Foster’s Hollywood He knows that he is late for the fried chicken category. A handful of brands before she has built millionaire and international businesses and huge communities around this product. But the firm of Alsea He also knows that he enters this field with a solid proposal that combines quality, experience and personality.

And about that idea has based the advertising campaign “We are late, but well,” designed by the McCann creative agencyand Reason.WHY He has been able to meet in first. With her she presents her Nashville -style chicken platform. And he addresses with humor and naturalness the time that has led him to enter, officially and with an entire range of dishes, in the category of fried chicken, while exposing a differential offer in the territory.

The creative concept is tangible in different creativity for different supports. Thus, the first action will be executed on Friday and will consist of a advertising canvas Located on Goya Street, in Madrid, with which he congratulates the Spanish male team for the victory in the Eurocup, an achievement obtained seven months ago.

Will continue with a television spot in which Ironiza having used the campaign budget on the musical theme of the moment, which turns out to be “I want to dance”, the song that popularized the Sonia and Selena duo in 2011.

Throughout the next few days Foster’s Hollywood will also take his message to social networks, where he will continue playing with the creative concept referring to the late use of technologies, such as teletext. It also has the creation of a politonus, thereby referring to the communication of decades ago, and with the participation of influencers to reinforce the idea of ​​the campaign, including Xurxo Carreño or Grison.
The action with the latter will play with the concept “I have arrived late until it is handsome”, in allusion to the viral physical challenge assumed by the collaborator of “La Revuelta” with Men’s Health magazine.

Heinz worked a similar concept three years ago with “Ridiculously Late. Ridiculously Good ”, when he launched on the British market the first tomato sauce for pasta that produced in its 150 years of history.

A new territory, same personality

All this to publicize the last Product innovation of the restaurant chain, the result of a process that has required more than six months of work, research trips to the city of Nashville itself and the coordination of innovation and marketing areas, among others.

The result is a new range of dishes that They raise the experience of fried chickenas Reason.WHY He has been able to taste, together with those responsible for the brand and campaign, in one of Foster’s Hollywood restaurants in the center of Madrid on the first day of the new proposal in the company’s letter. The new options include hamburgers and wings and fried chicken tenders, with marinated and special batter; Accompanied by sauces inspired by the American southern style, as well as garrisons, such as Corn Ribs, Mac & Cheese, fried potatoes or cabbage salad.

As explained to us, Foster’s Hollywood has opted for the Nashville style, for its personality and because it has not traveled so much in the minds of consumers, which provides a novel element, and has adapted it to the Spanish market. The intention has been to raise the category fried chicken, go beyond your association to Fast Food, and do not only with the raw material, but with everything that surrounds it on the plate, focusing on the taste, and in the Casual experience Dining.

The launch of the new segment is one more step in the repositioning strategy that the company put in brand in June 2022, and takes place after two years reinforcing Foster’s Hollywood in its Core product, hamburgers. It also responds to market trends and consumer demands. The restaurant chain seeks capitalize on the growing consumption of fried chicken, Covered, among other things, in the interest of users for health and well -being and less environmental impact.

“We open and expand our letter and do it in a consistent way, relying on the authority and legitimacy that give us decades betting on the American style”, Says Alexis Chauvín, Marketing Director at Foster’s Hollywood. “But we also reinvent what that means. We are the leaders of the category in Spain and we can redefine what an American restaurant is”

Foster’s Hollywood advances in its positioning

The incursion into the fried chicken is made by maintaining the consistency and coherence of the brand and, at the same time, seeking differentiation. This has worked, as Álvaro López, Creative Executive Director of McCann tells us, respecting the casual tone and discourse around authenticity, and moving away from certain narrative codes and stylistic resources settled in the Fast Food category.

“The campaign is clear and goes ahead. He says that Foster’s Hollywood is late, but it has been worth the wait. With that idea we continue to make a brand through the product”, Argues in statements to Reason.WHY. “The brand dares with a product that is already associated with very powerful brands and that make a lot of push in price and promotions, so we could not communicate just like them”

Beyond the communication, the company contemplates, once the knowledge around its new proposal is based, then accompany the strategy with promotional declines. In addition, it will also boost a campaign focused on new fried chicken burgers.
Foster’s Hollywood is aware that right now its main challenges go through Associate fried chicken to a higher product and experience, and a way to consume it away from the traditional form of Fast Food.

However, it positively values ​​the path taken more than two years ago. “We are in a much better position than four years ago. We have improved in brand perception and notoriety”, Chauvín assures us. “But we still have a lot of growth and innovation, both in product, and in communication, as in times of consumption”
The chain already studies its opening towards breakfast and snacks.

Technical file

• Advertiser: Grupo Alsea
• Brand: Foster’s Hollywood
  • Customer contacts: Alexis Chauvin, Elena Campo, Victoria Montoro
• Agency: McCann Worldgroup
  • Chief Creative Offer: Eoin Sherry
  • Executive Creative Director: Álvaro López
  • Creative Directors: Manuel Castillo, Enrique Torquet
  • Art Directors: Marcelino Contreras, Andrea Gil
  • Editors: Alicia Sánchez, Marta Gruber
  • Graphic Designer: Alberto Fernández
  • Chief Strategy Officer: Lucas Rodríguez
  • Planner: Álvaro Diez
  • Head of Content Studio: Miguel Vara
  • Business Lead: Eduardo Pajuelo, Santiago Martínez
  • Account Director: Mabel Esteban
  • Account Supervisors: Mery Gil, Juan López
  • Accounts Executive: Celia Gómez-Angle
• Production Agency: Craft
  • Chief Production Officer Craft Spain: Paloma Adrien
  • Audiovisual Production Director: María Iglesias
  • Produce: Marta Cid
  • Business Affairs: Laura Hernando
• Producer: Zissou
  • Director: Mauri D. Galiano
  • Executive producer: Marta Pérez de Tudela
  • Photography Director: Daniel Borbujo
  • Producer: Natalia Puras
  • Art Director: Manuel Benavides
  • Stylist: Carol Bernal
• Postproduction: Serena
• Sound study: Serena/Sirena
• Music: “I want to dance”, Sonia and Selena
• Locker: Mario Zorrilla
• Media Agency: Carat
  • Business Managing Partner: Guillermo Martín
  • Account Director: Javier Fernández-Luna, Mónica Palacios
  • Media Development Expert: Alberto Barnal
  • Channel Expertise Consultant: Lorena Juarez, Ana Revilla
  • Head of Stage: Athena Pérez, Marcela Acevedo
• Media Agency: Havas