SPONSORSHIP
London’s V&A has to fi nd 42 per cent of its funding from sources other than government grants and uses sponsorship to maintain free admission to the permanent collections. Its approach to sponsorship could be deemed a success: it has never had to deal with any protestors and has attracted both repeat sponsors, such as Ernst & Young, and new partners with no previous history of spon- sorship, such as Harry Winston – sponsor of Hollywood Costume.
“In 2012/13, 55 per cent of the museum’s
self-generated income came from fundrais- ing activities and eight per cent of this was from corporate sponsorship,” says Olivia Colling, speaking on behalf of the V&A. “It is never easy and we certainly have to prove the anticipated return on investment to any potential sponsor.”
START EARLY
Successful sponsorship is down to painstak- ing research and preparation. The V&A plans two to three years ahead, researching and approaching potential sponsors as early as possible to put together tailored approaches. “We aim to be transparent about fees and
The development team at the London Transport Museum gives their sponsors valuable input
benefi ts and to work very much as a partner- ship team in order to deliver the best results for both parties,” says Colling. “Partnerships work best when there is a natural brand match and the sponsor wants to support and enhance the museum’s plans.”
While it’s important for the gallery to main- tain curatorial control, development teams can give valuable input on what will be attrac- tive to sponsors and should be consulted as early on as possible, according to Claire Wil- liamson, assistant director of marketing and support at the London Transport Museum. “It takes around two years to get a major sponsor (£50,000-100,000; US$76,000- 153,000, €57,000-115,000) on board, so ideally the development and marketing de- partments should be involved in discussions as early on as possible,” says Williamson. “Many museums and galleries don’t do this, but development teams can give some insight into what could make an exhibition more appealing to a sponsor and therefore assure its sustainability. Sponsors need a package of benefi ts and development teams need to make their colleagues aware of these early on, so that they can become em- bedded, rather than tagged on at the end.” When drawing up a hit list of companies
Secret London The Serco Prize for Illustration 2012
to target, those who have synergy with the museum, gallery or exhibition should be at the top of the list. “It’s important for both parties to find a good match,” says Williamson. “Get to know the business community fi rst, either by hosting networking events or inviting them onto the board, then it makes it easier to ap- proach them for sponsorship. Have some discussions before a formal pitch, so that you can understand and respond to their business strategy.”
122 Attractions Handbook 2013–2014 BEST PRACTICE CHECKLIST
• Start research on sponsors well ahead of time. • Get to know the sponsor’s aims before building a case for them.
• Development teams should be involved with the curating team.
• Get to know the business community by offering the venue for events or by asking them to join the board.
• Look for a company with brand similarities and which likes what you do. Successful partnerships are those in which the sponsor is genuinely excited about the museum or gallery.
• Be clear, but also realistic, about how your sponsor will benefi t.
• Make it clear that the gallery retains curatorial control.
• Build a partnership, so both parties are working to make the sponsorship a success. Use the sponsors’ client base, expertise and experience as much as possible.
• Work hard to exceed the sponsor’s expecta- tions and gather evidence throughout the term of the sponsorship to show it is working.
• Take a cross-department approach: the sponsor will most likely want to also work with the press, marketing and education teams.
• Create an ethics policy and regularly review it. • Make sure that the sponsors are acceptable to your target market.
LONG-TERM APPROACH On signing up a sponsor, expectations must be discussed. “Be clear about the benefi ts and realistic about what the sponsorship can achieve,” says Conway. “You need to show the potential supporter how the project will benefi t their business and how your team will support the business in achieving its aims. Make it clear that the content and tone of the exhibit is controlled by the gallery; and not open to changes from the sponsor.”
www.attractionshandbook.com
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