Title | GAYNZ |
Brand | ANZ |
Product / Service | ANZ BANK |
Category | A01. Creative Effectiveness |
Entrant | TBWA\MELBOURNE, AUSTRALIA |
Idea Creation | TBWA\MELBOURNE, AUSTRALIA |
Media Placement | PHD Melbourne, AUSTRALIA |
Production | REVOLVER/WILL O'ROURKE Sydney, AUSTRALIA |
Production 2 | THE GLUE SOCIETY Sydney, AUSTRALIA |
Name | Company | Position |
---|---|---|
Paul Reardon | TBWA\Melbourne | Chief Creative Officer |
Tara Ford | TBWA\Melbourne | Creative Director |
Daniel Pizzato | TBWA\Melbourne | Creative |
Tim Woolford | TBWA\Melbourne | Creative |
Scott Canning | TBWA\Melbourne | Creative |
Janine Wertheim | TBWA\Melbourne | Senior Producer |
Ricci Meldrum | TBWA\Melbourne | Regional Group Head |
Claire Tenzer | TBWA\Melbourne | Group Business Director |
Emily Gray | TBWA\Melbourne | Account Manager |
Jack Clemenger | TBWA\Melbourne | Account Executive |
Paul Arena | TBWA\Melbourne | Digital Planner |
James Dive | The Glue Society | Artistic, Design & Project Director |
Pete Baker | The Glue Society | Artistic, Design & Project Director |
Michael Ritchie | Revolver/Will O'Rourke | Managing Director/EP |
Josh Mullens | Revolver/Will O'Rourke | EP/Head of Projects |
Jasmin Helliar | Revolver/Will O'Rourke | Producer |
Phoebe Marks | Revolver/Will O'Rourke | Production Manager |
Sam Hobbs | Revolver/Will O'Rourke | Production Designer |
Sam Wilde | Revolver/Will O'Rourke | Art Director |
Cameron Stanton | Revolver/Will O'Rourke | Construction Manger |
Andrea Davies | Revolver/Will O'Rourke | Scenic Painter |
Bill Undery | Revolver/Will O'Rourke | Scenic Painter |
Mark Dixon | Revolver/Will O'Rourke | Scenic Painter |
Rosalind McKelvey Bunting | Revolver/Will O'Rourke | Scenic Painter |
Colin Richards | Revolver/Will O'Rourke | Scenic Painter |
Jo Allsop | Revolver/Will O'Rourke | Scenic Painter |
Robyn Schremmer | Revolver/Will O'Rourke | Graphic Designer |
In 2014 and 2015, ANZ set the bar high with the now world famous GAYTMs. In 2016 however, the landscape had changed. Brands had jumped on the bandwagon creating accusations of chasing the ‘pink dollar’ with commercial opportunism at the core. ANZ’s support ran deeper and they needed to show this in a fun way that the Sydney LGBTI community and general public would embrace. ANZ had to dispel myths of token marketing, by totally committing to the celebration and activating (as they had done in previous years) with absolute conviction. ANZ had been celebrating ‘diversity, inclusion and respect’ for more than a decade. 2016 marked ANZ’s tenth year of Mardi Gras sponsorship, and this called for one almighty celebration of pride. ANZ showed that their commitment to diversity, inclusion and respect ran deeper than just a name association by changing theirs altogether, turning a point of sale channel into a canvas for inclusion and respect. ANZ came out loud and proud as ‘GAYNZ.’ This term of endearment had long been bestowed on ANZ by some of the LGBTI community, and perfectly expressed ANZ’s passion for diversity, so it only felt right to more fully adopt it. They transformed an inherently conservative organisation across their owned media channels and changed their outfit, completely rebranding an underperforming, tired-looking, pokey bank branch ordinarily visited out of necessity, into a baroque-inspired homage to LGBTI iconography – earning the moniker of ‘a bank fit for a queen’ and making it a destination place for Sydney-siders and tourists alike. The campaign proved purpose-led marketing could drive positive brand opinion, strengthen a workforce and even deliver incremental business results. It turned out that whilst the GAYNZ branch installation saw more foot-traffic than ever before, the visitors weren’t simply there to view the beautiful branch, they were there to bank, and as a result ANZ saw new account openings more than double and become one of the top performing branches in the country during the campaign period. Faaaaaabulous darling!