Chambord blends premium with the ‘absurd’ at east London flamingo croquet club

Bacardi Brown-Forman’s French liqueur Chambord is hoping to bring to life the ‘playful and absurd’ side of its brand this weekend (1-4 September) through the medium of flamingo croquet.

Located on a rooftop in east London’s Dalston, the French label’s Chapter Eight Games take inspiration from chapter eight of Alice in Wonderland, when the protagonist gets involved in a wacky version of croquet.

Alongside the (fake) pink mallets, consumers can snack on Le Bun burgers Dum Dum Donutterie doughnuts, both of which have been infused with Chambord in order to showcase the liqueur’s versatility.

The experience blends with the brand’s flamingo-filled Because No Reason ATL consumer platform. Laura Smith, senior brand manager at Chambord, told The Drum: “This event perfectly reflects Chambord and the brand personality.

“Whilst being premium it’s still really fun and playful. It really brings this absurd and odd luxury feel.”

The Because No Reason campaign launched in 2014 with a focus on Chambord’s French roots. However Smith noted the creative runs deeper than an overt homage to its home country.

“We don’t focus so much on the French heritage – it’s more [about] playing on ‘Frenchness’: that slightly ‘who cares?’ attitude,” she said.

The pop-up has also been devised to push the on-trade brand’s ‘Just add Chambord’ campaign. The initiative aims to get bars serving sparkling wine with a splash of the liqueur – known as a Chambord Royale - creating an unusual drink for customers while easily getting them to spend extra.

Two kits have been launched into the hospitality industry: one for premium independent cocktail bars and another available through major brewers and suppliers.

The idea was devised by Eulogy and was activated by event agency Wholehearted.

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Katie Deighton

Katie Deighton is The Drum’s senior reporter - creative and video based in London. She produces, films, presents and edits the title’s editorial video output, including series such as On The Scene, Ad Breakers and Why I Left Advertising, and manages its coverage of the creative sector. She also reports on the intersection between politics and marketing, as well as the third sector and fashion.

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