Everyone’s heard the old saw that consumers make at least two-thirds of their purchase decisions in-store. But beyond that, little is known about the value and effectiveness of point-of-purchase advertising.

Which may help to explain why a proposal to measure in-store advertising by the Washington, D.C.-based Point-of-Purchase Advertising International (POPAI) received a warm reception from advertisers, agencies and suppliers alike at a breakfast presentation held April 11 in Toronto.

"It would certainly be easier for us to sell to our clients, because a lot of them are looking for actual data [as opposed to anecdotal evidence]," says Aileen Grant, vice-president, group media director at Toronto-based OMD Canada. "It would be great to [be able to] back up what we’ve been saying."

Measurement will help lend credence to what P-O-P suppliers have been telling their clients for years, says Scott Weston, director of marketing at News Canada Marketing, a point-of-purchase supplier based in Mississauga, Ont.

"It means there will be additional awareness of the value of in-store," he says.

POPAI, in concert with the Advertising Research Foundation, is planning a multi-year, multi-channel study that will measure in-store advertising execution, audience delivery and effectiveness across a range of brands, categories and types of store.

As well, the study will allow clients and advertisers to compare the effectiveness of P-O-P advertising – which includes signage, floor graphics, instant-off coupons, shelf danglers and the like – with that of other mass media, such as television, radio and out-of-home.

The study is a follow-up to a pilot done last year that revealed several preliminary findings, including the fact that placement of in-store advertising varies widely by retail chain – as few as one-third and as many as three-quarters of stores within the retail chains studied displayed P-O-P advertising.

"Everybody understands the value of P-O-P advertising," said researcher Paula Payton in an interview following her presentation. "We want to furnish [media buyers] with a number so they can make the best media decisions possible."

By Karen Howe

I’m attending Cannes from the glory of my dining room table. There’s not a palm tree in sight, yet inspiration and intel are present in abundance.

Cannes Lions is a global cultural pulse check. The social course correction in the wake of the murder of George Floyd and BLM has delivered far greater diversity in the judging panels as well as the work. And we are all better for it.

I’m proud to say that creativity defeated COVID, which speaks to its power. Great work and big ideas flourished, despite unimaginable odds.

The work from the past two years spans a vast emotional range. From the profundity of Dove’s “Courage is Beautiful” to the hyper exuberance of Burberry’s “Festive,” they are opposite ends of the spectrum, but each answered a need in us.

Take note, the ascendency of gaming cannot be understated. Smart brands have embraced the channel. It makes sense, because gamers participate to meet others around the world, not just to play. And they represent a huge and powerful community. That’s why QSR Wendy’s gamified their iconic gal in RPG’s Feast of Legends.

Burger King sponsored the unknown Stevenage Football Club, transforming the team into online heroes and vaulting BK into the fray at the same time. Once again, the brand embedded itself in culture.

The birth of gaming tourism arrived when Xbox snuggled up to travel guides and created a brilliant baby: a travel guide for gaming worlds. It, too, embedded itself in culture.

From the standpoint of social good, Reporter Without Borders showed how it worked with Mindcraft for its “Uncensored Library” to bypass press censorship, with Minecraft providing a loophole to a space where young people could be educated. It provided youth with a powerful tool to fight oppression: truth.

COVID changed us in unexpected ways. We learned how to pay attention again and there was a notable lack of 30-second commercials. Instead, longer format content thrived. Apple’s WFH was seven minutes long. Entertainment reigned king, so we find ourselves returning to our advertising roots.

Seeing competitive brands form partnerships was one of this year’s other great surprises. The brilliantly simple “Beer Cap Project” by Aguila to reduce binge-drinking saw the brand reach out to competitive beers to join in. Aguila put incentivizing (keyword: free) reminders to drink water, eat food and get home safely on its bottle caps from all sorts of fast food chains, ride-share co’s and H2O brands.

On a personal level, I’m so proud of Canada again this year. Given that it was two years of work from all over the world being judged, even making the Cannes shortlist was an accomplishment. Canada is herding in the Lions in tremendous numbers – and it’s not even over. Fingers are crossed.

Karen Howe is a Canadian Cannes Advisory Board Member and founder of The Township Group