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艺术基金: 重塑慈善机构

案例简介：挑战的解释 (投票30%) 艺术基金会慈善机构成立于1903年，旨在帮助英国博物馆和美术馆购买和展示重要的艺术品。否则会在海外或私人收藏中丢失的艺术品，因此公众从未见过。历史上，收入来自会员订阅和少数富有的捐助者。像大多数慈善机构一样，艺术基金会通过传达其事业的价值来吸引这些成员和捐助者。但是2010年，艺术基金正在苦苦挣扎。尽管对资金的需求比以往任何时候都多，但他们的会员总数仍在下降-政府的资金削减意味着英国大多数博物馆被迫减少其全职工作人员和开放时间。为了应对这种惨淡的局面，尽管面临挑战，艺术基金仍在寻求其慈善计划2014年的50% 增长，这只能由会员和捐款的急剧增加来推动。为此，我们需要从其他英国慈善机构那里窃取市场份额-预算，媒体资料和 “最糟糕” 原因比我们更大的品牌。我们认为这项任务需要采取更横向的战略方法。洞察力/突破性思维 (投票30%) 慈善机构的商业模式一直依赖利他主义。人们交出多余的现金，以换取他们支持一项有价值的事业的知识。乍一看，在这方面，艺术基金似乎与任何其他慈善机构一样。成员之所以加入，主要是因为他们必须支持其保存艺术品供国家欣赏的使命。但是定性研究2010年表明，会员续签艺术基金会员资格的原因要大得多，这与保存艺术品无关。作为会员资格的一部分，支持者获得了免费和打折的进入英国各地的博物馆，美术馆和历史悠久的房屋的优惠，这些好处受到高度重视。令人难以置信的是，这些成员特权被视为加入Art Fund的主要利益，该原因被认为是次要的。艺术基金被认为是一种文化会员计划，而不是慈善机构。我们能否更好地使组织及其营销与这个事实保持一致？如果我们可以 “翻转” 或重新定位自己，从寻求金钱的慈善机构到具有引人注目的产品的文化会员计划，那么我们可以吸引更多的会员，而根本不必与其他大型慈善机构竞争。创意 (投票20%) 创建国家艺术通行证是为了将该组织重新定义为一个文化会员计划，使人们可以免费或打折进入英国各地的240多个博物馆和美术馆。我们将不再要求捐款或 “嘎嘎作响”，而是出售具有持久吸引力的引人注目的产品。我们甚至不必改变艺术基金的福利或会员特权。“新的” 国家艺术通行证只是以更理想的形式重新呈现了组织的利益，利用了人们以更少的价格看到更多艺术的需求。通行证还重塑了通讯的角色。我们现在可以像零售商一样行事，而不是偶尔邀请慈善捐款，以实现和跟踪销售目标。成功的国家艺术通行证广告2011年有各种迭代。创意的范围从情感到理性，并且使用了各种媒体渠道，从印刷到电影再到社交。结果/结果 (投票20%) 自推出以来，国家艺术通行证的创作改变了艺术基金的命运: 品牌跟踪显示，艺术基金现在被大多数人视为一个文化会员组织，也是一个慈善机构。新成员的2018年 (21,751) 比2010年 (5547) 高出近x4。这些新会员人数几乎翻了一番，从76,311 2010年增加到150,662 2018年。最重要的是，艺术基金的成立宗旨 (为国家拯救艺术) 通过国家艺术通行证的创建和成功营销得到了很好的服务。在过去的8年里，国家艺术通行证的总增量利润为2333万英镑 *。这笔额外的利润帮助博物馆和美术馆获得或保留了一系列惊人的艺术2011年，否则这些艺术品可能会丢失。 * 使用保守的生命周期价值 (LTV) 数字2017年作为代理来计算收入和利润陪审团的文化/上下文信息 (150字) “嘎嘎作响”-指慈善收藏家用来从公共场所的人们那里收集现金的罐头或水桶

艺术基金: 重塑慈善机构

案例简介：The Interpretation of the Challenge (30% of vote ) The Art Fund charity was founded in 1903 to help UK museums and galleries buy and display important works of art. Art that otherwise would have been lost overseas or to private collections and therefore never seen by the general public. Income has historically come from membership subscriptions and a small number of wealthy donors. Like most charities, Art Fund attracted these members and donors by communicating the worth of their cause. But by 2010, Art Fund was struggling. Their total number of memberships was in decline, despite the need for funds being greater than ever - the government’s funding cuts meant the majority of museums in the UK had been forced to reduce their number of full time staff and opening hours. In response to this bleak situation and despite the challenges faced, Art Fund sought a 50% growth in their charitable programme by 2014, which could only be driven by a dramatic increase in membership and donations. To do this we would need to steal market share from other UK charities - brands with bigger budgets, media profiles and ‘worthier’ causes than ours. We decided the task would demand a more lateral strategic approach. The Insight / Breakthrough Thinking (30% of vote ) Charities’ business models have always relied on altruism. People handing over their spare cash in return for the knowledge they are supporting a worthy cause. At first glance, it seemed Art Fund was like any other charity in this regard; members joined primarily because they got to support its mission of saving works of art for the nation to enjoy. But qualitative research in 2010 suggested there was a far more self-indulgent reason why members renewed their Art Fund memberships, which had little to do with saving works of art. As part of their memberships, supporters received free and discounted entry to museums, galleries and historic houses across the UK – benefits that were valued highly. Incredibly, these member privileges were regarded as the primary benefit to joining Art Fund, the cause considered secondary. Art Fund was perceived as a cultural membership scheme more than a charity. Could we better align the organisation and its marketing with this truth? If we could ‘flip’ or reposition ourselves from being a charity asking for money to a cultural membership scheme with a compelling offering then we could attract more members and wouldn’t have to compete with the other big charities at all. The Creative Idea (20% of vote ) The National Art Pass was created to reframe the organisation as a cultural membership scheme granting people free or discounted entry to over 240 museums and galleries throughout the UK. We would no longer be asking for donations or ‘rattling the tin’, but instead selling a compelling product with long-lasting appeal. We didn’t even have to change Art Fund's benefits or member privileges. The 'new' National Art Pass simply re-presented the organisation's benefits in a more desirable form, tapping into people’s need to see more art for less. The pass also reshaped the role for comms. Rather than sporadically inviting philanthropic donations we could now behave like a retailer with sales targets to be met and tracked. There have been various iterations of successful National Art Pass advertising since 2011. Creative has ranged from emotional to rational and various media channels have been used, from print to film to social. The Outcome / Results (20% of vote) Since launch, the creation of the National Art Pass has transformed Art Fund’s fortunes: Brand tracking shows that Art Fund is now perceived by most people as a cultural membership organisation, as well as a charity. New memberships were almost x4 higher in 2018 (21,751) than in 2010 (5547). These new memberships nearly doubled total membership numbers, from 76,311 in 2010 to 150,662 in 2018. Most importantly, Art Fund's founding purpose (saving art for the nation) has been well served by the creation and successful marketing of the National Art Pass. Over the last 8 years the National Art Pass has delivered a total incremental profit of £23.33 million*. This extra profit has helped museums and galleries to acquire or retain an astonishing range of art since 2011, which might otherwise have been lost. *Conservative life-time value (LTV) figures from 2017 were used as proxy to calculate revenue and profit Cultural/Context Information for the Jury (150 words) ‘Rattling the tin’ – refers to tins or buckets charity collectors use to collect cash from people in public locations