large marketers, Coca-Cola has been working to find the right
balance between global and local in recent years, particularly when
it comes to its marquee sponsorships of the Olympics and World Cup.
Ultimately, marketers based in Atlanta must shape creative in such
a way that marketers around the world will buy in.
Mr. Sommerville, co-founder of Attik, a global creative agency
acquired by Dentsu in 2007, said there are check-ins with
various markets as the program is being developed to avoid a
situation where marketers are unenthused by the final product.
"If there's no collaboration; very little consultation
with anybody along the way; it feels too local to the host nation;
it's not something that they can adapt, then there, potentially,
would be a temptation for markets to do their own thing," Mr.
Sommerville said. "Over the last two World Cups that temptation has
been removed, as we become more experienced ... in developing a
system that everybody can adopt rather than push against."
The approach proved successful for the company's
latest World Cup effort, which has been adopted by 175, or 85%, of
its 207 markets. By comparison, 100 markets embraced the 2012
London Olympic Summer Games campaign.
were designed by Brazilian street artist Speto. Coca-Cola met with
several artists before selecting Speto, who created elements for
the campaign by carving into scrap wood and spray painting on
canvas. Those elements were combined into a modular system that
markets can arrange to their liking. They can also be shaded to
mimic countries' national color schemes -- red, white and blue in
the U.S. or green and yellow in Brazil, for example. Mr.
Sommerville described the system as a "coloring book" for
"Our mindset was, how do we go from the napkin to
...175 markets. If we can't take that artwork and turn it into a
system, then it will not get adopted," Mr. Sommerville said. "What
we don't want is matching luggage. We give the markets creative
freedom, but actually they're all working off the same