branding of the uefa champions league

51l OCTOBER 2007 l International Journal of Sports Marketing & Sponsorship

CASESTUDY

Global success in sport: the effective marketingand branding of the UEFA Champions League

KeywordsBrand equityUEFA Champions Leagueglobal sport

Executive summary

Competition between the elite clubs of Europe can betracked back to the 1950s. Following a series offriendly matches between Wolverhampton Wanderersof England and Honved of Hungary to decide Europe’spremier club, the French newspaper L’Équipeproposed the formation of a competition consisting ofthe league champions of each European nation, thenconstituted under UEFA. Thus the EuropeanChampion Clubs’ Cup, more commonly known at theEuropean Cup, was born and administered underUEFA’s auspices. The competition remainedunchanged for almost 40 years, but the growth oftelevision as a key medium of soccer consumption,and the development of satellite and pay television

digital technologies, led to exponential growth in therevenues available to clubs. UEFA took action toreconsider both the commercial and the sportingaspects of its main club competition. In 1992 theEuropean Cup was transformed into the UEFAChampions League (UCL), a hybrid competitioncomprising league and knock-out, around which anew brand identity was developed and implementedby UEFA in partnership with TEAM. This case studyexamines how this process was undertaken byidentifying how each component of the brand wasdeveloped, and by addressing the role that therelationship with commercial partners also played inthe process.

Abstract

The history and heritage of some brands is such thatan accumulation of brand equity occurs wherebystocks of images, symbols, logos and icons are builtup. The role of brand managers in these cases is torelease this equity in an attempt to both realise thevalue of brand equity and provide a foundation forfuture development of brand equity. Using a case fromglobal sport, this study analyses the branding of aproperty and how this drew from a number of equityenhancing features, as well as capitalising uponchanges in marketing and the marketplace.

Matthew Holt

Peer reviewed

52 International Journal of Sports Marketing & Sponsorship l OCTOBER 2007 l

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Branding of the UEFA Champions League

The emergence of the UEFA Champions League

Competition between the elite clubs of Europe can betracked back to the 1950s. Following a series offriendly matches between Wolverhampton Wanderersof England and Honved of Hungary to decide Europe’spremier club, the French newspaper L’Équipeproposed the formation of a competition consisting ofthe league champions of each European nation, whichwas then constituted under UEFA’s auspices. Thus theEuropean Champion Clubs’ Cup, more commonlyknown at the European Cup, was born. Thecompetition remained unchanged for almost 40 years,but the growth of television as a key medium of soccerconsumption and the development of satellite and paytelevision digital technologies led to an exponentialgrowth in the revenues available to clubs. UEFA tookaction to re-consider both the commercial and thesporting aspects of its main club competition. In 1992the European Cup was transformed into the UEFAChampions League (UCL), a hybrid competitioncomprising league and knock-out, around which anew brand identity was developed and implementedby UEFA in partnership with TEAM.

UEFA and TEAM

The commercial growth of soccer has been facilitatedby a small number of event and media managementcompanies, most notably ISL, long-term partners ofboth the world governing body FIFA, and UEFA.

UEFA formed what has turned out to be a hugelysuccessful alliance with two former executives of ISL.Recognising the opportunities for growth, KlausHempel and Jürgen Lenz had formed Television Eventand Media Marketing (TEAM), based in Lucerne,Switzerland, as the vehicle through which the UEFAChampions League would be transformed. Oninstruction from UEFA, TEAM sought to apply a

blueprint for sports marketing success by marrying thesynergetic qualities of soccer, sponsorship andtelevision. Through its marketing of the UEFAChampions League (UCL), TEAM has exploited thecommercial opportunities in a global marketplace andwith UEFA created a integrated sporting andcommercial platform for Europe’s elite clubs. In thisstudy I therefore focus on the key factors intransforming the UEFA Champions League into asuccessful global sports brand.

Methodology

This case study was undertaken over 12 months,funded by FIFA, and supported by UEFA; it was thusable to draw on high-level access to all of the relevantstakeholders in European football.

A total of 42 interviews were conducted withrepresentatives of European football, including those ofUEFA, TEAM Marketing, FIFA, Europe’s elite clubs(such as Manchester United, Liverpool, AC Milan andJuventus), FIFPro (the international players union),BSkyB, and the league organisations of Europe. Semi-structured interviews were conducted on a range ofissues relevant to European football and itsorganisation; specific questions were tailored towardsthe organisation, marketing and branding of the UEFAChampions League.

The research also draws on a range of literature,including previous academic work related to Europeanfootball and literature produced by UEFA and TEAM.The two organisations jointly produce an annual UEFAChampions League (UCL) review, which provides auseful summary of each aspect of the organisationand marketing of the competition. Branding guidesand UCL histories were other important sources ofinformation.


CASESTUDY


Creating the UEFA Champions League brand

The main factor in the effective transformation of theUCL into a benchmark global brand is the sportingproduct itself. This consists of a number of elementswhich have been integrated to produce a brand and acompetition with consistently high levels of interest.Each of these elements is considered below.

Centralised marketing

The critical commercial transition from the EuropeanCup to the UCL was the decision to centralisecommercial and marketing and branding control of thetournament. The concept of centralised marketingoperated by TEAM and UEFA has allowed UEFA itself to‘optimise’ and control revenues generated by thecompetition. Previously, clubs participating in theEuropean Cup had been responsible for selling theirown television and commercial rights. These rights weretransferred from the clubs to UEFA in return for fixedpayments from a central fund generated by the centralsale of television, sponsorship and other commercialrights by TEAM on behalf of UEFA. Payments to clubsare then distributed according to both sportingachievement and the market in which the clubs arebased. Clubs participating in the larger marketstherefore receive higher payments on the basis that theirtelevision rights are more valuable.

In order for the rights to be transferred by clubs toUEFA, those operating in the largest markets expect toreceive a fee commensurate or greater than they wouldhave received if they marketed the right individually. Bymarketing the television and sponsorship rightscentrally, UEFA has been able to generate greater levelsof revenue than the total revenues generated by theclubs selling the rights individually.

Television and associated revenues

The UCL product provides the basis for the ‘televisionspectacle’. Soccer is a key driver of televisionaudiences in Europe, and television is consequentlythe key provider of revenues in European soccer andspecifically the UCL. In the 2004-05 competition, itwas estimated that 320 million supporters watchedthe UCL every week (UEFA, 2005). In the 2003-04season, 79% of a total revenue of CHF 883 millionwas generated through television sales (UEFA, 2005).According to TEAM executives Craig Thompson andEms Magnus, the initial intention was to create aUEFA Champions League television network withnationally exclusive television stations, as a means toguarantee premium rates from free-to-air broadcasters(UEFA, 2003). This constituted an important aspect ofthe UEFA/TEAM policy to optimise revenue rather thanmaximise revenue1, demonstrating the desire toensure wider access to the tournament across Europeas a means to develop the UCL brand and maximisesponsorship revenue.

The central marketing of the UCL has enabled UEFAto generate vast revenues for the clubs. Since 1992UEFA has distributed a total of CHF 5,122 million toclubs, the vast majority of which has been generatedby television income (UEFA, 2005). Of total revenuesraised in 2003-04, CHF 633 million were awarded tothe participating clubs and CHF 250 million wereretained by UEFA for running costs and distributionwithin European football (UEFA, 2005). It has beenargued, however, that UEFA fails to maximise revenuefrom the competition. The Media Partners proposal fora breakaway competition in 1998 exploited this viewand initiated a restructuring of the competition byarguing that European revenues were artificially low.Similarly, the decision to maintain UCL coverage onfree-to-air television means that the pay-TV market isnot being fully exploited. According to Media Partnerspresident Rodolfo Hecht, “In a 4.5 billion Euro market,85% is generated by domestic leagues.”

1 See www.team.ch


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Sponsorship

With each club in control of its own stadiumsponsorship, there was no coordination of sponsorshipacross clubs. This was changed in favour ofcentralised sponsorship by UEFA/TEAM. According toTEAM founder Klaus Hempel, “the package wasunique and the less equals more concept was veryattractive to commercial partners who wanted greaterexclusivity. The marketplace had become verycluttered with commercial messages … our idea wasto invite eight partners to deliver messages with amuch clearer voice – and this was later reduced tofour.” This concept was “innovative and commerciallyadapted to changing market conditions” (Thompson &Magnus, 2003) consisting of “a select group ofsponsors with an integrated communications platform”(UEFA, 1999). Initially UEFA/TEAM opted for eightsponsors and this was reduced to four in 2000-01, tobe increased to six for 2006-2009. 2 With elite footballas a core driver of consistently large audiences amonga young, male and affluent demographic, UEFA havebeen able to extract maximum sponsorship value. Thekey to this was to offer comprehensive coverage in theareas of event and media rights, maximising value tothe sponsors through careful management ofadvertising boards, tickets and hospitality, stadia andbranding, the use of logos, and the control of mediarights.

Sponsors receive coverage in stadia on advertisingboards, interview backdrops, on tickets and hospitalitypasses, match programmes, in hospitality areas andwith other promotional rights. The blanket event rightscoverage becomes all the more valuable whenconnected to media rights across a global network.Sponsors receive exposure not only via the broadcastof the event, but also by receiving exclusivity for theirproducts in commercial airtime and through broadcastsponsorship (which now includes a ‘match bumper’played directly before each half and after the final

whistle). This has made it almost impossible for rivalcompanies to engage in ‘ambush marketing’ byattempting to associate with the UCL. Indeed, in thefirst season of the UCL, shirt sponsorship was notallowed in the competition, although this causedproblems for clubs with their own sponsors and thedecision was reversed. Overall, however, TEAM hascreated a ‘multiplying media effect’ that offers newlevels of recognition for sponsors (Thompson &Magnus, 2003).

The value of the UCL is clearly recognised bysponsors, who invested a total of CHF 177 million in2003-04. Sponsors have consistently reflected on theglobal opportunities that UEFA is able to deliver. Bythe 12th season of the UCL, the average length ofsponsorship tenure was 10 years (UEFA, 2004).Product recall among consumers is high. At the end ofthe 2003-04 group stage, 20.75% of sampledconsumers were able to recall all four sponsorsunprompted (UEFA, 2004). Additionally, sponsorshave specifically linked the launch of new products tothe UCL. For example, Ford utilised the knock-outstages of the 2004-05 tournament to launch the newFocus model. In the run-up to Christmas 2004,Playstation used all six match days intensively topromote its product. In addition to the sponsorshipprogramme, UEFA has accredited suppliers whichenjoy similar privileges to sponsors, providing thegoods and technology required to manage atournament of the scale of the UCL.3This integratedsponsorship platform has allowed UEFA and TEAM tomaximise these revenues for the clubs.

New media and licensing

While television and sponsorship revenues account forthe vast majority of Champions League income, thecommercial optimisation of the competition is furtherenhanced through the sale of new media and

2 Current UCL sponsors are Ford (since 1992), Mastercard (since 1994), Playstation (since 1997), Heineken (since 2005), Vodafone (since 2006) andSony (since 2006). 3 UCL suppliers are currently Adidas, Sharp and Canon.


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licensing rights. The official ball, developed by officialsupplier Adidas, is the best-selling licensed product.According to UEFA, this “performs a valuable brandbuilding function” and “acts as a permanent reminderof the UEFA Champions League”. Other licensedproducts include Champions, the official UCLmagazine, and table football. While the sumsgenerated for UEFA by licensed goods are relativelysmall, such products add to the brand awareness.

New media is also providing a growing revenuestream to be exploited. In 2003-04 new mediagenerated over CHF 5 million (UEFA, 2005). Newmedia has become increasingly important since theintervention of the Competition Directorate of theEuropean Commission objected to the joint selling ofrights. One of the reasons for the intervention of theCommission was that “internet and phone operatorswere simply denied access to the rights” and that “bybarring access to key sport content it also stifled thedevelopment of sport services on the internet and ofthe new generation of mobile phones”. 4In anagreement with the Commission, UEFA opened up thesale of rights to new media outlets, sharing the rightswith clubs. UCL footage is broadcast on the UEFAwebsite (www.uefa.com) and is sold through monthlyand annual subscriptions in nine languages. Footageis also available through club websites, for the clubsthemselves to exploit. In order to protect the rights ofbroadcasters, this content is not available until aftermidnight on the evening of the games (UEFA, 2005).Third-generation mobile phone technology has alsobeen exploited. Wireless content, which includes videohighlights, text commentary and still pictures, isavailable in 35 countries through operators such asVodafone, Orange and T-Mobile (UEFA, 2005). Whilenew media revenues constitute just a fraction ofoverall revenues (6%), they are likely to becomeincreasingly important. Interestingly, new mediacontent is one area where there is a departure fromthe central marketing concept, and clubs are available

to deal individually, within constraints. Both the clubsand UEFA were happy with the outcome ofCommission intervention as it allowed UEFA tocontinue to control the most valuable television rights,but in terms of new media, according to ThomasKurth, General Secretary of the G145 organisation ofclubs, “it leaves to the individual club somethingvaluable which can be better exploited by the clubsthemselves” (personal interview, 18 January 2005).The regulatory intervention of the EuropeanCommission, alongside technological developments,made the marketing an increasingly complex task, asRichard Worth explains: “In the early days, it was onlya free-to-air Wednesday night TV product withsponsorship as well. Now it is a multi-layered free-to-air, pay-tv, internet, mobile phone, sponsorshipproperty which is a very sophisticated thing. In asense the challenge is bringing all those componentstogether, and making it work” (1 March 2005).

History and heritage

The effectiveness of the central marketing strategy hasbeen enhanced and maximised through the effectivebranding of the competition. This constitutes one ofthe most fascinating elements in the development ofthe UCL both as a competition and as a commercialvehicle. The radical transformation of the EuropeanCup into the UCL sparked concerns among supportersand the media about the devaluation of thecompetition and the triumph of commercial interestsover sporting considerations. In that context UEFA hasbeen acutely aware of the need to associate the UCLwith the traditions and heritage of the reveredEuropean Cup. This is evident through the creation ofcustoms with regard to the competition itself. Forexample, clubs that win the tournament threeconsecutive times, or five times in total, are entitled tokeep the trophy. Similarly, such clubs are entitled to

4 See also ‘Commission clears UEFA’s new policy regarding the sale of media rights to the Champions League’, Press Release IP/03/1105. Brussels, 24 July 2003.5 The G14 is a lobby group consisting of 18 of the elite European soccer clubs.


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wear a special badge on the sleeves of their clubshirts to identify this achievement. These customsreinforce the longevity and integrity of the competitionand increase the meaning of the competition’s history.In marketing terms, the result has been a concoctionof contemporary, cutting-edge marketing techniquesaligned with half a century of European Cup history. Itis difficult to underestimate the importance of this,and the development of the brand has focused heavilyon building the themes of ‘heritage’ and ‘prestige’.UEFA recognises the importance of blending these twovital facets; UEFA literature on the UCL focusesheavily on the heritage of the competition and there isan explicit recognition of the need to relate thatheritage to the modernisation of the competition. It isthe brand that allows this to be achieved visually.

The marketing of the UCL therefore constitutes adeliberate and explicit attempt to marry the twinrequirements of modernisation and the fostering ofcontinuity which underpins what UEFA refers to as the‘brand platform’. This includes the vision (“to createthe ultimate stage for Europe’s club championship”);the mission (“giving fans the best competition in theworld”) and the brand values (“proud, special, intouch, passionate”). According to UEFA: “It is thebrand that helps deliver the values of the event andprovides the strategic direction for all activitiesconnected with the event” (UEFA, 2003). That brand,developed by international brand consultantsInterbrand alongside UEFA and TEAM, has placed‘prestige’ and ‘heritage’ at the heart.

Brand identity

UEFA (2003) has stated: “The UEFA ChampionsLeague, like any other global brand, is complex incharacter. Whilst it is perceived in slightly differentways by the various audiences across Europe, prestigeis at the heart of the UEFA Champions League brandimage”. It is through the brand that UEFA hasattempted to deliver the image of prestige tosupporters and the wider European football industry,

and this brand consists of three key elements: theUEFA Champions League anthem, the house colours,and the starball symbol. These constitute the “longterm foundations of the brand” (UEFA, 2003). Tothese I would add the symbolic importance of thetrophy itself.

The UEFA Champions League anthem

At 8.45pm Central European Time on Tuesday andWednesday nights, the same piece of classical musiccan be heard at stadia and television screens acrossEurope. The choice of Handel’s Zadok the Priest asthe theme of the UEFA Champions League epitomisesthe aim to give the competition very specificconnotations. The piece reflects a classical approach,with associations of history and prestige – an anthemfor the elite that reflects the pinnacle of Europeanfootball. In choosing Zadok the Priest, not only haveUEFA and TEAM sought to convey exclusivity, theyhave also succeeded in differentiating the UCL fromother club competitions. As the TEAM chief executivehas previously noted, sporting contests have oftenbeen brashly branded with popular music, denotingyouthfulness (King, 2004). In England musicassociated with the Premier League has included Elton John and U2. Interestingly, BBC Television hasalso utilised classical pieces when broadcasting theFIFA World Cup, this time reflecting the elite game innational team, as opposed to club, football.

The anthem was adapted by the English composerTony Britten and has become synonymous with thecompetition. The lyrics, created and translated into avariety of languages, end with the words ‘TheChampions!’ at the crescendo of a rising chorus. Theconsistency with which the anthem is used alsoconsolidates its distinctiveness. This culminates in theplaying of the anthem at the stadium at the momentthe winning captain lifts the trophy. UEFA has clearlybeen pleased with the impact that the anthem hashad on the recognition of the anthem in associationwith the competition. By utilising the anthem in all


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UEFA Champions League television broadcasts, and atmatch venues prior to kick-off, UEFA has succeeded inutilising a classical piece to popularise a transformedcompetition. This is what UEFA (2003) referred to asthe “ability to marry a prestige position with massappeal”. Research has shown this to be true as theanthem is more readily identified with the competitionthan the logo or even the name.

Images and symbols

The clearest visual symbols of the UEFA ChampionsLeague are again a combination of old and new. Thetrophy, used since the 1960s, following the award ofthe previous trophy to Real Madrid after successivevictories, is the ultimate visual emblem of Europeanfootball’s greatest clubs, players, and competition. The‘starball’, by comparison, was created as a centralaspect of the rebranding exercise following thetransition from European Cup to Champions League.

The starball symbol has again been created andused to drive the brand values of the competition. Anumber of agencies were approached to propose anew visual identity for the competition, and theLondon-based agency Design Bridge was charged withthe brief of creating an “identity and branding tomatch the very best of European football”. The starballwas designed to reflect the eight ‘star’ teams thatremained in the two group stages following the initialreformulation of the competition.

It has been argued that the starball is invested withpolitical meaning. Each star within the ball representsan elite club of European football, thereforeentrenching the elite clubs within competition underUEFA control (King, 2004). While this overstates theimportance of this single visual image, there is littledoubt that the symbol has become a crucial signifierof the UEFA property. According to sports brandingconsultant Richard Markell, “The UEFA ChampionsLeague logo is a modern classic that captures in its‘starball’ symbol the elite world of Europe’s top clubcompetition and classic matches between top clubs.

It has a subliminal aura of glamour about it.” TEAMexecutives Craig Thompson and Ems Magnus (2003)have confirmed the impetus behind the new visualcreation. Additionally they note how the musicaltheme and the starball work together as part of acommon theme of prestige and tradition: “The simpleyet striking new logo, combined with the classicalmusical theme, gave the new competition an elevatedimage and prestigious feel.” While more than a decadehas passed since the starball emerged, to the pointthat it is recognised in isolation as a symbol of theChampions League, it is rare that the starball isemployed without being juxtaposed to the brand ofUEFA, and UEFA has not sought to hide theimportance or meaning of this: “The UEFA arch in theChampions League logo is the brand behind thebrand, and acknowledges within the competition logothe organisation which is responsible for staging theevent. The UEFA presence is measured, it does notconfuse or detract from the competition logo, butprovides a subtle yet very powerful endorsement.” Inthe context of the politics of European soccer, UEFAhas cleverly used the opportunity to rebrand as anopportunity to consolidate its own presence as thelegitimate organiser of European club competition byoffering “subtle endorsement”. TEAM chief executiveRichard Worth also confirmed UEFA’s wish that thestarball and the UEFA arch should never be “split up”(quoted in King, 2004).

It is within the utilisation of the starball that thehouse colours of the UCL brand are most evident.Black, white and silver were chosen specifically togenerate connotations of history, prestige andpreciousness. King claims, for example, that the blackand white engenders memories of the old televisionfootage of the early days of the European Cup, againspecifically relating the modernised tournament andmarketing concept with old European Cup and thuslegitimising the transformed competition. Similarly hesuggests that the silver reflects the history of atournament under floodlight and famous Europeannights. More plausibly, the silver reflects thepreciousness and history represented in the trophy.


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The use of black, white and silver has beenconsistently employed and is emphasised by the deepmidnight blue used as a background colour to muchof the UCL, in particular television sequences andvarious other backdrops. When the silver issuperimposed onto the midnight blue there is a clearevocation of the history and glamour of the EuropeanCup. In the same way that other sporting competitionshave used popular music, the colours employed inUCL branding set it apart visually from othercompetitions.

The trophy

The trophy remains, predictably, the most identifiableand prestigious symbol of the UCL competition.Interestingly, through most of the competition, thetrophy is conspicuous by its absence in the branding,apart from in the opening sequences of broadcasts.However, since the late 1990s6 there has been adeparture from the UCL brand concept for the final tie,and it is in this special unique branding exercise thatUEFA and TEAM utilise the symbolism of the famoustrophy – one of soccer’s most iconic symbols.

By restricting the use of the trophy until the finalitself, its lustre and value is enhanced. The more rarelythe silverware appears, the more special and preciousit becomes. Craig Thompson, an executive, explainsthe development of his own understanding of thisspecial symbol: “As an American the cup hadn’t meantthat much to me. But when I saw how much of anicon it was to people in Europe, I felt that we shouldbe making better use of it to promote the final and thecompetition. So we began the tradition of offering thetrophy to the host city a month or so before the final,and the Handover Ceremony has become anestablished part of the fixture list” (UEFA, 2000).

The branding of the final tie has become enormouslydistinctive in itself, and has been designed toamalgamate the image of the competition and the cupwith cultural references to the host country and city.Thus for the final in Istanbul in 2005, the image andthe lines of the cup were cleverly adapted andincorporated with the symbolism and colours of Turkeyand the architecture of the host stadium – the moonand star and deep scarlet reds. Into the design ofbackdrops, a subtle and understated starball was alsoincluded. According to English and Pockett, the designagency responsible for the final branding, “Our eventbranding combined the Champions League identitywith the host country’s national flag by echoing its keygraphic elements – the moon and star. Traditionaldesigns from a Turkish mosque were combined withthe red of the flag to create a distinctive graphicstyle.”7 The final branding received blanket coveragein Istanbul. From the airport to the city centre to thestadium, lamp-posts were adorned with UCL finalimagery, with, of course, ample space offered toexclusive UCL sponsors and suppliers. So while theoverall branding of the UCL conveys history andprestige, the unique branding of the final itselfdevelops this concept even further by integrating thetrophy and heightening the sense of occasion andsignificance of the final tie.

Brand implementation

The UCL brand theme is encapsulated within thebrand identity – the symbols of the UCL. But perhapsthe most impressive of all the success factors inmarketing the UCL is how the concept of centralisedbranding and commercial control is implemented. Thesuccessful creation of the brand is accompanied by astrategy that involves the comprehensive utilisation of

6 Initially the image of the cup could not be used for legal reasons.7 www.english-pockett.com


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the brand and control of event management, both instadia and through the media. The comprehensiveimplementation of the brand identity consistentlyreinforces the identity of the competition and serves toentrench the competition in the consciousness ofEuropean soccer fans and reinforce the competition asthe legitimate means by which to decide Europe’s bestclub. This consequently reinforces UEFA’s role in theorganisation of the contest. To complete the virtuouscircle, sponsors and broadcasters accrue financialbenefit from association with the competition.

Event management and identity

Implementation of the centralised marketing conceptcan be most strongly identified in the sporting arena.Initially this was one of the more controversial aspectsof the development of the UCL. European soccer clubstraditionally have a high degree of commercial andorganisational autonomy. For the UCL, stadia becomethe property of UEFA/TEAM and have a dedicated“specially trained venue team” (UEFA, 1999). EachUCL venue is dressed in exactly the same fashion.Initially this caused a degree of friction with thecompeting clubs, as Campbell Ogilvie of Rangers FCexplains: “In the early days there were also situationswhere clubs resented a group of outsiders turning upat the ground and telling them how to organise amatch at their own stadium. The clubs were atloggerheads with UEFA and TEAM.” However, thevalue of the transformation was soon recognised bythe clubs, as Ogilvie notes: “Fortunately, the packagewas absolutely top-class and the partnership conceptin the UEFA Champions League has to be consideredone of football’s great success stories” (UEFA, 2002).

There is little doubt that the standardisation of thecompetition enhances its commercial value, withsponsors and broadcasters attracted to an integratedand homogenised product. Similarly it is worthremembering that by optimising the commercialpotential of the competition, UEFA is able to increase

investment in the development of European football.The stadia are thus dressed identically, architecturaldifferences notwithstanding. At each venue the words‘UEFA Champions League’ can be seen at the halfwayline, facing the cameras, and all the way around thepitch on the advertising hoardings of sponsors andsuppliers. All existing stadium advertising is removedor covered, and each tier of the stadium is wrappedwith a version of the starball symbol in black andwhite. Before the start of each game, a starball coversthe whole centre circle. As the teams emerge onto thepitch, the starball is lifted and shaken to generate asimple but stirring effect. According to Keith Young ofDesign Bridge, this constituted “a perfect way ofestablishing and asserting the competition’s identityand we’ve seen this copied at other events”. (UEFA,2002). Simultaneously, the UCL anthem is playedacross the stadium. Not only are these routinesreplicated across venues, they are choreographed soassiduously as to be almost simultaneous.

Few stones are left unturned in the venue brandingexercise. Stewards’ jackets and players’ shirts sportthe starball logo, all match tickets and accreditationpasses are branded and include the various logos ofsponsors and suppliers.

Away from the immediate vicinity of play, the brandidentity is also ubiquitous. A special corporatehospitality area is branded as the Champions’ Club.One marker of success is the fact that UCL sponsorsmay compete with the individual sponsors of clubs.For example, Liverpool is sponsored by Carlsberg,while Heineken (and previously Amstel) are sponsorsof the UCL. It is not difficult to see the problems posedwhen sponsors of clubs are not allowed to advertise atthe stadia in which they invest for the most high-profile games! In fact, compromises had to be made,as early in the life-cycle of the Champions League, noshirt sponsorship was allowed. This was changed, andthe overall benefits that accrued from centralisedmarketing and sponsorship were enough to offsetconcerns of conflict with existing sponsors.


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Television identity

The impact of stadium branding is transmitted mosteffectively and lucratively through television, throughwhich 99% of fans access the competition (UEFA,2004). Stadium branding, however, is only one aspectof UCL event branding. The television production itselfis also a vital means through which the competition ismarketed to fans and more widely to consumers. Thisis achieved through uniformity of coverage packagedaround live games.

I have already touched upon the global impact ofthe UCL and the worldwide television audience. Ofcourse, it is ultimately the product that makes the UCLthe global sporting success that it is, but the mannerin which the competition is packaged clearly addscommercial value through the development of arecognisable and respected brand. The television titlesequence plays an important role – “a unique andvaluable promotional platform” and a “branding tool… to differentiate the Champions League broadcastsfrom any other television programme” (UEFA, 2003).

By controlling this aspect of presentation, the UCL istaken out of the control of broadcasters that mightwish to portray a different image. The sequences havedeveloped over the life of the UCL, but the keysymbols of starball, colours and anthem haveremained. The brand is based on the theme ofconnection – between star players, club and fans. Thisis particularly effective for television, as the movementand connection of the stars in the opening sequencesdepict the clash of clubs and players in the context ofa prestigious sporting contest. Again, the silver starhousing the images appears on a midnight bluebackground, accentuating the distinctive night-timeaura and the value of the tournament. The brand isalso heavily concentrated in the overall television

coverage. The on-screen graphics, showing matchresults, group tables, fixtures, the score-line duringplay, the team line-ups and formations, are allbranded with the starball on the midnight bluebackdrop. Studios have UCL branded furnishings, andpost-match interviews are conducted in front ofbranded backdrops featuring the logos of sponsors andsuppliers.

Perhaps the most telling indicator of how successfulthe branding of the UCL has been is the exemptiongiven to UEFA by the Competition directorate of theEuropean Commission. Competition authorities acrossEurope have taken a close interest in how the rights tofootball competitions have been sold by the respectiveauthorities. In Italy, for example, central selling wasruled illegal, and the European Commission hasinvestigated central selling deals in England, Germanyand France. The Commission objected to the centralsales of television rights to the UCL due to the factthat UEFA sold to a single broadcaster on an exclusivebasis, and the consequences of that for broadcastingmarkets in Europe. Although forced to re-evaluate themanner in which rights were sold, UEFA was allowedto continue selling the rights centrally, on the basisthat “UEFA’s joint selling arrangement leads to theimprovement of production and distribution by creatinga single branded league focused product sold via asingle point of sale”. 8 The Commission recognisedthat the central selling was important for a brand“associated with a uniform and high-quality TVcoverage underpinned by homogeneous presentationwhich increases attractiveness for the viewer. Theseare also factors which attract the best football clubswho want to participate in the competition”. 9Indeed,the quality with which the tournament is marketed isan intrinsic factor in the inclination of clubs to workwithin the existing framework of competition.

8 Commission decision of 23 July 2003: (COMP/C.2-37.398 – Joint selling of the commercial rights of the UEFA Champions League. See also ‘Commission clearsUEFA’s new policy regarding the sale of media rights to the Champions League’, Press Release IP/03/1105, Brussels, 24 July 2003.

9 COMP/C.2-37.398


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Conclusion

UEFA and TEAM have succeeded in creating abenchmark in the marketing of soccer’s premier clubcompetition. At the heart of this success is thesporting product itself. The competition provides theplatform for Europe’s most famous and best-supportedclubs, while offering opportunity to lesser clubs andnations and the opportunity for players to confirm theirstatus among the world’s greats. In marketing theproduct, the centralised strategy allows UEFA, inassociation with TEAM, to control and address everyaspect of the branding and organisation of thecompetition. Only by exercising this degree of controlcan each important aspect of the competition bedelivered to the highest possible standards andoptimise the potential of the golden triangle of soccer,TV and sponsorship.

Although numerous factors play vital roles in theconstruction of this global brand, ultimately it is thestrategic and integrated approach to marketing thecompetition that sets it apart. Each success factor isimportant in so far as it exists as a part of anintegrated whole. By attending to every last detail inthe branding and organisation of the UCL, thecompetition, like a good soccer team, becomes morethan the sum of its individual components. Theimportance and value (sporting and commercial) ofthe competition is therefore enhanced and magnifiedfor all participants – clubs, spectators and commercialpartners. In the complex environment of Europeansoccer’s political network, UEFA consolidates its ownposition as the legitimate controller of club competitionby fostering a contest of consistently high interest andstandard and by marketing that contest to the highestprofessional standards, and to the satisfaction ofsoccer’s most influential stakeholders.

© 2007 International Marketing Reports

Biography

Matthew Holt submitted this paper while a researcherat Birkbeck College, University of London. He nowworks for Sport England.

The author would like to thank various executives ofUEFA and TEAM who agreed to be interviewed in thecontext of a wider project on UEFA and Europeanfootball, and for information provided for this paper.

References

King, A. (2004) The New Symbols of European Football,International Review for the Sociology of Sport 39(3), 323-336.

Thompson, C. & Magnus, E. (2003) The UEFA ChampionsLeague Marketing, FIBA Assist Magazine 2.

UEFA (1999) UEFA Champions League: Season Review 1998-1999.

UEFA (2003) UEFA Champions League: Giving the fans the best competition in the world, 2003-2006. UEFA: Nyon.



branding of the uefa champions league

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