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Tourism Tasmania Hands Red Havas Global PR Business

Before hiring red havas as global aor, tourism tasmania used local pr firms in different markets..

Diana Marszalek 27 Mar 2023 // 7:14PM GMT

SYDNEY — Tourism Tasmania has consolidated its global PR business with Red Havas. Red Havas was named the government-backed tourism group’s global agency of record following a competitive review. The agency is assuming PR business that previously was handled by individual firms in different markets.  Red Havas, however, will continue to work with newly reappointed agency Julie Earle-Levine Consulting on PR in the US. As global AOR, Red Havas will be responsible for crafting a global PR strategy for Tourism Tasmania, as well as executing campaigns across key markets. The firm’s remit focuses on boosting tourism to Tasmania by driving interest in the Australian island among international travelers through PR and content development, media relations, publicity, advocacy and influencer relationships. Red Havas Australia will lead the global work, which will also be handled by the agency’s New Zealand, UK, Singapore and US teams.  “Tasmania is a travel destination that punches well above its weight in terms of stories and experiences,” said Tourism Tasmania CEO Sarah Clark. "We’re looking forward to working with Red Havas to really tap into those unique stories and increase our global presence across top-tier media outlets, while strengthening our ambition to make a positive impact on tourism around the world."

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‘The power of longevity’: How Tourism Tasmania’s CMO aims to re-fire growth by pushing four-year-old brand platform broad – to new segments – and lift best aspects of Effie-winning work

Tourism Tasmania CMO, Lindene Cleary: Bidding to take what works and make it work harder.

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It’s tempting as a new CMO to take up the reins and promptly start shaking up the brand strategy and creative proposition. But Tourism Tasmania marketing chief, Lindene Cleary, has no such creative impatience. Instead, she’s keen to get back to the heart of its ‘Come down for air’ positioning and award-winning creative approach, leveraging the power – and best bits – of both but with a fresh take on audience segmentation and mass media channels. The "power of longevity", she suggests, should not be underestimated. 

What you need to know:

• Tourism Tasmania debuted the fourth edition of its brand campaign, ‘Come up for air’, in October. It takes an approach that its recently promoted CMO, Lindene Cleary, says showcases how the tourism body plans to continue to leverage the power of its award-winning proposition.
• But while the creative and positioning hasn’t changed, there are plans to use higher-reach channels as well as a fresh segmentation approach to counteract a project softening of the domestic tourism market going into 2024.
• As well as its top-of-funnel marketing efforts, the tourism body sees its experience-oriented app, launched in April, delivering lower-funnel conversion for operators thanks to its ability to drive discovery and spontaneity for travellers visiting the Apple Isle.

We always treat our work as bringing a moment of calm. It’s about almost trying to be the break from the ad break, where everyone is shouting, being busy and employing a lot of montage. We’re very much about slowing things down. It might still be fun and upbeat, but it’s done in a very pared back style.

— Lindene Cleary, CMO, Tourism Tasmania

Balancing the play of culture brand with stronger reach into the right target audiences using mainstream channels like TV is on the cards for Tourism Tasmania’s CMO as she looks at a softening of the tourism market in 2024. And the team has a new segmentation model with three fresh audience cohorts representing 35 per cent of the total market to help make it happen.

Lindene Cleary was appointed permanent CMO of Tourism Tasmania in March this year, two months after the tourism body appointed its new CEO, Sarah Clark, and four months into her interim CMO duties. But the experienced marketer has been there for the whole gestation, realisation and subsequent iteration of Tourism Tasmania’s flagship and award-winning brand positioning, ‘Come down for air’.

Launched in 2019, the tourism body debuted the fourth edition of its ‘Come down for air’ brand campaign in October in partnership with agencies BMF, Starcom and Orchard. This time around, there’s a contextually relevant approach being taken to inject Tasmanian creative spirit into busy urban environments such as airports, train platforms, major traffic routes, office buildings, gyms and street furniture.

There are also plenty of high-reach channels in the mix including BVOD, paid social, digital display and subscription video services. On top of advertising, Tourism Tasmania has struck content partnerships with The Imperfects Podcast and The Guardian.

Speaking to Mi3 about her plans now she’s holding the c-suite title, Cleary says one thing she won’t be doing is take a new creative approach or change brand direction course.

“It’s so tempting for most new CMOs to change everything and make their stand through doing something new. In some ways that’s probably easier – coming in and doing something new,” she says. “But we have such a strong base and brand platform, and such strong work behind it, which I’ve also been leading as head of brand. It wouldn’t be the right thing to change everything we do right now – it doesn’t make sense.”

Instead, Cleary’s focus is on getting back to the core ‘Come down for air proposition’. “It’s not that we strayed too far away from where it started. But it’s about getting back to the real origins of it, which is being the antidote to the modern stresses of real life,” she says.

“A lot of destinations may start from that place, but I think our execution is what sets us apart. It’s been about pushing execution with a campaign that reflects life right now, bringing forward that spirit of Tassie, and having a bit more fun.

“That’s where it all started back in 2019. We have tried a few things over the years, and I felt we needed to come back to where it began. We always treat our work as bringing a moment of calm. It’s about almost trying to be the break from the ad break, where everyone is shouting, being busy and employing a lot of montage. We’re very much about slowing things down. It might still be fun and upbeat, but it’s done in a very pared back style.”

Cleary describes her plan as “leveraging the power of its longevity” and the perfect positioning for Tasmania. “For us, it’s trying different ways of demonstrating that and getting people to feel what it’s like to come to Tasmania rather than telling them how to feel. That’s our guide.”  

It’s now about finding the balance between those things where we’re pushing to be a culture brand, with making sure we get strong reach with the right target audience. We have the balance reasonably right, but there’s more we can do in the year ahead to balance high reach, particularly given next winter is likely to see numbers soften.

The Off Season

Early planning work is now underway on the 2024 edition of Tasmania’s ‘Off Season’ campaign, which first arrived in market in 2021 and scored two Australian Effie Awards – a Gold and a Silver – for its 2022 iteration. As brand leader, Cleary was on the tools and helped create the campaign, which reached 8.5 million people across Australia last year.

“Again, we have probably experimented more with each year. It’s not about throwing it out and starting from scratch – each year we look at what really worked, what didn’t, then try something different,” she says.

For example, the black-and-white look will stay – for now. Yet coming into 2024, Cleary wants to move away from treating the campaign from a media point of view as more culturally oriented.

Ways Tourism Tasmania has looked to embed the Off Season’s place in culture in the first couple of years included painted murals as part of an out-of-home buy, a content partnership with Rolling Stone, and debuting the Off Cuts capsule, created in partnership with Tasmanian-born sustainable fashion designer, Noah Johnson, incorporating winter garments made from discarded summer and souvenir items from other destinations. In concert, 274 unique off-season offers from tourism operators and 48 events supported the push to attract visitors during the colder months of the year.

“It’s now about finding the balance between those things where we’re pushing to be a culture brand, with making sure we get strong reach with the right target audience,” Cleary says. “We have the balance reasonably right, but there’s more we can do in the year ahead to balance high reach, particularly given next winter is likely to see numbers soften.”

Results from the Tasmanian Visitor Survey show total visitor expenditure for the 12 months to June 2023 reached $3.85 billion, the first time annual visitor spending cracked $3 billion across the state. It’s a result that came off the back of Covid and a time when people couldn’t necessarily travel overseas.

“This winter did soften a little – it is still stronger than pre-Covid, but it has tapered off,” Cleary says. “We are working extra hard for next year to make sure our big, long-term, brand-driving activity is very well supported by a base of lead generation and conversion strategies plus strong reach.”

Tourism Tasmania has a paid media and “mostly traditional” channel approach, Cleary says. But it can do more.

“We haven’t done a TVC for example – we have done small, 15-second films. So we might look at that in future to drive stronger reach and have that storytelling asset available to us,” she says.

New segmentation approach

The scaffolding supporting these plans is a new segmentation approach, the first such project undertaken in four years. With the aim of building a whole-of-market understanding for the first time, Tourism Tasmania has landed on three new audience segments to target. These represent 35 per cent of the total market and 42 per cent of total visitor spend. Segments harness a range of motivations and value-based attributes to help understand what really drives people to appreciate a holiday in Tasmania.

There’s a stronger lens of what Tourism Tasmania is calling ‘positive impact’ too, a mix of sustainability, respect for place and “people who have a desire to leave a place better than they found it”, Cleary says. Also falling under this ‘positive impact’ banner is the work Tourism Tasmania is doing with industry on things like accessibility and inclusivity to ensure Tasmania caters for all types and desires.

“The sweet spot for us is those who will consider a holiday here but are going to respect what we offer and appreciate it,” Cleary says.

The team is then using a ‘high value traveller’ overlay to segmentation, which looks at the people who do have the money to spend but also a higher propensity to spend on travel. Hand-in-hand with this is those seeking experience-based travel.

“We have some stunning premium offerings in terms of accommodation, food and beverage, restaurants and across the whole spectrum. That will always be a part of the Tasmanian offering but it’s not the entire offering,” Cleary says. “Sometimes with Tassie, the luxury people look for is not necessarily the luxury costing thousands of dollars. It’s the luxury of space, provenance – you get to talk to the guy who made the cheese you’re tasting at the markets. Those are the people who appreciate what Tasmania has to offer. That audience is really important to us.”

To help travellers make the most of experiences on the ground, and to drive lower-funnel results, Tourism Tasmania launched a mobile app in April. It’s an unusual move for a destination but one resulting in nearly 30,000 downloads to date and an average engagement time of 10 minutes 57 seconds per user. More than 17,000 clickthroughs to tourism operators had also been achieved by end of July.

Key is a planner feature users can employ to build an itinerary they can edit and share. Location-based messaging provides real-time updates, alerts and tips by location. The data fed into the app comes from the Australian Tourism Data Warehouse.

The app is about discovery and driving spontaneity, which ultimately drives more experiences being had and purchased, Cleary says.

“We did a bit of research with users and found strong leads. Most have found it very useful and ended up doing something they hadn’t thought of doing because the app suggested it,” she says. “We hit our target very quickly, as we underestimated the need for it and helping people decide on where to go.”

Changing economic climate

Even so, Cleary recognises the world has changed and the way people think about holidays is being impacted by rising cost-of-living concerns.

“For the people who can treat travel as a need rather than a nice-to-have, it’s absolutely still up there based on the data we have seen and trend watching we do,” she says. “There is always going to be a strong cohort for which travel is part of their health plan. Tassie plays to a really nice part of that, with our proposition being an antidote to the stresses of modern life.”

There’s also the international audience to sidle up to. Having secured Red Havas as its PR agency earlier this year, Tourism Tasmania is looking to ramp up a presence in global markets now the world has fully opened up to gain “its fair share of visitation to Australia”, Cleary says.

“We do that through storytelling mostly and then some partnerships. It does a big awareness job for us, as so many people around the world don’t have a clue on where Tasmania is, or even if it’s part of Australia,” she adds.

What do you think?

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Tourism Tasmania unveils 2024 'Off Season' via BMF

Creative Agency: BMF Media Agency: Starcom

A series of winter ‘heroes’ set against backdrops of unique Tasmanian experiences.

This year’s Off Season features a series of winter ‘heroes’ set against backdrops of unique Tasmanian experiences.

The campaign leads with a 60 second film directed by Kyra Bartley, showing the stage-by-stage transformation from regular Australian to full-blown winter holiday enthusiast.

In Tasmania, the Off Season represents a large-scale collaboration with the local tourism industry to collectively change the way Australians view a winter holiday.

More than 400 businesses from around the island offer special ‘wintery’ experiences exclusive to the cooler months, that feature as part of the overall campaign.

From mushroom picking in abandoned railway tunnels, floating on iconic lakes in century old timber kayaks, to live music in underground caves – the Off Season shows how Tasmania does winter like nowhere else.

Tourism Tasmania CMO Lindene Cleary said winter is when Tasmania is most different to the mainland.

"Building on our highly successful Off Season for the fourth year, we’re aiming to grow our seasonal demand by inviting Australians to become winter people," she said.

"In partnership with our tourism industry, the Off Season is fast becoming a must do holiday experience; one that is unlike other winter destinations.”

With creative driven by BMF, this year’s Off Season campaign is Tourism Tasmania’s biggest ever advertising investment in winter, and the first time it will feature a 30 and 60 second video.

BMF creative director Rees Steel said tropical holidays are for quitters.

"This Off Season, we wanted to show just how rewarding winter in Tasmania can be, even if you have to earn that fun a little. As a reformed lizard person myself, I can vouch that nothing is as life affirming as an ocean swim that close to Antarctica," he said.

"Hopefully we can turn a few more mainlanders into winter people too.”

Tourism Tasmania partnered with Starcom to deliver media buy, with campaign appearing across a wide range of platforms including TV, Cinema, OOH, online video, social and audio.

Starcom business director Mina Savjak said this year the agency is excited to introduce new channels and executions to the already iconic Off Season Campaign.

"We will be going to market with a total Screens campaign extending for the first time to FTA TV to enable storytelling at scale and connect travellers emotionally to Tasmania," said Savjak.

"Our Outdoor campaigns have been some of the most talked about in market and once again we are driving innovation in this space, this time with UV printing. We are utilising this technology for the first time on Large format billboards for additional cut through and sensory immersion”.

The Off Season is in market across Australia until July 31, with Off Season offers available on the ground in Tasmania between May and August 2024.

Client: Tourism Tasmania

Creative Agency BMF

Film production Director: Kyra Bartley

Production Company: FINCH

Stills and Motion production

Production Company: ARTBOXBLACK

Photographer: Jo Duck

DoP: Jack Birtles

Media Agency Starcom

Digital Agency Orchard

PR Agency Havas Red

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Home » Tourism Tasmania & ARN Invite Aussies To “Come Down For Air” With New Podcast Partnership, Via Starcom

Tourism Tasmania & ARN Invite Aussies To “Come Down For Air” With New Podcast Partnership, Via Starcom

Tourism Tasmania and its media agency, Starcom, are encouraging Australians to ‘Come Down for Air’ with the release of a podcast episode recorded in the open air on Tasmania’s east coast.

Produced in partnership with ARN/iHeart Radio, the campaign sees an episode of The Imperfects podcast encourage audiences to make an emotional connection with the island state, by aligning with cultural discourse, such as authenticity, wellbeing and connection to the Tasmanian brand.

Created and hosted by the founder of The Resilience Project, Hugh van Cuylenburg, Australian comedian Ryan Shelton, filmmaker Josh van Cuylenburg and Bridget Northeast serving as exec producer, The Imperfects models vulnerable conversations with well-known Australians, helping listeners to embrace imperfections, build authentic connections and improve their health and happiness.

The episode will be supported by an eight-week tourism category exclusive sponsorship of The Imperfects’ bonus episode, including pre-roll, mid-roll and integrated advertisements. The campaign also includes a broad-reach radio campaign across the ARN network, with commercials voiced by Hugh van Cuylenburg.

Lindene Cleary, Tourism Tasmania’s CMO said: “Most tourism brands paint a perfect picture – sunny beaches, happy montages. Not Tasmania. Tasmania provides an opportunity to escape the monotony of modern life and experience something like nowhere else, whether that be the quality of produce directly from the makers, the uniqueness of our arts and culture, or our untouched nature and raw landscapes. Partnering with The Imperfects was a genuine fit, with core themes of the podcast including the importance of perspective, living more meaningful lives, and the power of embracing imperfection – all things we celebrate here in Tasmania.”

Mina Savjak, Starcom’s business director said: “ The Imperfects use their podcast to discuss relevant cultural topics in today’s society, such as health and wellbeing, connection and the imperfect nature of what it means to be human. This proved a perfect alignment with Tourism Tasmania, where we celebrate the unique, different, and imperfect, and pride ourselves on being a place that enables true connection between nature and people.”

Denis Donati, ARN national podcast and digital sales director, said: “ARN’s iHeart is thrilled to be part of this collaboration with Tourism Tasmania and Starcom, leveraging the unique conversations of The Imperfects podcast for Tourism Tasmania’s ‘Come Down for Air’ campaign.

“This bespoke partnership is a first for both ARN and The Imperfects , filmed and recorded as an open-air episode in the beautiful landscape of Tasmania. The episode not only showcases the essence of the Tasmanian landscape but also fosters a genuine connection with the podcast’s themes of wellbeing, connection, and authenticity.

“As Hugh van Cuylenburg, Ryan Shelton, and Josh van Cuylenburg sit down with Alone Australia winner, Gina Chick, in the wilds of Tasmania, they share an insightful, vulnerable and meaningful conversation across the episode. We hope listeners will be inspired to embark on their own transformative journey in the stunning surroundings of Tasmania, as they listen to one of Australia’s most popular and impactful podcasts.”

The podcast is part of Tourism Tasmania’s latest integrated campaign ‘Come Down for Air’, which will run in Australian markets until 31 March 2024.

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Home » Podcasts » Managing Marketing: Marketing Tourism in Tasmania During a Pandemic

Managing Marketing: Marketing Tourism in Tasmania During a Pandemic

Emma Terry is Chief Marketing Officer of Tourism Tasmania. Having worked in Australia and international markets in a range of industries from FMCG to NGO’s to professional services, Emma talks about the scenario planning she conducted to manage through the Pandemic. She talks about the impacts on her team, the changes to her marketing plans, and the flexibility required in communicating the ‘Come Down for Air’ brand platform as the visitor economy was impacted by border closures then re-openings.

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Transcription:

Welcome to Managing Marketing, a weekly podcast where we discuss the issues and opportunities facing marketing, media and advertising with industry thought leaders and practitioners.

I’m Anton Buchner and today, I’m sitting down with Emma Terry, Chief Marketing Officer, or CMO for Tourism Tasmania. Welcome, Emma.

Hi, Anton. Thank you for having me along.

Well, you’re down in Tasmania. What’s it like today? Is it cold, warm, beautiful?

It’s a mild day, typical autumn day here in Tassie.

We met, I suppose, just after COVID, mid to late last year, 2020. And it was all around, I guess, coming out of COVID, marketers, obviously your borders had shut down. The borders had shut down and from a tourism perspective, like most businesses, lots of things had shut down and you’re just coming out of that and looking at marketing and the business and where it was all going.

So, I’d love to hear your thoughts today around what happened for Tourism Tasmania, what you learned, and then how you’re evolving and coming out of it now in 2021. How does that sound?

Sounds good, Anton.

Before we jump into it, Tourism Tasmania, of course, I know it’s, it’s a tourism body. But I guess many listeners may not know what actually does the tourism body do? So, what’s Tourism Tasmania responsible for?

Well, I guess, each State tourism body may have a slightly different breadth. So, some State tourism bodies have industry development and support. Some have events, business events within their remit.

For Tourism Tasmania, our core role is to do demand generation for Tasmania. So, to encourage visitation. And I guess we will talk about our purposes as being to connect travelers emotionally and culturally, with our island, drive visitation and lead a sustainable visitor economy that delivers social environmental and economic value to all Tasmanians.

And here in Tasmania, we’ve got what we refer to it as the visitor economy. It was one of the first frameworks established in the country to think about tourism holistically and the impacts that it does have and how all different parts of government and industry can work together collectively to drive greater value for the State, for Tasmania in this sense.

So, Tourism Tasmania plays a really key leadership role in delivering on that strategy that gets delivered obviously around between government and industry. And we also have a role around access to the State. Being an island. You know, access is really important to think about it as you are the distribution channel in a sense within a tourism context.

So, that’s obviously air access as well as sea access. That also extends to infrastructure. So, from a Tourism Tasmania perspective, it’s more around visitation access, which supports not only visitors coming to the State, but obviously Tasmanians being able to have more flights to get out of the State as well. And then the marketing piece is really critical as well.

So, it’s all about activating and leading the Tasmanian tourism brand and how Tasmania is seen across Australia and internationally as well. And delivering and developing all of those marketing programs associated with that.

A couple of weeks ago, I remember the Spirit of Tasmania was facing 16-metre seas or something, wasn’t it? In terms of coming across the crossing?

They’re well-built ships and everyone’s super safe of course. But yes, the bass strait can be a bit interesting sometimes

I’ve been across there and I’ve been to Tasmania a few times. I love it. Absolutely love it.

So, it’s actually quite a good experience being on the boat. It’s a different way to start your holiday.

It’s almost like you leave behind the work or whatever you’ve been doing and come to this emerald island. It’s really stunning.

Yeah, I know. I think there’s something about travelling over the ocean as well, isn’t there? Even as a Tasmanian going to one of the islands, like King Island to Flinders Island, there is that idea of being over the ocean and then feeling like you’re in a completely different space.

And were you born and bred, Tasmanian?

I am Tasmanian, yes.

What appealed to you about the role? You joined about four years ago as CMO, maybe four and a half years ago now.

Almost four, not quite four.

Almost four. What appealed to you about taking over the reins there?

Well, I guess a couple of things. I mean, being Tasmanian and a marketer, and I’ve been super lucky to be able to grow my skills and career within Tasmania. I mean, it’s a little bit as people tend to do, but a bulk of my career has been in Tasmania.

And I’ve always marketed the State in different ways. Either itself in terms of whether it’s renewable energies or exporting. So, always Tasmania it sells its products and services. And so, being able to, I guess, have a broader impact in terms of the work that we do at Tourism Tasmania, which does connect into a whole range of industries, not just … I mean, for tourism itself, yes, it’s about holidaying, but when you’re holidaying, you’re experiencing the natural environment.

You’re experiencing food and beverage and makers, and arts and culture and all the rest of it. So, it’s a really super exciting opportunity to make all those connection points and drive greater value for Tasmania. So, being able to share that with like-minded people elsewhere as well is really important. So, that’s probably what excited me the most.

Tourism Tasmania has a really great reputation as well in terms of the creative work that it does. We’re not afraid to embrace who we are, as a State and represent that in our work. So, I mean, that’s pretty exciting both as a marketer, but also as a Tasmanian.

I noticed for those that haven’t seen it before, but in 2019 you launched the Come Down For Air campaign which for anyone listening who hasn’t seen it, please Google around and find the ads. They’re really beautiful, from my perspective slow down ads or content that really engages me; to come down for air and slow down and come to that cool crisp, fresh environment.

How did you get to that position? And can you share a little bit around that campaign, that positioning?

Yeah, sure. So, Tasmania’s always been really well known for its clean green image and its beautiful natural environment. And we are super lucky in that space. And it’s grown over the last 10 years or so in terms of our arts and culture scene, distilleries, food, providore-ness, all of those pieces.

And so, we wanted to pull that together. And that was something that was behind the scenery, which was quite a unique viewing campaign and quite a category disrupting piece as well. So, when I stepped into the role, we still had the different iterations of that in the market. So, that was a really brilliant piece of work as well. It got behind the place and showed you the people.

So, where do you take it from there? And I guess the thing was, how do you combine both of those things? So, the beautiful natural environment and all these other elements of Tasmania, that is about having a great experience and connecting into people and to place as well, and to produce.

So, we had been doing some work with Brand Tasmania. So, Tasmania is very lucky to have an authority set up around the Tasmanian brand. And they’d been doing a whole heap of work around interviewing Tasmanians across different areas of Tasmania, different backgrounds etc, around what Tasmania really means to them, and really getting under the surface of all of that.

In parallel to that, we were working in the tourism space and having that narrative. And so, we’re really lucky to be able to go, okay, the tourism narrative around how Tasmania I guess, is communicated to visitors actually links you to the place brand. It’s just a representation of that. And in fact, the brand Tasmania stuff, like the fonts, the logo were all the same, which is a really good outcome because it’s very hard to sometimes separate the two. It’s all part of the experience.

So, we used that. We also had done some segmentation around understanding what customers really need and come down for air, as I said, is the creative culmination of who we really truly are, that what customers really, really need and what Tasmania can deliver that’s distinct from elsewhere.

So, yes, it’s about literal air, space, etc, that Tasmania gives you. I mean, literally, when you step off the plane, there’s no walkways or anything, and it’s onto the tarmac and you do get that sense of the fresh air. And we have some of the cleanest air in the world from the Roaring Forties.

So, all of that is very true and it’s more than that. It’s headspace, it’s connection. It doesn’t have to be passive, it’s that air to just be yourself, to be more human, to reconnect with all those things that in modern life, we were losing touch with. But that’s really the centre for all of that.

Absolutely, when we launched it, it was about landing the feeling, hence the really paired back, deconstructed montages in a sense, and just focusing on those really key moments and the feeling it gives you and getting across that really unique Tasmanian point of view.

With our latest iteration over the Christmas period, that was really about showing that depth and breadth of experience and trying to… exploring the other parts of air. It’s not just about relaxation, it’s actually about reconnection and about whatever air needs to look like for you really.

I think that plays as a bit of a point of differentiation. You see a lot of travel tourism advertising or communication that’s very busy with lots of stuff chucked in, and you can do this and you can do that. It almost feels quite functional, but I think what you’re describing is this real human emotionally-centred approach to promoting Tasmania.

Yeah. We’ve got our winter program coming up and it’s got different energy to it. Because interestingly, winter is a season that Australians tend to try to avoid or endure and we know we’re a summer-biased country. But we’re missing out on some great experiences on some of that great human experience in different sensory things.

You’ve got that beautiful crisp air that does hit your lungs, but we have some amazing events over this period, and you can get to experience things that you can’t … as we do definitely have those seasons. So, that’s going to have a bit of different energy. It will be under Come Down For Air, but a different representation of that, and bring a little bit more activeness to what the Tasmanian proposition is.

Very well. I think from my perspective, a Sydney sider, I’ve always known of Tasmania, I’ve been there a couple of times, I said. But it really is on the radar. Now, I’d say 8 out of 10 people I’m talking to in around my area where I live, you say, “Where are you going next?” “Oh, we’re going down to Tasmania. Going down to Tasmania.”

It seems to have a really lovely connection almost, I’d probably say a little bit in the New Zealand space. And their campaign is 100% Pure. But why travel New Zealand when you’ve got it on our doorstep and it’s Australia, but it’s a part of Australia we haven’t explored maybe.

The New Zealand connection’s interesting, isn’t it? Because today, we have our first flight coming in from New Zealand, the first flight since the 2020 year, an international flight. This is pretty amazing considering.

That’s incredible.

Yeah. And you’re thinking, okay, well, why would New Zealanders come to Tasmania? Is it not similar? And look, there are definitely some similarities. They have amazing natural beauty as do we down here. They’ve got their own quirky point of view in life. You know, we’re both islands off a big island.

So, how do you prove that to them? How do you entice them over?

We’ve got that most foundational piece, which I think Tasmanians would love and New Zealanders would love of Tasmania. That’s where it ends. Like we’ve got a different history and heritage here, a different past, a different story, different wildlife, and a slightly different point of view on the world. That’s been forged and shaped by all that.

Different produce, different arts and culture scenes. So, there’s plenty for New Zealanders to discover we’re part of Australia, absolutely. But a different experience within the Australian context as well.

And you’re testing while you’re looking at all, I guess, the media mix or your channel mix post-COVID, has that changed your thinking in the type of advertising or the type of channels you’re using?

Absolutely. I guess you look at the channels based on what you’re trying to achieve. And one of the things that is definitely … what we’ve had to look at over the whole period was how are we trying to engage with our customers.  And certainly, during the lockdown, you can’t exactly say, come down for air when borders are closed and you’ve got to be really careful around that messaging for people as well.

But people still want to engage and dream about all that as well. So, social channels became much more important over that period of time. And we wanted to do something that was about giving back as well. So, we all watched a series of moments of calm, both in Australia and in New Zealand and in the rest of the international markets that we target.

And that was really, really well received because people were locked down, stuck in houses all the time. And so, actually being able to do a slow walk through with a waterfall and those types of things actually gave back a little bit and allowed us to reinforce the brand.

We also did … certainly our flexibility has been really critical changing hotspots and border closures in different States, etc,  lockdowns, having to make sure you’re adjusting accordingly. I guess, two things for us as a, I guess, a government organisation as well ─ one is that we’re supporting … that we’re not undermining the government advice of the day and that we’re actually in line with that.

But also understanding where customers are at and wanting to be really sensitive to their needs and what they’re experiencing at the time as well. So, we did a media first … it’s just our products launch more broadly with our media agency initiative and JCDecaux, which was around programmatic out-of-home which was great for us in the sense of it’s measurable and allowed us to be able to geo-fence things, change up creative. We needed to be really flexible around it as well.

So, that was a really successful part of our campaign when we were back out in the market.

They’re testing in several States on the mainland or?

Yeah, absolutely. Obviously, in most of the major states of Australia and yeah, being able to absolutely drill down to not even State-based, city-based but postcodes within those cities as well. Yeah, but I think that that technology has been really, really useful and timely as well in that sense.

You talked about the shutdown, the close-downs. I just want to take us back a minute just for the listeners, because I think we’re all a little bit sick of the word, maybe COVID, but the learnings are interesting.

If we go back to that period, tourism stopped. We understand that borders shut. As a CMO, what were you faced with? What were the decisions that you were faced with in terms of marketing?

Yeah, look, what a crazy period. As CMO, considering a range of things, it’s the team and how are they doing it, and how do we transition the actual team itself. You’ve obviously got your customers and where are they at and what that’s looking like.

In our case, our industry, which was absolutely in crisis, the revenue streams ─ I know this happened across a range of industries. Tourism was particularly hard-hit as well. And probably for a longer and more bumpy period of time.

So, they’re in crisis. We’ve got to get people off the island, we’ve got to manage all of those communications pieces, absolutely in step with public health advice, make sure our industry know what they can and can’t do over that period of time.

So, you had lots of things in the mix. So, we had campaign work planned which we had to pause. No one’s really been through anything like that in our living memory and history to draw upon it from a precedent and from a tourism perspective.

And I know it goes beyond tourism, but last year, we had bush fires earlier in that year. And for a while, we didn’t have any major bush fires here in Tasmania. The flow-on effects from domestic travel and also international as well. It was a really challenging start to the year as well.

So, you’re coming off the back of that and going into how are we adjusting accordingly and then going into COVID. So, yeah, it was honestly pretty tricky.

And then it’s like, okay, take stock, what are we going to do with our program? What can we do with our program? Should we be marketing? Should we not be marketing? What do you do in this situation?

We’ve all seen the research with brands that go dark, don’t recover as well. What’s the right balance of all of those pieces? So yeah, you’re considering all of that. But really the focus was on getting the team right, working from home and just setting that up, making sure they’ve got the right support.

Many of our team members had family obviously living interstate and overseas, even very close, loved ones. So, there’s obviously all that human piece that everyone had gone through and the challenge of change and the rest of it.

And then from a program perspective, yes, the old pivot. Crisis communications were  a critical thing up front, but then we’d gotten into the point of, okay, well, what do we think this is going to look like? What are our assumptions? How can we plan accordingly?

Did lots of scenario planning. I’m sure everyone has done that. I planned everything apart from a lockdown that would last for several years, in which case, if that’s the case, you obviously adjust. That would change the game completely. So, that was quite good because when we actually started to have borders opening and closing, which we did back in October last year, it was all still very changeable. It allowed us to be able to go, okay, what’s our decision making here? Is it to change out a creative? Is it actually a pause of activity? What does this look like? And the first couple of decisions were a little clunky, but then you start getting into a rhythm around how you adjust the program.

We reworked our media spending campaigns and our Initiative were an amazing support for us over this period of time in our team.

We learned how to buy media based on particular areas rather than full States, and break that down a lot more. So, there was definitely some good learnings that we collectively had together in that as well.

So, the teams, I mean, they had to be pretty resilient. It sounds like most other marketing departments, things were thrown in the air, teams had to muck in and do things they’d probably never done before. Is that right within your team? It was really just people rallying together to get things done?

Yeah, pretty much. I mean, it’s a good opportunity, isn’t it? To break, some of that muscle memory and have to do things in a different way. And I think as we’re coming into now, things normalizing a little bit more … it looks like everyone’s talking about ─ I think it’ll be how do you not fall back into muscle memory, but we can talk about that a little bit later.

Yeah, so it’s definitely the ‘mucking in’ thing was really important, everyone just delivering the program. What I’m most proud about, I guess, you could say over that period of time was we just didn’t do knee-jerk things for the sake of it.

Like we weren’t panicked and scrambling in that sense. Considering we had borders locked down for a while, you’d think there’d be heaps of space, but we’ve worked really hard over the last 12 or so months. And that was really based on, we knew our industry was hurting. We want to be able to be ready for when borders open again.

So, all of our programs have been quite strategic. They’ve got a longer-term piece. We’ve been really true to our brand over that period of time. We’ve launched Self-drive Touring, which we’ve been working on for a couple of years, obviously weadjust the way we take it to market based on the environment. But the strategy piece was still solid.

Even our Unordinary Adventures, which includes fly fishing and mountain biking and walking and golf ─ we’ve been able to deliver on all of those commitments to our industry and those strategies and programs that we’ve had in the trench for a little while. So, I feel like they’ve all been really solid foundations for us rather than just, “Oh my gosh, we’re running from one campaign to the next, just trying a whole heap of stuff and not staying true to what our medium-term objectives are and our brand.

Yeah, and I think as you said earlier, some of those value pieces you did during COVID, which were just nice visuals or whatever it might’ve been. As you said, just again, very true to your brand, very true to the strategy and direction you’re going.

So, this was our first real partnership with our regional tourism organisations to do something for Tasmanians, which was an absolute joy. It was like a quick turnaround and a lot of pressure, but being able to work with brand Tas and develop with a local agency and make yourself at home, which was all about tapping into that Tasmanian psyche and taking that pride that Tasmanians have in their State. And then being able to translate that into making them feel confident and comfortable to get out and about when things were just opening up again and State borders were closed, but you were able to travel around the States ─ that was in June, July last year.

So, getting that balance right between that level of confidence, pride, comfort, and getting people moving around the State. And Tasmania has really responded.

The State, fantastic. I think you have … was it around 1.5 million domestic travellers coming from outside the State? So, I guess, the shifting audiences, as you said, focusing more on the Tasmanians.

Yeah, 1.3, but that included international as well. It was about 1.1 for domestic. So yeah, but Tasmanians have always been quite good at travelling around. We do quite well in terms of the number of trips we take within the State, but certainly, that’s definitely increased over COVID.

You’ve got such a great product as you’ve been talking about, and you’ve just skipped over a couple of words there, I’ll put you back on; Unordinary Adventures, Self-drive Holidays. So, you’ve got a great product. Do you think it’s about just telling that story, or is it more around creating these other packages or other pieces to the story?

Good question. Every good marketer should be asking themselves that because it’s like where do you put energy and effort?

I don’t think it’s one or the other. I mean, I think there’s a piece around the destination. Tassie is really interesting, we have a good awareness of the State. I think people are familiar, but not familiar with Tasmania, and it can be a little tricky to plan. So, we definitely think there are some barriers there.

We remained on people’s bucket lists for whatever reason that is. We’re only an hour-and-a-half flight from Sydney ─ maybe flight connectivity could be part of it all. That’s obviously dramatically improved over recent years. And obviously, we have some seasonality, but it’s a wintery holiday. It’s not a hard winter holiday. Like it’s still fairly mild here in the scheme of things.

So yeah, there’s definitely some barriers that make Tasmania just a little bit harder to make a choice to go to. But once people come here obviously, they really love it. Which is great.

Probably the reasons for travelling change over time as well, much more people are pursuing more their passion points again, these days as well. So, unordinary adventures are like looking at where we’ve got those amazing experiences that stand up in an international environment.

So, amazing walking trails here, really iconic walks, our golf courses are world-class, some of the best in the world. And they’re designed in a way that … all of our experiences workaround and with nature.

Yeah, a good friend of mine lost a lot of balls around Barnbougle a few days ago.

Yeah. The King Island courses are pretty hard and challenging. So, if you’re up for it, then that’s quite a good experience. So, that’s Unordinary Adventures.

And Self-driving, there’s always been really popular self-drive terrain.

The government have been working on it and we’ve been working for a few years now with industry as well. Some great new drive journeys, which we really fast-tracked the development of those. The last one was due to launch in June this year. We launched them all in September to the Tasmanians to road test them first and then out into the interstate market in February. So, we  wanted to bring that forward a bit and give people that opportunity.

Well, the word is subtly getting out there because the people I’m talking to are good campers and whether it’s Camplify or their own campers; there’s about 8 or 10 people I’ve heard in the last couple of weeks, who’ve gone on drive holidays or were about to go on drive holidays down to Tassie. So, it’s working, I think I’m the next one, I’m going to get my camper off Camplify, borrow someone’s caravan and come on down.

Yeah, cool, good on you. Plenty to see down here. I mean we’re a compact island. So, you can get a mountain and sea experience within 20 minutes of each other, which is pretty amazing.

Hobart to Launceston is only … is about an hour and a half or-?

Two … two and a quarter, yeah, we’re compact. It’s not always straight highways either, so it can take a little bit longer than people anticipate to get around Tassie. But the experience that you have around the landscape, as you do that, it’s pretty amazing.

So, I’m wondering then, talking about all this is making me want to travel. Hopefully, our listeners are also going, “Wow, I’ve got to book a trip straight away.” But I’m wondering what success is like for you. So, what are you doing as a team, what’s your eye looking forward to 12 months or 24 months ahead? What does success look like?

Yeah, good question. And particularly in this environment and context, isn’t it?

Is it too far out to think like that?

Well, I don’t know. I think you’ve always got an aspiration into the future and some things are changeable around that and some things aren’t

I think over this period of time, from a personal perspective, but also work, it makes you stop and just reflect, doesn’t it? Like to reflect on how things are going and what’s really, truly valuable and what’s not.

We’re here to be able to tell the story of what a Tasmanian tourism experience would look like, and connect people within that, let them have that cultural experience, that connection through to Tasmania. So, that’s obviously continuing to be important. We need that industry to be here to be able to service that.

So, recovery for them around visitation and spend and being able to sustain that visitor economy is a really critical one for us.

And then, around the team’s perspective is how do we keep delivering the right message that is Tasmania? How do we be really true to that? How do we understand where … it’s the classic stuff, but I think maybe if you have a bit more focus, I think it becomes those connection points are even more important. The ability to collaborate and have that human connection is even more amplified as we go forward.

And I should say that after a big disruption, there’s always I think a big step up in a sense of how you might want to go about doing things. And for our team, we’re embarking on our digital transformation, so that’s really going to change the way we work. And we’ve got to get the balance between that and obviously that human connection piece as well and make sure that we’re still doing really great work that makes people feel something and has the Tasmanian story.

So, yeah. So, what does success look like? I guess it’s recovering demand, visitation for our industry and pushing ourselves further to do great work. I think we’ve done great work, but I feel like we’re only scratching the surface of where we could take this to, where we could take Come Down for Air. It’s about setting the team up to be able to do their best work as well. And it shouldn’t look like it did before.

It feels like to me, listening to that, that it’s giving you a real focal point to say that obviously, international ─ take New Zealand out of the discussion for a minute – but people aren’t travelling overseas as much.

So, there’s a real focus now on domestic travel, interstate travel, which may be for you has given a real focus and a focal point to the team as to what to prioritise, what to focus on. And as you said, look at some of the bigger bets and just get those done really well, but keep pushing the boundaries.

Absolutely. I think you just want to do meaningful work, don’t you? Like you want to have a real impact and be true as well. I think that’s probably where we’ve really focused, decided to really focus on. I think we could all get really caught up in the shiny things and the busyness of comms; more content, put more content out, do this stuff.

But actually, being able to step back from all of that and reflect on that and go, what’s really important here, and what’s going to make a difference is the challenge. And how do you keep that space open and not get back into the busyness or the muscle memory of all of that?

How do you handle that? That was a really good point, there. How do you handle that?

I think it’s about a reset, isn’t it? Like for me, it’s about how we go about setting the objectives. Like what’s our strategy, what are our objectives? What are we getting the team to focus on? How do we do our program planning? How do you plan it in a smart way that allows space for creativity, curating different ideas, planning well in advance, etc?

It’s been a really ─ and I think most marketers would say this – it has been a really busy period of time, just because of the change and the effort and stuff it takes. So, how do you reset that and focus on the right areas?

And take those learnings, I think as things settle and those new norms set in a little bit more, then you find that different rhythm.

But I think it’s also a good wake up call for everyone, isn’t it? In terms of that things are disruptive and you do have to adapt and you can’t just set and forget. You’ve got to get that balance between, focus on what you’re doing and the learnings and stuff and pushing forward, but not just doing that for the sake of it either. Like you’ve got to get that balance right, the tension point between that.

It sounds like you’ve got a lot of exciting things on your plate, which is great to hear. Awesome to have a chat, Emma. Thanks so much for your time.

A pleasure, Anton.

I think you’ve got a very exciting 12 months ahead of you. So, I’ll hopefully get down there in the next couple of months if I can.

Great. Well, you’re welcome anytime. And I hope you enjoy Tassie. It’s beautiful coming into the winter months as well.

Great. Well, thanks again, Emma. Just before we go, I’ve got one more question before we run out of time. I’ve heard rumours of a bridge being built to the mainland. Can you make any comments?

Ideal for marketers, advertis ers, media, and commercial communications professionals, Managing Marketing is a podcast hosted by Darren Woolley and special guests.  Find all the episodes here

By Anton Buchner

This post is by Anton Buchner, a senior consultant with TrinityP3. Anton is one of Australia’s leaders in data-driven marketing. Helping navigate through the bells, whistles and hype to identify genuine marketing value when it comes to technology, digital activity, and the resulting data footprint.

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Tourism Tasmania launches image generator ‘Tasmanai’ using Tasmanian artists instead of algorthims in new campaign via BMF and Orchard

Tourism Tasmania has launched an image generator ‘TasmanAi’, which instead of using artificial intelligence turns people’s prompts into original art made by local Tasmanians. The new campaign was created by BMF and Orchard with PR driven by Havas Red and media by Starcom.

Through the new platform , Tourism Tasmania is inviting people to turn their weird and wonderful ideas into very real art, created by very real Tasmanian artists to highlight the Tasmanian way of life and the reasons to visit; it’s craft, passion, realness, and authenticity.

Collaborating with nine Tasmanian artists with backgrounds in ceramics, acrylics, oil and crayon, people can submit their most inspired prompts coupled with a Tasmanian location via the TasmanAi website, in the hopes of receiving  their very own, unique, Tasmanian artwork.

Says Lindene Cleary, chief marketing officer, Tourism Tasmania: “TasmanAi is about highlighting what makes Tasmania different. While AI has its place in the world, the Tasmanian way of life is authentic and creative, where producing original art with meaning takes time, soul, and humanity. These are the things visitors will experience on a holiday in Tasmania – they ‘come down for air’ by slowing down, seeing the beauty beyond the surface, and making real connections. And of course, having a little fun.”

TasmanAi launches with an online video, in social, and through PR and artist activations.

Says Casey Schweikert, creative director, BMF: “AI is great, but why let robots have all the fun? We’re excited to remind Australians that Tasmania is the most inspiring place on earth and prove just how creative us meatbags can be. After all, databases of stolen jpegs are no match for Tasmania’s wealth of artistic talent and wildly stimulating views.”

Client: Tourism Tasmania

Creative Agency: BMF Chief Creative Officer: Alex Derwin Executive Creative Director: David Fraser Creative Directors: Casey Schweikert & Rees Steel Art Director: Imogen Wetzell Ramsey Copywriter: Declan Harrick Design Director: Fiona McLeod Planning Director: Thomasine Burnap Client Services Director: Edward Hughes Senior Account Director: Rebekah O’Grady Account Director: Brigitte Davies Head of TV: Jenny Lee-Archer Agency Producer: Jess Vella Art Buyer: Basir Salleh

Digital Agency: Orchard PR Agency: Havas Red Media Agency: Starcom

Production Company: Good Oil Director: Taylor Ferguson Sound Production: Rumble

33 Comments

I loved this … tickled my zeros and ones

^see above.

Fun, awesome stuff.

Nice work. Fun idea

how much are the artists being paid?

Fantastic stuff.

Enough for them to have agreed to do it?

Nice one Imogen!

Refreshing and bold. Brave client.

Very nice. It makes me happy to see this kind of work being made.

Nicely done

So often found padding out the back of a creative deck, it’s lovely to see an idea like this in the wild. Bravo

Awesome work Imogen!

I hate to think how much money has been wasted on this ridiculous idea.

Absolutely love it. Great work guys.

Refreshing. Cut through.

I’m sure the majority of these positive comments are from the agency congratulating themselves, but to be fair, it’s really nice

I think this work wreaks of advertising hubris.

Lol, you don’t love it.

Mainly someone congratulating himself, but it is really good.

Nice work Dec & Imo

Great work Dec. Refreshing and original. This guy is going places.

This campaign reeks of ad lunch , not ad thought.

Nah, have a nap mate. This is good. It’s just not for you.

Will drown in the middle of a sea of ai ideas.

Drowning in the middle of a sea of ai ideas would make a good prompt

Interesting idea. Film on the nose. Trying to be so clever and alternative… lame.

My thoughts exactly.

Why is this idea unique to Tasmania? What a gimmick.

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BMF and Tourism Tasmania showcase the state’s creative side with the launch of TasmanAi

The image generator turns people’s prompts into original art made by local Tasmanians without using AI.

BMF has partnered with Tourism Tasmania to launch an image generator, which, instead of using artificial intelligence, turns people’s prompts into original art made by local Tasmanians.

Through TasmanAi, Tourism Tasmania is inviting people to turn their weird and wonderful ideas into very real art, created by very real Tasmanian artists to highlight the Tasmanian way of life and the reasons to visit; it’s craft, passion, realness, and authenticity.

Collaborating with nine Tasmanian artists with backgrounds in ceramics, acrylics, oil and crayon, people can submit their most inspired prompts coupled with a Tasmanian location via the TasmanAi website in the hopes of receiving their very own unique Tasmanian artwork.

Lindene Cleary , chief marketing officer, Tourism Tasmania, said the campaign  showcases what makes Tasmania different.

“While AI has its place in the world, the Tasmanian way of life is authentic and creative, where producing original art with meaning takes time, soul, and humanity.

“These are the things visitors will experience on a holiday in Tasmania – they ‘come down for air’ by slowing down, seeing the beauty beyond the surface, and making real connections. And of course, having a little fun.”

TasmanAi, created by BMF and Orchard, and with PR driven by HAVAS Red and media by Starcom, launches with an online video, in social, and through PR and artist activations.

Casey Schweikert , Creative Director, BMF, said the campaign aims to remind Australians that “Tasmania is the most inspiring place on earth and prove just how creative us meatbags can be.”

“After all, databases of stolen jpegs are no match for Tasmania’s wealth of artistic talent and wildly stimulating views.”

Client: Tourism Tasmania

Creative Agency: BMF Chief Creative Officer: Alex Derwin Executive Creative Director: David Fraser Creative Directors: Casey Schweikert & Rees Steel Art Director: Imogen Wetzell Ramsey Copywriter: Declan Harrick Design Director: Fiona McLeod Planning Director: Thomasine Burnap Client Services Director: Edward Hughes Senior Account Director: Rebekah O’Grady Account Director: Brigitte Davies Head of TV: Jenny Lee-Archer Agency Producer: Jess Vella Art Buyer: Basir Salleh

Digital Agency: Orchard

PR Agency: Havas Red

Media Agency: Starcom

Production Company: Good Oil Director: Taylor Ferguson

Sound Production: Rumble

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Biden-Harris Administration Announces Final Rule Requiring Automatic Refunds of Airline Tickets and Ancillary Service Fees

Rule makes it easy to get money back for cancelled or significantly changed flights, significantly delayed checked bags, and additional services not provided  

WASHINGTON – The Biden-Harris Administration today announced that the U.S. Department of Transportation (DOT) has issued a final rule that requires airlines to promptly provide passengers with automatic cash refunds when owed. The new rule makes it easy for passengers to obtain refunds when airlines cancel or significantly change their flights, significantly delay their checked bags, or fail to provide the extra services they purchased.

“Passengers deserve to get their money back when an airline owes them - without headaches or haggling,” said U.S. Transportation Secretary Pete Buttigieg . “Our new rule sets a new standard to require airlines to promptly provide cash refunds to their passengers.”  

The final rule creates certainty for consumers by defining the specific circumstances in which airlines must provide refunds. Prior to this rule, airlines were permitted to set their own standards for what kind of flight changes warranted a refund. As a result, refund policies differed from airline to airline, which made it difficult for passengers to know or assert their refund rights. DOT also received complaints of some airlines revising and applying less consumer-friendly refund policies during spikes in flight cancellations and changes. 

Under the rule, passengers are entitled to a refund for:

• Canceled or significantly changed flights: Passengers will be entitled to a refund if their flight is canceled or significantly changed, and they do not accept alternative transportation or travel credits offered. For the first time, the rule defines “significant change.” Significant changes to a flight include departure or arrival times that are more than 3 hours domestically and 6 hours internationally; departures or arrivals from a different airport; increases in the number of connections; instances where passengers are downgraded to a lower class of service; or connections at different airports or flights on different planes that are less accessible or accommodating to a person with a disability.  
• Significantly delayed baggage return: Passengers who file a mishandled baggage report will be entitled to a refund of their checked bag fee if it is not delivered within 12 hours of their domestic flight arriving at the gate, or 15-30 hours of their international flight arriving at the gate, depending on the length of the flight.  
• Extra services not provided: Passengers will be entitled to a refund for the fee they paid for an extra service — such as Wi-Fi, seat selection, or inflight entertainment — if an airline fails to provide this service.

DOT’s final rule also makes it simple and straightforward for passengers to receive the money they are owed. Without this rule, consumers have to navigate a patchwork of cumbersome processes to request and receive a refund — searching through airline websites to figure out how make the request, filling out extra “digital paperwork,” or at times waiting for hours on the phone. In addition, passengers would receive a travel credit or voucher by default from some airlines instead of getting their money back, so they could not use their refund to rebook on another airline when their flight was changed or cancelled without navigating a cumbersome request process.  

The final rule improves the passenger experience by requiring refunds to be:

• Automatic: Airlines must automatically issue refunds without passengers having to explicitly request them or jump through hoops.   
• Prompt: Airlines and ticket agents must issue refunds within seven business days of refunds becoming due for credit card purchases and 20 calendar days for other payment methods.  
• Cash or original form of payment: Airlines and ticket agents must provide refunds in cash or whatever original payment method the individual used to make the purchase, such as credit card or airline miles. Airlines may not substitute vouchers, travel credits, or other forms of compensation unless the passenger affirmatively chooses to accept alternative compensation.    
• Full amount: Airlines and ticket agents must provide full refunds of the ticket purchase price, minus the value of any portion of transportation already used. The refunds must include all government-imposed taxes and fees and airline-imposed fees, regardless of whether the taxes or fees are refundable to airlines.

The final rule also requires airlines to provide prompt notifications to consumers affected by a cancelled or significantly changed flight of their right to a refund of the ticket and extra service fees, as well as any related policies.

In addition, in instances where consumers are restricted by a government or advised by a medical professional not to travel to, from, or within the United States due to a serious communicable disease, the final rule requires that airlines must provide travel credits or vouchers. Consumers may be required to provide documentary evidence to support their request. Travel vouchers or credits provided by airlines must be transferrable and valid for at least five years from the date of issuance.

The Department received a significant number of complaints against airlines and ticket agents for refusing to provide a refund or for delaying processing of refunds during and after the COVID-19 pandemic. At the height of the pandemic in 2020, refund complaints peaked at 87 percent of all air travel service complaints received by DOT. Refund problems continue to make up a substantial share of the complaints that DOT receives.

DOT’s Historic Record of Consumer Protection Under the Biden-Harris Administration

Under the Biden-Harris Administration and Secretary Buttigieg, DOT has advanced the largest expansion of airline passenger rights, issued the biggest fines against airlines for failing consumers, and returned more money to passengers in refunds and reimbursements than ever before in the Department’s history.

• Thanks to pressure from Secretary Buttigieg and DOT’s flightrights.gov dashboard, all 10 major U.S. airlines guarantee free rebooking and meals, and nine guarantee hotel accommodations when an airline issue causes a significant delay or cancellation. These are new commitments the airlines added to their customer service plans that DOT can legally ensure they adhere to and are displayed on flightrights.gov .  
• Since President Biden took office, DOT has helped return more than $3 billion in refunds and reimbursements owed to airline passengers – including over $600 million to passengers affected by the Southwest Airlines holiday meltdown in 2022.   
• Under Secretary Buttigieg, DOT has issued over $164 million in penalties against airlines for consumer protection violations. Between 1996 and 2020, DOT collectively issued less than $71 million in penalties against airlines for consumer protection violations.  
• DOT recently launched a new partnership with a bipartisan group of state attorneys general to fast-track the review of consumer complaints, hold airlines accountable, and protect the rights of the traveling public.  
• In 2023, the flight cancellation rate in the U.S. was a record low at under 1.2% — the lowest rate of flight cancellations in over 10 years despite a record amount of air travel.  
• DOT is undertaking its first ever industry-wide review of airline privacy practices and its first review of airline loyalty programs.

In addition to finalizing the rules to require automatic refunds and protect against surprise fees, DOT is also pursuing rulemakings that would:

• Propose to ban family seating junk fees and guarantee that parents can sit with their children for no extra charge when they fly. Before President Biden and Secretary Buttigieg pressed airlines last year, no airline committed to guaranteeing fee-free family seating. Now, four airlines guarantee fee-free family seating, and the Department is working on its family seating junk fee ban proposal.  
• Propose to make passenger compensation and amenities mandatory so that travelers are taken care of when airlines cause flight delays or cancellations.   
• Expand the rights for passengers who use wheelchairs and ensure that they can travel safely and with dignity . The comment period on this proposed rule closes on May 13, 2024.

The final rule on refunds can be found at https://www.transportation.gov/airconsumer/latest-news and at regulations.gov , docket number DOT-OST-2022-0089. There are different implementation periods in this final rule ranging from six months for airlines to provide automatic refunds when owed to 12 months for airlines to provide transferable travel vouchers or credits when consumers are unable to travel for reasons related to a serious communicable disease. 

Information about airline passenger rights, as well as DOT’s rules, guidance and orders, can be found at   https://www.transportation.gov/airconsumer .

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