Category: Titanium and Integrated
Advertiser: MATTEL
Product/Service: HOT WHEELS
Agency: MISTRESS
Creative Director: Damien Eley (Mistress)
Creative Director: Scott Harris (Mistress)
Strategist: Christian Jacobsen (Mistress)
Strategist: Jens Stoelken (Mistress)
Design Director: Blake E. Marquis (Mistress)
Creative: Melissa Stefanini (Mistress)
Creative: Brittany Riley (Mistress)
Agency Producer: Kay Lynn Dutcher (Mistress)
Agency Producer: Lyra Rider (Mistress)
Director: Mouse Mccoy (Bandito Brothers)
Executive Producer: Jeff Roehrer (Bandito Brothers)
Editor: Jeff Tober (Bandito Brothers)
Producer: Ryan Slavin (Bandito Brothers)
VP Marketing: Simon Waldron (Matell)
VP Design: Felix Holst (Mattel)
Senior Marketing Manager: Heather Miller (Mattel)
Marketing Director: Erin Sullivan (Mattel)
Manager/Digital Media/Social Media: Travis Harding (Mattel)
Digital Media/Social Media: Lindsey Chen (Mattel)
Event Producer: Dave McKay (Laissez Faire Presents)
Event Director: Ajamu White (Laissez Faire Presents)
VP PR: Sara Rosales (Mattel)
Manager PR: Rachel Cooper (Mattel)
PR: (Ketchum)
Media placement: Online Promotion Featuring Content - Hotwheels.com - Feb 2011
Media placement: TV Campaign - Global TV - March 2011
Media placement: Online Teaser Campaign - Tactcal Online Media - April 2011
Media placement: Live Event - Indianapolis 500 - May 29, 2011
Media placement: 30 Minute TV Show - ABC Network - USA - May 29, 2011
Media placement: Transmedia Facebook Event - Facebook - May 29, 2011
Describe the campaign/entry
The average 8 year-old boy in the US owns 45 Hot Wheels cars. To grow the business, Hot Wheels had to evolve from toys to a more entertainment-focused brand. The campaign was created around the idea of 'Hot Wheels For Real'.
We created entertainment content, with a story (centred on the mysterious Hot Wheels Testing Facility - a place that tests cars and tracks on a life-sized scale) and characters (a real team of the world's best drivers) to attract 2 new audiences:
1. An audience that had grown out of the brand and was now heavily consuming entertainment content.
2. Licensees that could introduce new products to Hot Wheels.
This entertainment strategy was introduced to the world via a global campaign: a combination of online content, a world-record jump event and long-form TV content ー 'Hot Wheels for Real'.
Describe how the campaign/entry was launched across each channel in the order of implementation
The Hot Wheels For Real campaign consisted of over 30 pieces of content ranging from an online retail promotion that unlocked more content the more products you bought, a global brand TV commercial, an integrated online media buy that teased a live event (a world-record-breaking vehicle jump) and a half-hour TV show. Exclusive content from the show, including the identity of the driver, was then released via a transmedia activation on TV and Facebook.
Give some idea of how successful this campaign/entry was with both client and consumer
The integrated campaign, which ran for just under ３months, garnered over 40 million viewings and 1.7bn media impressions and attracted over 200,000 new Facebook fans (most of which, importantly, are from a demographic that had grown out of Hot Wheels).
The campaign earned a world record, created a real team of stunt drivers, attracted new licensed brand partnerships, inspired a new range of Hot Wheels products and was instrumental in attracting one of the world's leading film studios to sign up for a blockbuster Hollywood movie.