CREATIVE UK: TOWARDS AN INTERNATIONAL MARKETING STRATEGY FOR THE UK’S CREATIVE INDUSTRIES Contents Foreword 3 01 Introduction 6 – Defining the creative industries 6 The context 9 – The UK’s strengths 9 – The competitive environment 10 02 Objectives 12 Approach 12 – Clustering 14 – The customer journey 14 03 Messages 19 Activity programme 22 04 Evaluation 24 Next steps 24 Foreword UK creativity and innovation inspire the world. Our artists and designers are at the cutting-edge of every creative industry, from music and fashion to computer games, film, TV and publishing, architecture and design. These achievements stem from the rich culture of creativity that is deeply embedded in our cosmopolitan society, characterised by originality, intelligence and edgy brilliance. We have the ability to harness the power of creative talent and turn it into world-scale commercial success. With a mind for innovation and invention, the UK’s creative leaders are involved in some of the most exciting global projects that are changing the way we live today. And reinforcing the UK’s intrinsic creative vitality is its position as a global business and financial centre, and the dominance of English as the world’s business language. But competition in the creative world is intense and growing. We are not the only country to understand the enormous value that our arts and culture can bring, both to the domestic economy and to our sense of identity. The Government is committed to helping the UK creative industries harness their collective strengths, to maximise their impact in the international marketplace. By working together, industry and Government can ensure that all available resources are used to their full potential. That is why I am delighted to welcome these first steps towards improving the promotion of the UK’s creative industries on the world stage. The coherent and joined-up approach described is bound to make a significant contribution to help the creative industries realise their potential as global businesses. There are some excellent proposals here and I hope that they will inspire some genuinely collaborative and exciting new initiatives. Digby, Lord Jones of Birmingham Minister for Trade Promotion and Investment Barajas Airport, Madrid designed by UK-based architects Rogers Stirk Harbour 4 01 The UK has the largest creative sector in the EU Source – Staying Ahead: The economic performance of the UK’s creative industries, DCMS June 2007 Introduction UK Trade & Investment has identified the creative In preparing this strategy we have been conscious industries sector as one of five priorities for action of the parallel development of a Knowledge Transfer by Government, given its existing record and Network (KTN) for the creative industries – a potential in world markets. government-backed forum designed to facilitate innovation. It is intended that the proposals in this A commitment has been made to develop, in document both build on and contribute to that KTN, collaboration with relevant bodies from the private and so that government support is provided efficiently public sectors, a five-year marketing strategy to help to help achieve the common objective of improved boost the sector’s share of the global market for creative industrial performance. services and products, and attract a greater flow of inward investment. The strategy also takes account of a number of other initiatives under way in the creative industries sector: This document represents UK Trade & Investment’s preliminary proposals for that marketing strategy. The Gowers Review of Intellectual Property, published by HM Treasury in December 2006. It has been developed following an extensive review of documents relating to the creative industries and The Chancellor-Cox Review of Creativity in Business, consultation among a wide cross-section of trade published in November 2005. associations in the sector and among stakeholders The Leitch Review of Skills, published by HM Treasury from government departments, non-departmental in December 2006. government bodies, regional organisations, devolved administrations and British Embassies overseas. We Making a World of Difference, published by the would like to thank all those who took part in the British Council in 2006. interviews and email consultation for their time and Arts Council England’s International Policy, published valuable contribution. in June 2005. This strategy has been developed closely alongside Staying Ahead: The economic performance of the UK’s the Creative Economy Programme Green Paper, and creative industries published by The Work Foundation that Paper’s content on international marketing will as a report to Government on 25 June 2007 be informed by this document. Defining the creative industries This classification comprises the following sectors: This strategy’s definition derives from the Advertising, architecture, art markets, computer and Department for Culture, Media and Sport (DCMS) video games, crafts, design, designer fashion, screen definition, which describes creative industries as: (film, video, TV and radio), music, performing arts, publishing and software. “those industries which For the purposes of this strategy, the definition has been broadened to include furniture design, textiles have their origin in and ceramics, because of the extent that the strength of these manufacturing industries is so closely related individual creativity, skill to the application of cutting-edge design. Software, and talent and which have however, is not included, as this will be addressed in the forthcoming information communication a potential for wealth and technology (ICT) marketing strategy (games appear in both strategies). job creation through the This strategy uses the model developed by John generation and exploitation Bates/London Business School when establishing international marketing propositions for the creative of intellectual property.” industries. This is centred on a clustering approach and divides creative industries into three groups – creative process, creative product and creative media, as detailed on page 14. 6 We have found a real appetite for all the relevant private and public sector bodies to work smarter together to market the UK’s creative industries overseas more confidently and effectively. We also found that we have much more work to do to create a programme, the funding and priorities of which are commonly agreed. In this document we therefore set out our initial marketing proposals, as the starting point for a more formal process of engagement with partners over the next nine months, designed to ensure that we fully utilise the marketing and communications resource and expertise that exist within the sector. At the end of this, we aim to have a more effective network of partnerships across the public and private sector that maximises the impact of all our resources and identifies available funding from all partners; this may be where joint collaborative working is desired, or areas of activity may be identified that individual partners may wish to take forward. Ultimately, it sets out an agreed programme designed to enable our creative industries Eley Kishimoto’s catwalk show to achieve their full potential for international commercial success. Love and Money Love and Money: the Best of British Design Now is an Marketing the UK economy internationally exhibition that showcases the very best in the UK design The starting point for a UK creative industries marketing sector today. It was launched in Tokyo in October 2006 framework is the UK Trade & Investment strategy, and is touring East Asia until the end of 2007. “Prosperity in a Changing World”, launched in July Curated and organised jointly by UK Trade & Investment and the 2006. There are three main themes to the strategy: British Council, the exhibition features projects and designers leading and joining up marketing of the that balance unequivocal commercial success with the UK economy, invention and experimentation for which the UK’s creative industries are internationally renowned. Twenty installations working in partnership with business, other telling the UK’s top design stories demonstrate the country’s government departments and regional partners, and powerful combination of creativity and business sense in a focus on the areas where UK Trade & Investment a wide range of areas, including fashion, graphics, furniture can add the most value and on the clients, sectors and product design, architecture and engineering. and markets which offer the best opportunities and The exhibition has raised the profile and improved perceptions potential economic benefit. of UK design, attracting over 20,000 attendees to its Tokyo and A high-level proposition to market the UK economy Hong Kong events. It has also provided a great visual stimulus, internationally was given strong backing and support achieving invaluable TV coverage and is testament to the great at the first cross-government group on marketing results that can be generated when UK Trade & Investment and in December 2006. In March 2007 it was agreed the British Council work together. that promoting the UK as a “Springboard for Global Growth” was most appropriate to represent this overarching message. 7 80% of design-led businesses have opened up new markets in the last three years. Source – Design Council’s Value of Design Factfinder, May 2007 8 The context The UK’s strengths The very term “creative industries” was coined in the UK, when it became the fastest growing sector in the economy. The contribution the sector now makes is illustrated by the following: In 2005, the UK creative industries accounted for 7.3 per cent of gross value added (GVA) and provided 1.8 million jobs. Our creative industries contribute more to the UK economy than their counterparts in the USA, Canada, Australia, France, Spain and Italy contribute to theirs. Exports from the sector totalled £13 billion in 2004, representing 4.3 per cent of all UK exports. From 2003-5 growth in the turnover of and London Design Festival employment in the creative industries has exceeded the equivalent figures for the UK economy as UK designers are successfully promoting their talent a whole. and expertise to an international audience thanks to the growing prestige of the London Design Festival (LDF). In 2006, British individuals, projects or companies won awards at the Oscars, Grammy’s, Emmy's, The LDF, which was established in 2003, takes place every MTV awards and Cannes Lions International September across 150 different venues. It mirrors the uniquely Advertising Awards. diverse nature of London's design scene, which has an unparalleled breadth and depth compared with other world The strengths that underpin this success include: cities. Meanwhile, the number of overseas projects in the the depth and breadth of talent both originating festival continues to grow, making it a key fixture on the in the UK and drawn to the UK from overseas, international design calendar. Continually developing and evolving, the LDF creates new networks, stimulates growth the existence of a determined, provocative, highly in the design sector and increases opportunities for trade and creative attitude which is conducive to innovation investment – all the time enhancing the reputation of London and commercial success, and the UK as a place for creative excellence and innovation. the importance of English as the international Overseas visitors were even more pleased than usual language of the creative industries, to attend last year’s LDF with the introduction of the London powerful awareness of the history and importance Design Embassy, an initiative supported by UK Trade & of iconic brands and figures, Investment and Creative London. The Embassy, a sumptuous private VIP members’ club for international delegates in which the presence of very strong, world-famous to conduct business and meet the UK design community, educational institutions, and reflected the UK’s position as the creative centre of the world the openness and diversity of UK society, and and reinforced the capital’s pre-eminence as a global design its encouragement of freedom of speech. hub. It gave design companies from across the UK’s regions a unique opportunity to meet with overseas delegates and Despite these strengths, feedback from business overseas showcase their expertise. This helped to position London shows that there can be a lack of awareness of the as the place where the international design community breadth and depth of the UK creative industries’ offer – can get together and discuss, innovate and do business. particularly in high-growth economies like China. The Bullring, Birmingham 9 The competitive environment Our research shows that the USA remains the UK’s foremost competitor in almost all creative industry sectors, with strong competition also coming from Canada, Australia, Germany, France and Japan. The last-named is formulating a comprehensive strategy for the creative industries as part of its Asian Gateway Programme. Although the global increase in the digital distribution of products and services via the internet and mobile channels is greatly expanding the potential target audiences for UK products and services and lowering distribution time and costs, at the same time it is also reducing barriers to entry and hence increasing the competition UK companies face. mediacity:uk Newly emerging competitors include New Zealand, South Korea and Singapore, which have developed Global markets demand continuous innovation, and clearly articulated policy objectives that target specific mediacity:uk is one such response. Building on growth industry sectors within an overarching framework. in the sector that has made the North West region home Together with Finland they have invested in national to the second largest cluster of digital and creative design promotion programmes that particularly industries businesses in Europe, this £1.5 billion concentrate on the benefits of industrial design. private/public partnership will extend over 200 acres of prime waterfront in Salford Quays, two miles from Meanwhile, China’s eleventh 5-year plan clearly stated Manchester city centre. the intention to move from a “Made in China” to a “Designed in China” platform. The BBC, which has already contracted to move five departments and 1,500 jobs to the city by 2011, is its anchor tenant. Internationally renowned businesses, with the scale and infrastructure to move quickly into new markets, will act as creative hubs for fast-moving and innovative small and medium-sized enterprises equipped with the talent, technology and capital to exploit their ideas to maximum advantage. The physical development will be matched by public and private sector investment in supply chain, human and intellectual capital to provide businesses with the skills, R&D capacity and finance they are likely to need for sustained growth and profitability in internationally competitive markets. 10 02 UK film exports grew by 65% between 2003 and 2005 Source – Office of National Statistics, International transactions of the UK film and television industries, 2005 Objectives Approach The overall aim of this marketing strategy is to Four principles relating to efficiency inform enhance the international competitive position our approach: of the UK’s creative industries over the next five Investment in marketing should be prioritised where years, driving growth in both trade and investment. it can make the most difference. Different industries This will be achieved by the following: will have different priority markets and prioritisation should therefore be determined on the basis of a Raising awareness and improving perceptions of strong evidence base, by industry or by cluster, the UK's creative offer, strengths and achievements according to the evidence. among overseas trade buyers, potential inward investors, multipliers and influencers in international Marketing activity should take account of the networks and the media. opportunities for cross-promotion of different industries, for example of music and fashion. Jointly working with partner organisations, such The proposed “cluster approach”, described on as trade associations, businesses, central government page 14, is a means of grouping different industries departments, devolved and regional administrations to enable this. and Non-Government Organisations, to maximise the impact of our resources. UK Trade & Investment will The type of marketing support offered should fit facilitate this, but the lead must be taken by industry with the size and nature of the task to be achieved to develop messages and activities, given the and, in turn, this will depend on the perceptions and marketing expertise that it possesses. knowledge of the potential customer. Conceptually, this can be regarded as fitting communications Investing in marketing the creative industries as to customers depending on their position on a a whole as well as at the cluster (as described on “customer journey”, as described on page 14. page 14) and sector level. Rather than ‘reinventing the wheel’, we should build This strategy will also work to leverage the full potential on and amplify existing successful marketing of the UK creative industries in the run-up to and during initiatives, where appropriate and available. two landmark events now being planned: A further principle relates to geography: The 2010 Shanghai World Expo, which will present an unparalleled opportunity for UK businesses to London is seen as the creative capital of the UK, display their talents in one of the world’s fastest (driven by the industry concentration and by some growing economies. The organisers are expecting sector marketing, for example London Fashion Week) at least 70 million visitors during the six-month show but creative excellence exists across the UK. Therefore, and 6,000 square metres of exhibition space have we will seek to harness the power of London in our been reserved for the UK. marketing strategy while promoting the creative excellence of other regions. The 2012 London Olympics, which will bring a vast worldwide audience to the UK. The Games can bring benefits worth billions of pounds to the host nation, so it is vital that Government and industry work together to maximise all the potential opportunities they offer. David Tennant and Freema Agyeman in Doctor Who Series 3, 2007 12 In 2006 global revenue from UK TV programmes and associated activities reached £593 million. Source – Pact independent export survey for DCMS, 2007 13 Clustering There have been a number of attempts to develop a Since the constituents of each cluster can be expected typology of the creative industries, including that set out largely to be facing similar issues, they are also in the recent Work Foundation report to Government, likely to require similar types of marketing support. Staying Ahead: The economic performance of the UK's Hence economies of scale can be realised when creative industries. For these purposes, the most useful constructing a programme of activities and fashioning approach seems to be that proposed by John Bates and appropriate messages. the London Business School, who have developed a For example, creative product industries tend to share model centred on a clustering approach. Derived from a need to reconsider business models in light of the an analysis of competition issues, intellectual property rise of digital distribution and piracy; creative process protection and related policy development, it has industries are under pressure to substantiate their value as an important tool to group industries in return on investment for clients; while creative media a way that makes sense for marketing. companies are all affected by digital convergence. There are three clusters: We propose that this cluster approach underpins Creative product: Replicable product usually marketing in this sector. protected by intellectual property law (IP), eg films, Working with partners, we would wish to develop books, fashion, music, design, textiles, ceramics. a suite of messages and activities to fit the principal Creative process: Professional service companies requirements of each cluster and we hope that this delivering a creative service to clients, eg architecture, will stimulate fruitful cross-industry alliances. design, advertising. Creative media: Distribution businesses delivering a The customer journey creative product, eg newspapers and magazines, TV The diagram below illustrates the various stages and radio broadcasts, museums, galleries, cinemas. of a customer’s experience, from hearing about the UK’s offering to becoming a committed purchaser or investor in the UK. Deeper Investment / The customer Initial Expanding the understanding supplier journey understanding business and relationships decision making Figure 1. A trade and investment customer journey 14 The following criteria determine where a customer is on the journey: Knowledge of the UK capability Understanding of UK culture and ways of working Extent of relationships with UK Extent of transactions with UK The type of marketing required will depend on the position of a customer on this journey. In the early stages of the journey promotional communications activity is of greatest importance; in the latter stages, tailored business development support takes precedence, and different approaches are required for trade and investment, as illustrated in the diagram below. We propose that the customer journey should guide the choice of marketing techniques to be deployed, market by market and cluster by cluster. Deeper Investment / The customer Unaware of Initial Expanding the understanding supplier journey UK’s strengths understanding business and relationships decision making Showcasing UK Dynamic and Building Supporting The role for supplier / Retain / expand positive lasting buying / investment marketing investment relationships awareness-raising impressions decisions opportunities Marketing Business development support Trade: Business Development Marketing Marketing the UK creative industries brand Delivering supporting messages that highlight strengths and overcome barriers Investment: Account Management Activity Showcasing examples of recent success Trade and investment are treated as one Selling Selling UK creative industries products / investment opportunities Generating dialogue and advancing leads Creating tailored offerings for individual customers Trade and investment customers are treated separately in some areas Figure 2. Progressing customers along the journey through marketing and business development support 15 Midem and SXSW Independent UK music companies are increasingly in tune with international audiences. UK Trade & Investment, together with industry partners, worked The US event organisers have described the activities of the together to organise one of the largest country delegations at British Music at SXSW Partnership as the “gold standard” the 41st annual Midem in Cannes, the biggest music trade event in terms of promotion. in the world. Some 280 UK delegates, predominantly labels, Among the many UK artists who boosted their international publishing and management companies who promote their profiles at this year’s SXSW was Manchester-based stable of artists and releases, attended under the UK banner. singer/songwriter Karima Francis. “SXSW gave Karima the Held in January 2007, the event included a high-tech UK stand opportunity to meet with both UK and US producers who had and a British music showcase night, which featured eight UK expressed a real interest in producing her debut album,” bands – headlined by Amy Winehouse (above). The showcase explained Karen Boardman, director of Crisis Management, was the best attended at the event and created great interest – which manages Karima. with many potential deals secured. UK music talent was also successfully promoted at SXSW in Austin, Texas – one of the most important music trade events in the calendar. The British are now the largest delegation after the US, with over 130 UK artists and 800 UK delegates attending this year’s event – again with support from Government working closely with music industry associations and commercial partners. Kaiser Chiefs 16 One in 12 albums sold in the USA in 2006 was British. Source – BPI analysis of the SoundScan chart data, April 2007 17 03 UK design firms are leading the world in terms of innovation Messages It will be important for communications about the UK’s creative industries to be mutually consistent and supportive, whichever industry is being promoted. Equally, what is said about the sector must be consonant with communications about other sectors in the UK economy – the audiences will often be the same. This calls for a “hierarchy” of messages. At the top is the theme for all communications: that, for business, the UK represents the Springboard to Global Growth. This itself is underpinned by the proposition that the UK is a leader in world-class creativity and innovation. To ensure that marketing of the UK’s business strengths in general and of its creative industries in particular are mutually complementary, we require (below Springboard to Global Growth) one overall unifying theme which is true and compelling for the creative services sector. Mipcom and Miptv Our proposal for this unifying theme is: UK independent TV production companies are increasingly making their mark on international markets – “Ambitious, challenging and provocative, UK as their success at two major trade shows illustrates. creativity inspires the world. No-one is better at helping business create value.” Thirty-three UK companies attended the October 2006 Mipcom event in Cannes, the world’s largest audiovisual trade show, Expanding on each element: as part of the UK Trade & Investment-supported UK Indies “Ambitious” – UK creatives are driven and ambitious Pavilion – and between them they generated £7 million worth for peer respect and commercial rewards. of business. “Challenging and provocative” – the strongest Similar UK success was achieved at Miptv in April 2007, finding from the consultation was that the UK is another major Cannes-based media show. different from competitors because UK creatives The UK indies pavilions at Miptv and Mipcom are organised by have a rebellious attitude and take risks. They like Pact, the UK trade association that represents the commercial to provoke debate and follow their own path. interests of the independent feature film, television, animation “UK creativity inspires the world” – the UK is and interactive media companies. at the geographical and emotional heart of the Figures from Pact, reveal that overseas sales of UK TV creative industries and the ideas generated here programmes jumped by 20 per cent in 2006, reaching a total influence and enthuse people around the world. of £593 million. The largest rises in sales were to the countries “No-one is better at helping business of Eastern Europe and Scandinavia, which posted increases create value” – UK individuals and companies of 54 per cent and 42 per cent respectively. have an outstanding track record in delivering John McVay, chief executive of Pact, commented: “The 2006 commercial success. TV export figures show the appetite for UK programming Below this headline theme will sit a lengthier marketing around the world continues to grow. The quality and range of story which we propose to develop with stakeholders as UK programming, from factual entertainment to sports to drama we go forward. and animation, means UK companies always have a broad range of compelling content to offer international buyers. They consistently deliver significant revenues back to the UK.” 19 Similarly, we have created initial drafts of key messages for the Creative Industries as a whole, the three clusters and some individual industries. The unifying theme and all the key messages need refining by our industry marketing partners going forward. Example: Creative product cluster The UK’s “creative product” industries all deliver products or services which can be protected through copyright and sold in volume to consumers. The UK enjoys an exceptionally strong intellectual reputation in this area, which includes major creative industries such as music, computer games, publishing, designer fashion, film and video. The messages for the “product” cluster would focus China Design Task Force on the following strengths: The China Design Task Force is a collaboration of UK consumers are heavy users and early adopters UK design companies, supported by Government and of creative products. industry bodies. Its aim is to raise the profile of UK design to buyers, intermediaries, public sector and press in The UK’s creative product industries are international mainland China and to help attract Chinese buyers in outlook and influence. to consider UK expertise in their procurement. The UK has a tradition of professionally managed, The companies on the Task Force represent the various design commercially focused creativity. disciplines and are those most able to capitalise on business UK creative businesses are early adopters of new opportunities and represent the very best of UK design. technologies, leveraging them to enhance their Members include Conran Design, Design Bridge and Tangerine. market position. UK Trade & Investment will work with the group to facilitate the sharing of market knowledge and experiences to help open The Government and UK institutions provide the door for other UK companies. structural support that underpins the long-term health of the creative product industries. The creation of the Task Force is an example of the type of industry-specific initiative that will be developed to match Below this, as an illustrative example, the messages capability with opportunity over the next five years. for the design industry would highlight the following: Example: Design industry The UK as a vibrant, cosmopolitan nation that values design. The UK Government’s belief in the importance of design. UK design as eclectic and irrepressibly creative UK design as effective at cross-disciplinary collaboration. UK’s design industry as mature, professional and results-focused. We would wish to work with partners to develop message sets for each cluster and sector, underpinned by robust evidence to support any claims made. Monkey: Journey to the West, conceived and directed by Chen Shi-Zheng, composed by Damon Albarn and designed by Jamie Hewlett 20 Ambitious, challenging and provocative, UK creativity inspires the world. No-one is better at helping business create value. 21 Activity programme Deeper Investment / The customer Unaware of Initial Expanding the understanding supplier journey UK’s strengths understanding business and relationships decision making Showcasing UK Dynamic and Building Supporting The role for supplier / Retain / expand positive lasting buying / investment marketing investment relationships awareness-raising impressions decisions opportunities In keeping with the customer journey described above, Showcasing (aimed at those chiefly at the third stage a range of proposed promotional activities will be of the customer journey) developed with our partners as part of the strategy. Create a mobile creative industries “embassy” – Some of these activities will be aimed at supporting a venue where buyers/investors can meet and awareness-raising across the creative industries as a whole network. This would showcase recent UK products and across clusters. This would include raising our game and services and would be made available at events at key sector events in the UK and throughout the world, throughout the global calendar. and recruiting high level “champions” to promote UK creative excellence. Other activities will be designed to Establish regular creative industries showcases in give individual businesses the information, contacts key British Embassies. This would include showcasing and tools to grow internationally. our best or most well known alongside the less well known; or showcasing work that UK companies The choice of activities we develop will be based had done locally. on the evidence of the difference they make and the extent to which they are viable and cost-effective. Develop a strategy for co-ordinating the presentation of regional offerings. This would ensure Some initial ideas have been generated across the that each regional offering is differentiated to make five stages of the customer journey above: clear the distinct strengths of each area. Tools would Dynamic and positive awareness-raising (aimed at also be developed to match the needs of target those at the beginning of the customer journey) customers with regional strengths to help develop a short list of possible locations. Recruit high-profile creative industry champions to promote UK creative excellence. These would Supporting buying and investment decisions be leading lights and icons within their fields to (principally for those at the fourth stage of the help inspire and kick-start our awareness strategy. customer journey) They would be a mix of established and more Produce marketing collateral for business contemporary figures. development support. This would include a set Building lasting impressions (aimed at markets of marketing materials for the UK industries that predominantly at the second stage of the journey) could be used by any marketing partner to assist customers in making buying and investment Create a campaign which highlights the pivotal role decisions. Consideration would also be given to UK designers have played in the design of world- development of an international marketing toolkit, renowned products and which celebrates the success containing advice on how to raise a company’s and achievements of UK creative talent throughout profile in different markets (eg “Golden Rules”, the world. media contacts, events lists, free listings sites Develop a strong network for collaboration and and influential online marketplaces). discussion across and within the clusters. Using existing Knowledge Transfer Network models as a framework, cluster delivery groups would help clusters to form networking groups on both the national and regional level. 22 04 Every year the UK papers and periodical industry generates more than £6.9 billion Source – Office of National Statistics, 2004 Evaluation Next steps We propose to put in place a system of evaluation that This document has set out a framework for a marketing will not only enable the effectiveness of the programme programme for the creative industries sector and to be monitored but also allow return on investment to proposed a list of candidate activities. The next step is be assessed, given its importance for the support and to refine these, taking account of industry and regional commitment of both public and private sectors. knowledge and expertise, so as to arrive at a final strategy which is adequately resourced and to which We propose that evaluation takes place on two levels: all are committed. performance of specific marketing activities and performance against core objectives of the strategy We are therefore establishing an International as a whole. Marketing Strategy Board for this purpose. Members will include representatives from the main creative Details of evaluation techniques are still to be developed, industries, and other public sector partner bodies. but are likely to require both quantitative and qualitative It will also be charged with the implementation research, for example to capture changes in perceptions of the strategy, once agreed. resulting from activity under the strategy. Development of measurement tools will draw on work already under The Board will aim to finalise the strategy by way in UK Trade & Investment to develop a system for March 2008. measuring the reputation of the UK economy overseas. Established & Sons exhibition at the Milan Furniture Fair 2006 24 25 In the UK, companies, including many of the world’s UK Trade & Investment is the government organisation major corporations, plug directly into the heart of global that helps UK-based companies succeed in an finance, global creative and professional services, global increasingly global economy. Its range of expert media and global talent. They enjoy access to world- services is tailored to the needs of individual class science and academia and link into a wide network businesses to maximise their international success. of smaller enterprises, many of which are also world We provide companies with knowledge, advice and leaders in their fields. practical support. A unique multicultural and entrepreneurial economy, UK Trade & Investment also helps overseas companies the UK is at the hub of international business, bringing bring high-quality investment to the UK's vibrant the world to a company’s door. In short, it is the gateway economy – acknowledged as Europe's best place to the globe. from which to succeed in global business. We provide support and advice to investors at all stages of their You too can be at the heart of global crossroads. business decision-making. Start by talking to UK Trade & Investment. UK Trade & Investment offers expertise and contacts through a network of international specialists throughout the UK, and in British Embassies and other diplomatic offices around the world. For further information about how the Creative and Media Team at UK Trade & Investment can help you visit: www.uktradeinvest.gov.uk or telephone +44 (0)20 7215 4759 www.uktradeinvest.gov.uk Image credits p4 Rogers Stirk Harbour and Partners, copyright Manuel Renau/AENA p7 Eley Kishimoto, copyright Kumi Saito p8 Selfridges p9 London Design Festival p10 mediacity:uk p13 BBC p17 Kaiser Chiefs p21 Manchester International Festival/MEN Syndication p25 Established & Sons 26 Whereas every effort has been made to ensure that the information given in this document is accurate, UK Trade & Investment or its supporting Departments, the Department for Business, Enterprise and Regulatory Reform, and the Foreign and Commonwealth Office, accept no responsibility for any errors, omissions or misleading statements in this document and no warranty is given or responsibility is accepted, as to the standing of any individual, firm, company or other organisation mentioned in this document. This document is printed on material which uses 75 per cent post-consumer waste. Published July 2007 by UK Trade & Investment Crown Copyright © URN 07/1197
"UKTI Creative UK Towards an International Marketing Strategy Ebook"