Global success in sport: the effective marketing

and branding of the UEFA Champions League

Keywords
Brand equity
UEFA Champions League
global sport Abstract

The history and heritage of some brands is such that

an accumulation of brand equity occurs whereby
stocks of images, symbols, logos and icons are built
up. The role of brand managers in these cases is to
release this equity in an attempt to both realise the
value of brand equity and provide a foundation for
future development of brand equity. Using a case from
global sport, this study analyses the branding of a
Matthew Holt property and how this drew from a number of equity
enhancing features, as well as capitalising upon
Peer reviewed changes in marketing and the marketplace.

CASE STUDY
Executive summary

Competition between the elite clubs of Europe can be digital technologies, led to exponential growth in the
tracked back to the 1950s. Following a series of revenues available to clubs. UEFA took action to
friendly matches between Wolverhampton Wanderers reconsider both the commercial and the sporting
of England and Honved of Hungary to decide Europe’s aspects of its main club competition. In 1992 the
premier club, the French newspaper L’Équipe European Cup was transformed into the UEFA
proposed the formation of a competition consisting of Champions League (UCL), a hybrid competition
the league champions of each European nation, then comprising league and knock-out, around which a
constituted under UEFA. Thus the European new brand identity was developed and implemented
Champion Clubs’ Cup, more commonly known at the by UEFA in partnership with TEAM. This case study
European Cup, was born and administered under examines how this process was undertaken by
UEFA’s auspices. The competition remained identifying how each component of the brand was
unchanged for almost 40 years, but the growth of developed, and by addressing the role that the
television as a key medium of soccer consumption, relationship with commercial partners also played in
and the development of satellite and pay television the process.

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

 Branding of the UEFA Champions League

The emergence of the blueprint for sports marketing success by marrying the
UEFA Champions League synergetic qualities of soccer, sponsorship and
television. Through its marketing of the UEFA
Competition between the elite clubs of Europe can be Champions League (UCL), TEAM has exploited the
tracked back to the 1950s. Following a series of commercial opportunities in a global marketplace and
friendly matches between Wolverhampton Wanderers with UEFA created a integrated sporting and
of England and Honved of Hungary to decide Europe’s commercial platform for Europe’s elite clubs. In this
premier club, the French newspaper L’Équipe study I therefore focus on the key factors in
proposed the formation of a competition consisting of transforming the UEFA Champions League into a
the league champions of each European nation, which successful global sports brand.
was then constituted under UEFA’s auspices. Thus the
European Champion Clubs’ Cup, more commonly
known at the European Cup, was born. The Methodology
competition remained unchanged for almost 40 years,
but the growth of television as a key medium of soccer This case study was undertaken over 12 months,
consumption and the development of satellite and pay funded by FIFA, and supported by UEFA; it was thus
television digital technologies led to an exponential able to draw on high-level access to all of the relevant
growth in the revenues available to clubs. UEFA took stakeholders in European football.
action to re-consider both the commercial and the A total of 42 interviews were conducted with
sporting aspects of its main club competition. In 1992 representatives of European football, including those of
the European Cup was transformed into the UEFA UEFA, TEAM Marketing, FIFA, Europe’s elite clubs
Champions League (UCL), a hybrid competition (such as Manchester United, Liverpool, AC Milan and
comprising league and knock-out, around which a Juventus), FIFPro (the international players union),
new brand identity was developed and implemented BSkyB, and the league organisations of Europe. Semi-
CASE STUDY

by UEFA in partnership with TEAM. structured interviews were conducted on a range of

issues relevant to European football and its
organisation; specific questions were tailored towards
UEFA and TEAM the organisation, marketing and branding of the UEFA
Champions League.
The commercial growth of soccer has been facilitated The research also draws on a range of literature,
by a small number of event and media management including previous academic work related to European
companies, most notably ISL, long-term partners of football and literature produced by UEFA and TEAM.
both the world governing body FIFA, and UEFA. The two organisations jointly produce an annual UEFA
UEFA formed what has turned out to be a hugely Champions League (UCL) review, which provides a
successful alliance with two former executives of ISL. useful summary of each aspect of the organisation
Recognising the opportunities for growth, Klaus and marketing of the competition. Branding guides
Hempel and Jürgen Lenz had formed Television Event and UCL histories were other important sources of
and Media Marketing (TEAM), based in Lucerne, information.
Switzerland, as the vehicle through which the UEFA
Champions League would be transformed. On
instruction from UEFA, TEAM sought to apply a

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

 Branding of the UEFA Champions League

Creating the UEFA Champions Television and associated revenues

League brand
The UCL product provides the basis for the ‘television
The main factor in the effective transformation of the spectacle’. Soccer is a key driver of television
UCL into a benchmark global brand is the sporting audiences in Europe, and television is consequently
product itself. This consists of a number of elements the key provider of revenues in European soccer and
which have been integrated to produce a brand and a specifically the UCL. In the 2004-05 competition, it
competition with consistently high levels of interest. was estimated that 320 million supporters watched
Each of these elements is considered below. the UCL every week (UEFA, 2005). In the 2003-04
season, 79% of a total revenue of CHF 883 million
was generated through television sales (UEFA, 2005).
Centralised marketing According to TEAM executives Craig Thompson and
Ems Magnus, the initial intention was to create a
The critical commercial transition from the European UEFA Champions League television network with
Cup to the UCL was the decision to centralise nationally exclusive television stations, as a means to
commercial and marketing and branding control of the guarantee premium rates from free-to-air broadcasters
tournament. The concept of centralised marketing (UEFA, 2003). This constituted an important aspect of
operated by TEAM and UEFA has allowed UEFA itself to the UEFA/TEAM policy to optimise revenue rather than
‘optimise’ and control revenues generated by the maximise revenue1, demonstrating the desire to
competition. Previously, clubs participating in the ensure wider access to the tournament across Europe
European Cup had been responsible for selling their as a means to develop the UCL brand and maximise
own television and commercial rights. These rights were sponsorship revenue.
transferred from the clubs to UEFA in return for fixed The central marketing of the UCL has enabled UEFA
payments from a central fund generated by the central to generate vast revenues for the clubs. Since 1992

CASE STUDY
sale of television, sponsorship and other commercial UEFA has distributed a total of CHF 5,122 million to
rights by TEAM on behalf of UEFA. Payments to clubs clubs, the vast majority of which has been generated
are then distributed according to both sporting by television income (UEFA, 2005). Of total revenues
achievement and the market in which the clubs are raised in 2003-04, CHF 633 million were awarded to
based. Clubs participating in the larger markets the participating clubs and CHF 250 million were
therefore receive higher payments on the basis that their retained by UEFA for running costs and distribution
television rights are more valuable. within European football (UEFA, 2005). It has been
In order for the rights to be transferred by clubs to argued, however, that UEFA fails to maximise revenue
UEFA, those operating in the largest markets expect to from the competition. The Media Partners proposal for
receive a fee commensurate or greater than they would a breakaway competition in 1998 exploited this view
have received if they marketed the right individually. By and initiated a restructuring of the competition by
marketing the television and sponsorship rights arguing that European revenues were artificially low.
centrally, UEFA has been able to generate greater levels Similarly, the decision to maintain UCL coverage on
of revenue than the total revenues generated by the free-to-air television means that the pay-TV market is
clubs selling the rights individually. not being fully exploited. According to Media Partners
president Rodolfo Hecht, “In a 4.5 billion Euro market,
85% is generated by domestic leagues.”

1 See www.team.ch

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 Branding of the UEFA Champions League

Sponsorship whistle). This has made it almost impossible for rival

companies to engage in ‘ambush marketing’ by
With each club in control of its own stadium attempting to associate with the UCL. Indeed, in the
sponsorship, there was no coordination of sponsorship first season of the UCL, shirt sponsorship was not
across clubs. This was changed in favour of allowed in the competition, although this caused
centralised sponsorship by UEFA/TEAM. According to problems for clubs with their own sponsors and the
TEAM founder Klaus Hempel, “the package was decision was reversed. Overall, however, TEAM has
unique and the less equals more concept was very created a ‘multiplying media effect’ that offers new
attractive to commercial partners who wanted greater levels of recognition for sponsors (Thompson &
exclusivity. The marketplace had become very Magnus, 2003).
cluttered with commercial messages … our idea was The value of the UCL is clearly recognised by
to invite eight partners to deliver messages with a sponsors, who invested a total of CHF 177 million in
much clearer voice – and this was later reduced to 2003-04. Sponsors have consistently reflected on the
four.” This concept was “innovative and commercially global opportunities that UEFA is able to deliver. By
adapted to changing market conditions” (Thompson & the 12th season of the UCL, the average length of
Magnus, 2003) consisting of “a select group of sponsorship tenure was 10 years (UEFA, 2004).
sponsors with an integrated communications platform” Product recall among consumers is high. At the end of
(UEFA, 1999). Initially UEFA/TEAM opted for eight the 2003-04 group stage, 20.75% of sampled
sponsors and this was reduced to four in 2000-01, to consumers were able to recall all four sponsors
be increased to six for 2006-2009. 2 With elite football unprompted (UEFA, 2004). Additionally, sponsors
as a core driver of consistently large audiences among have specifically linked the launch of new products to
a young, male and affluent demographic, UEFA have the UCL. For example, Ford utilised the knock-out
been able to extract maximum sponsorship value. The stages of the 2004-05 tournament to launch the new
key to this was to offer comprehensive coverage in the Focus model. In the run-up to Christmas 2004,
CASE STUDY

areas of event and media rights, maximising value to Playstation used all six match days intensively to
the sponsors through careful management of promote its product. In addition to the sponsorship
advertising boards, tickets and hospitality, stadia and programme, UEFA has accredited suppliers which
branding, the use of logos, and the control of media enjoy similar privileges to sponsors, providing the
rights. goods and technology required to manage a
Sponsors receive coverage in stadia on advertising tournament of the scale of the UCL.3 This integrated
boards, interview backdrops, on tickets and hospitality sponsorship platform has allowed UEFA and TEAM to
passes, match programmes, in hospitality areas and maximise these revenues for the clubs.
with other promotional rights. The blanket event rights
coverage becomes all the more valuable when
connected to media rights across a global network. New media and licensing
Sponsors receive exposure not only via the broadcast
of the event, but also by receiving exclusivity for their While television and sponsorship revenues account for
products in commercial airtime and through broadcast the vast majority of Champions League income, the
sponsorship (which now includes a ‘match bumper’ commercial optimisation of the competition is further
played directly before each half and after the final enhanced 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) and
Sony (since 2006). 3 UCL suppliers are currently Adidas, Sharp and Canon.

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 Branding of the UEFA Champions League

licensing rights. The official ball, developed by official to deal individually, within constraints. Both the clubs
supplier Adidas, is the best-selling licensed product. and UEFA were happy with the outcome of
According to UEFA, this “performs a valuable brand Commission intervention as it allowed UEFA to
building function” and “acts as a permanent reminder continue to control the most valuable television rights,
of the UEFA Champions League”. Other licensed but in terms of new media, according to Thomas
products include Champions, the official UCL Kurth, General Secretary of the G14 5 organisation of
magazine, and table football. While the sums clubs, “it leaves to the individual club something
generated for UEFA by licensed goods are relatively valuable which can be better exploited by the clubs
small, such products add to the brand awareness. themselves” (personal interview, 18 January 2005).
New media is also providing a growing revenue The regulatory intervention of the European
stream to be exploited. In 2003-04 new media Commission, alongside technological developments,
generated over CHF 5 million (UEFA, 2005). New made the marketing an increasingly complex task, as
media has become increasingly important since the Richard Worth explains: “In the early days, it was only
intervention of the Competition Directorate of the a free-to-air Wednesday night TV product with
European Commission objected to the joint selling of sponsorship as well. Now it is a multi-layered free-to-
rights. One of the reasons for the intervention of the air, pay-tv, internet, mobile phone, sponsorship
Commission was that “internet and phone operators property which is a very sophisticated thing. In a
were simply denied access to the rights” and that “by sense the challenge is bringing all those components
barring access to key sport content it also stifled the together, and making it work” (1 March 2005).
development of sport services on the internet and of
the new generation of mobile phones”. 4 In an
agreement with the Commission, UEFA opened up the History and heritage
sale of rights to new media outlets, sharing the rights
with clubs. UCL footage is broadcast on the UEFA The effectiveness of the central marketing strategy has

CASE STUDY
website (www.uefa.com) and is sold through monthly been enhanced and maximised through the effective
and annual subscriptions in nine languages. Footage branding of the competition. This constitutes one of
is also available through club websites, for the clubs the most fascinating elements in the development of
themselves to exploit. In order to protect the rights of the UCL both as a competition and as a commercial
broadcasters, this content is not available until after vehicle. The radical transformation of the European
midnight on the evening of the games (UEFA, 2005). Cup into the UCL sparked concerns among supporters
Third-generation mobile phone technology has also and the media about the devaluation of the
been exploited. Wireless content, which includes video competition and the triumph of commercial interests
highlights, text commentary and still pictures, is over sporting considerations. In that context UEFA has
available in 35 countries through operators such as been acutely aware of the need to associate the UCL
Vodafone, Orange and T-Mobile (UEFA, 2005). While with the traditions and heritage of the revered
new media revenues constitute just a fraction of European Cup. This is evident through the creation of
overall revenues (6%), they are likely to become customs with regard to the competition itself. For
increasingly important. Interestingly, new media example, clubs that win the tournament three
content is one area where there is a departure from consecutive times, or five times in total, are entitled to
the central marketing concept, and clubs are available keep 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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 Branding of the UEFA Champions League

wear a special badge on the sleeves of their club and this brand consists of three key elements: the
shirts to identify this achievement. These customs UEFA Champions League anthem, the house colours,
reinforce the longevity and integrity of the competition and the starball symbol. These constitute the “long
and increase the meaning of the competition’s history. term foundations of the brand” (UEFA, 2003). To
In marketing terms, the result has been a concoction these I would add the symbolic importance of the
of contemporary, cutting-edge marketing techniques trophy itself.
aligned with half a century of European Cup history. It
is difficult to underestimate the importance of this,
and the development of the brand has focused heavily The UEFA Champions League anthem
on building the themes of ‘heritage’ and ‘prestige’.
UEFA recognises the importance of blending these two At 8.45pm Central European Time on Tuesday and
vital facets; UEFA literature on the UCL focuses Wednesday nights, the same piece of classical music
heavily on the heritage of the competition and there is can be heard at stadia and television screens across
an explicit recognition of the need to relate that Europe. The choice of Handel’s Zadok the Priest as
heritage to the modernisation of the competition. It is the theme of the UEFA Champions League epitomises
the brand that allows this to be achieved visually. the aim to give the competition very specific
The marketing of the UCL therefore constitutes a connotations. The piece reflects a classical approach,
deliberate and explicit attempt to marry the twin with associations of history and prestige – an anthem
requirements of modernisation and the fostering of for the elite that reflects the pinnacle of European
continuity which underpins what UEFA refers to as the football. In choosing Zadok the Priest, not only have
‘brand platform’. This includes the vision (“to create UEFA and TEAM sought to convey exclusivity, they
the ultimate stage for Europe’s club championship”); have also succeeded in differentiating the UCL from
the mission (“giving fans the best competition in the other club competitions. As the TEAM chief executive
world”) and the brand values (“proud, special, in has previously noted, sporting contests have often
CASE STUDY

touch, passionate”). According to UEFA: “It is the been brashly branded with popular music, denoting
brand that helps deliver the values of the event and youthfulness (King, 2004). In England music
provides the strategic direction for all activities associated with the Premier League has included
connected with the event” (UEFA, 2003). That brand, Elton John and U2. Interestingly, BBC Television has
developed by international brand consultants also utilised classical pieces when broadcasting the
Interbrand alongside UEFA and TEAM, has placed FIFA World Cup, this time reflecting the elite game in
‘prestige’ and ‘heritage’ at the heart. national team, as opposed to club, football.
The anthem was adapted by the English composer
Tony Britten and has become synonymous with the
Brand identity competition. The lyrics, created and translated into a
variety of languages, end with the words ‘The
UEFA (2003) has stated: “The UEFA Champions Champions!’ at the crescendo of a rising chorus. The
League, like any other global brand, is complex in consistency with which the anthem is used also
character. Whilst it is perceived in slightly different consolidates its distinctiveness. This culminates in the
ways by the various audiences across Europe, prestige playing of the anthem at the stadium at the moment
is at the heart of the UEFA Champions League brand the winning captain lifts the trophy. UEFA has clearly
image”. It is through the brand that UEFA has been pleased with the impact that the anthem has
attempted to deliver the image of prestige to had on the recognition of the anthem in association
supporters and the wider European football industry, with the competition. By utilising the anthem in all

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 Branding of the UEFA Champions League

UEFA Champions League television broadcasts, and at It has a subliminal aura of glamour about it.” TEAM
match venues prior to kick-off, UEFA has succeeded in executives Craig Thompson and Ems Magnus (2003)
utilising a classical piece to popularise a transformed have confirmed the impetus behind the new visual
competition. This is what UEFA (2003) referred to as creation. Additionally they note how the musical
the “ability to marry a prestige position with mass theme and the starball work together as part of a
appeal”. Research has shown this to be true as the common theme of prestige and tradition: “The simple
anthem is more readily identified with the competition yet striking new logo, combined with the classical
than the logo or even the name. musical theme, gave the new competition an elevated
image and prestigious feel.” While more than a decade
has passed since the starball emerged, to the point
Images and symbols that it is recognised in isolation as a symbol of the
Champions League, it is rare that the starball is
The clearest visual symbols of the UEFA Champions employed without being juxtaposed to the brand of
League are again a combination of old and new. The UEFA, and UEFA has not sought to hide the
trophy, used since the 1960s, following the award of importance or meaning of this: “The UEFA arch in the
the previous trophy to Real Madrid after successive Champions League logo is the brand behind the
victories, is the ultimate visual emblem of European brand, and acknowledges within the competition logo
football’s greatest clubs, players, and competition. The the organisation which is responsible for staging the
‘starball’, by comparison, was created as a central event. The UEFA presence is measured, it does not
aspect of the rebranding exercise following the confuse or detract from the competition logo, but
transition from European Cup to Champions League. provides a subtle yet very powerful endorsement.” In
The starball symbol has again been created and the context of the politics of European soccer, UEFA
used to drive the brand values of the competition. A has cleverly used the opportunity to rebrand as an
number of agencies were approached to propose a opportunity to consolidate its own presence as the

CASE STUDY
new visual identity for the competition, and the legitimate organiser of European club competition by
London-based agency Design Bridge was charged with offering “subtle endorsement”. TEAM chief executive
the brief of creating an “identity and branding to Richard Worth also confirmed UEFA’s wish that the
match the very best of European football”. The starball starball and the UEFA arch should never be “split up”
was designed to reflect the eight ‘star’ teams that (quoted in King, 2004).
remained in the two group stages following the initial It is within the utilisation of the starball that the
reformulation of the competition. house colours of the UCL brand are most evident.
It has been argued that the starball is invested with Black, white and silver were chosen specifically to
political meaning. Each star within the ball represents generate connotations of history, prestige and
an elite club of European football, therefore preciousness. King claims, for example, that the black
entrenching the elite clubs within competition under and white engenders memories of the old television
UEFA control (King, 2004). While this overstates the footage of the early days of the European Cup, again
importance of this single visual image, there is little specifically relating the modernised tournament and
doubt that the symbol has become a crucial signifier marketing concept with old European Cup and thus
of the UEFA property. According to sports branding legitimising the transformed competition. Similarly he
consultant Richard Markell, “The UEFA Champions suggests that the silver reflects the history of a
League logo is a modern classic that captures in its tournament under floodlight and famous European
‘starball’ symbol the elite world of Europe’s top club nights. More plausibly, the silver reflects the
competition and classic matches between top clubs. preciousness and history represented in the trophy.

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 Branding of the UEFA Champions League

The use of black, white and silver has been The branding of the final tie has become enormously
consistently employed and is emphasised by the deep distinctive in itself, and has been designed to
midnight blue used as a background colour to much amalgamate the image of the competition and the cup
of the UCL, in particular television sequences and with cultural references to the host country and city.
various other backdrops. When the silver is Thus for the final in Istanbul in 2005, the image and
superimposed onto the midnight blue there is a clear the lines of the cup were cleverly adapted and
evocation of the history and glamour of the European incorporated with the symbolism and colours of Turkey
Cup. In the same way that other sporting competitions and the architecture of the host stadium – the moon
have used popular music, the colours employed in and star and deep scarlet reds. Into the design of
UCL branding set it apart visually from other backdrops, a subtle and understated starball was also
competitions. included. According to English and Pockett, the design
agency responsible for the final branding, “Our event
branding combined the Champions League identity
The trophy with the host country’s national flag by echoing its key
graphic elements – the moon and star. Traditional
The trophy remains, predictably, the most identifiable designs from a Turkish mosque were combined with
and prestigious symbol of the UCL competition. the red of the flag to create a distinctive graphic
Interestingly, through most of the competition, the style.”7 The final branding received blanket coverage
trophy is conspicuous by its absence in the branding, in Istanbul. From the airport to the city centre to the
apart from in the opening sequences of broadcasts. stadium, lamp-posts were adorned with UCL final
However, since the late 1990s6 there has been a imagery, with, of course, ample space offered to
departure from the UCL brand concept for the final tie, exclusive UCL sponsors and suppliers. So while the
and it is in this special unique branding exercise that overall branding of the UCL conveys history and
UEFA and TEAM utilise the symbolism of the famous prestige, the unique branding of the final itself
CASE STUDY

trophy – one of soccer’s most iconic symbols. develops this concept even further by integrating the
By restricting the use of the trophy until the final trophy and heightening the sense of occasion and
itself, its lustre and value is enhanced. The more rarely significance of the final tie.
the silverware appears, the more special and precious
it becomes. Craig Thompson, an executive, explains
the development of his own understanding of this Brand implementation
special symbol: “As an American the cup hadn’t meant
that much to me. But when I saw how much of an The UCL brand theme is encapsulated within the
icon it was to people in Europe, I felt that we should brand identity – the symbols of the UCL. But perhaps
be making better use of it to promote the final and the the most impressive of all the success factors in
competition. So we began the tradition of offering the marketing the UCL is how the concept of centralised
trophy to the host city a month or so before the final, branding and commercial control is implemented. The
and the Handover Ceremony has become an successful creation of the brand is accompanied by a
established part of the fixture list” (UEFA, 2000). strategy 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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 Branding of the UEFA Champions League

the brand and control of event management, both in investment in the development of European football.
stadia and through the media. The comprehensive The stadia are thus dressed identically, architectural
implementation of the brand identity consistently differences notwithstanding. At each venue the words
reinforces the identity of the competition and serves to ‘UEFA Champions League’ can be seen at the halfway
entrench the competition in the consciousness of line, facing the cameras, and all the way around the
European soccer fans and reinforce the competition as pitch on the advertising hoardings of sponsors and
the legitimate means by which to decide Europe’s best suppliers. All existing stadium advertising is removed
club. This consequently reinforces UEFA’s role in the or covered, and each tier of the stadium is wrapped
organisation of the contest. To complete the virtuous with a version of the starball symbol in black and
circle, sponsors and broadcasters accrue financial white. Before the start of each game, a starball covers
benefit from association with the competition. the whole centre circle. As the teams emerge onto the
pitch, the starball is lifted and shaken to generate a
simple but stirring effect. According to Keith Young of
Event management and identity Design Bridge, this constituted “a perfect way of
establishing and asserting the competition’s identity
Implementation of the centralised marketing concept and we’ve seen this copied at other events”. (UEFA,
can be most strongly identified in the sporting arena. 2002). Simultaneously, the UCL anthem is played
Initially this was one of the more controversial aspects across the stadium. Not only are these routines
of the development of the UCL. European soccer clubs replicated across venues, they are choreographed so
traditionally have a high degree of commercial and assiduously as to be almost simultaneous.
organisational autonomy. For the UCL, stadia become Few stones are left unturned in the venue branding
the property of UEFA/TEAM and have a dedicated exercise. Stewards’ jackets and players’ shirts sport
“specially trained venue team” (UEFA, 1999). Each the starball logo, all match tickets and accreditation
UCL venue is dressed in exactly the same fashion. passes are branded and include the various logos of

CASE STUDY
Initially this caused a degree of friction with the sponsors and suppliers.
competing clubs, as Campbell Ogilvie of Rangers FC Away from the immediate vicinity of play, the brand
explains: “In the early days there were also situations identity is also ubiquitous. A special corporate
where clubs resented a group of outsiders turning up hospitality area is branded as the Champions’ Club.
at the ground and telling them how to organise a One marker of success is the fact that UCL sponsors
match at their own stadium. The clubs were at may compete with the individual sponsors of clubs.
loggerheads with UEFA and TEAM.” However, the For example, Liverpool is sponsored by Carlsberg,
value of the transformation was soon recognised by while Heineken (and previously Amstel) are sponsors
the clubs, as Ogilvie notes: “Fortunately, the package of the UCL. It is not difficult to see the problems posed
was absolutely top-class and the partnership concept when sponsors of clubs are not allowed to advertise at
in the UEFA Champions League has to be considered the stadia in which they invest for the most high-
one of football’s great success stories” (UEFA, 2002). profile games! In fact, compromises had to be made,
There is little doubt that the standardisation of the as early in the life-cycle of the Champions League, no
competition enhances its commercial value, with shirt sponsorship was allowed. This was changed, and
sponsors and broadcasters attracted to an integrated the overall benefits that accrued from centralised
and homogenised product. Similarly it is worth marketing and sponsorship were enough to offset
remembering that by optimising the commercial concerns of conflict with existing sponsors.
potential of the competition, UEFA is able to increase

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 Branding of the UEFA Champions League

Television identity coverage. The on-screen graphics, showing match

results, group tables, fixtures, the score-line during
The impact of stadium branding is transmitted most play, the team line-ups and formations, are all
effectively and lucratively through television, through branded with the starball on the midnight blue
which 99% of fans access the competition (UEFA, backdrop. Studios have UCL branded furnishings, and
2004). Stadium branding, however, is only one aspect post-match interviews are conducted in front of
of UCL event branding. The television production itself branded backdrops featuring the logos of sponsors and
is also a vital means through which the competition is suppliers.
marketed to fans and more widely to consumers. This Perhaps the most telling indicator of how successful
is achieved through uniformity of coverage packaged the branding of the UCL has been is the exemption
around live games. given to UEFA by the Competition directorate of the
I have already touched upon the global impact of European Commission. Competition authorities across
the UCL and the worldwide television audience. Of Europe have taken a close interest in how the rights to
course, it is ultimately the product that makes the UCL football competitions have been sold by the respective
the global sporting success that it is, but the manner authorities. In Italy, for example, central selling was
in which the competition is packaged clearly adds ruled illegal, and the European Commission has
commercial value through the development of a investigated central selling deals in England, Germany
recognisable and respected brand. The television title and France. The Commission objected to the central
sequence plays an important role – “a unique and sales of television rights to the UCL due to the fact
valuable promotional platform” and a “branding tool that UEFA sold to a single broadcaster on an exclusive
… to differentiate the Champions League broadcasts basis, and the consequences of that for broadcasting
from any other television programme” (UEFA, 2003). markets in Europe. Although forced to re-evaluate the
By controlling this aspect of presentation, the UCL is manner in which rights were sold, UEFA was allowed
taken out of the control of broadcasters that might to continue selling the rights centrally, on the basis
CASE STUDY

wish to portray a different image. The sequences have that “UEFA’s joint selling arrangement leads to the
developed over the life of the UCL, but the key improvement of production and distribution by creating
symbols of starball, colours and anthem have a single branded league focused product sold via a
remained. The brand is based on the theme of single point of sale”. 8 The Commission recognised
connection – between star players, club and fans. This that the central selling was important for a brand
is particularly effective for television, as the movement “associated with a uniform and high-quality TV
and connection of the stars in the opening sequences coverage underpinned by homogeneous presentation
depict the clash of clubs and players in the context of which increases attractiveness for the viewer. These
a prestigious sporting contest. Again, the silver star are also factors which attract the best football clubs
housing the images appears on a midnight blue who want to participate in the competition”. 9Indeed,
background, accentuating the distinctive night-time the quality with which the tournament is marketed is
aura and the value of the tournament. The brand is an intrinsic factor in the inclination of clubs to work
also heavily concentrated in the overall television within 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 clears
UEFA’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

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

 Branding of the UEFA Champions League

Conclusion Biography

UEFA and TEAM have succeeded in creating a Matthew Holt submitted this paper while a researcher
benchmark in the marketing of soccer’s premier club at Birkbeck College, University of London. He now
competition. At the heart of this success is the works for Sport England.
sporting product itself. The competition provides the
platform for Europe’s most famous and best-supported The author would like to thank various executives of
clubs, while offering opportunity to lesser clubs and UEFA and TEAM who agreed to be interviewed in the
nations and the opportunity for players to confirm their context of a wider project on UEFA and European
status among the world’s greats. In marketing the football, and for information provided for this paper.
product, the centralised strategy allows UEFA, in
association with TEAM, to control and address every
aspect of the branding and organisation of the References
competition. Only by exercising this degree of control
can each important aspect of the competition be King, A. (2004) The New Symbols of European Football,
delivered to the highest possible standards and International Review for the Sociology of Sport 39(3),
optimise the potential of the golden triangle of soccer, 323-336.
TV and sponsorship. Thompson, C. & Magnus, E. (2003) The UEFA Champions
Although numerous factors play vital roles in the League Marketing, FIBA Assist Magazine 2.
construction of this global brand, ultimately it is the
UEFA (1999) UEFA Champions League: Season Review
strategic and integrated approach to marketing the 1998-1999.
competition that sets it apart. Each success factor is
UEFA (2003) UEFA Champions League: Giving the fans
important in so far as it exists as a part of an the best competition in the world, 2003-2006. UEFA: Nyon.
integrated whole. By attending to every last detail in

CASE STUDY
the branding and organisation of the UCL, the UEFA (2004) UEFA Champions League: Season Review
2003-2004.
competition, like a good soccer team, becomes more
than the sum of its individual components. The UEFA (2005) UEFA Champions League: Season Review
importance and value (sporting and commercial) of 2003-2004.
the competition is therefore enhanced and magnified
for all participants – clubs, spectators and commercial
partners. In the complex environment of European
soccer’s political network, UEFA consolidates its own
position as the legitimate controller of club competition
by fostering a contest of consistently high interest and
standard and by marketing that contest to the highest
professional standards, and to the satisfaction of
soccer’s most influential stakeholders.

© 2007 International Marketing Reports

l OCTOBER 2007 l International Journal of Sports Marketing & Sponsorship 61