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In conversation with
Paddy Gilmore
Founder at Studio Gilmore
Introduction
Introduction
Studio Gilmore is a consultancy that teaches brands how to use humour as a tool to engage with customers. Why? Because humour makes people more likely to buy what you sell and connect on a more human level. We spoke with its founder, Paddy, about how humour manifests itself in a brand’s personality, how to ensure humour doesn’t alienate any particular group, and the biggest challenges brands face when trying to incorporate humour in their marketing strategies.
Question and Answer
What motivated you to start Studio Gilmore and focus on humour?
I worked in advertising for many years, first as a creative then as a strategist. At the same time I had a huge interest in the science of humour: I studied it as part of my Master’s degree, and so it was a geeky hobby of mine for a long time. I knew all about humour mechanisms and how effective humour can be when done well. So that’s what I specialise in: I help brands to use humour wisely and and well. My weekly newsletter entertains over 1,500 people every Monday morning.
How do you think humour should manifest in a brand’s personality and tone of voice through campaigns or advertising?
There isn’t a one-size-fits-all answer. My first step is to look at the brand, the proposition, the product and the audience and take things from there. That said, some products aren’t well-suited to humour: typically these are high-involvement and high-price, such as expensive jewellery. But this isn’t always the case: Volkswagen have used humour very effectively for many years and their products are both high-involvement and high price. Similarly, Harvey Nichols (below) is a luxury brand that uses humour phenomenally well.
What specific strategies do you employ to achieve this connection between brands and their target audience?
My work is rooted in science, so the strategies I use are the three core humour mechanisms: these show how humour works on cognitive, social and emotional levels. It can sound overly intellectual and a bit daunting! But I take brands through this step-by-step, so they can find the right types of mechanisms, or combination of mechanisms, that work for them and, most importantly, their audiences.
“Get a sense of how broad the range of humorous advertising is. Look at lots of ads. Some brands are unaware of how many different types and styles of humour there are and getting a sense of it can be eye-opening. ”
Are there any quick wins brands can put into action when it comes to using humour to connect with their customers?
One quick win I’ve found is to really get a sense of how broad the range of humorous advertising is. Look at lots of ads. Some brands are unaware of how many different types and styles of humour there are and getting a sense of it can be eye-opening. Once a brand has a sense of the breadth of humorous advertising, they can start to navigate their way through it. For example, the two ads below are both funny but use very different humour strategies for very different reasons.
Can you share a recent project where you successfully rolled out a campaign with a humour twist?
One of my clients is an international bank who were trying to get their people to enrol in their pension scheme. Their pension offering is superb, but take-up among twenty- and thirty-somethings was too low. They had tried every trick in the book but to no avail. I analysed the audience and the product and then created a folio of ads they could use. On the back of this work, the pension uptake has shown a marked increase.
Humour can be subjective, and what one person finds funny, another may not. How do you ensure that the concept you use resonates with a wide range of customers and doesn't alienate any particular group?
A good question: I’m often asked this. Basically, safeguards depend on the type of humour that is being used, so there isn’t a one-size-fits-all way of preventing offence. For example, if a brand decides to use disparagement humour, in which there’s a clear butt of the joke, the audience must have some dislike of the person being mocked. But if the audience like the butt of the joke, it can seem needlessly cruel.
In your experience, what are some common challenges or misconceptions that brands face when incorporating humour into their marketing efforts. How do you navigate them to deliver a successful result?
There are many misconceptions. One that comes up frequently is the notion that humour is intrinsically national (i.e.: there’s a typically Austrian sense of humour). There are traits, definitely, but when you’re using humour in advertising, the demographic traits trump national ones. For example, if you’re selling deodorants to Germans, Swiss and Austrian audiences, they will have very similar needs and purchase points. This is good news for brands: it means they can address wider markets without having to tailor their ads for each nation.
Paddy's Storylist
Books
- The Copy Book by D&AD
- Why does the Pedlar Sing? What Creativity Really Means in Advertising by Paul Feldwick
Magazines
- The New Yorker
- The Spectator
Podcasts
- J to Z by BBC Radio 3
- 99 Invisible by Roman Mars
Digital platforms
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