had grown accustomed, during and after World War II, to smoking Lucky Strikes.
So Burnett went to work creating a different image for it. He came up with a character that exuded masculinity and American heritage, namely, the cowboy. After the ad campaign's introduction in , sales increased dramatically and Marlboro became and has remained the number one-selling cigarette brand in the world. What was particularly striking about the ad campaign was that it translated so well from television to magazine print and billboard advertising--an absolute necessity after cigarette commercials were banned from network television in the United States in The Marlboro brand was inducted into the Marketing Hall of Fame in , due to its "enduring success in the marketplace," a success resulting from Burnett's work.
On the strength of its work for Phillip Morris, the Leo Burnett agency expanded to London by purchasing an interest in the firm of Legget Nicholson and Partners. In the company merged with Detroit-based D. Leo Burnett died in at the age of He left behind more than a successful advertising agency. He also left a personal legacy and a philosophy that encompassed both the business and creative aspects of advertising.
The motto at the Leo Burnett Company was and remains, "Reach for the stars; you may not get one, but you won't come up with a handful of mud either. He kept a file called "Corny Language" and added entries to it whenever he overheard something in a passing conversation that struck him as honest and poignant.
Most fundamental to the Burnett creative philosophy, however, was what Leo called "inherent drama. Inherent drama, he said, "has about it a feeling of naturalness which gives the reader an emotional reward.
It is what the manufacturer had in mind in the first place when he conceived the product. Yet the discovery and display of a product's inherent drama was not supposed to make the ad more striking than the product itself. The Burnett agency tried not to impose a "Burnett look" upon its customers. Instead, the specific client was given a "look" with Burnett's help.
Also, the agency tended to measure the effectiveness of its creativity by way of sales rather than awards, an attitude that would occasionally draw criticism from the new breed of "idea" men in the industry. And the agency would sometimes be criticized for being overly cute, or for creating bland, homogenous advertising. The "Chicago School," some contended, was an antiquated concept that resulted in provincial, childlike campaigns. Such criticism would not go unanswered. Both in the creative and business spheres, the Leo Burnett Company became increasingly more aggressive.
It pursued and won the lucrative McDonald's account stealing it away from Needham and Harper , began actively seeking foreign markets, and also ventured into the areas of service industries and high tech. On the down side, accounts with candy giant Mars Inc.
Industry-wide recognition for Leo Burnett's creativity also came to the firm during the s. For instance, the Leo Burnett Company won more music awards at the Advertising Age magazine awards banquet than any other agency except J.
Walter Thompson. The shift in posture and attitude symbolized by such increased recognition did not represent a change in fundamentals, however. The company had no intention of risking the "blue chip" clients among its 31 domestic accounts by altering the conservative campaigns that made those large, consumer-oriented accounts profitable.
Agency heads did not wish to alter Leo Burnett in any way, just allow it greater latitude in dealing with changing industry trends. At the time, print ads focused on words, long explanations of why a consumer should buy the product. Burnett believed such advertising was misguided. As Fox wrote in The Mirror Makers, "Instead of the fashionable devices of contests, premiums, sex, tricks and cleverness, he urged, use the product itself, enhanced by good artwork, real information, recipes, and humor.
They could also work subliminally. Ewan of Time wrote, "Visual eloquence, he was convinced, was far more persuasive, more poignant, than labored narratives, verbose logic, or empty promises. Visuals appealed to the 'basic emotions and primitive instincts' of consumers.
Burnett broke all the rules. For example, in the mids, it was basically taboo to depict raw meat in advertising. To send the message home in a campaign for the American Meat Institute, Burnett and his company put the raw, red meat against an even redder background.
Such radical images caught the consumer's eye. The world had yet to catch up to Burnett's ideas. Burnett's success increased for a number of reasons. They were attracted by Burnett's creative ads. When television became a powerful advertising force in the s, Burnett's company thrived because of its emphasis on the visual instead of market research. Ewan of Time wrote, "Burnett forged his reputation around the idea that 'share of market' could only be built on 'share of mind,' the capacity to stimulate consumers' basic desires and beliefs.
In the s, Burnett and his company developed a number of advertising icons that ended up lasting for decades. Like many of Burnett's icons, the Jolly Green Giant is an image based in folklore and therefore familiar to many consumers. One of Burnett's most famous advertising icons was the Marlboro Man.
When first introduced, in , filter cigarettes were considered unmanly, intended for a female consumer. By using the manliest man-a tattooed cowboy astride a horse-filter Marlboros became viewed as a very masculine product by consumers. Burnett changed the way filter cigarettes were marketed and Marlboros became the best selling cigarettes on the market. Though the company and its clients had grown exponentially, Burnett remained very involved with his company.
He headed the planning board, through which every ad had to pass. Burnett wanted to ensure consumers focused on the product, not the ad. Though he was in charge, the atmosphere at the agency was a true collaborative process. Burnett was a demanding boss, but one capable of self-deprecating humor. In the s, Burnett received the recognition of his peers, as his ideas became more widespread and affected the industry as whole. In , Burnett was one of the four original inductees into the Copywriters Hall of Fame.
As Fox in The Mirror Makers wrote, "From Burnett came a tradition of gentle manners, humor, credibility, and a disdain of research.
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