Marmite: Bringing Home the Kiwis

A centenary gift that tastes like home

Sanitarium Marmite is a Kiwi staple and a national icon of 100 years. Today, one in five Kiwis live abroad. Many of these 600,000 Kiwis miss their Marmite, as it is hard to get overseas.

So to commemorate its 100th year in New Zealand, Ogilvy Auckland launched a contest which reunited long-lost Kiwis with their homeland and everything they love about it, including Marmite.

The mechanic: one-way tickets as a proof of intent

All the interested candidates had to do was tell the Marmite judges what makes them, or their loved ones, a deserving candidate to avail one of the 100 one-way free air tickets from anywhere in the globe.

A diaspora is the portion of a country’s people living overseas, often staying emotionally tied to “home” through food, language, sport, and ritual.

In small countries with a large diaspora, local brands can act as a bridge. Not by talking about identity, but by enabling a real reunion.

Marmite’s “Bringing Home the Kiwis” is a centenary contest that offered 100 one-way flights to bring overseas New Zealanders back home, using the return itself as the campaign’s emotional centerpiece.

Why it lands: it makes nostalgia actionable

Most “homesickness” marketing stays symbolic. This one turns longing into logistics. The prize is not merchandise. It is presence. That is why the story travels. It is instantly understandable, and emotionally high-stakes without feeling manufactured.

The business intent behind the generosity

The brand is buying disproportionate meaning. Marmite becomes a shorthand for “home,” and the campaign demonstrates it through a gesture people talk about long after the winners land.

It also solves a real friction point in the insight. If the product is hard to get abroad, then “bring them back” is a bolder way to dramatize what the brand represents.

What to steal if you want a diaspora idea that is more than a slogan

  • Use a prize that embodies the insight. Flights beat gift packs when the emotion is separation.
  • Keep entry simple, but make the stories rich. Let candidates supply the narrative energy.
  • Build a clear number hook. “100 for 100 years” is easy to remember and retell.
  • Make the payoff visible. Arrivals and reunions are the credibility layer, not a voiceover.

Nice idea, but it is clearly in the same family as “bring them home” diaspora campaigns, including JWT Argentina’s 2009 effort, titled “Bring Home the Argentinians”.


A few fast answers before you act

What is Marmite’s Bringing Home the Kiwis campaign?

It is a centenary contest that offered 100 one-way flights from anywhere in the world to bring overseas New Zealanders back home, tying the brand to the emotional idea of “home.”

What is the core mechanic in one sentence?

People nominate themselves or loved ones with a short story, and the prize is the reunion itself. The return trip becomes the proof of the brand idea.

Why does the “one-way ticket” prize work so well?

Because it turns nostalgia into logistics. The reward is presence, not merchandise, so the brand promise feels demonstrated rather than advertised.

Why is “100 for 100 years” a smart structure?

It is a simple number hook that is easy to remember and retell. It also makes the generosity feel purposeful instead of arbitrary.

What is the real business intent behind the generosity?

Marmite buys disproportionate meaning and becomes shorthand for “home,” while dramatizing a real friction point. It is hard to get abroad, so the campaign makes “home” the centerpiece.

What makes the story travel beyond New Zealand?

The payoff is visible and universal. Arrivals and reunions act as the credibility layer, so the idea works as a story, not just a claim.

What should other brands copy from this pattern?

If your positioning is emotional, make the mechanic physical. Choose a prize that embodies the insight, keep entry simple, and let real people supply the narrative energy.

DoubleClick: Fly over France HTML5 banner

You open a banner and, instead of a product shot, you get a hot-air balloon. You pick up speed, drift across a map, and “tour” famous French locations from above, including the Eiffel Tower, Notre-Dame de la Garde in Marseille, and the Château de Versailles.

This demo came out of the DoubleClick HTML5 Banner Challenge, with Biborg Interactive and Alpha Layer showing what happens when a banner is treated like a mini experience instead of a static placement.

The rich media build leans on several HTML5 capabilities at once. Geolocation can drop you near your own location at the start. WebGL handles the 3D-like rendering layer in capable browsers. Audio and video tags add atmosphere. Google Maps-style navigation does the heavy lifting for exploration.

In digital advertising, HTML5-rich media lets a banner behave like a lightweight web app, while still living inside a standard media buy.

An HTML5 rich media banner is a display unit that runs real-time code in the browser. It can detect location (with permission), render interactive graphics, and respond to user input without plugins.

What makes this feel different from “banner interactivity”

Most interactive banners ask for clicks. This one offers navigation. The moment you give people directional control, the experience shifts from “ad” to “toy”, and time-in-unit rises naturally because curiosity takes over.

Why the tech stack choice matters

Geolocation is not a gimmick here. It personalizes the first frame by making “your world” the default starting point, if the user opts in. WebGL is not decoration. It signals modernity and smoothness, making the experience feel closer to a game than a widget.

The business intent behind the challenge demo

This is less about selling France and more about selling a capability. It is a proof point for what DoubleClick Studio and HTML5 workflows can support, and it is a portfolio-grade demonstration for the teams who built it.

What to steal for your next HTML5 creative

  • Give viewers one clear control. Navigation beats click-to-reveal when you want time spent.
  • Use “permissioned” personalization. Geolocation works best when it improves the first 3 seconds, not when it tries to be clever later.
  • Design a graceful fallback. If 3D is not available, the core experience should still be enjoyable.
  • Make the value visible without instructions. If someone can understand the interaction from across the room, they will try it.

A few fast answers before you act

What is the DoubleClick HTML5 Banner Challenge demo here?

It is a rich media banner concept that lets users “fly” a hot-air balloon over a map of France and discover landmarks, built to showcase what HTML5 banners can do beyond animation.

Which HTML5 features does the banner use?

It is described as using geolocation (with permission), WebGL for interactive graphics, and native audio and video support, alongside map-based navigation to create a lightweight exploration experience.

Why is geolocation useful in a banner?

Because it can personalize the first moment. Starting near a user’s own location makes the experience feel immediately relevant, as long as it is optional and clearly explained.

What does WebGL add to rich media ads?

WebGL enables GPU-accelerated 2D and 3D graphics in the browser. In advertising units, that can translate into smoother motion, depth effects, and more game-like interaction.

What is the biggest risk with “mini-app” banners?

Weight and compatibility. If the unit is too heavy or too fragile across browsers, you lose reach. The best builds keep a simple core loop and treat advanced effects as optional upgrades.

Mountain Dew: Paintball Street Art in London

Paintballing meets street art in Mountain Dew Energy’s UK campaign. The idea is built around a simple collision: take the raw physicality of paintballing and merge it with graffiti culture.

The campaign is centred on a Facebook app designed to find and showcase the brand’s official street artists. Rather than appointing talent from the top down, Mountain Dew Energy lets fans decide who represents the brand on the street.

The campaign video shows the Graffiti Kings creating large-scale street art using paintballs inside London’s graffiti hub, the Leake Street Tunnel. The featured artists, Knoxville and Grohl, are not random selections. They were chosen by fans following a teaser phase that invited participation before a single wall was painted.

When the medium becomes the spectacle

The mechanism is the twist on technique. Graffiti is usually associated with spray cans and markers. Paintballs introduce unpredictability, force, and performance. The act of creation becomes as interesting as the final artwork, giving the campaign strong visual momentum.

In youth and culture-led marketing, credibility rises when the brand builds a participatory system and lets the community validate the outcome.

Why fan selection changes the power dynamic

Letting fans choose the artists shifts authorship. The brand steps back from curating taste and instead creates a framework where the community validates talent. That makes the outcome feel earned rather than manufactured, which matters in street culture.

This also gives the campaign a built-in narrative arc. The teaser phase creates anticipation. The vote creates ownership. The execution becomes a payoff that fans feel partially responsible for.

The intent behind the paintballs

The business intent is not just awareness. It is cultural alignment. Mountain Dew Energy positions itself close to street culture, creativity, and youth expression. By avoiding polished studio aesthetics, the brand signals that it understands the messier, louder edges of its audience.

What to steal from this campaign

  • Hybridise formats. Combining two cultures can create immediate distinction.
  • Make creation performative. If the process is entertaining, it becomes shareable.
  • Let fans decide. Participation before execution increases emotional investment.
  • Choose the right setting. Leake Street Tunnel adds credibility that no set could replicate.
  • Design the buildup. Teasers and voting give the campaign a rhythm, not just a reveal.

A few fast answers before you act

What makes this campaign different from typical street art sponsorships?

The use of paintballs turns graffiti into a live performance, not just a finished visual, and makes the act of creation central to the story.

Why involve fans in choosing the artists?

It transfers credibility. When the community selects the talent, the brand avoids looking like it is imposing taste from above.

Does the Facebook app actually matter?

Yes. It is the coordination layer that turns passive viewers into active participants and gives the campaign a reason to unfold over time.

What audience behaviour is this trying to encourage?

Engagement, sharing, and identification with the brand as part of a creative subculture rather than just a beverage choice.

What is the key takeaway for brand-led cultural campaigns?

Create a platform, not just a placement. When people can influence the outcome, they are more likely to care about the result.