UNICEF (United Nations International Children’s Emergency Fund): PUT IT RIGHT

Credits & Description:

Category: Best Integrated Campaign Led by Direct Marketing

Advertiser: UNICEF UK

Product/Service: CHILD RIGHTS

Agency: RAPP UK

Date of First Appearance: Feb 22 2010 12:00AM

Entrant Company: RAPP UK, London, UNITED KINGDOM

Art Director/Group Head: Michael Jones (Rapp UK)

Copywriter/Group Head: Robbie Rae (Rapp UK)

Art Director: John Bjergfeldt (Rapp UK)

Copywriter: Andrew Ford (Rapp UK)

Art Director: Tori Fannon (Rapp UK)

Copywriter: Mark Teece (Rapp UK)

Creative Director: Barney Cockerell (Rapp UK)

Producer: Mel Beeson (Rapp UK)

Director: Adrian Moat (RSA)

Producer: Debbie Garvey (RSA)

Art Director: Leo Bellis Jones (Rapp UK)

Art Director: Jon Owens (Rapp UK)

Copywriter: Rob Prangle (Rapp UK)

Media placement: DRTV Campaign - 2 60" Spots And 10" Tails - TV - 22 February 2010

Media placement: Ambient - Outside Major Media HQs - 1 March 2010

Media placement: Direct Mail - Mail - 1 March 2010

Media placement: Door Drop - Mail - 1 March 2010

Media placement: Press Inserts - Newspapers: Guardian/Times. - 5 March

Media placement: Banner - Web - 5 March



Describe the brief/objective of the direct campaign.

In 2010, UNICEF repositioned itself as a protector of children's rights - as outlined by the UN Convention on the Rights of the Child (CRC).

The CRC is foundation for objectivity. What a child 'needs' is subjective. The violation of child rights, however, is objectively wrong. And UNICEF wants to put it right.

We launched a DM campaign led by DRTV which aimed to recruit new supporters to UNICEF under this banner at £3 a month. But of equal importance was showing the objective reality of child rights violations.



Explain why the creative execution was relevant to the product or service.

The TV ads tell the story of two girls: the lives they live and how UNICEF are starting to put it right for them.

The experiential style brings home the unspeakable reality of the situation. The direction is up-close-and-personal. The editing is fast-paced and hectic. The soundscape is visceral.

The ads redefine a genre. There is no artifice. No emotional blackmail. No
begging. It is an objective DRTV campaign that treats the children as real people with rights rather than fundraising objects.

The ambient campaign brings the reality to people's doorsteps. While the Direct Mail reinforced the wrongs children suffer.



Describe the creative solution to the brief/objective with reference to the projected response rates and desired outcome.

The campaign was created to be as real as possible so DRTV was shot on location in Dhaka, Bangladesh and Phnom Penh, Cambodia.

We follow Aklima as she scavenges through the rubbish on a city dump competing with dogs and vultures. And we follow Sreynet as she begs strangers for money and sleeps under a net on a dangerous city street..

In both instances we capture the chaos of the respective cities and offset it against the UNICEF-funded schools/drop-in centres the children attend.

These were brought home further by an ambient campaign featuring children, direct mail and press inserts.



Describe the results in as much detail as possible with particular reference to the RESPONSE of the target audience including deliverability statistics, response rates, click throughs, sales cost per response, relationships built and overall return on investment.

It's too early for the results to give any indication of success financially. We have had a preliminary look at the TV results just to tick this box - but 45 pledges at an average £58.93 doesn't tell us anything. The timing of the ad has made it impossible to get statistics for anything more than the first few days. We await results for the subsequent media too.


The campaign helped make UNICEF front of mind during the Haiti appeal which coincided with the campaign and where £5million was raised in the UK alone.