EMOJI RESCUE

TitleEMOJI RESCUE
BrandUNILEVER
Category A09. Social Data
Product/ServiceWALL'S
Entrant adam&eveDDB London, UNITED KINGDOM
Idea Creation adam&eveDDB London, UNITED KINGDOM
Media Placement MINDSHARE London, UNITED KINGDOM
Production CAIN & ABEL London, UNITED KINGDOM
Credits
Name Company Position
Ben Priest adam&eveDDB Group Chief Creative Officer
Richard Brim adam&eveDDB Chief Creative Officer
Simon Lloyd adam&eveDDB Creative Director
Eduardo Balestra adam&eveDDB Creative
Henry Westcott adam&eveDDB Creative
Natalie Curran adam&eveDDB Agency Producer
Rumit Shah adam&eveDDB Agency Producer
Chris Jackson adam&eveDDB Business Director
Tara Beckefeld adam&eveDDB Account Director
Campbelle Saville-Smith adam&eveDDB Account Manager
Charlotte Wood adam&eveDDB Planner
Greg Lepski Psycle Interactive Technical Director
Brett Kelsey cain&abel Executive Producer
Stuart Henderson Producer Producer
Lauren O’Shea cain&abel Producer
Noemie Bottiau cain&abel DOP
Simon Pearson cain&abel Editor
Ed Christie cain&abel Post Production
Alex Fairman King Henry Head of Design
Santi Rey King Henry Designer

The Campaign

Because Wall’s takes happiness seriously, they decided to take on the UK’s state of happiness one sad emoji at a time. We monitored the use of sad emojis on Twitter and surprised unhappy Tweeters with the one thing that would we know would make them smile, ice cream ? Because no one deserves to be sad, especially not on International Day of Happiness.

The International Day of Happiness campaign achieved an overall reach of 5.5million impressions and garnered PR coverage in various national and international press outlets, including The Daily Mail and The Mirror and MSN.com. But perhaps more importantly, we were able to turn 85% of the sad emojis we directly engaged with into happy ones ? Due to the campaign’s success, it will be embedded in 2018 purpose led communications for Wall’s brands outside of the UK.

For Emoji Rescue, we monitored emoji usage on Twitter in the UK and we were able to determine the nation’s state of happiness, including identify patterns in the nation’s emotional highs and lows in response to real-time events. For Wall’s this enabled us to communicate against the brand idea that ‘Wall’s takes happiness seriously’ and ultimately tell a story that conveyed the happiness-inducing qualities of Wall’s ice creams.

Wall’s research in the past has shown that ice cream can be linked with happiness. Given its proven ability to turn a frown upside down, we sought to find a way to communicate this in a way which was motivating to our British audience. We identified that the most prevalent signs of sadness amongst this audience were the use of sad emojis on our audience’s social network channels. Our strategy was simple, identify those uses of sad emojis in everyday situations and surprise them with our happiness-inducing products, ice cream. We then created a data tool that could track emoji usage against real time events on Twitter to identify patterns in the nation’s emotional highs and lows and then we reactively broadcasted these happiness stats nationwide on social and digital OOH to further create the link between happiness and Wall’s ice cream.