adobo magazine | July - August 2013

The word on creativity

JOHN MESCALL MCCANN AUSTRALIA

RECORD BREAKER

THE 60th CANNES LIONS

Issue 46 JULY - AUGUST 2013

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Philippines P195 Indonesia IDR 100k Malaysia MYR 15 Singapore SGD 10 Hong Kong Thailand

FAREWELL MECKOY QUIOGUE interview Joanna mojica THE FIRM TA PROOT I N DI A

E D I TO R ’ S N OT E July-August 2013, Issue 46

Festival hangover

What a week it was for the thousands who trooped to the South of France in the middle of June. Another affirming experience for creative talent at what has to be the Oscars for the communications industry.

This year though it would have been just as apt to compare the Cannes Lions to the Olympics. Records fell like tenpins as McCann Melbourne’s formidable team led by John Mescall bowled strike after strike with a campaign that not only took Australia but the world by storm.

For that reason, the tousled-haired creative of the moment is adobo’s cover personality (pg 62). His feat in rewriting D&AD and Cannes’ record books within weeks of each other was nothing short of amazing. In our cover interview conducted during the festival’s mid-point, before the full extent of his Cannes conquest had become apparent, a tired but ecstatic Mescall gave adobo a peek at the team’s sheer delight in completely breaking the rules for a PSA. Helping in no small way was a client who happily went the whole nine yards on this madcap adventure.

The Philippines also did its bit of record-breaking after years of returning with too few honors. Dark horse DM9JaymeSyfu nabbed the Grand Prix in Mobile, a category every agency with its eye on the future wants to earn its stripes in. Five other local shops, led by Saatchi & Saatchi with 5 Lions, also came home with metal; even our newest Pinoy exports did the country proud-booking wins for Lowe Bangkok.

Check out our extended Cannes coverage (pg 123) for all the action, inspiring the festival’s sessions, amazing work and star personalities at Cannes’ 60th outing.

This issue’s focus on creativity also extends to Asia Pacific’s strong D&AD performance; chalk that one up to ‘Dumb Ways to Die’ (pg 52), the Tambuli Awards (pg 108),

Heineken delivering Bang for the Buck with its global ‘Legendary Journeys’ (pg 56), Indian creative hot shop Taproot (pg 84), Brazil’s brand of creativity (pg 54) and agencies rewriting the rules on media creativity (pg 102).

Respected AIGA-awarded graphic designer Lucille Tenazas features in our Design section, expounding on developing a distinctive voice in design (pg 60). Meanwhile, Havas Media’s global social marketing manager Christel Quek fronts our sold-out Main Course looking into battle strategies to win the war of hearts (pg 120).

On a sad note, we also bid farewell to a long serving, respected and beloved media and marketing personality, Meckoy Quiogue in this issue. One of Meckoy’s protégés and former adobo magazine editor Cynthia Dayco has penned a heartfelt tribute to a man who has certainly left his mark on the industry (pg 77).

Before you plunge in to our latest issue, do remember to check out the accompanying Production Showcase. Our report turns the spotlight on a vital part of marketing and communications’ ecosystem – the production talent who bring storyboards so vividly, movingly and dramatically to life all coming in under the tight limits set for broadcast.

As we recover from our collective Cannes hangover, we hope you enjoy what we’ve put together.

See you next issue!

Angel V. Guerrero Founder, Publisher & Editor-in-Chief

sta f f bo x President & Editor-in-Chief Angel V. Guerrero

Vice-President & Chief Operating Officer Janelle Barretto Squires

EDITORIAL Consultant Editor Sharon Desker Shaw

Managing Editor Mikhail Lecaros

Creative Director Victor Garcia

Multimedia Artist Ricardo Malit

Digital Writer Danielle Austria

Cover Photo John Mescall, McCann Australia ECD

MARKETING Sales & Marketing Head Apple Esplana-Manansala Account Manager Jona Loren Atienza

Events Manager Ched Dayot Marketing and Events Coordinator Andrew Sarmiento

ADMIN Finance Head Steve Pelimiano Accounting & Admin Officer Elsa Bagalacsa

Database & Subscription Romina Claros

For advertising, sales, subscription, editorial and general inquiries, please get in touch. editorial@adobomagazine.com sales@adobomagazine.com subscriptions@adobomagazine.com events@adobomagazine.com books@adobomagazine.com info@adobomagazine.com www.adobomagazine.com Telephone +632.845.0218 / +632.886.5351

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Fax +632.845.0217

Writers Matthew Arcilla, Nikka Arcilla, Christine Bantayan, Cynthia Dayco, Katrina Encanto, EJ Galang, David Guerrero, Kimi Lim, Eri Durr, Roz Noriega, Chris de Pio Sanchez, Ali Silao

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adobo magazine is published bi-monthly by Sanserif Inc. © 2013 Sanserif Inc. All rights reserved. Printed on recycled paper.

No part of the magazine maybe reproduced or transmitted by any means without prior permission of the publisher. While every effort has been made to ensure the accuracy of the information in this publication, the publisher and the editor assume no responsibility for errors of omissions or any circumstance of reliance of information in this publication. The opinions expressed in this publication do not necessarily represent the views of the publisher and the editor. Advertisements are the sole responsibility of the advertisers.

CO N T R I B U TO RS July-August 2013, Issue 46

Mark Nicdao Photographer

Ryan Sulit Photographer

Juan Sarte Make-up artist

Adrian Gonzales Photographer

Anna Manlapas Photographer

KC Mempin Stylist

Santi Obcena Stylist

Chris Yuhico Photographer

Nadj Zaragoza Make-up artist

Cynthia Dayco Writer

Ali Silao Writer

Eri Durr Writer

Dominic Calalo Layout artist

Christine Bantayan Writer

Lambert Pangilinan Photographer

We couldn't have done this issue without: Denise Galoyo, Jai Garcia, Ej Galang, Katrina Encanto, Christine Bantayan, Joey Torres, Missy Rivera

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John

Joanna Chan Mojica

Mescall

Table of Contents July-August 2013, Issue 46 Cover Story 62

John Mescall: McCannes record breaker

Philippine News 08 10 13 14 15

Grand Prix coup Performics debuts in the Philippines ‘Postponed’ Ad Congress Sunrise sector: Design Striking a chord

Global News 19 20 24 26 28

Droga5 sells to William Morris Endeavor Havas points to worrying insight Nokia picks JWT for global work WPP eyes global activation growth Scaling up: 4 global campaigns

Digital 31 32 36 39

ABS-CBN in Globe deal A changing of the guard?

Best practices for mobile creativity Philippine CMO Mobile Summit coverage

The Work 44 49 51 52 54 56

Creative Review: Richard Irvine Creative Showcase Ad of the Month McCann Melbourne’s record-breaking D&AD run South America’s blockbuster performance Bang for the Buck: Heineken ‘Legendary Journeys’

Design 60

Lucille Tenazas: An authentic design voice

Centerfold 72

Media ‘addict’: Joanna Chan-Mojica Farewell Meckoy, 1941-2013

Trendspotting 80

82

Logic & Magic: Are you cool?

The Firm 84 88

98

Taproot: An upstart on a roll Cebuana Lhuillier: Not your father’s pawnshop

Fastfood is king Marketing 2020 Sidedish: Marc Louis O’Connor Soong, Jaguar Cars Inc. In the Bag: Marco Nieto, Splash Corporation

Media 100 102

An Inquirer for the 21st century When the medium is the message

Special Report 108 116 120 123 164

Gearheads

Column

Shopping habits

Marketing 94 96 98

Madonna Tarrayo, Unitel/Straight Shooters

People 74 77

Intelligence 92

Tambuli Awards: Rewarding effectiveness adobo Football Cup adobo Main Course: Fighting for relevancy Cannes 2013 wrap-up Spikes Asia Primer

Regular Sections 166 169 172

Contagious Downtime Events calendar

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philippines news

Grand Prix coup

Getting on the map Best-ever year at Cannes

DM9 scores nation’s first-ever Cannes Grand Prix CANNES The Philippines had its best-ever year in more than a decade of Cannes Lions competition, with a haul that brought the industry together like never before to applaud the winners.

DM9JaymeSyfu was the toast of the industry, winning the Grand Prix as its firstever Cannes metal in the two-year-old Mobile competition, a category where agencies are rushing to showcase their creative savvy JWT won Gold in Outdoor for ‘Icons’ with as clients prepare to shift budgets to the ‘Schick Exacta 2 Razor’, setting the industry platform. The ‘Smart TxtBks’ (pictured) celebrating with what was then, at the awards work had been created for client Smart, and announcement, the country’s second Gold. beat 100 other shortlisted entries. Textbooks The first had been won by the agency in 2007. were loaded onto Smart’s excess SIM McCann Worldgroup was recognized with cards and installed on old Nokia handsets, a one Silver in Radio for its tongue-in-cheek providing books to public school-kids and a ‘Press’ and ‘Hold’ spots for the Philippine recycling solution for the growing pile of old Cancer Society, TBWA\Santiago mobile gadgets.

Mangada Puno’s two wins were Ace Saatchi & Saatchi’s 5 in Design – a Silver for Boysen’s Lions made it the country’s ‘Biggest Air Filter’ EDSA most-awarded – based on the beautification project and Ayala organizer’s Olympic-styled scoring Land’s ‘Koi Feed Fish’ invite. system. It won two Golds for PLDT Lions won by 6 Y&R’s haul included a Silver with ‘Screen-Age Love Story’ local shops in Media and two Bronzes in the in Branded Content, which had Outdoor and Promo & Activation 105 shortlisted contenders, and a Source Cannes Lions competitions, all for its ‘Dengue Silver and Bronze in Media from Bottle’ project for Maynilad Water a shortlist of 257 entries. ‘ScreenServices to help communities cut the spread of Age Love Story’, said Branded Content mosquito-borne disease. jurors, had been considered for a Grand Prix.

Except for JWT, the other agencies were all ‘Olympic Shirt Flag’ for Procter & Gamble’s first-time Cannes winners. see pg. 146 Ariel won a Bronze Media Lion.

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High praise Terry Savage on local wins

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CANNES Terry Savage hailed the Philippines’ bountiful metal haul, the Mobile Grand Prix, in particular.

“I have to say that the Grand Prix was work that many people said to me ‘they wish they had done it’,” Savage, the festival’s executive chairman, told adobo.

“The Philippines and the winners should be congratulated.

Thing is, should we be surprised? My response is ‘no’. The Philippine industry has been knocking on the door for quite a while, as we know from the jury members we appointed at Cannes and Spikes.

“They are always high quality, smart and creatively driven.

As we know from our festivals, Philippine

July-August 2013

“The wins place the Philippine creative industry on the world map as a potential creative powerhouse. Now there is a small beeping light on the spot where the Philippines is.”

Matec Villanueva Publicis Manila and 4A’s chair “I am so happy that so many agencies have won metals. What I could feel is a unifying feeling among us in the industry.”

Merlee Jayme DM9JaymeSyfu “‘Screen-Age Love Story’ was up for the Grand Prix which makes us even more proud, as the highest honors at Cannes always go to powerful ideas that have proven themselves to build brands.”

Andrew Petch Ace Saatchi & Saatchi

“At Y&R we feel that we have to resist the usual. While it’s good to win on the traditional, because of the media explosion, there’s new stuff we can have fun with.”

Badong Abesamis Y&R Manila

delegates attend and in attending get the world’s best thinking and inspiration from the world’s thought leaders. And it seems to me at least that the national will to win, and the will to celebrate the winners internally no matter which agency they come from is a very healthy sign for the industry.

“Make no mistake

creativity counts, great work sells more, so the next job is to get Philippine marketers to attend, learn about the value of creativity so they help you in the mission of creating great work.

“Keep investing in the future and there will be more metal at Cannes and Spikes.

The writing is now on the wall for all to see.”

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on the move Philippines has beefed up the bench strength of its Healthcare operation, appointing Pauline Espiritu as managing director. Chris Dar Santos has also joined the leadership team in a business role, Ivan Policarpo in creative and Mark de Joya in strategic planning, complementing Espiritu’s years of experience in brand management in Boehringer, Warner Lambert, Johnson & Johnson and Pfizer, which also included a continuing medical education role.

Olarte... “biggest revenue is still in print”

HEALTHCARE BOOST McCann Worldgroup

Inquirer promotes Olarte to key role BACK TO RADIO Former senator Orly Mercado has returned to his media roots as anchor of TV5’s new daily morning program Orly Mercado: All Ready! On Radyo5 92.3 in the 6am to 8am slot. Mercado, who served three terms as Senator, returns to the media industry after an absence of nearly three decades. “I haven’t lost touch with what is happening…I want to be in a situation where we can incorporate all the innovations in radio,” he said.

DIGITAL TASK Hot Air Balloon has appointed Miguel Solomon managing director of its Burner Digital Design and Creation vertical unit. Solomon has more than five years’ digital marketing, media planning and buying, campaign management, ad network sales and implementation, creative, production management and activation experience.

Wants to collaborate with agencies Manila The Inquirer Group of Companies (IGC) has promoted a company veteran Pepito Olarte to the newly created role of senior vice president and group sales head for the group’s companies.

The role has been described as “pivotal” as the group has evolved well beyond print to online, radio, mobile and to buses, where it accepts TV advertising.

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With the group since 1986, Olarte was vice president for advertising for the Philippine Daily Inquirer, the group’s flagship media property.

His key responsibilities in his new role include driving the group’s market revenue growth share and sales targets, sales strategies and long-term growth plans. “The biggest revenue is still in print – we produce more than 2 billion pesos a year. The target is 2.4 billion pesos a year with digital and mobile combined, Olarte said.

He is looking to collaborate with agencies to maximize the group’s multi-platform offering. “The problem with the present set-up is we do not have a creative person who can think of ways to maximize the multi-platform capabilities. We can create a campaign, throw that to the creative agency and we collaborate,” he said, underscoring the group’s plan to deliver innovative branding opportunities to clients rather than threaten agencies.

As functional leader of group sales, Olarte has been tasked to rationalize and harmonize group sales policies and guidelines and resolve sales issues related to pricing, sales bundling, incentives, performance of ICG account executives among others.

Heads of sales of each member company will report to Olarte, who will in turn report to Sandy Prieto-Romualdez, group president.

Olarte has held various assignments in his time with the group and assumed key industry positions at the United Print Media Group, the AdBoard and has been a regular Philippine festival representative at the Cannes Lions.

Godspeed Meckoy Quiogue Meckoy quiOgue succumbed to a heart attack on May 31, bringing to an end a storied career that spanned marketing, advertising and broadcasting. At the time of his passing, Quiogue had just retired as president and CEO of GroupM Philippines and was due to join Solar Entertainment Corp as chief commercial officer alongside Mitos Borromeo, a former colleague at WPP shops. Tributes flowed freely as the news spread. “(He was) a one-off, a wonderful professional and personal colleague, friend, mentor and inspiration for us all,” said GroupM Asia Pacific CEO Mark Patterson. MEC Interaction head Cynthia Dayco remembers the man and his legacy on pg 77.

PARTNER PROMOTION FleishmanHillard has promoted senior vice president and general manager Cosette Romero to partner in recognition of her contribution to the PR consultancy. Romero has been credited with driving growth of the local office, which has a client roster spanning technology, aviation, consumer products and general corporate sectors

July-August 2013

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Performics debuts in the Philippines

SPENDING LAG

Launch ahead of search’s take-off

44%

The percentage of 78 mid to senior marketers polled who consider their insights on their target market’s mobile behavior to be “negligible”.

84%

The percentage of marketers who cited ability to target consumers on-the-go as the top primary benefit, followed by ability to craft personalized communications (77%) and real-time messaging (65%).

44%

The percentage of respondents polled across sectors – from retail, food service, FMCG, real estate, wellness, automotive and median – currently investing in mobile marketing.

58%

The percentage of non-investors who said they would increase investment, research and experimentation in mobile in the next 12 months.

53%

The percentage of current investors in mobile marketing who say the platform will be as important as TV, alongside 71% who believe it will be as important as social media marketing in two years’ time.

Mobext and the Philippine Association of National Advertisers polled 78 marketers to examine why advertisers (PANA) are under-spending on mobile marketing.

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Buddahim, Mulryan, Middelton (seated)

Probing mobile marketing’s slow take-up

Manila Performics, the performance-based marketing network owned by the Publics Groupe, has launched its sixth Asian office in the Philippines under the local ZenithOptimedia banner.

The media shop’s eight-person digital team, led by digital director Albet Buddahim, has shifted to Performics. The Philippine launch comes as search begins taking off in the market after a slow start, an uptick

underscored by search titan Google’s move into the country earlier this year. “Google’s launch tells us there is a market for search here,” said Performics Asia Pacific head Gareth Mulryan, who was in town with global CEO Daina Middelton for the launch.

Buddahim revealed that real estate, automotive and FMCG clients of ZenithOptimedia were beginning to allocate a greater share of their marketing spend not only on digital but search specifically.

One real estate client recently made a full-year commitment to spend half of its more than 10% allocation on digital media to search. “With search, they can be always-on because you never know when consumers suddenly have the funds, from say a bonus, to make a down payment,” he said.

Buddahim said the agency had succeeded in persuading clients to shift more pesos online and to search and social media by making the ROI case, usually through live demonstrations.

Search is one of a bouquet of performance-based marketing services Performics offers across paid, owned and earned media. “ROI does not show when clients choose an agency, but when they let an agency go they say it’s because they were looking for ROI,” said Middelton, who authored Marketing in the Participation Age.

Rave for McCann Shop wins for Ceelin, Enervon work Manila McCann Worldgroup topped client Unilab’s Rave Awards with work for Enervon and Ceelin, which won the Best Campaign of the Year award.

Ceelin ‘Mask’ was awarded the top Rave honor for mining a strong and stirring insight: In these changing times, anyone is a potential carrier of dangerous viruses and diseases. The campaign included an integrated program comprising the ‘Mask’ TVC, branded feature film Aruga, as well as on-ground efforts, all of which brought out the value of a mother’s loving protection.

Enervon’s ‘Energive Energuard’ campaign (pictured) won for Best TV and Best Radio commercials. To cut through the TVC clutter, McCann used visual and aural creative

July-August 2013

Enervon campaign

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magnifiers – sticky descriptors Energive & Energuard, stand-out visuals and catchy tunes to communicate the brand’s proposition.

Celebrity Carmina Villarroel served as brand ambassador as her multiple roles – actress, businesswoman, wife, and mom – embodied the Enervon personality.

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July-August 2013

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r3 new business league

May 2013 Philippines Top 10 wins Creative Agency

Month

Account

Area

BBDO

May

Tourism Australia

Global

Leo Burnett

Jan

Samsung

Philippines

DDB

Feb

PLDT - Telpad

Philippines

TBWA

Feb

Alaska Nutribuild 345

Philippines

Publicis

Mar

Blackberry

Philippines

Publicis

Apr

Asia Brewery

Philippines

McCann WorldGroup

May

Purina

Philippines

Leo Burnett

Jan

Universal Robina Corporation

Philippines

Leo Burnett

Mar

Puregold

Philippines

Leo Burnett

Mar

P&G

Philippines

Media Agency

Month

Account

Area

Jan

Pag-ibig Fund

Philippines Japan, Philippines, Malaysia,and Singapore

Vizeum Universal McCann

Jan

Johnson & Johnson

MediaCom

Mar

Bank De Oro

Philippines

ZenithOptimedia

Apr

Maybank

Philippines

Starcom MediaVest

May

Philippines Airlines

Philippines

ZenithOptimedia

May

Merck

Philippines

Havas Media

May

Mundi Pharma

Philippines

Havas Media

May

LG

Global

ZenithOptimedia

Apr

M Lhuiller Group

Philippines

Starcom MediaVest

Jan

Yakult

Philippines

NEW WINS JACK ’N JILL Indie shop Seven A. D. has won the creative business for Jack ’n Jill salty snacks and biscuit business off incumbent Harrison Communications in a three-way race. Harrison and Leo Burnett had pitched for the account, which encompasses all of the snack operator’s salty snack range – such as Chippy, Piattos, Nova and Potato Chips – and the Magic line of crackers and cookies. “We probably won the business because we brought in fresh thinking and ideas that the brands needed,” said Teeny Gonzales,Seven A. D.’s president and CEO.

HEALTH PITCH The Department of Health has tapped TeamAsia to provide strategic marketing communications support for its Pilipinas Go4Health campaign, its latest health awareness initiative. TeamAsia will help develop the campaign to prevent and control lifestyle-related diseases, produce collaterals to aid in marketing and awareness building and help organize events, exhibits and installations.

CARAT WIN Century Properties, an upscale and mid-range real estate developer, has shifted its media assignment to Carat following a five-way shootout. Carat beat incumbent Starcom, OMD, Havas and ZenithOptimedia for the account.

Y&R wins Land Bank creative Awarded Land Bank anniversary brief PHILIPPINE Government-owned Land Bank has awarded the communications brief for its 50th anniversary to Y&R Philippines.

There was no incumbent on the account, which had been inactive for a while. Y&R is believed to have gone up against Ace Saatchi & Saatchi, Dentsu and JWT before snatching the business following a second presentation it made.

Land Bank will mark its half-century milestone in August. “Our idea was to give Land Bank a face that befits it stature as one of

the Top 5 banks in the Philippines,” said Y&R executive creative director Badong Abesamis.

He credited the agency’s recommendations on brand identity in landing Land Bank’s through-the-line marketing communications brief.

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MULTIPLE WINS ZenithOptimedia Philippines has won a slew of new business through pitches. Among them are the M Lhuillier media brief previously held by Universal McCann and Galinco’s Chips Delight in a shootout against Tiger 21. The agency also scored digital briefs from BPI, Nissan, Ayala Land for its Amaia, Avida and Alveo brands in pitches against other digital agencies.

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‘Postponed’

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Lacking sponsors and partners, the AdBoard will ‘postpone’ this year’s Ad Congress, saying it was impractical in the current situation

Milestone

22

AdCon 2011

Number of Ad Congresses held without interruption biennially before this year’s event was postponed

manila The Advertising Congress survived a political assassination that shredded advertising budgets but has been undone by member associations at odds over the Advertising Board’s direction.

The umbrella industry body has decided to postpone the 23rd congress slated for Davao in November rather than go toe-to-toe with a competing event, 2014’s planned Ad Summit Pilipinas, a 4As initiative that has won the support of the Philippine Association of National Advertisers (PANA) and the Kapisanan ng mga Brodkaster sa Pilipinas (KBP).

All three groups have left AdBoard – 4As and PANA took an unprecedented leave of absence a few months back while KBP has been out since 2005.

The appointed 23rd PAC co-chairs RJ Esteban and Egay Navalta, and the rest of the executive committee, have formally tendered their disengagement with the 23rd AdCon in light of the membership crisis.

“We tried our best to organize the Ad Congress, but without the support of all

Niles is open to AdBoard revamp Decision must come from members MANILA AdBoard chair Bienvenido ‘Nonoy’ Niles Jr. is open to reinventing the beleaguered umbrella industry body.

Niles has called for an industry dialogue, saying AdBoard had the mandate to be the voice of Philippine

member-associations, we feel we cannot mount a successful Ad Congress,” said Bienvenido ‘Nonoy’ Niles, Jr, who was installed as AdBoard chairman-elect in April after Ricky Alegre stepped down with his team, just weeks after the election.

“It is impractical for the AdBoard to proceed given the internal situation it currently addresses. Instead, AdBoard will focus on getting the entire membership to work together again towards restoring its mandate.”

The move is unprecedented – AdCon has been held uninterrupted on 22 occasions even in the turbulent aftermath of Senator Benigno Aquino’s 1983 assassination.

While AdBoard described the move as a postponement, industry observers insist the association will not be in a position to host the event while it continues to lose members.

The Advertising Suppliers Association of the Philippines (ASAP) was the latest to walk, raising new questions about AdBoard’s viability after having lost four of its 10-member associations, including three of its largest.

WHO OWNS ADCON? “Historians of the 4As claim that it has always been the ‘baby’ of the agency sector.

It was lent to AdBoard during the early stages of its life to help it raise funds for its operations.”

Matec Villanueva 4As chair “As far as I can remember, the AdCon has been organized by a committee within the AdBoard. The AdCon is an industry-wide activity and really needs the support of member associations for it to be successful and productive.”

Bienvenido NILES JR. AdBoard chair

marketing communications. “If the collective view shows that AdBoard needs to be reinvented, if it needs to be dissolved, then let it be. But I think the remaining members cannot just make the decision. I think the decision should come from all the members, whether they’re on leave or not.” Niles believes dialogue will help identify pressing issues and challenges such as outdoor and digital advertising that AdBoard could work on to help member associations. “We’re

helping with the Globetronic Outdoor Seminar… we’ve talked about helping out in the 4As Ad Summit. But the more important issue now is what does the AdBoard represent?”.

Members like ZenithOptimedia chair Venus Navalta wants the AdBoard to continue as its demise could prompt the government to step in and regulate the industry. “AdBoard should review its mandate ... my recommendation is to review rules on membership representation and officer’s tenure.”

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Senator Guingona and Alviar

Sunrise sector

MANILA The Philippine Design Competitiveness Act has been passed in record time, some two years after it was tabled, with the creative industry hailing the passage as a first step in turning design into a strong economic sector.

Former Senators Teofisto Guingona III and Manny Villar had backed the bill’s passage in 2011 with the aim of spurring development of the local design industries and the promotion of local design capabilities overseas to create employment opportunities at home. The Act proposes establishing a Design Council, which will comprise six members from organized design associations within the private sector.

Five of the six design sub-sectors such as

Graphic designers are racing to get organized to gain representation on Design Council after Act’s passage

fashion, architecture and product design have their associations in place to gain immediate representation. The graphic design sector, as a younger discipline, ironically does not have its association in place though this sector – through Team Manila creative director and co-founder Jowee Alviar (pictured) – had been a primary mover of the bill.

Alviar said graphic designers have been meeting to get themselves organized and gain representation on the council. Some 13 people from different sub-sectors like programming, animation, freelance, small design studios among others came to the preliminary meeting after a call-out on the internet. “We have the numbers; now is a good time for us to form the association.”

Alviar is keen to see his sector replicate the success the product design industry enjoyed in the 80s and 90s. “The product designers had a lot of support from DTI (Department of Trade and Industry) and that’s why the sector was successful,” he said. “I think we can replicate that with the pool of talent like illustrators, motion graphics and graphic designers we have here with government support.”

“There should be infrastructure programs to help people who want to put up a small studio with the business side of things and promote the creative industry outside.”

Acting on the act Center will be education hub and promote Philippine design industry overseas MANILA The Design Act seeks to enhance the competitiveness and innovation of Philippine products, while creating marketresponsive design services. It is part of the government’s plan to develop an economy and society driven by design and creativity, while concurrently advocating the protection of intellectual property rights to these ideas and innovations.

This will be done through creation of longrange direction and strategy for the design industry; promoting national awareness on the use of design as a strategic tool for economic competitiveness; integrating

design into other industries and aspects of society in order to create a demand for good design, and to extend its impact economically, socially and environmentally; and incorporating design as a priority component in national planning and development.

Accordingly it has called for the Product Development and Design Center to be re-engineered and renamed Design Center of the Philippines, which will serve as a hub for education, set up design exhibitions, promote and protect Philippine design overseas among other avenues.

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DESIGN DIVIDENDS “If we do not adopt this response today, we stand to lose the vast opportunities for the kind of tomorrow we all aspire for.”

Former Senator Teofisto Guingona III

“It is good that the government recognizes design as an industry… design is a growing industry and should be relevant, sustainable and global.”

John Ed De Vera, TBWA\ Santiago Mangada Puno “The product designers had a lot of support from DTI (Department of Trade and Industry) and that’s why the sector was successful. I think we can replicate that with the pool of talent like illustrators, motion graphics and graphic designers we have here with government support.”

Jowee Alviar, Team Manila

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Striking a chord

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Cream Silk and Cadbury have made music central to their mall-based activation efforts, winning favor in a market that can more than carry a tune

Brand Unilever Cream Silk Hair Fall Defense Agencies JWT Singapore and JWT Manila Work ‘Human Hair Quartet’

Brand Mondel�z Philippines’ Cadbury Dairy Milk Agencies Ace Saatchi & Saatchi and Prime Cast Events Work ‘‘A Chocolate Fountain of Joy’

In a world first, human hair washed and conditioned with Cream Silk Hair Fall Defense were used to string bows used by a popular Filipina violin quartet for a musical concert with a difference.

The agencies collaborated with Southeast Asia’s only bowmaker Paul Goh, replacing strong horsehair on four of his bows with human hair.

The quartet then used the bespoke bows to play 40 songs over four sets totalling 240 minutes in one of Manila’s malls. There was zero hair breakage reported in the tactical sampling exercise to demonstrate the product benefit in a fresh way for a category that refuses to ditch the familiar image of models tossing, tugging or brushing their mane.

“Strong hair is a proposition that’s already the core benefit for Cream Silk. What the creatives did was to find a fresh yet engaging view to show this in the most unexpected way. It’s a more authentic and honest product demonstration, which is inspiring how the bow sounds when the violinist plays the music,” said JWT Southeast Asia ECD Tay Guan Hin. In a market that enjoys its music, the exercise struck a chord with a crowd that swelled to 600 at its peak.

The success of the exercise has encouraged the brand to roll out activation and integration work by year-end.

Whatever its variant, the brand has always been about providing “moments of pure joy”. To bring the proposition to life, Cadbury created a one-of-its-kind tactical push centered around a Creamy Chocolate Fountain in SM Megamall.

The large-scale display demonstrates “just how smooth, creamy and delicious Cadbury Dairy Milk is” as the fountain oozes chocolate. But it’s not only about eating the chocolates but making sweet music with it.

Consumers can make the pipes sing by trying the fountain themselves for a bit of aural stimulation. All it takes is a minimum purchase of a 30g bar at 25 pesos to tinkle the keys like a piano whiz or a genius scientist in making the fountain sing and create a chocolate flow each time a key is pressed.

“Cadbury Dairy Milk has been around for a long time in the Philippines… it has adapted to Filipino tastes and price preferences and is easily available … in thousands of stores nationwide,” said brand manager Andrei Soriano.

Cadbury took the wraps off the fountain with a star-studded bash with artistes serenading the crowd that turned up.

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Coke unveils Mismo Backs launch of 300ml, 10-peso bottle with Glee star power MANILA Coca-Cola Corporation deployed Glee star power and TV advertising to support the launch of its new variant, a 300ml bottle priced at 10 pesos.

The bid to make its flagship beverage brand more affordable to Filipinos comes nearly eight years after the company first launched a 200ml, 5-peso edition of the soft drink.

Supporting the launch was a McCann Worldgroup TV spot showing a young woman, face unseen, walking past a group of onlookers who stare intently as she stops to enjoy the soft drink. The spot reminds

viewers that the 10-peso bottle is “sarap to carry”, a message aimed at a younger demographic.

Launch activities featured a teaser – the unveiling of an enormous crate in Coke colors and banners bearing the ‘Ito Na’ tagline – and surprise visits and performances by Glee’s younger stars and Coke’s ‘Happiness’ brand ambassadors at launch locations in Ayala Malls.

There was a series of official hashtags – #ItoNa, #Mismo and #GleeforCoke – for those unable to attend to follow launch festivities online.

Coke marketers leave Manila jobs Kibe heads to brand’s Atlanta HQ MANILA Two senior marketing heads have left Coca-Cola Philippines’ marketing department following the successful celebrations to mark the brand’s 100th year of operations in the country last year.

Marketing director Jaideep Kibe has relocated to Coke’s Atlanta headquarters as global director. Kibe has been in the Philippine role since 2007 after starting with the beverage giant in 2001 as general manager in India.

Marketing director Anubha Sahasrabuddhe has left Coke, having held the Philippine role since July 2011.

Tanduay lines up partners for US Taking competition to Bacardi

Freebie and high-end attractions

76%

51%

The percentage of Philippine respondents who will buy a product when freebies are offered, exceeding the regional average of 58%

Of Philippine respondents like buying branded products, just under the regional average of 55%

43%

78%

The percentage of Philippine respondents willing to pay more for designer products

Of Philippine respondents said commercials increased their preference for a brand Source: Nielsen

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MANILA Leading local rum maker Tanduay Distillers is poised to launch its Asian rum brand in the US, going head-to-head with Bacardi for a crack at the global market.

Tanduay is currently second only to Bacardi in sales though the bulk of its sales are derived in Asia, specifically its home market of the Philippines, which happens to be the world’s second-largest rum-consuming market. Tanduay sells 19.6m nine-litre cases annually in Asia, while Bacardi sells a little more – 19.8m – globally.

If Tanduay is able to launch its Silver and Gold labels successfully in the US this summer, the brand has every opportunity to overtake Bacardi. Tanduay has appointed marketing consultancy firm Brand Action Team, Beacon Beverage Imports and MHW to lead the introduction of Tanduay to successfully launch the 160-year-old brand in the US.

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Tough show

Asia Pacific scored 270 shortlists for the New York Festival, but other than Australia and New Zealand, few regional markets did well. What went wrong? adobo spoke to three jurors

Kentaro Kimura

Marcus Rebeschini

Chairman and chief creative officer DM9JaymeSyfu Manila

Co-CEO and executive creative director Hakuhodo Kettle Tokyo

Chief creative officer Y&R Asia

The judging process was totally different from other award shows. You hit buttons on your iPads on these criteria – the idea, brand relevance and execution. After looking at hundreds of globally pre-selected work, I honestly didn’t think (Asia) would fare so badly. I thought the Asian work was very good and Philippine entries were even shortlisted in more than one category. This meant 400 ‘first round judges’ from 70 countries found these entries really good.

I didn’t see any Philippine work in the ‘vote for bronze’ day. A few Asian pieces survived.

We then went back to our iPads to move these entries up for the Silver voting.

My only hope then was to bring work later on and give it a second chance – like a ‘mulligan’ in golf.

More than language, the bigger barrier was probably cultural differences. What was relevant to (Asian judges) was not to most. The judging process did not encourage discussion.

The only time we were able to express ourselves was during the Silver and Gold debates and discussions were heated. I found myself explaining some work to judges during breaks but that was too late. What didn’t make the cut the first day got buried in the following days.

The biggest uniqueness of NYF was judging all 16 or so categories together with the same executive jury team after the work had been pre-selected by some 400 grand jury members. Judging is different from any other awards show. NYF pursues ‘universality’ even as our industry broadens its scope, which is the opposite of Cannes’ ‘diversity’, NYF changed its judging system slightly this year, using iPads for digital judging, allowing the executive jury to vote systematically. Technically, it is an excellent system but because it is so automatic it also extinguished opportunities for discussion before the Gold selection stage. There was almost no discussion until we selected all Silvers. But it is often difficult to discover brilliant Asian work without explanation about the cultural background.

Without discussion, known Western campaigns tended to be voted rather than fresh, unknown campaigns. I don’t think the issue was language. I would say work with big ideas based on universal insights are more important than small ideas based on local insights in NYF.

I wouldn’t say Asia fared badly when it came to trophies – 207 isn’t that many shortlists when you divide the amount across the multiple categories of NYF. The judges don’t know where the work comes from.

Instead it really came down to the thinking that went into the ideas, first thoughts or big fresh thoughts derived from working closely with planners, suits and especially the CEOs That’s the work that was winning, work with strong strategic backbone.

There were roughly nine people from Asia, including myself, so I think Asia was more represented than most regions. Great work should really carry itself across all languages unless the idea is locally contextual then the context needed to obviously be explained.

What I like about NYF is I get to judge every category from start to finish. This obviously meant the final outcome is the best of the best with the jury seeing every piece of work entered from start to finish.

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Merlee Jayme

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Droga5 sells to WME Gaining greater access to talent agency’s star resources

NEW YORK Indie agency group Droga5 will sell 49% of the company – not to the industry’s holding company behemoths that came calling but to a company with Hollywood connections, offering a hint of what founder David Droga sees will matter to communications companies going forward.

William Morris Endeavor, the storied talent agency that represents Lady Gaga, Oprah Winfrey, Alicia Keys among others, is expected to pay more than US$100 million for the shop, which had estimated 2012 revenues of just under $60 million.

There are synergies for both sides: For Droga5, the partnership will provide access to WME’s unrivaled resources and relationships across the global entertainment industry, as well as its growing portfolio of assets in the technology, media and marketing sectors for clients such as Coca-Cola, Mondel�z International, Motorola and Spotify and provide greater access to star power.

“Droga5 has always endeavored to be the most influential creative agency in the business, with ideas that move our clients and our industry forward,” said David Droga, founder and creative chairman, Droga5. “This partnership will exponentially accelerate our

Filipino pair help in Thai Lion wins

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Cannes row WPP, Omnicon lock horns

ability to realize that ambition.”

In a previous multi-awarded campaign ‘Decode Jay-Z with Bing’, the agency worked with the rapper on an integrated, content-driven campaign to lift Microsoft’s search engine Bing in the rankings.

The deal will also bring William Morris client roster to advertisers and provide a competitive edge against talent agency rival CAA. The latter launched its marketing group CAA Marketing, an agency that went on to win two Cannes Grand Prix in 2012 for Chipolte’s animated ‘Back to the Start’ video.

“Droga5 is best-in-class across the board—from its management to its creative output. Through this investment, we will be able to join the best artists and storytellers from all verticals, and we look forward to creating new opportunities for our collective clients,” said WME co-CEOs Patrick Whitesell and Ariel Emanuel.

WWE has a global roster of the most prominent artists, performers and content creators. In recent years, WME, backed by Silicon Valley private equity firm Silver Lake Partners, has made strategic investments in companies across the digital media landscape, including the interactive advertising, social media, social gaming and online retail sectors.

CANNES Organizers of the Cannes Lions plan to review the festival’s credit amendment policy in the wake of claims and counter-claims that the system had been gamed.

“Various companies have made claims about the number of Lions they were involved in winning, in doing so they may not have been the entrant company but would have been named in the secondary credits,” said an official for Cannes. “Under the Cannes Lions Festival rules, these credits may be changed post-festival if the entrant company is in agreement with the proposed change.”

Cannes’ clarification did not mention the complainants by name but came after WPP and Omnicon once again locked horns following their row over block voting in last year’s Media Lions competition.

In the latest round, OMD Worldwide CEO Mainardo de Nardis (pictured) took WPP’s GroupM to task for saying it had won 45 awards, which would put it ahead of other media holding companies, chiefly OMD with 19 Lions.

It was however pointed out that 30 of the Lions were not verified on Cannes’ website listing of the winners. The problem apparently arose when GroupM was left out of credits on WPP creative agency wins.

To redress the issue, GroupM reportedly wentback to each winning entrant agency requesting its listing as media partner.

While concessions have been made by Cannes in the past for minor oversights it was noted that the sheer number of wins being reclassified violated the festival’s rules. Festival organizers, however, validated claims made by entrant companies amenable to the amendment of the credit list.

CANNES Philippine pair EJ Galang (left) and Katrina Encanto took home two Cannes Gold Lions from Cannes as part of a team, headed by former Philippine-based creative Eric Yeo. ‘Pig’ and ‘Lamb’ for Unilever’s Sunlight detergent brand scooped Golds in the press category, one of which was for craft/illustration.

Bangkok production agency, the multi-awarded Illusion, made the credit list for the craft entry. The work also nabbed Bronze in Outdoor.

Headlined ‘Separate Them’, the ads show a pig and lamb hugging the dishes.

Galang and Encanto were on hand to collect the trophies after winning a trip to Cannes, their prize for bagging Advertising Age’s fourth

annual cover contest. Their entry, ‘Portrait of a Creative in the Digital Age’ featured a humanoid creature with his face constructed from brightly colored paper cubes that appear ready to explode.

Galang and Encanto’s triumphs at Cannes comes a little over a year after Lowe Bangkok snapped up the duo as copywriter and art director respectively. The pair have regional responsibility for Unilever brands such as Wall’s ice cream, Tresemmé hair care and Rexona personal care products.

Both of Lowe’s Golds came from the Bangkok office. The network also scored nine Silver and five Bronze Lions.

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MEANINGFUL BR ANDS Tech brands dominate Havas Media’s 2013 Top 10 Meaningful Brands global index

1

2

3

4

5

6

7

8

9

10

Google

Samsung

Microsoft

Nestle

Sony

IKEA

Dove

Nike

Wal-Mart

Danone

Havas points to worrying insight Indifference to brands’ exit PARIS Tech brands dominate Havas Media’s 2013 Meaningful Brands global index, a ranking based on the network’s new metric to assess brand based strength.

US tech giants put in a strong showing since the global analytical study was conducted before the US data scandal involving some of the biggest names in technology erupted a short while back.

Havas’ Meaningful Brands index is the first global analytical study to measure the benefits brands bring to consumers’ lives. The study

MOBILE SURGE

7.1bn

By September, the number of mobile subscriptions in the world will equal the global population, according to telecoms authority ITU. 3.5bn of the subs will be in Asia Pacific.

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had both scale – 700 brands and more than 134,000 consumers in 23 markets – and scope – measuring the impact of a brand’s benefits across 12 different areas of well-being, from the perspective of health, happiness, financial and community among other measures.

The study showed that the long-standing relationship between people and brands was broken. Much of the trust, respect and loyalty people had for many brands have disintegrated, according to Havas.

Most people would not care if 73% of brands were to disappear on a global basis, although the relationship differed widely between developed and developing markets.

In the US and Europe, people would not care if a staggering 92% of brands were to disappear. The equivalent figure was 58% for Asia and Latin America.

Extending the trend from the last study for 2011, Havas found that only 20% of brands were seen to make a significant and positive difference to people’s well-being. There was again a wide gap between developed and developing markets – only 5% of brands mattered in Europe, 9% in the US, 27% for Latin America and 39% for Asia.

While tech brands rule at the top of index today, their hold is tenuous unless they begin to make positive contributions to society.

Data analyzed for the UK showed 70% of people there would not care if Google were to disappear.

WAKE-UP CALL Consumer-brand relationship needs mending “Relying on incremental marketing dollars alone is not sustainable. (We need to)… reinvigorate our brands, the role they play and the human value they realize.”

AMY DU PON Global head of data insights Havas Media “A new model for prosperity is emerging centered around the idea of human potential and wellbeing (which) is what matters if economies are to prosper.”

UMAIR HAQUE Director Havas Media Group

Going mobile Trusty gadget wins activation dollar DEERFIELD Mondeléz International, the former Kraft company, has signed a global agreement with Google focusing on search, display and websites on mobile platforms. The advertiser has committed to invest 10% of its global marketing budget in mobile activations across the entire consumer journey. The 16-market deal was brokered with Starcom MediaVest. “As we look at mobile as a pure media platform, we’re seeing engagement rates that are sometimes four times greater than traditional display,” said Beth Reilly, Mondeléz global digital strategy head.

July-August 2013

NEW YORK ZenithOptimedia has partnered with Google in launching a global program to ensure the mobile platform is central to campaign planning for clients across its network. Through Horizon, Zenith will help clients evaluate current mobile activities and optimization of their website, creation of a strategic plan and setting of mobile KPIs and implementation and measurement. Google will provide category and client insights, as well as training and strategic guidance on mobile opportunities.

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NEW WINS

DIGITAL BRIEF Chinese electronics company Haier has extended its relationship with Maxus China, awarding the digital business for its full range of products to the GroupM agency. The appointment is the brand’s first digital remit, which includes communications planning and buying and digital creative work for Maxus, its media agency-of-record since 2009.

SEARCH JOB iProspect has been tasked with developing an Asia Pacific search strategy and implementing a search campaign for Transitions Optical after it triumphed in a four-way shootout. The agency will set up analytics support to understand the quality of search visitors and determine key success factors in driving effectiveness and efficiency of spend and maximizing optimization opportunities.

SOCIAL STRATEGY 3M Indonesia’s Consumer Healthcare Division has hired VML Qais as its digital and social media agency, kicking off the relationship with an online activation assignment for its Nexcare brand. The first campaign focused on a blood donation drive sponsored by Comfort Bright product range and involved managing the brand’s social strategy.

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May 2013 Asia Pacific Top 10 wins Creative Agency

Month

Account

Area

BBDO

May

Tourism Australia

Global

JWT

May

China Unicom

China

McCann WorldGroup

May

Federal Govt Education Reform

Australia

BBH

May

Clarks

Global

Publicis

May

ChangAn Car

China

Y&R

May

Dick Smith

Australia

Y&R

May

BMA

Australia

DDB

May

Mahindra Group

India

DDB

May

National Environment Agency

Singapore

McCann WorldGroup

May

KBank

Thailand

Media Agency

Month

Account

Area

Havas Media

May

Dyson

Asia Pacific

ZenithOptimedia

May

Parmalat

Australia

MindShare

May

Amazon

Global

ZenithOptimedia

May

China Industrial Bank

China

Initiative

May

Dick Smith Electronics

New Zealand

Carat

May

Muang Thai Insurance

Thailand

Carat

May

Mundi Pharma

Regional

Starcom MediaVest

May

Mitsubishi Lancer EX

Thailand

Havas Media

May

National Environment Agency

Singapore

MEC

May

KBank

Thailand

Diageo Korea shifts to Carat Carat triumphs in 4-way shootout Seoul Carat Korea has been appointed lead communications and media planning and execution partner for Diageo Korea following a competitive pitch that included BBDO, DDB Group and Universal McCann. The appointment commences immediately.

Carat Korea will provide services such as strategic planning, buying, executing in both traditional and new media, broadcast

July-August 2013

sponsorship, event promotions and outdoor advertising.

Woohyun Nam, CEO, Carat Korea, said, “We are proud to have been selected by Diageo Korea as their media partner.This win reflects our knowledge and market experience to deliver integrated and specialized media and digital communications services for premium brands in the luxury goods category. We’re looking forward to further enhancing Diageo’s reputation in Korea while developing new avenues to promote them and all they have to offer to their customers.”

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Nokia picks JWT for global work

NEW WINS

Expands ties with WPP agency HELSINKI Former world number one mobile phone giant Nokia has expanded its relationship with JWT, awarding its global creative duties for the overall brand to the WPP shop.

JWT won a global pitch against Wieden+Kennedy, Nokia’s agency-of-record until 2011, and Mother UK to score the assignment.

Saying it had been tasked with reenergizing the brand, the agency noted that Nokia had embraced its challenger brand status and planned to reassert itself as an innovator.

JWT’s appointment comes after Nokia cut its 2012 worldwide advertising and promotional expenses by 25% to US$1.27bn and marks an about-turn for the brand, which parted ways with Wieden in 2011 when it dropped its agency-of-record approach.

For the past two years, the brand has been without a lead creative agency, working on a project basis with a roster of smaller agencies

Cadillac defects to IPG’s Rogue GM shifts more brands to IPG DETROIT In a move to transform its Cadillac marque into a global brand, General Motors (GM) turned over advertising and marketing responsibility to an Interpublic Group (IPG) consortium based in ‘Motor City’.

Campbell Ewald, Lowe and Hill Holiday will handle the business through a new agency consortium called Rogue, which will draw on the resources of the three agencies.

The shift also marks a consolidation of GM’s business with IPG. The global Chevrolet advertising account defected to a newly-formed company, Commonwealth, a historic alliance that initially united IPG’s McCann Erickson and

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and JWT, which has had a relationship with the brand since 2007.

The expansion of its alliance with JWT will not affect Nokia’s other agency alignments, which includes WPP’s Wunderman as its digital agency partner and Carat on media.

Nokia has fallen on hard times in recent years when it failed to keep pace with the rapid development of smartphones, allowing Apple and later Samsung to take a bite out of its once commanding market share.

The brand saw its global market share slump 4.9% in the first quarter of 2013, putting it in second place behind Samsung, according to Gartner figures.

The introduction of the Lumia range less than a year ago is helping Nokia regain some of the ground lost.

Omnicom’s Goodby Silverstein before the latter lost the review.

Fallon was Cadillac’s incumbent for the past three years and had created the Cadillac ATS launch campaign.

With the new consortium, Cadillac will have the best of both worlds – Campbell Ewald’s nearly 91-year relationship with GM will provide hometown familiarity in handling account management and digital, while Lowe will offer global support as it has a presence in nearly 70 markets to coordinate worldwide advertising campaigns.

Creative direction will come from Hill Holiday’s Boston office.

China figures strongly in GM’s aggressive plans to take Cadillac global and grab market share from upscale German rivals.

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GLOBAL ASSIST Unilever has tapped Host Singapore to contribute towards a global launch for its Lux brand, the second time in as many months it has appointed a Singaporebased independent shop for global duties. Host won its place on the global team following a competitive pitch to source a partner to deliver a contentbased platform for an upcoming Lux launch. Earlier this year, Unilever handed global duties for its oral care brand to Arcade, which previously handled Clear shampoo’s launch campaign in North America.

BEVERAGE BONUS Beverage company Kirin Holdings Singapore has tapped Lowe Singapore for a series of key regional initiatives which will launch in 2014. Lowe was due to begin work on fully integrated campaigns targeted at Southeast Asia. “What we loved about Lowe’s offer to us was their ability to both think at a regional level, but also leverage local consumer knowledge across the region,” said Toru Yamasaki, general manager marketing for Kirin Singapore.

MDA TENDER Singapore’s Media Development Authority is looking to appoint a roster of agencies to provide advertising and promotional support to the statutory board. MDA’s panel is expected to comprise no more than four agencies with local and international advertising and promotional capabilities, according to its tender document.

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MOBILE surge

$8.9bn

The amount spent on mobile advertising globally in 2012, up 82.8% over 2011, according to IAB Europe and IHS. Search and display led the way, growing more than 85%.

$3.5bn

The amount spent on mobile advertising in Asia Pacific, accounting for 40% of the global pie followed by North America at just under 40% and Western Europe at nearly 17%.

5

Just 5 US companies earned 66% of 2012’s global mobile advertising revenues, led by Google, which took a staggering 52% of global revenue or $4.6bn*.

$12bn

By 2013, the top 5 US companies are expected to grow their share further, taking more than 75% of global mobile ad revenues – or $12bn – based on revenues hitting $16bn*.

$8.8bn

Going by these projections, Google stands to earn as much as $8.85bn from mobile advertising in 2013, eclipsing Facebook, a distant second with a little more than $2bn*.

* eMarketer

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GAME- CHANGER Hong Kong’s favorite son, the late Bruce Lee, has been resurrected through the magic of CGI for the latest iteration of Johnnie Walker’s long-running ‘Keep Walking’ campaign. In the spot, the legendary martial artist talks about game-changers and ends up becoming one himself as he expounds on the philosophy that has guided his life. BBH partnered with The Mill and Lee’s daughter Shannon to painstakingly bring him to life.

WPP eyes global activation growth Launches Geometry globally

NEW YORK/LONDON WPP has injected scale into its activation offer, launching Geometry Global, a fusion of three activation brands to serve what is the fastest growing marketing sector.

Geometry will operate across 56 markets, combining the resources and talent of G2 and

OgilvyAction, both are activation agencies, with JWTAction, a shopper marketing and experiential specialist.

London-based Toby Hoare will helm Geometry as chairman and retain his role as CEO of JWT Europe and chairman of JWT London. “With peoples’ attitudes and behaviors transformed by the digital and mobile revolution, traditional activation requires both a broader set of capabilities and a laser focused approach to be truly worth the increased investment from marketers,” said Hoare.

GLOBAL ROLES Buhlmann to drive Dentsu growth TOKYO Jerry Buhlman, the Aegis Media CEO who negotiated the group’s sale to Dentsu, has been named executive officer of the Japanese network. Buhlmann will serve concurrently with his role as CEO of the global operating unit Dentsu Aegis Network, established on completion of the acquisition. He became only the second non-Japanese executive officer in Dentsu’s nearly 100 years of operation after EVP Tim Andree.

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Initiative names global strategy head NEW YORK IPG Mediabrands’ Initiative network has promoted Sarah Ivey, appointing her its first EVP and global chief strategy officer. Prior to her promotion, Ivey was Initiative’s executive vice president, director of communications planning.

Ivey joined the network in 2000 as vice president strategic planning. She has played an integral role in the agency’s recent string of global new business success, including its triumph in Unilever’s Homecare review.

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Agency unveils brand new look FutureBrand touts ‘Creative Future’ SINGAPORE FutureBrand has taken to heart the branding advice it usually dishes out to clients – the company unveiled its new positioning and purpose, supported by a new visual identity system.

Three key elements feature in the new identity: A classic yet quirky letterform logo, an icon that evolves with its environment and ‘The Creative Future Company’ as a personal statement.

The consultancy said the positioning reflected its commitment to shaping a more positive future for clients, driven and inspired by future brands. The shift is built around the idea that people create the future, one decision at a time, and these decisions are informed by brands, which it sees as the most important drivers of the future. Its approach will combine a future-focused methodology with incisive strategic thinking, creative visualization techniques and co-creation to help clients visualize a believable future for their brand and business.

FutureBrand’s Asia Pacific chief operating officer Sarah Reiter (pictured) underscored

the value of co-creation to companies during Singapore’s Crowdsourcing Week event.

“In the Asian context, staff members are often not valued, yet paradoxically, companies are experiencing a fierce war for talent. Further, conglomerate growth is largely achieved by acquisition of diversified revenues, with brand seldom used to accelerate operational alignment. And finally, market diversity within the Southeast Asia corridor makes it essential for companies to unify staff around a common purpose and culture.

“Branding traditionally creates static personas that bear little resemblance with reality. It assumes a top-down approach in which no truth is being told and thus falls short of achieving proactive internal support. As a result, most brands do not grow organically, detached from the organisation, with little momentum.

“We must employ a new approach to brand creation. Future brand creation needs to assume a holistic perspective on building brands based on internal strengths, core truths, customer centricity and experience design. Branding also needs to become strongly integrated in business strategy, product and internal operations.”

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BACK ON TRACK

5.1%

ZenithOptimedia’s forecast of a global adspend recovery for 2014 after predicting flat growth for this year.

It tipped growth of 5.8% for 2015

6%

Magna Global has marginally upped 2014 global adspend forecast after predicting growth of 3% in 2013, a drop on 2012’s 3.9%

67%

ZenithOptimedia predicts mobile advertising will grow 67% in 2013 and 51% through to 2015.

HONDA’s ‘COG’ FOLLOW-UP A decade on from the brilliant ‘Cog’ spot, Wieden+Kennedy has struck again with a thoroughly entertaining follow-up, Honda ‘Hands’. The film celebrates 65 years of innovation at Honda. Wieden even offers a nod to ‘Cog’ – hailed as one of the best pieces of automotive advertising – at the start and end in this two-minute film, which celebrates the curiosity of Honda’s engineers, who spurred development of what is an impressive portfolio of the past, present and future of the marque.

There’s a magical, sleight of hand quality to the introduction of Honda’s extensive repertoire – from passenger to race cars, its still-in-themaking HondaJet, Asimo robot, leafblowers, motorcycles and ATVs. Effects have been digitally enhanced and humor has been added for good measure – pair of hands is seen squeezing FCX Clarity’s only emission – water and drinking it.

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Scaling up Going after a global audience

Lexus

Dove

Jaguar

Hitachi

Campaign ‘Steps’ is the first in a series of ‘Amazing in Motion’ projects launched to highlight Lexus’ focus on technology, design and craftsmanship.

Agency Team One USA The Work A larger-than-life figure – a fusion of hightechnology 3D printing and fine craftsmanship using materials commonly found in Lexus interiors – were used to build the star of this short online film.

With the artistry of a team of puppeters, the figure is brought to life, gliding silently through the city seemingly in search of something special. His moves are fluid, human-like, conveying a longing as he searches.

Finally he comes across the object of his hunt – a female counterpart; their every move conveying happiness. ‘Steps’ is the first in a series of projects to explore the complexity and beauty of motion through film, photography and technology to help Lexus demonstrate that it is pushing boundaries in technology, craftsmanship and design.

Campaign ‘Camera Shy’ is a follow-up to Dove’s ‘Real Beauty Sketches’ viral sensation, which racked up 150 million views in the month following its midApril debut.

Agency Ogilvy & Mather London The Work The video juxtaposes the contrasting attitudes and confidence levels of women and young girls.

Latching on to the insight that girls lose their confidence as they grow older, the film shows women hiding from the camera in a series of vignettes.

In contrast, the little girls happily mug for the camera with no inhibitions whatsoever.

In doing so, Dove sought to ask women to think back to the time in their lives when they became camera-shy, when they lost their confidence in their beauty.

‘Real Beauty Sketches’ from Ogilvy São Paulo, picked up a clutch of Cannes Lions, including the coveted 2013 Titanium Grand Prix.

Campaign ‘Your Turn’ was created to support the launch of the brand’s first true sports car model in 50 years, the F-Type.

Agencies Spark44, MindShare The Work The multi-channel campaign includes integrated activity across TV, cinema, print, digital, mobile and tablet, plus experiential and social.

The US portion focused heavily on TV and digital to appeal to a younger audience as the brand takes on the likes of Porsche.

So far, the brand has launched a quarter-hour branded content film ‘Desire’ with a script involving a beautiful woman, criminals and mysterious driver to a mixed reception and charges that it was derivative of BMW’s iconic branded series ‘The Hire’ from a decade ago.

Jaguar subsequently broke its first US TV spot, ‘Great Expectations’, an invitation to test drive the F-Type.

Campaign ‘Social Innovation – It’s Our Future’ will run through August across Asia, the Middle East, Brazil and the US. Agencies DentsuBos in collaboration with Dentsu Inc Japan and Dentsu Network in New York The Work Hitachi tackles the issue of over-population and its impact on water, energy, transportation and infrastructure resources. The aim is to convey a globally unified message that Hitachi is at the forefront of innovation to help cities face the challenges of tomorrow. Spots highlight its different strengths, from building transport infrastructure to providing stable energy and water supplies.

Campaign components feature a child asking simple yet powerful questions to direct decision-makers’ attention to issues that will affect quality of life in cities suffering traffic gridlock, water shortages and other resource pressures.

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ABS-CBN in Globe deal Agencies hail pioneering content driven partnership for mobile

Manila Broadcast giant ABS-CBN has taken a giant leap into the mobile space, partnering with Globe Telecom in a pioneering, multi-billion content-driven deal to deliver programming to the latter’s mobile subscribers as the Philippines moves towards a multi-screen environment.

The service will be introduced later in 2013 under a five-year agreement in which Globe will provide ABS-CBN Convergence with both the capacity and coverage on its nation-wide mobile network. ABS-CBN plans to invest between 3 to 5 billion pesos in the ambitious project.

ABS-CBN Convergence president and managing director Carlo Katigbak explained why the company was bankrolling the venture: “We have come to realize that the mobile internet is going to become one of the most important platforms for delivering content to our audiences. We believe that in the same way television revolutionized the mass market... the wireless internet will be the next most important medium for our audience. Our kapamilyas will enjoy special shows, receive our news, and interact with our stars from anywhere and anytime they want, through their tablets and cellphones.”

Globe Telecom CEO Ernest Cu anticipated the pioneering venture would help open a

www.11thscreen.com

Words Chris de Pio Sanchez

new market for mobile users. “The exclusive content that ABS-CBN will provide ushers in a new form of entertainment for mobile users in the Philippines. We are now seeing the gains of our network modernization and IT transformation initiatives, having new capabilities to enter into these businesses to showcase our strength and leadership.”

ABS-CBN chairman Eugenio Lopez III believed ABS-CBN Mobile would essentially become the “third player” in the telecoms market. “The way to think about it is just like Smart and Globe, except it’s ABS-CBN Mobile. It would be a new brand in the market... We are [testing] now around the country on the Globe network. We are really going to focus on the data components, not the voice components.”

ZenithOptimedia digital director Albet Buddahim described the partnership as “very significant”. He said: “Mobile is just a device, a tool to deliver content like TV or the internet (but) content is what makes people feel or act positively/negatively over a certain product or brand.”

While saying the deal expanded choices advertisers had to deliver their message, he added: that it was not “just an expansion of online real estate because the mobile phone offers more opportunities that online does not have. Furthermore, it is important to note that not all online properties will work on mobile, and content needs to be customized (for) mobile given its character limits, type-ofphone (feature or smart), etc”.

Ad rates put forward by ABS-CBN are an issue however. Media shops described them as “really high”, three to five times Summit Digital’s rates, and called for them to be revised, which appears likely to happen.

ABS-CBN currently maintains a range of digital properties such as TFC.tv and iWantTV! The former is aimed at Filipinos abroad, while the latter is a free videostreaming website for Philippine residents.

Said Buddahim: “What excites me is the premium audience of iWantTV and for more TV content going online in a way that the ABC1 consumers can efficiently access the content on the internet.”

iWanttv On the up and up March 2013

Feb 2013

Change over previous month

Views

36.9m

32.9m

+10%

Unique visitors

2.7m

1.7m

+15%

Total number of minutes of video viewed*

131.4m

117.4m

+12%

131.4m

number of minutes of iWantTV video viewed daily Source ABS-CBN

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A changing of the guard?

Facebook facing new challenge from more focused competitors

In a world economy that is still righting itself after the upheavals of the past few years, social media networks have proven to be a bright spot.

Irrespective of economic ups and downs and even political and social unrest, Facebook, Twitter and the like have continued to gain users and grow their user base. Moreover, these networks are overwhelmingly popular in developing nations such as the Philippines as well as in powerhouses like China – nations whose economies have prospered as those in the West have continued to stagnate or are only beginning to improve. Consequently, it should come as no surprise that marketers have been working overtime to take advantage of the reach of social networks.

The popularity of the current crop of social sites notwithstanding, many experts are starting to see signs of disillusionment with a discernible shift in favor of social sites that put content creation and sharing ahead of social connections, perhaps heralding a corresponding sea change in social media as the world knows it – and in the very near future.

popular global social networks, are regional Chinese networks such as Qzone, Tencent, Tencent Weibo, Youku and RenRen. In the Philippines, social media penetration is as high as 95%. In 2012, social-media marketing, statistics and monitoring provider Social Bakers found that 30 million Filipinos use Facebook, the third highest figure in Southeast Asia, while 9.5 million were on Twitter according to social media monitor Semiocast.

Who’s who Digital marketing analysis firm eMarketer found that, in the first quarter of 2013, Facebook continued to rule the worldwide social-networking roost, boasting 1.11 billion members. A little over half – 51% – of all internet users visit Facebook at least once a month.

A distant second is Google’s social network Google+, with 26% of active internet users; nipping at Google+’s heels is video hosting site YouTube, with 25%. Twitter (22%) and Chinese microblogging platform Sina Weibo (21%) round off the Top 5. The rest of the most

Consolidation moves The top social networks – most especially Facebook and Twitter – have made headlines repeatedly for having snapped up smaller companies. As a matter of fact, according to a report by research firm PrivCo, Facebook, Google and Twitter were ranked first, second and fourth respectively on the firm’s list of the Top 100 companies gobbling up private tech firms in 2012.

Of special note are Facebook’s purchase of social-networking and online photo- and video-sharing site (and one-time potential rival) Instagram for a whopping US$1bn in 2012 and Google’s purchase of map app Waze for US$1.1bn.

Twitter’s own purchases, including that of blogging platform Posterous in March 2012, video-sharing app Vine in October 2012, social-TV analytics firm Bluefin Labs in February 2013, and location- and check-infocused social startup Spindle in June 2013 have helped Twitter bolster its position in the social-media vanguard.

Additionally, Yahoo!, which under its new head Marissa Mayer is seeking to revitalize itself, purchased the popular microblogging platform and social-media site Tumblr in June this year for US$1.1bn (more on which in a succeeding section).

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Juggernauts roll Some experts have warned that social networks today are dangerously dependent on a revenue base that is in sore need of diversification. As detailed by USBundles. com in its infographic entitled ‘How Social Sites Make Money’ (sourced from Pivotcon, Techcrunch, Mashable and CNet), of the five ways the networks earned their keep in 2012 – advertisements, web apps, paying customers, mobile apps and affiliates – ad revenues were significant sources of income for as many as 77% of all social sites. Further, only 7% of social sites possessed diverse revenue channels, and just 10% were seeking to establish new channels.

To their credit, many of the top sites are seeking to diversify their revenue base and/ or were refining their business strategies.

Facebook, for instance, which has struggled since its May 2012 IPO due in part to poor perceptions regarding its mobile strategy, has worked hard to recast itself as a mobile company. It has come up with such products as Facebook Home, an interface layer for Android smartphones that allows for chatting and easier viewing and posting of content on Facebook.

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Facebook has enjoyed a recent spike in mobile ad sales – 30% of all ad revenue, or US$375 million, came from ads on mobile devices, up from 23% last quarter – and the company announced that it had 751 million monthly active users on mobile devices at the end of March 2013, an increase of 54% yearon-year. In the year’s first quarter, Facebook reported total revenues of $1.46 billion, 38% higher than in the first quarter of 2012, as well as net income of US$312 million.

www.guardian.co.uk

social sites statistics only

7%

have diverse revenue channels

a total of

77%

derive significant revenue from ads

only

Source pinterest.com

10%

are persuing new revenue channels

How social media sites earn their keep July-August 2013

Challenges and responses While Facebook still leads the pack, in some ways the competition – current laggard Google+ and Twitter could well surpass it in the near future. Searchmetrics has tipped Google+’s ascendancy by 2016 (see chart).

Twitter can meanwhile count, among other things, its demonstrated capacity to generate extremely valuable data in real time. In recognition of this, Starcom MediaVest Group inked a deal with the site this year, granting the media group access to key Twitter research in exchange for guaranteed spending

by Starcom MediaVest and Spark agencies on Twitter ad inventory and other projects over a certain period.

Twitter also landed what could be an even larger deal with WPP in June 2013 to share data and analytics for marketing purposes across WPP subsidiaries, including its sizeable media management divisions. Twitter is also working with publisher Everyday Health for delivery of public-health alerts and management of ad packages relating to health topics.

In the face of this and other developments, Facebook has continued to boost its appeal to both would-be partners and advertisers.

For example, it has simplified ad creation, including through eliminating redundancy and improving its Ad Manager reporting process. Furthermore, Facebook has recently taken a page from competitors like Twitter, Tumblr and Pinterest by adopting hashtags – aimed at making trending status update topics easier to track – and is extending this feature to mobile too.

Facebook? ‘Meh’ What with the proliferation of social networking software and apps across practically every device, and what some see social networks’ incursion into nearly every aspect of daily life, it should come as little surprise than some people are beginning to

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Eclipsing Facebook?

Search and social analytics specialist Searchmetrics has predicted Google+ will achieve around 1096 billion shares (plus ones) per month while Facebook would be generating approximately 849 billion shares per month by May 2016. Mandatory activation of Google+ accounts for Android smartphones and integration of Google+ in new services such as Google Glass are expected to power growth of the currently lagging social network. In 2013 alone, its Android OS had over 900 million activations.

May 2012

-1.096.000.000.000

1,100

1,000

PlusOnes / Shares in Billion

900

-849.000.000.000

800

700

feb 2016

600

Google tipped to overtake Facebook on social sharing.

500

400

300

200

100

0 May

Jul

Sep

Nov

Jan

Mar

2013

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Jul 2014

Sep Nov

Jan

Mar

May

Jul 2015

Sep

Nov

Jan

Mar

May

2016

exhibit “social media fatigue” – stemming from overexposure to a “never-ending barrage” of status messages, tweets and so on.

The extent of this fatigue in the United States has been explored by certain sources, including the Pew Research Center, which earlier in 2013 revealed the findings of its Internet & American Life Project, focusing on Facebook usage. The study found that 27% of Facebook users plan to spend less time on Facebook in 2013, and that 61 % of Facebook users have taken a break from Facebook for several weeks or longer due to reasons that included not having enough time to allocate to Facebook, lack of interest in the content, and unhappiness with “the amount of drama and gossip on the site”.

In the Philippines, Facebook fatigue appears to have spread to brands and advertisers. Albet Buddahim, digital director of ZenithOptimedia Philippines, was not alone when he noted that some advertisers and brands were beginning to question the relationship of “likes” and becoming fans to conversion or boosting loyalty or consumption. He added that there is a realization that brand assets in Facebook pages – content or conversations – do not contribute to how searchable a brand or product might be on Google.

Content-creation and utility: Better alternatives?

But more ominously for those social networks that serve as little more than host sites for social connections, some experts foresee that better alternatives may very soon be coming to the fore. Writing for the New York Times’ May 2013 edition, Jenna Wortham argues that Yahoo!’s acquisition of Tumblr heralds a significant shift in social media.

July-August 2013

Although Facebook is still king, increasingly, she says, its approach to social networking – encouraging users to share even the most minute details of their lives – is being seen as outdated and passive.

People, Wortham says, are beginning to prefer sites such as Tumblr, where they can craft personal and more expressive content and share it with their friends, instead of passively consuming what others generate.

If she’s right, Tumblr’s approach could potentially result in an advertising goldmine for the site. Its founder David Karp recently made nice with the ad industry at this year’s Cannes Lions after saying in 2010 that advertising “turns our stomach”. This year he was gushing in his praise: “You guys are more talented than any one in the Tumblr office or in Palo Alto or Sunnyvale. We’re constantly in awe, constantly in service.”

Additionally, other experts are beginning to realize that many existing social networks offer services that could be considered more crucial than what Facebook-style networks provide. As discussed by Ryan Bradley in the April 2013 edition of Fortune magazine, LinkedIn, for example, can help its users build and maintain networks that are useful to finding employment opportunities.

Another such network, PatientsLikeMe, is a venue for members to share valuable information and support concerning various diseases and conditions. Yet another, HealthTap, serves as a global online hub where doctors can respond to questions fielded from anyone and anywhere in the world. All these ecosystems can offer crucial data that can be mined or incorporated in applications; they could thus be valuable not only to their users but also to potential marketers and advertisers.

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Taking Philippine success regional Yahoo! fires up SEA growth prospects Words Chris de Pio Sanchez

MANILA Yahoo! has beefed up its Southeast Asia and Philippines bench strength with a trio of Philippine talents.

Arlene Amarante, who helmed the Philippine operation for two years, has been elevated to a regional role, while Southeast Asia regional product marketing manager Kate Delos Reyes will return to lead the Philippine office. At the same time, digital solutions manager Mike Constantino has been promoted to deputy country sales director. The appointments come as Yahoo! seeks to maintain its local success and improve its fortunes globally.

The Philippines has been a bright spot in

Asia for the internet giant, helped in no small way by the operator making much of a playing field that until recently had been overlooked, if not under-served, by the mighty Google.

The company was incorporated in the Philippines in June 2008, fully four years before Google’s arrival and before such ground-breaking developments as ABS-CBN’s expansion of its digital real estate with Globe Telecom.

In that time, it astutely courted Philippine advertisers such as Procter & Gamble with a content-driven strategy that found fertile ground in a market which came later to search, a key strength of its arch-rival.

Its partnership with P&G and its media agency MediaCom resulted in the launch of an ambitious branded content platform dubbed Style Factor in late 2012 to target female eyeballs, which were increasingly migrating online. Offering original online content, based on what people are searching these days and top trending leisure, celebrities and entertainment topics within Yahoo!’s entertainment site OMG!, Style Factor was said to offer the advertiser deep integration, consumer engagement and a contextual storytelling experience to showcase five brands – Pantene, Olay, Downy, Ariel and Head & Shoulders.

arlene amarante

kate delos reyes

mike constantino

Previous role Country ambassador and sales director, New role Head of display advertising, Yahoo! Southeast Asia

Previous role Southeast Asia regional product marketing manager New role Country ambassador and country editor

Previous role Digital solutions manager New role Deputy country manager, Yahoo! Philippines

Following high-level stints at firms such as Microsoft Philippines, Splash Corporation and Motorola, Amarante joined Yahoo! Philippines in September 2009. She played a pivotal role in growing the brand locally through a series of significant initiatives to better engage the Filipino market. During Amarante’s tenure, Yahoo! Philippines’ revenue grew six-fold.

In her new Singapore-based role, Amarante will oversee advertising sales in Indonesia, Malaysia, the Philippines, Singapore and Vietnam, aiming to replicate the success of the Philippine operation at a regional level.

Delos Reyes, who previously had a key role in managing the growth of Yahoo!’s media properties in Southeast Asia, is now tasked with managing newsroom operations as well as craft, implement and oversee audience growth strategies. Delos Reyes has over a decade of professional experience in marketing, product and business management, and exposure in the internet, telecommunications, consumer and tourism sectors, through managerial roles at Globe Telecom and Versatile Telecoms.

The newly-minted deputy country manager – promoted three years after joining Yahoo! – will direct the sales organization with responsibility for overall country sales and revenue, PR, business development and other key areas. As digital solutions manager, he oversaw and managed the growth of key business accounts in the Philippines, taking on verticals such as telecommunications, FMCG/CPG, electronics and entertainment to driveg Yahoo!’s local success.

Constantino’s past experience spanned broadcast (ABS-CBN), gaming (Level-Up Games), events (Studio 23) and advertising (Ace Saatchi & Saatchi).

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Form guide

IAB maps best practices for mobile

LONDON Clarity, brevity, legibility and rewards are key to increasing advertising’s impact on mobile, a breakthrough study led by the Interactive Advertising Bureau has found.

In A Mobile Manifesto: Creative Leaders on the Art of Successful Mobile Brand Messaging, the report singled out four best practices for mobile creativity: • Clear and persistent branding is important for building brand awareness • Short, focused messaging plays well in mobile’s small format • A striking color palette can drive ad recall, but legibility is paramount • Consumers respond to mobile ads that give them something back IAB compiled the best practice list in the hope it would “help elevate mobile beyond this downstream role toplay a greater role in multi-

• A full logo (with brand name) should be placed in the corner of every frame

channel campaigns”, according to Sherill Mane, the organization’s SVP for research, analytics and measurement.

IAB compiled its best practices list following a multi-layered study that used consumer data Dynamic Logic, Millward Brown’s digital practice, had collected from more than 100 mobile campaigns. Millward’s qualitative practice Firefly brought the findings to the attention of senior creatives for their take on the data.

Judges for the Cannes Lions and IAB MIXX awards as well as mobile innovators from agencies such as Chiat Day, Draftfcb, JWT, R/GA and Digitas were polled in 15 indepth telephone interviews.

Mane said the creatives agreed with the best practices gleaned from the consumer research but they also provided additional

Clear and persistent branding is important for building brand awareness

input to make the principles even more relevant to their work.

“The advertising professionals also brought to the fore a new definition of context.

It was found that on mobile context doesn’t just refer to the context of the ad on the screen, but the context of the consumer when they encounter the ad, including where they are located, what they are doing, and what they might need help with at that moment.

Context now refers to the consumer’s life, not the accompanying article, video, or ad placements,” said Mane.

“The creatives also highlighted a key area for improvement in the mobile creative lifecycle. Mobile is incorporated into the campaign creation process late, more as an addition to a devised campaign instead of being central to it, most respondents said.”

A striking color palette can drive ad recall, but legibility is paramount

mobile creative best practices • Use no more than two messages - including the tagline • Text should take up less than 50% of the layout

Short, focused messaging plays well in mobile’s small format

Consumers respond to mobile ads that give them something back

• Use at least one - but no more than two - bright colors • It can be difficult to read text against a dark background; however white backgrounds may blend into site content

• Offers with tangible value (coupons, games, useful information) can yield high impact • Interactive elements (like social integration) can be more engaging in rich media Source iab, Dynamic Logic & Firefly

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Mobile life TNS tracks uptick in local mobile use

MANILA Metro Manila residents have shown a sharp increase in certain types of mobile use in the year since TNS unveiled its last annual Mobile Life study in 2012.

Mobile users in more than 40 countries were polled for the 2013 report, which found growing mobile penetration in the Philippines.

• 75% of Metro Manila respondents were now taking photos or videos, up slightly 73% in last year’s report.

• 45% were browsing the internet versus 32% in 2012, in line with global trends which show that mobile phones have now become mobile computers, offering internet-on-the-go to consumers, according to TNS. • 44% – a full 10% more than 2012 – were using mobiles to access social networking sites • 37% – compared to just 23% in 2012 – were using their mobiles to check their emails.

“Based on the findings of the Mobile 2013 study, the increases in various mobile activities explain the growing trend of WiFi accessibility in public areas,” noted Gary de Ocampo, TNS Philippines managing director. “We found that 35% of Metro Manila respondents connect to the internet via WiFi access in public areas in 2013.”

The study also noted that mobile users have changed their purchasing priorities, from buying a phone based on its physical design to finding the right features that would enhance their personal experience. The increase in smartphone ownership reflected the changing need for users to own phones that offered features beyond just calling and texting

75% of Metro Manila respondents were now taking photos or videos, up slightly from 73% in last year’s report

functions. Telecommunications charges have also evolved from minutes to data, as more and more consumers are using their phones for internet-enabled activities.

According to the study, 54% of consumers across all countries surveyed, regardless of gender and age, consider mobile phones as their most important piece of technology, a finding reflected in the Metro Manila portion of the study. 64% of them believe that a mobile phone is their most important piece of technology, while 53% said they currently own a smartphone, with the latter seeing an increase of 11% from 2012 findings. TNS noted that smartphones were changing the traditional mobile phone dynamics – its role, performance, design, pricing and brand preferences.

TNS also studied the device ownership of Filipinos living in Metro Manila. The majority of respondents owned “multiple screens” or more than just one device, the 2013 report discovered. A typical household owned at least four (4.6) of the following devices: A mobile phone (89%), smartphone (53%), tablet (14%), desktop (39%), laptop/netbooks (37%) and smart TV (4%).

Globally, smartphone ownership rose from 30% in 2012 to 42% this year, while global mobile penetration stood at 92% across the markets studied.

44%

in Metro Manila using mobile phones for social networking

45% were browsing the internet versus 32% in 2012, in line with global trends which show that mobile phones have now become mobile computers, offering internet-on-the-go to consumers, according to TNS.

44% – a full 10% more than 2012 – were using mobiles to access social networking sites

37% – compared to just 23% in 2012 – were using their mobiles to check their emails

Source TNS

July-August 2013

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Addicted to social media Total volume of social media posts and check-ins

re 6 8 , 4 2 0 gapo sin alia 40,986 str Au

July-August 2013

92% malaysia

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s

“Our Social Index reinforces the fact that consumers are unafraid to provide honest feedback about the experiences they have with a product or service on social media. In fact, most individuals tend to be more open and frank about their experiences on social media, than they would in person. For brands that are brave enough to listen and learn from these conversations, there is a real opportunity to harness their feedback and engage in a meaningful dialogue with customers immediately,” said Barouch.

While location-based marketing is in its infancy in the country, Barouch described the service as the “missing piece of the puzzle” when it comes to customer interactions.

He said the service “allowed businesses to

90% philippine

ippines 188, 200 phil n e s ia 1 3 4 , 1 0 9 indo USA 101 ,778

image and text

95% indonesia 96% USA

MANILA Filipinos are nearly twice as active on social media as Americans, according to a new social media measurement study that was two years in the making.

Local Measure’s Starbucks Index is a riff on the Big Mac Index index The Economist developed to informally measure purchasing power parity between two currencies, but the platform measured social media conversations across 60 Starbucks stores in Australia, Singapore, Malaysia, Indonesia, the Philippines and the US. Between June 1, 2011 and June 1, 2013, the social engagement platform used location data embedded within publicly available social content to identify unique insights, images posted by customers and comments about their experience in at the coffee chain.

“It reinforces the fact that we are seeing a real shift in behaviour as consumers increasingly opt to share their experiences through social networks,” said Local Measure founder Jonathan Barouch of the Philippine findings. “For example, a friend told me recently that 10 years ago kids would sit down and pray before they ate a meal, but nowadays kids are pulling out their smartphones to take a photo of their meals and share it on Instagram before digging into their food.”

Key Philippine-specific findings were: • Nearly 90% of all social media posts within and about Starbucks in the Philippines are check-ins be it on Facebook or Four Square, which proved more popular than creating updates or photos.

• The busiest Starbucks store for the Philippines was Bonifacio Global City, which received 3,266 posts and over 15,496 check-ins over the two-year period • The busiest month for Starbucks stores in the Philippines was May 2013 with 1816 social media posts

malays

% of check-ins versus rich content*

Local measure ‘Starbucks’ social index analysed social media conversations that occurred in 60 Starbucks stores in these countries over the past two years.

Ten stores were included in prominent cities of each country.

Social media content comes from Facebook, Instagram, Twitter and Foursquare based on publically available data as of 7 June 2013.

93% singapor e 88% Australia

ia 209, 200

Index points to lost locationbased marketing opportunity

75

Markets

Markets

71 61 39 49 56

% of rich content created through instagram what are the busiest stores?

social media super customers?

melbourne swanston st,

jakarta soekarnohatta international airport

kuala lumpur berjaya times square

manila bonifacio global city

singapore liat towers

hawaii auahi st, honolulu

907

1,966

3,391

3,266

1,906

849

1926

32,220

27,594

15,496

15,947

8,166

frank l.

jimmy o.

wilson l.

julius d.

kim o.

farrish c.

593

899

774

790

568

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reclaim that personal customer service so often lost in the business transaction and we can see from the Social Index that there is no shortage of customers to interact with”.

Businesses would also be able to better recognize ‘super customers’ – those who are not only loyal but will share their experiences with their social followers. The index discovered one such ‘super customer’ in the Philippines, who visited and shared content from one Starbucks store 29 times to over 790 followers on Instagram.

“By identifying these loyal, influential customers, brands have a real opportunity to build a meaningful relationship and move the interaction from the online to the ‘offline’ world.”

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Mobile directions 1st Philippine CMO Mobile Summit dials up mobile marketing masterclass Words Chris de Pio Sanchez

MANILA Billed as a masterclass on mobile marketing, the CMO Mobile Summit set out to offer a roadmap of sorts to marketers facing a future that is increasingly dominated by mobile devices.

In selecting ‘Mobile and the Path to Purchase’ as the summit’s theme, the organizers wanted to underscore the importance of effectively incorporating mobile in every stage of the consumer journey: Awareness, consideration, purchase and loyalty.

Some of the industry’s foremost mobile marketing experts told the audience of more than 300 decision-makers – CEOs, CMOs,

directors, product and group heads – that mobile was far superior to other mediums in establishing and maintaining a connection to the consumer, especially in a world where nearly every facet has been touched by mobile.

With its widely documented disruptive influence, the trusty device has not only transformed consumer habits but has also sparked fundamental change in the traditional path to purchase.

For brands, the urgency will be in building their understanding of mobile with an eye towards being able to leverage the medium to engage consumers much more intimately than ever before.

The Philippine Association of National Advertisers (PANA) organized the summit in partnership with E-Learning Edge and Mobext.

Sergio Salvador Head of strategic partnerships, Google Southeast Asia Current and future trends in mobile marketing

While it is taken as truth that the future is in mobile, Salvador revealed that most companies are ill-prepared for a mobile future.

According to Econsultancy, only 25% of brands possess a mobile strategy; additionally, according to Adobe and, as also cited by Uberflip, fully 45% of companies rely solely on desktop sites to showcase their content, versus 27% that maintain mobile sites, 7% that use apps, and 21% that use both.

Such statistics display a glaring disconnect between how companies and brands are leveraging mobile and how people are using mobile today.

People, said Salvador, use smartphones everywhere and for

short bursts of time; nowadays, fully 38% of consumers’ daily media interactions take place on smartphones; communication accounts for 54% of smartphone usage, and entertainment 33%.

However, today’s mobilesavvy consumers are increasingly electing to use tablets at home, in a much more leisurely manner than they do smartphones, and do so more for entertainment (63%) than for communication (32%).

Salvador proceeded to explain that while it is evident that people use devices differently, many activities have emerged as critical use areas. Data has shown that across various activities, including online shopping,

July-August 2013

finance and music, the reach for category per device often varied wildly. For instance, while only 23% of laptops and 51% of tablets were used to listen to music, as much as 81% of smartphones were used for this purpose.

Additionally, although people nowadays use different screens – be it PCs, laptops, television and smartphones – all the time, smartphones appear to be the dominant gadget used alongside multiple devices to complete tasks such as online shopping and playing games.

Salvador offered a few tips for brands today: Be there and be found (be present); be engaging to pique interest; be integrated with all media; and be effective.

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Rico Wyder Asia Pacific director, Fiksu Effective mobile app marketing

Wyder began by explaining how mobile apps present brands today with immense opportunity. He quoted internet venture capitalist Mary Meeker, who said that in 2012 mobile app and advertising revenue was US$19 billion – a figure Gartner estimated would balloon to US$74 billion by 2016.

Additionally, 75% of searches on mobile trigger favorable follow-up actions, including 55% conversion within just one hour. Wyder also outlined big challenges faced by those seeking to prosper in this space, including a large number of apps already in play (1.5 million in the App Store and Google Play – and 15,000 launched

weekly) and the perceptions of many (42% of respondents to a Forrester Research survey published in September 2012 said that measurement and ROI were the biggest mobile marketing challenges).

Wyder explained that simply having an app was glaringly insufficient. He said that apps was more than just another channel. Apps are a business unto themselves, and as such they need to be tightly integrated into brands’ overall marketing strategies and business models.

App marketing is a “brave new world” thanks to the fact that marketers must account for

Vikas Gulati Vice president for business development, Vserv.mobi Getting the media mix right in emerging markets

Gulati discussed why and how it is key to come up with an effective media mix for implementation in emerging markets. While there is massive opportunity for mobile in the Southeast Asian region – also taking into consideration the fact that mobile is the most powerful mass media ever – the device’ ecosystem is very different in emerging markets compared to developed regions.

The former has a much lower per-capita GDP and tends to have more pre-paid customers.

It is also a market where users want the best services for the least cost. Adding another layer

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of complexity is the fact that across the region, the mobile market is highly fragmented, with smartphone usage as the primary phone far higher in richer nations such as Singapore and South Korea than in less well-off nations such as Indonesia and India.

Against this fragmented backdrop, Gulati asked how marketers in this region could be relevant and manage singularity in communications? He said they could start by maintaining impactful formats across platforms, citing the example of the AppWrapper advertising platform, which provides full-

July-August 2013

screen ads for smart feature phones and smartphones for guaranteed impact. He also recommended that mobile be considered an integral part of the marketing mix, stating examples developed by Vserv such as the Clearbola feature-phone app developed in support of Clear’s Eurovaganza campaign.

Gulati wrapped up his presentationp by offering three take-aways: 1) It was important to focus on the user and not the device; 2) craft impactful ideas and develop impactful formats; and 3) make mobile an integral part of the marketing mix.

disparate mobile channels that require different measurement and marketing goals. Since the mobile ecosystem measurement tools are still being developed, it only adds to the challenge.

Wyder proffered mobile app marketing best practices, including utilizing optimization to drive marketing performance, marketing apps across multiple mobile channels, and setting strategic marketing goals that were app-oriented. He recommended tactics such as integrating and optimizing to make good use of a wide range of traffic sources, and targeting loyal users.

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Emmanuel Lorenzana President and CEO, MediaQuest Holdings Inc. The emergence of the cloud Lorenzana discussed how today’s brands could work to pave the way for mobile-led integration in a market developing at a phenomenal clip. There were now 11 million internet users accessing the mobile web; 6.4 million hours were spent on the mobile internet; and 13% of all internet traffic was now on mobile. Moreover, he added, global mobile data traffic, according to Cisco’s VNI Global Mobile Data Traffic Forecast, was tipped to increase 13-fold from 2012 to 2017.

Lorenzana said that the creation of the mobile economy

– a world where everyone would be able to enjoy immense opportunities and where none would be left behind – was well under way. The mobile-messaging era that followed the voice era gave way to the smartphone era, was itself in the process of yielding to the ‘cloud’ era.

Layers of new services are now beginning to emerge, including home security and monitoring, connected cars, mobile wallets and health solutions, and mobile and cloud-based business solutions. Life, he said, was becoming increasingly mobile.

Mobile, Lorenzana added,

July-August 2013

offered brands the opportunity to engage customers literally everywhere, anywhere and anytime. It fuels the connection cycle – discovery, engagement, participation and sharing.

Lorenzana recommended that brands adopt and make good use of mobile strengths to catch potential customers (build awareness of brands and what they do to grow brands’ reach), connect to them (build brand loyalty leading to participation and engagement) and close deals (get them to try or purchase products or services, leading to conversion).

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DI G I T A L

viewpoint

Keep up before it’s too late Key is keeping up with trends and technology

www.guardian.co.uk

Words Jamie Tolentino

The marketing industry has become a lot more sophisticated since the dawn of digital. Suddenly, marketing is not easy or straightforward anymore.

Sure, old tricks in the book will still work, but it’s essential to integrate our strategies with the new innovative developments we see today.

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Here are a few tips to keep you from falling behind the curve.

4 Keep on learning It is essential to keep up with the latest trends and technology in the digital world as there will always be something new out there that you might be able to use. At Investec Asset Management, I send out a Friday DigiTrivia to the marketing team. This way, I force myself to constantly keep on learning. There’s also a lot of free online courses out there to help you broaden your skillset. I personally recommend trying to learn the basics of how to code.

4 Raise the standard of your internal benchmarks While it’s common practice to benchmark against the marketing efforts of your competitors, it is better to benchmark against the brands that you admire. This way you will be pressured to raise the standard of your marketing and get out of your comfort zone. This will also motivate you to come up with groundbreaking and innovative campaigns.

July-August 2013

4 Engage with your partners/suppliers Brands and agencies should work more closely and treat each other as an extended team. This will enable you to leverage each other’s strengths and collaborate better.

Don’t be afraid, however, to look for new partners if your current ones are not up to scratch. Agree to a service level agreement and a measurement of success upfront so that you have a basis of measuring and maintaining a good quality of work.

4 Explore new channels If you keep doing the same thing, you’ll keep getting the same results. Sometimes it will pay off to explore how to make the newer channels of marketing work for your brand. You will also most likely gain first mover advantages.

4 Never stop testing Most of the time we do things because our competitors are doing it. Just because it works for them doesn’t necessarily mean that it will work for you.

Therefore, it is essential that you always test if your marketing efforts are working for you. If they’re not, you should be agile enough to make the necessary adjustments to make it work.

4 Be strategic Decide upfront what channels you’re going to use and what you’re going to use it for. It’s extremely easy to get caught up in your day-to-day work, however, if you’re not strategic, it’s like jumping on a speedboat, turning on the engine and spending all your time making sure you’re traveling some distance and then realizing you’re headed in the wrong direction.

4 Talk with other people in and around your industry It’s almost impossible to know all there is about marketing just because it is evolving at a much faster pace than before.

Therefore, it is important to know people who will point you in the right direction whenever you’re lost. Sometimes, your colleagues won’t always have answers so it’s always handy to have a network of people you can go to for advice.

If you are practicing a few of the tips, you hopefully won’t end up with an outdated marketing action plan in the future.

Jamie Tolentino currently works as a digital marketer at a global asset management firm.

She was previously an innovation strategist at Quirk London. She writes for TNW (The Next Web) and blogs on the Huffington Post UK.

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RICHARD IRVINE

Creative Review After a thoroughly enjoyable decade at Leo Burnett Manila, Richard Irvine moved to beacon Tokyo (an amalgam between Leo Burnett, Publicis and Dentsu), where in less than a year, he lead the agency towards a Cannes Grand Prix, Cannes Gold PR Lion and an AdFest Innova Lotus. Today, Irvine is based in Malaysia, initially spending two years at Publicis Malaysia, which was named A&M’s Creative Agency of the Year within 18 months of his arrival. In March 2013, Irvine accepted the role of CCO at McCann Malaysia – a new culture, a new challenge and another opportunity to mingle with people much smarter than himself. Prior to any of this, he drove an ice cream van.

I’m not sure whether reviewing work after it’s been judged on an international stage makes it easier or not. “Ah, it won a Grand Prix, it’s absolutely fantastic then, no question about it. Right?” In fact, if I were smart, I would just cut and paste the judge’s feedback and Bob’s your uncle. Review done. Time for a beer.

Still, in the spirit of doing the right thing, I will attempt to ignore what happened in Cannes and some of the other notable shows and be my own man.

Safeguard ‘Suck Toe’/’Tear Wipe’/’Pick Nose’ Ace Saatchi & Saatchi, Print A classic misdirect that finds a new way to remind Mums that their children’s hands are not quite as clean as they might think. It’s a neat visual idea but it leaves me cold. I understand that it’s intended to be gross (I know, I know, that’s the idea) but the power of the negative negates any goodwill I might feel towards the brand.

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Schick razors Schick Exacta 2 Razors ‘Salvador’/’Marx’/’Chaplin, T’ JWT Manila, Print As hipsters take over the world, facial hair has never enjoyed such ubiquitous popularity. So to make razors relevant in this new/old world is quite a feat and one that should be applauded. To do it with such style and aplomb is the icing on the cake. An intelligent strategy enhanced through beautiful crafting.

GNC Burn 60 ‘Villa, Western, Swamp’ JWT Manila, Print Fat people run the risk of dying younger. Got it. A pleasing visual gag but not much else. Mind you, if this product really can get rid of a beer belly, then who am I to criticize.

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Andok’s Rice Toppings ‘Politician’ Campaigns & Grey, TVC I’ve always had a soft spot for topical ads so I was interested to see how Andok’s Rice Toppings would take advantage of the recent elections. Although quite well produced, the idea itself felt as familiar as… well…. the promises made by the politicians.

Nescafe 3-in-1 ‘Edgar’ MRM Manila, TVC Albeit it in a different market, I have worked on this product and I know only too well the challenges involved in keeping it top-of-mind with a somewhat fickle consumer. The parody of the Japanese Robot TV movies is a novel and likeable direction to take. And whilst appreciating that part of the appeal lies in the kitsch production values, I can’t help but feel that it would have benefited from a little more money spent and a little more TLC in the detail.

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Bureau of Internal Revenue ‘Project Bridge’ Campaigns & Neuron, TVC I have to own up to being a little confused by this one. If the idea is that taxpayers have an advantage over those who cheat on their taxes, then it doesn’t work for me — it’s the people who don’t pay taxes that tend to be (wrongly so) better off. If however, it’s intended to communicate that tax dodgers are treading a dangerous line and will eventually be caught, perhaps then another visual metaphor would have better served the idea.

Smart/Rappler ‘Votesmart’ DDB Philippines, Online The intention behind this Votesmart campaign is truly worthy but sadly the execution lets it down.

You only need to look at some of the brilliant work produced by the Obama campaign to appreciate what can be achieved when you inject a little humor and insight into the mix.

Cebuana Lhuillier ‘Re-meet’ Ace Saatchi & Saatchi, TVC A pawnshop with a heart? Now, that really is something different.

So intrigued was I that I Googled Cebuana Lhuillier. And sure enough, they are a chain of pawnshops, and micro-financers, and they really do appear to give a damn. So what of the ad? Well, it sets out to humanize the functional benefit of their remittance service. And it does it pretty well. My only niggle would be the inclusion of the celebrity. I have a sneaking suspicion that the son got more of a kick from seeing him than his estranged father.

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T H E W ORK

PLDT Home ‘Tribute to Mothers’ Draftfcb At a time when people increasingly use data on smartphones to communicate, how do you make voice calls from fixed lines relevant again? It’s a tough nut to crack. Using Mum’s voice as the hook is an interesting approach but the execution felt devoid of emotion. And if anything it’s the immediacy and intimacy of a phone call that gives voice an advantage over data.

Saridon Anti-Headache’ BBDO Guerrero, Activation A better than average sampling idea that I’m sure put a smile on the faces of the besieged electorate who were fortunate enough to encounter this particular van. Nice.

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t he w o r k

Creative Showcase DDB Smart ‘Unlimoves’ Client Smart Communications Agency DDB Philippines Product Opera Surf15 Director Nic Reyes Producer Chat Monteagudo Production House Straight Shooters Creatives Jimmo Garcia, Deputy ECD; James Pereda, ACD; Clawe Arcangel, AD Accounts ER Rafael, CSD; Diane Welsh Capile, GAD

Welovepost Summit ‘Split’ Client Asia Brewery Inc. Director Paul Alexei Basinillo Producer Wish Torres / Toto Chichioco Production Unitel Post Producer Christa Toniza Offline Editor Ryan Orduña Smoke Artist Tarakeshwar Relleta Colorist Jam Jimenez VFX/CG Don Carpio, Seki Bacsain Welovepost services Offline, Online, Resolve Grading, Compositing, VFX

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Cheil Samsung ‘Inspire’ Agency Cheil Worldwide Advertiser Samsung Producer Irene Chingcuanco Production !Gung Ho Films Manila Director Christian Acuna AD Sunny Dumayas DOP JA Tadena PD Jon Cuyson Post house Post Manila

Ace Saatchi & Saatchi PLDT ‘Race Car’ Product Fibr Client PLDT Agency Ace Saatchi & Saatchi Producer Karen Sto. Domingo Director Dragon Pineda Production House Filmex Executive Producer Jun Garra Full Post Production Post Manila

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Ad of the Month may and june JWT Manila puts a new spin on KitKat’s ‘Have a Break’ pitch alongside an Olay mini movie starring John Lloyd Cruz

MAY JWT Manila KitKat ‘Swimming’ Client Nestlé Philippines Agency JWT Director Pancho Esguerra Producer Leo Mercado Production Straight Shooters Media Post Producer Dams Yu Offline Editor Jason Cahapay Smoke Artist Pietro Marchioni Colorist Jam Jimenez Welovepost services Offline, Online, Resolve Grading, Compositing

june MediaCom Olay ‘Picture! Picture!’

Client P&G Olay Natural Papaya Soap Agency MediaCom Production House Whisk Productions Post Production Edit Cube Director Joaquin Pedro Valdes DOP Nap Jamir Production Design Mickey Hirai

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T H E W ORK

a w ard s

McCann Melbourne’s record-breaking run ‘Dumb Ways’ scores record 6 Pencils

LONDON McCann Melbourne gave Asia Pacific one of its strongest years at D&AD with a spectacular haul of six Pencils, including a coveted Black Pencil, for the charmingly macabre ‘Dumb Ways to Die’.

Its record-breaking run came just weeks before it would dominate Cannes with five Grand Prix awards.

By breaking the PSA mold for client Metro Rail’s train safety message, McCann effortlessly rewrote D&AD’s record books winning one of four Black Pencils handed out at D&AD’s mid-June awards show. Its wins made it a shoo-in for D&AD’s Agency of the Year honors. ‘Dumb Ways’ entered what is arguably the world’s toughest and purest creative competition with a strong wind on its back: It had a record nine nominations up for Pencils plus Clio Best of Show, Webby wins and a TED citation as an ad worth watching among others.

With ECD John Mescall’s gloriously

McCann Melbourne’s Patrick Barron

madcap lyrics – ‘Set fire to your hair, poke a stick at a grizzly bear, eat medicine that’s out of date, use your private parts as piranha bait’ – and a cast of animated blobs all meeting untimely ends, ‘Dumb Ways’ gained immediate traction following its late 2012 launch. In fact, its Black Pencil was awarded in the Integrated/Earned Media category as the integrated campaign, since expanded to include a gaming app, not only racked up views in the tens of millions on YouTube but also spawned countless memes and spoofs.

The campaign’s fistful of Yellow Pencils were awarded for Art Direction, Earned Media Campaigns, Digital Advertising, TV & Cinema Advertising and Writing for Film Advertising.

D&AD CEO Tim Lindsay hailed McCann for breaking the PSA communications rulebook. ‘The innovative and brave ‘Dumb Ways to Die’ campaign takes what could be a gruesome and depressing message and makes it joyful by applying a tongue-incheek approach to a serious issue. Animated characters and a catchy tune powerfully convey the dangers of acting unsafely around trains, delivering a hard hitting message in a light-hearted and accessible way.”

For Lindsay, the campaign has truly raised the bar for future D&AD competitions: “Creative work with a great idea at the heart of it, tackled with bravery and beautifully executed is something to beat next year.”

McCann’s haul comes three years after another Australian champion rewrote D&AD awards book. Tourism Australia’s ‘World’s Best Job’ by SapientNitro grabbed two Black and two Yellow Pencils in 2010.

The Monkeys won in Art Direction for Diageo’s ‘Mixionary’ and Revolver in Film Advertising Craft for Kraft Boost’s ‘Moreing’

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July-August 2013

campaign, adding a further two Yellow Pencils to Australia’s haul.

“It has undoubtedly been a spectacular year for Australian creative work, with 57 campaigns recognized by the juries this year, an increase of 12 on last year,” added Lindsay.

Japan and New Zealand both scored two Yellow Pencils each.

Japan’s Pencils came in the Graphic Design category for PARTY Inc, which created content for an exercise program called COG, and in Branding for 6DK’s ‘JA Minds’ for the country’s largest agricultural cooperative.

New Zealand took home Yellow Pencils for Colenso BBDO’s ‘Donation Glasses’ for Pedigree’s annual adoption drive in Direct Response/TV and Cinema Advertising and Draftfcb’s campaign to promote client Prime Television’s ‘Call Girl’ show in the Radio competition.

Singapore’s lone Pencil was awarded in Branding for an artist book to celebrate Louis Vuitton’s Yayoi Kusuma collaboration, which featured silkscreen, die-cut production and a three-fold cover that included material resembling the brand’s paper bag.

‘Coke Hands’, the 2012 Outdoor Cannes Lion Grand Prix winner, delivered China’ lone Yellow Pencil to Ogilvy & Mather Shanghai in the Advertising Craft category.

“It’s particularly encouraging to see more Asian work coming to the fore. Work from Southeast Asia was well recognised this year, with India, Singapore and Thailand all gaining more recognition than last year, a trend we hope will continue,” said Lindsay. ”The bar has been set high and we hope even more creative professionals from Asia will rise to the challenge next year to achieve the highest possible accolade in creative excellence.”

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D&AD’S most-awarded Asia pacific markets Australia

7 1

Dumb Ways To Die Mixionary Moreing

50

Singapore

1

Yayoi Kusama Fine Book

16

Japan

2

Kanji City JA Minds

26

New Zealand

2

Donation Glasses Call Girl

15

China

1

Coke Hands

7

D&AD Global rankings

12 3 202

13 1 113

UK

US

7 1

50

Australia

4 29 Brazil

2

26

Japan

D&AD 2013 by the numbers 618 awards were

given out across inbook, nominations, Yellow, Black and White Pencils

465 awards were

51 Yellow Pencils

97 were

13 Yellow Pencils

in-book honors

nominations

were awarded

were awarded to Asia Pacific agencies

5 Yellow Pencils

went to McCann Melbourne; the rest to agencies in Japan, New Zealand and Singapore

4 Black Pencils were handed out, one to ‘Dumb Ways’

1 White Pencil was

12 Yellow Pencils

were awarded in Film Advertising Craft, the largest number of awards by far

awarded for the first time

Total Awards

Black and White

Droga5 wins first-ever White Pencil

LONDON The UK emerged as D&AD’s creative powerhouse, scooping three of the four Black Pencils and 12 Yellow Pencils and achieving an overall total of 202 awards.

4creative’s ‘Meet the Superhumans’ TV spot for Channel 4’s 2012 Paralympics coverage was the only Black Pencil awarded to the UK for advertising.

The hard-hitting

spot riveted the viewing public with images of formidable disabled athletes in competition, going on to become a viral hit when it launched just before the 2012 Paralympics in London.

It racked up nearly half a million online views.

The market’s other two Black Pencils were awarded in the Spatial Design/ Installations category

July-August 2013

for Heatherwick Studio’s ‘Olympic Cauldron’ and in the Writing for Websites & Digital Design category for the GOV.UK website.

McCann Melbourne’s ‘Dumb Ways to Die’ was the only other Black Pencil winner in advertising.

This year also saw D&AD present the White Pencil, honoring creativity for social good, a competition

that launched last year. Droga5 took the inaugural honor with ‘Help I want to Save a Life’.

Droga5 collaborated with boutique pharma group Help Remedies to turn adhesive bandage products into donor kits to drive up marrow donor registrations, an ingenious solution that won the Cannes Lion Grand Prix for Good in 2012.

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T H E W ORK

01

s o u t H a m erica

Blockbuster performance ‘Sketches’, ‘Immortal Fans’ shine at Cannes CANNES South America enjoyed an extended moment in the Cannes spotlight, helped in no small way by Brazil’s creative might, a market which came second only to the US in the festival’s honors roll.

From the Palais to the parties, the region’s impressive metal haul had festival delegates wondering about the secret sauce fuelling its blockbuster performance?

This being Cannes, there was as much sniping, as there was awe. Skeptics credited the record run on South American judges simply voting as a bloc to reward work from Brazil to Argentina and every other market in between.

Others pointed to the undeniable power in Dove’s global smash hit ‘Real Beauty Sketches’ and the emotionally-driven ‘Immortal Fans’ and ‘My Blood is Red and Black’ to dismiss the griping as nothing more

than poor sportsmanship.

Whatever the case, South America had one of its best years on the French Riviera. Its takings included two Grand Prix prizes, both won by Ogilvy & Mather Sao Paulo, and more than 20 Gold, Silver and Bronze Lions.

Brazil was the region’s undisputed star and Ogilvy Sao Paulo, Cannes 2013 Agency of the Year winner, the jewel in Brazil’s crown this year.

Brazil’s stunning performance is no fluke.

It has a storied history competing at the top of the game. More often than not, its agencies have in the last two decades returned from international shows laden, not only with gold trophies, but also with the most coveted, most difficult to win metal like Grand Prix, Titanium and Agency of the Year.

Much of the heavy lifting to put Brazil on the creative map was done by the likes

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July-August 2013

of AlmapBBDO’s Marcello Serpa, Borghi/ Lowe’s Jose Borghi and Brazil’s Aricio Fortes among others. Serpa brought home Latin America’s first-ever Cannes Grand Prix in 1993 and multiple Cannes Agency of the Year wins. He excels in longform copy, unexpected endings and nailing insights to produce work that resonates whether in print, film or outdoor.

His happy ads bursting with Brazilian flavor turned the country’s favorite flip-flop Havianas into a global brand, while work like the ‘Original Parts’ series have given Volkswagen more local cred. For Getty Images, Serpa teased out moving stories from its enormous stock of stills in last year’s ‘From Love to Bingo’ and this year’s ‘Life Cuts’, a love story told with Getty’s stock of moving images in 85 seconds.

As Serpa sees it, Brazilians are less cynical about advertising compared to their counterparts in the Europe or the US. If anything, advertising is celebrated and the top creatives feted, which no doubt is a powerful motivator to get better work made for a receptive audience. “(Brazil) always did well in Cannes one way or another,” says Serpa. “We were always

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among the top 5 most-awarded countries or (Top 10). There are many agencies that do good work.”

What changed though was the economy, which gave the market the scale to support creative-driven branding rather than tactical work. “We also improved our quality because the production in Brazil (welcomed) important directors, materials and we have more exchange of know-how as a lot of people have come to Brazil to shoot here. We became bigger.”

While scale matters, the market’s respect for insights and ability to drill down to mine insights that strike an emotional chord with consumers makes a critical difference.

In the case of ‘Real Beauty’, the insight that women are perhaps their own worst critic, had legs. This masterful film was an instant viral sensation, drawing more than 100 million views within a month of launch, inspiring commentary on- and offline and

spoofs including one for men that hilariously touches on the gender’s excessive self-esteem issues.

On many levels, ‘Sketches’ was a worthy successor to Dove’s 2007’s Grand Prixwinning ‘Evolution’. The idea of juxtaposing an FBI trained forensic artist to highlight self-esteem issues plaguing women was fresh and unexpected and, coupled with a documentary-style execution, made for a moving film. Titanium jurors believed the idea was worthy of the category’s Grand Prix for having broken new ground.

“Most ads today don’t evoke any clear emotion, they just communicate a particular product or service benefit,” Anselmo Ramos, a vice president and creative director at Ogilvy Brazil and one of the key creatives behind ‘Sketches’, said in an interview with Fast Company.

“I think it went viral because it moves you, because it makes you think, because it’s based

02

03

55

on a true insight, said the creative chief, who within years of joining helped the shop take this year’s Agency of the Year crown.

The same could be said for Ogilvy Sao Paulo’s second Cannes 2013 Grand Prix winner ‘Immortal Fans’ and Leo Burnett Tailormade’s ‘My Blood is Red and Black’, both winners across multiple Cannes categories. Both campaigns have arguably done more for the cause of organ and blood donation in the country, effortlessly matching emotion with effectiveness.

In the case of Sports Club Recife, its fans are known to be among the most passionate in Brazil. The campaign gave club supporters an opportunity to go on cheering their club well after they’re gone since donations of their heart, eyes and lungs would turn them into immortal fans. Organ donations rose a staggering 51% rise, cutting waiting lists to zero.

Similarly, Leo Burnett Tailormade’s ‘My Blood is Red and Black’ helped avert a blood shortage crisis in the Brazilian state of Bahia in a partnership with Bahia’s Esporte Clube Vitoria club. The club was persuaded to change the iconic colors of its jersey from red to white, with the familiar red returning bit by bit as blood stocks rose through the season.

Both campaigns showed heart but without the kind of emotional blackmail that is often used to tug heartstrings in the public service category.

01 Never underestimate the supporting role in ‘Heroes’

02 Leo Burnett Tailormade’s ‘Kiss’ for Topline chewing gum

03 Z+ Comunicação’s smooth message with ‘Rockers and Choir’ for Passa Facil’s

04 Marcello Serpa’s campaigns for Havaianas, such as, ‘At the Top’ helped make the Brazillian footwear brand a household name

04

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Bang for the Buck a case for effectiveness

What is it?

Available in 170 markets across the world, Heineken was becoming the McBeer of the category – “bought by many but celebrated by few”. On the flip side, globalism was the brand’s defining characteristic, hailing as it did from a country that had always looked beyond its own small world.

“We decided to embrace Heineken’s globalism rather than deny it,” said the agency of a campaign that by necessity had to take a global approach, a first for the brand.

The strategy was anchored on elevating the brand by elevating the drinker as Heineken shifted communications away from itself to celebrate its young male target.

Through a series high-energy stories activated across multiple platforms, the Heineken drinker becomes a Legend, a suave man-of-the-world who knows his way around, whether he’s making an entrance, engineering an epic evening with a stunning date or displaying the expertise worthy of the world’s best-known spy.

Accordingly, 2010’s much-acclaimed ‘The Entrance’ and 2011’s follow-up ‘The Date’ were cinematic capers, allowing Heineken’s dashing and charismatic Legends to display a range of impressive abilities – from martial arts to shooting hoops, filleting fish plus magic and card tricks.

2012’s TVC for a tie-in with the 007 franchise for Skyfall similarly showed the star effortlessly dodging villains with the resourcefulness of James Bond after he’s mistaken for the legendary spy when boarding a train.

Every journey leads to a bottle of Heineken – Bond even swaps his Martini for the lager, which ends up with the spot’s hero when 007 makes his usual dramatic escape.

To further excite the young, male target, additional content in the form of tongue-in-cheek making-off and music videos were offered on YouTube and social media networks. ‘The Date’ was supported

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HEINEKEN ‘Heineken’s Legendary Journey: Justifying a Premium the World Over’ Client Heineken International N. V. Agency Wieden+Kennedy Amsterdam

Award wins Launched in 2010, the campaign’s two installments. ‘The Entrance’ and ‘The Date’ have won Gold and assorted metal at Cannes, Clio among others. In fact, it was its earlier Cannes wins which qualified ‘Legendary Journey’ for competition in Cannes’ third Creative Effectiveness competition, taking the Grand Prix crown in this year’s creative shoot-out.

by a ‘Serenade app’ plus activations to win legendary dates, while the Skyfall tie-in featured a ‘Crack the Case’ digital engagement alongside local, in-market activations.

Results Payback has been global even though the campaign is still in its early years. It has delivered on Heineken’s objectives to sustain its price premium while growing volume and value share. Sales for 2012 were up 5.3% over the previous year, significant for a brand that had come under pressure “as never before” across different markets.

Why it worked Cannes’ effectiveness jurors were impressed by the campaign’s go big or go home bet. It aimed high, set its sights on global conquest, delivered accordingly and, in the process, created a body of legacy-building creative work that has expanded to include new film installments ‘The Final’ in a tie-in with the UEFA Championship and ‘The Voyage’.

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1

2 4 3

5

Creative Corner Vic Icasas President / Managing Partner Hit Productions Inc.

1. My iPad behind me doing double duty as a digital photo frame, with a pic of me and my wife mountain biking during a recent trip to Phuket.

2. A Google Nexus 7 Android tablet and Sony Xperia Z Android phone lying on top of my MIDI controller. I’m also the reviews editor at Technoodling.net and I love gadgets.

3. A pair of white Superlux EVO headphones that was sent to me for review. Verdict: Great bang for buck.

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4. My workhorse 15" MacBook Pro running Logic Pro 9. Back when I started with Hit in 1993, it was all rack mounted hardware synths – now it's all virtual software synths and makes for a much tidier setup.

5. Closest item to me: My airconditioner remote. It gets really cold in my room.

THE WORK

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DE S I GN

l u cil l e t enazas

adobo exhibit

An authentic design voice AIGA recipient Lucille Tenazas zeroes in on value of personal voice in design Words Christine Anne Bantayan

Soft-spoken Lucille Tenazas has a commanding voice when it comes to the field of design, where the Philippine-born and now New York-based creative talent has effortlessly fused self-expression with the rationality demanded by the business.

In her more than 30 years in the US – arriving for an advanced course at California’s College of the Arts and later the rigor of Cranbrook Academy of Art – the cultural nomad, designer and educator has boldly experimented with meaning, form and content in developing her distinctive design voice.

“As a designer, you’re put in the position where you have to respond to somebody else’s needs or problems,” Tenazas said in an interview with Parsons The New School for Design, where she is currently the Henry Wolf Professor in the School of Art, Media and Technology. “If you’re aware of who you are, you can take on the identities and problems

The Ayala Museum hosted Tenazas as part of its Design Talks series

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others may pose and not lose your own.”

The approach can be seen in her work for the likes of the San Francisco International Airport, Princeton Architectural Press, Rizzoli International, Neue Galerie Museum for German and Austrian Art and projects for numerous non-profit organizations and institutions.

Along with her body of work, her contributions in elevating the discipline – whether as an educator or practitioner – have also brought in numerous accolades.

There was the National Design Award for Communication Design from the CooperHewitt National Design Museum in 2002 and America’s highest design honor, the American Institute of Graphic Arts (AIGA) medal this year, among others. “Design is a way of looking at the world,” Tenazas said in an interview with AIGA. “You produce an artifact or create a system with a set of conditions, an infrastructure or an apparatus where you’ve done half the equation and

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“If you’re aware of who you are, you can take on the identities and problems others may pose and not lose your own.”

you leave the rest for whoever wants to participate.”

This was the wisdom Tenazas sought to impart to audiences in the Philippines during two masterclass sessions aimed at educators and professionals organized under the Ayala Museum Design Talks series early in July. The talks are part of Ayala’s ongoing education program to provide recognized Filipinos with a chance to communicate their ideas with locally based creative aspirants.

In ‘The Value of Personal Voice in Design Education’ aimed at educators, Tenazas zeroed in on the “importance of personal history in developing a designer’s voice”. Said Tenazas: “I want them to be able to be confident that their previous life and accumulated experience contribute to what they will bring to who they will be, and not to forget that.”

Tenazas’ cumulative experience spanned years in a Catholic school run by German nuns, winning national painting competitions, serving as art director for her college’s literary magazine, a stint designing promotional materials for pharma companies, relocating first to California where she experienced the state’s playful design approach before heading to the more conservative mid-west, Michigan’s prestigious Cranbrook Academy, for further education.

In the sessions, Tenazas stressed the importance of “developing the ability to trust” in one’s own voice. As a profession that relies on collaborations between the graphic designer and the client, Tenazas said that belief and confidence in one’s vision and voice helped the designer read the client in a way that they might not even be aware of. “So that when you’re listening to somebody,” she said, “you can bottom yourself out and take their voices and

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01 AIA|SFMOMA Architecture Lecture Series announcement poster and postcard, 2000 02 Street Signs Project (1/6) M.F.A. student project at Cranbrook Academy of Art, 1981 02

take their needs inside you and be empathetic, Empathize with them and say: ‘This is how I’m reading your needs and how I think I can interpret them’, and by virtue of opening yourself up to others, you’re able to begin afresh, and when you begin afresh, it is a place where you have strong self-confidence.”

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Joh n Mescall

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Interview Angel Guerrero Words Mikhail Lecaros

It hit the internet like a bolt from the blue, setting social networks ablaze with a vive and vigor most marketers only ever get to dream about; in November 2012, ‘Dumb Ways to Die’ – a jauntily morbid, primary-colored animation set to a toe-tapping ditty that wouldn’t be out of place in a Monty Python revue – had arrived, and advertising would never be the same.

The campaign for Metro Trains is the brainchild of McCann Australia ECD John Mescall, created during his time with the Melbourne office. ‘Dumb Ways to Die’ is but the latest triumph for the creative, whose works have scored metal wins everywhere from Spikes Asia, AdFest and D&AD to Clio, One Show and Cannes.

Presently an 18-month veteran of McCann, Mescall spent the eight years prior building and working out of Australian independent agency success story, SMART and, before that, JWT. Adding to his impressive credentials is the fact that Mescall has so far been the only Australian creative director with work selected for inclusion in the TED ‘Ads Worth Spreading’ collection.

What began as a PSA for Australia’s Metro Trains Service would take on a life of its own, achieving 2.7 million views in 48 hours. The piece would go on to inspire tributes, copycats and, perhaps most tellingly of its success, parodies. With the titular track sung by Emily Lubitz (with music by Ollie McGill, and lyrics by Mescall) topping digital music charts and a tongue-in-cheek app setting first-day download records, there seemed to be no limit to the heights Mescall’s accident-prone creations could reach.

The 2013 Cannes Festival of International Creativity would prove just how far a single campaign can go, as ‘Dumb Ways to Die’ stunned industry insiders and observers alike with a record-setting five Grand Prix wins, across the PR, Direct, Radio, Integrated and Film categories. No less than legendary adman Lee Clow said, “I wish I did ‘Dumb ways to Die’,” a sentiment echoed by the no-less-legendary Dan Wieden, who went on the record at Cannes to proclaim, “this is the campaign everyone here wishes they did”. adobo caught up with Mescall at Cannes the day after the third awards night of the festival. With his trademark shock of hair blowing in the ocean breeze, Mescall was characteristically animated with his answers and candid in his observations, having just received the first three of ‘Dumb Ways’ Grand Prix and nearly two dozen assorted metals.

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ADOBO How are you feeling today?

01 The second phase of the ‘Dumb Ways’ campaign, a free app for smarthphones and tablets where users get to die in amusing interactive ways, quickly rocketed to #1 on download charts.

02 The cover art to the ‘Dumb Ways to Die’ single, which beat out Rihanna’s latest effort in download figures the week it was released.

03-05 The first phase of the integrated campaign involved a quiet release of the video online, animated gifs, radio airplay and these individual character posters.

MESCALL I’m feeling absolutely ecstatic. It’s been such an amazing week so far. We kicked off night one. We came here wanting to win for maybe three different campaigns rather than the one big one, but on night one, we got 11 Lions across all three, including two Grand Prix and that just set the week for us.

And then last night, wow, five Golds in cyber, a Grand Prix in radio, two more Golds in Radio, some Silvers in there, a Bronze in Press – I’m actually really happy we got Bronze in Press because we don’t do very well in press in Australia because we can’t do what Asia and South America does with the level of intricate art direction, we just cant do that. We don’t have the resources, we don’t have the time.

So Bronze there, I’m really happy about that.

Normally, (with) integrated campaigns, the individual components aren’t always that great but they, together, they make something wonderful. What we had with this, because we crafted each piece so well, it’s winning individually. It’s won across Film, Radio and Outdoor – and big prizes too! It’s awesome,

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I’m loving every minute of it. Except the one hour of sleep bit, I don’t like that. (laughs) But I’ll be fine.

ADOBO What have the bosses said to you?

Do you have a big bonus in the bank account waiting for you when you get home?

MESCALL Bet I don’t (laughs). Lavish praise, no money. That’s okay. Nah, they’re really happy. And McCann is doing really well this year. (McCann holding company Interpublic Group) IPG is actually doing really well; I spoke to Nick Law last night amongst many other people and he was… IPG is really kicking it!

ADOBO So how did you get your start in advertising?

MESCALL When I was about 12 years old, I was given a career guidance book.

It was very thick, so I stopped at “A” and saw “advertising” and it looked like it was describing me. So I went home and told my parents and they said “No, you’re going to

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get a proper job,” so I forgot all about it and went to university and studied economics. I graduated from there, but I wasn’t very good – struggled with the statistical methodology big time. I got the lowest recorded mark; it was a multiple-choice test, and I got 8%, which isn’t even statistically possible. And the dean brought me in and said “are you trying to fail?

Because you got 8% and it’s not statistically possible.” I mean, 25% is random guessing, and I got 8%! (laughs) I was terrible at it. I mean I loved the macro stuff for economics, but after the second year, the careers guys came out and like, “This could be your life: In five years you’ll be working for a bank and in 10… 15…” Oh no!

So then I remembered the advertising thing, had a look at that, did AWARD school and got a job. For a writer, you don’t really need to do an advertising course. I always wrote. I taught myself to read as a kid by reading the newspaper and one day my parents were like, “The fuck…?!”

My year 5 and 6 English teacher was a raging alcoholic. He would come in, drunk from the night before, and sit in front of the class and say, “Free reading time!” – for three years. And I was the only kid who took him up on it. Other kids would be pissing about and I’d just be reading a book. So I learned to write by reading; I read books for years at school – I could read pretty quickly, there weren’t any complex books at primary school. I read everything – the whole library. I still like to read, but, time.

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we won quite a lot. We had this crazy idea: We started with no suits, thinking ‘we don’t need suits’ and we had a great system where we’d win 14 clients and lose 14 clients each month… it was chaos! It wasn’t working so well, and gradually we became more like a normal agency.

About halfway through our Smart days, the global financial crisis hit. We thought, “Let’s try and keep all our people in jobs and do some work that pays the bills.” It was a tough time to be an independent agency; a lot were shutting down or really shrinking. We grew during that and always had in the back of our mind that halfway through our Smart days, the networks had woken up and the game had changed. When we started Smart, you got famous and could make brands famous through an ad – single executions were what we lived for. And very quickly, integration was everything and we needed to scale up radically, we wanted a bigger sandpit. It was going to be hard to grow the agency the size we wanted. So we thought, okay, do we sell?

The reason we chose McCann, the global and regional leadership, we believed in what they were doing. We talked to Charles (Cadell, Asia Pacific president) and Nick (Brien, thenWorldgroup CEO) over a long period of time.

They brought us in to run McCann the way we wanted to run it. We run it as our own agency, not as employees – while we are employees, we run it as an independent.

MESCALL Well, we have a very flat structure, open door, no hierarchy. We play well together, no politics no politics no politics whatsoever.

ADOBO What’s the dynamic like?

MESCALL Ben (Lilley), Ash (Ashley Farr), myself – none of us were suits. Ben was an ex-creative who taught himself how to run the agency, I’m a creative, Ash is a planner. It’s the work, that was our start and that’s what we focus on. We know what each other does and we let them do it, we each have very specific skill sets that don’t interfere with each other’s job.

ADOBO Smart was one of Australia’s biggest independent agency success stories. How’s it been since being acquired by McCann?

MESCALL God yeah, we came into McCann not more than 18 months ago! When we started Smart, the independent agencies were having all the fun, the networks were all pretty stale. We did Smart for eight, nine years. In the first four years, we were awards-hungry and

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ADOBO So how does that work? What do you guys do differently?

ADOBO Tell us about your first advertising job.

MESCALL One of my first advertising jobs before JWT was with an independent agency, and they fired me because I had a very bad attitude. It was one of those situations where I wasn’t for them, they weren’t for me and I was just too stupid to admit it. Later on, I was at JWT and I had a succession of jobs through there, and then Smart. And we did Smart for eight, nine years.

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ADOBO Did the successes of Smart prepare you for the scale you had to adopt for ‘Dumb Ways to Die’?

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MESCALL Yeah, that’s pretty normal, that’s

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01-02 Mescall’s work for best-selling Australian lad mag The Picture gleefully brought classic selfgratification euphemisms to tonguein-cheek photographic life.

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what we do now. This just happens to be hyper-successful. In the Australian market, you’ll see at Cannes that we do very well in Integrated, really well in Promo & Activation, Direct, because we’re a very high cost media economy. It’s very expensive to buy your way to success in Australia. If you’re not one of the top 2 spenders, you can’t rely on money.

You can’t rely on media. So our clients are very well advanced in their thinking of social and integrated campaigning rather than just relying on paid media.

We are lucky. I talk to colleagues in other markets and the reverse is the case. I’m saying to them, the way you turn one great idea into 10 Lions (instead of one) is you’ve got to make a genuinely integrated campaign and it’s very hard. You can do nothing without your clients.

we’ve got 600 people,” and they’re like, “How many have you got?” And I told him, and he was like (stunned facial expression).

ADOBO How would you describe your client base?

MESCALL Well we’ve got everything from the global stuff, from Mastercard to, CPW, General Motors, Cereal Partners, L’Oréal and stuff. But then we’ve got a lot of local clients too, so it’s a good mix. Bits of everything.

ADOBO What are you like as a creative leader?

MESCALL I try and bring people along. I don’t like to force them. I try to hire people who don’t need to be told how hard to work or what it means, I just try to show the way and make the work process very inclusive. I see myself as the creative director of the agency, not the creative director of the creative department.

My job is to infuse creativity through the whole agency, to get account service, to get planning, to get support staff – not necessarily working on the creative but helping to make it better in whatever way they can and being excited about it. Agency culture is everything; you get a good culture and, amazingly, everything gets easy and that’s the true job of the ECD I think. Not just to usher the work through, but to get people excited and understanding what wins and what doesn’t.

ADOBO What’s winning for you?

MESCALL Not counting designers, there’s maybe eight. There’s about 8-10 creatives in Melbourne and about the same number in Sydney. Not big. I was talking to the ECD of Ogilvy Sao Paolo – we’re neck and neck with them for this year – and they’re like, “Yeah,

MESCALL I want to win people’s hearts and minds. What we get rewarded for in this business – both by clients and award shows – is real-world creative impact. Do something in the world that people respond to, and it resonates with them emotionally – It works for clients, it works for shows like this. And that’s what I want to do. And that translates to

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ADOBO How big is your creative team?

winning business and winning awards. You have to make work for people, not awards; juries will love it if people love it. People seem really happy that ‘Dumb Ways to Die’ is winning, because they see it as a campaign that normal people love and that we didn’t just do for ourselves. So much of the work here it’s like – you never saw it! It’s talking to itself, it’s so clever. This [‘Dumb Ways’] is something that real people have liked and it’s nice to see that.

ADOBO You were on the Promo & Activation jury this year. Aside from seeing the work you were competing against, how did you find the quality of the entries you judged?

MESCALL I think there’s some… Promo & Activation’s got everything ­– we had 3,200 entries or something. Everything that we saw was, I’ve seen almost nothing new apart from Design and Radio. There’s some really good stuff, Brazil has gone super hard, everything seems to be about football! I’m a bit over case studies harnessing the passion of the team and their supporters. I’ve seen enough of that.

Obviously, ‘Dove Sketches’ is lovely, there’s some real artistry in that.

ADOBO In your experience, how has advertising changed over the last few years?

MESCALL I think the social contract has kicked in; so much of the work that resonates with people has meaning beyond the commercial message. That’s really interesting

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as more than just hucksters and salespeople, so I think when we see something like that, we want to love it. We probably overly-reward that work because it reflects well on ourselves, but we need to also understand that sometimes its okay to sell something through artistry and intelligence and flair – we don’t have to be saving babies.

game – they’re just better at it. They’re better at creating work for the awards, entering work for the awards, they’re better at crafting the entries – they’re amazing!

ADOBO You notice the trend now is saving something, helping the blind or donating an organ, and the like. What happened to selling a car?

MESCALL You have to simply understand that, when you do an entry, it’s not your work that’s being judged, it’s the video that’s being judged. You start from zero. The video’s not, “Here’s what we did”; the video is telling a story. I’ll give you a great example, there’s something from Argentina or Brazil; it was crashed cars on the road, as road signs for speeding. If that was just on a board, that’s nice, it’s a Bronze. But with the video… it wasn’t showing the crushed cars, it was emotionally pulling you along with amazing footage of deaths – it was amazingly poetic.

They spent twice as long on the video as they did on the actual work!

MESCALL I think we’ve swung too far the other way. And we’ll swing back. That’s okay, there’s always trends, it’s good to overreact because we show the way. People look at that and think, “If we do some good, we’ll get rewarded.” There’s always ebb and flow. We’ll go back the other way.

and you wonder, sometimes – in cynical moments – you wonder why we’re doing that, but also you see enough work that genuinely is trying to make money and do good at the same time, and that’s a great place to be and that’s what we all should aspire to do as people.

It’s not either/or; you should be able to profit yourself and profit the community at the same time and I admire companies and clients that genuinely try and do that and I think that shows through in the best work here. We work in advertising and we like to think of ourselves

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ADOBO From what we’ve been seeing here in Cannes, the Brazilians are doing exceptionally well. They have the second-most number of entries and they’re winning, but Australia is lording it as well across categories. What’s going on?

MESCALL It might not be a coincidence, but the two strongest national economies in the world are Brazil and Australia… maybe that’s…. you know, they have oil and we have minerals. Also I think, the Brazillians play the game better than anyone, the awards

ADOBO Well you guys in Australia seem to have mastered creating case study videos.

What’s the secret?

ADOBO How do you feel about that? Is that the right thing to do?

MESCALL No, but that’s the game. I wouldn’t be at all unhappy if video entries were banned and we went to boards, but you work with the system you’ve got. It’s a competition, and when you enter a competition, the human psyche finds a way to get a competitive advantage.

ADOBO So who does your entries? Do you have a production house, a director, all that?

MESCALL No. Again, we’re not big, so that’s what we do on weekends. Big agencies have dedicated people to do this, but most agencies in Australia… we’re not that big. A big agency in Australia is 150-200 people, and that’s the biggest. An average agency is maybe 60-80 people, so we don’t have the luxuries of having

03-04 Mescall’s previous works for Metro Trains feature team mascots casually running errands before their respective games, confident in the reliability of Metro’s service to get them to the stadium on time. The positive response to this campaign meant that Metro Trains was more than happy to trust Mescall and his whimsical tendencies when it came time to designing its safety initiative.

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“If a normal PSA repels you, then fuck it. Let’s do the opposite. Let’s attract people to it. Let’s write a fun, happy song about death.”

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specialists to do it. So the creative guys and directors, we do it ourselves. If you’re making a campaign with film elements to it, it’s a good idea to have the production company involved in that.

Whenever we’ve got a good idea up that we know is going to be integrated, what I like to do is, I like to write the framework for the case study down before we’ve actually made the work. Because what that can actually do is it can help you see this integration and can give you and the client ideas for extra elements.

‘Cause you think, we’ve sold this great idea, we know its going to run across five different channels, so what story do we want to tell in the case study when this launches? You write that story, you start to think of a framework and it sparks, (imitates client’s voice) “Ah. We’ll want that, we’ll want that.”

You don’t just do the work and then at the end say, “Okay we’ll make the video.”

Cause the video is not the collection of all the elements you’ve made. It is a story, and you’ve got to know what your story is behind every piece of work you do.

ADOBO Did that also apply to ‘Dumb Ways to Die’?

01 To sell the lightest shoe on the planet, the adizero feather, in an already saturated market, Mescall’s team launched a fully integrated, high-impact ‘Light Gets Gold’ campaign to coincide with the 2012 Olympic Games.

MESCALL Absolutely. You guys outside of Melbourne only saw the video; at the local level, this was a massively integrated campaign. Of course we’re not going to be running all our stuff in other markets. The video and the song went viral overseas, but the whole thing was planned to be integrated from day one.

ADOBO What was the brief like?

MESCALL The brief was trying to stop young people… we’ve had this on-going problem where people weren’t trying to get hurt around trains, they weren’t skateboarding around tracks or anything but they were unthinkingly getting hit. A girl sits on the edge of the platform, iPod in, legs dangling over the edge, train comes, takes legs off. Did not even think that trains could be dangerous – sort of a strange thing to think. They just wanted to make this issue visible for a teenage audience, typical PSAs don’t work on these people; they just don’t work, they’ve never worked. I don’t think most PSAs are meant to work, they’re meant to be more of a box ticking exercise: look at what we did, we’ve told people not to do it. And show a dead kid. We wanted something that we thought would work. We thought, if a normal PSA repels you, then fuck it. Let’s do the opposite, let’s attract people to it. How do you attract people? Let’s write a happy, fun song about death. And that’s what we did, and it’s as simple and strategic as that.

It all started with the song.

The name of the song came first – a good integrated campaign has to have a good name. Like, films have good titles and books have good titles and campaigns need them – ‘Immortal Fans’, ‘Dumb Ways to Die. All that stuff, you think, “Yeah, I want to look at that.”

I wrote the lyrics to it back at the agency at night in one hit and they’re about 80% intact.

We changed them as we went when we found some of the lines weren’t making entertaining visuals. So the song was written pretty quickly

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and, over the next four weeks, we just refined it. And that’s what we did with every piece of art for this because we did everything in-house; We got a freelance animator, Julian Frost, and we got him in the agency for six weeks. So this film was made inside the creative department of McCann Melbourne.

ADOBO It looks and sounds deceptively simple.

MESCALL It was done on Flash; it was basic, basic, basic. But we wanted to do that because that meant that the creative guys could have control over it as we went. If we used complex graphics programs, you can’t look at anything as it’s going – it’s all just this weird fucking tech.

ADOBO Tell us about the character design.

How were the characters formed?

MESCALL We pitched it out to two animators, one in Germany and the other, Julian. We had no pre-conceived idea of what it would look like at all. We chose those guys because they had black humor, they had the best sense of humor for the job. We said to them, “We’re not going to tell you what to do.” The brief we gave them was, we want them (the characters) to be the best thing you’ve ever done. And the German guy was struggling with it a bit because – guess what – he’s German. It was really good stuff, but… it was as playful, but in a different way. Julian had the blob thing and he did the one private part animation (points to penis) and we just knew it was the way to go. But also in talking to him we knew he was going to be the guy because the sense of humor was right. The best thing you can ever do if you’ve got a client who gives you the freedom, is get great people and tell them you just want the best. And good people rise to that. And we didn’t know what we were going to get.

ADOBO When you say the client gave you the freedom, how far did that go?

MESCALL There’s two clients, Leah Waymark (Metro Trains’ general manager for corporate relations) and Chloe Alsop (marketing manager at Metro Trains), and they were great. When we presented the 80% finished rough cut to Leah, we hadn’t finished it and it was just sort of a piranha on a leg and the gruesome deaths were tamer and she said, “I’ve only got two things,” and we’re thinking, “Oh God…. She’s going to say there’s too much blood.” She said, “I really think there

02 The Victorian Responsible Gambling Foundation’s ‘100Day Challenge’

by Mescall is an online campaign to help people with gambling problems ditch their addiction with the help of support and counseling, while tracking their progress via regular video diaries.

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needs to be a piranha on his private parts, and there needs to be much more blood and gore at the end.” Well, okay, we can do that! So you’re nothing without a great client. Nothing.

ADOBO And now, everyone’s singing your song!

MESCALL Every day for six weeks this song was playing, I was waking up at three in the morning sometimes with this fucking song in my head! (laughs) ADOBO When you launched, what happened?

MESCALL Because there was no paid media at the launch, there was no deadline. So it was ready when it was perfect. Took about eight weeks in total.

And then we launched; on November 16, a Friday, we quietly uploaded it on YouTube and iTunes at the same time, with nothing else. We then gave the story to a a transport journalist we trusted with Melbourne’s

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biggest newspaper because we knew he would understand the intent of the campaign as news instead of marketing. It got on the front page and, at the same time, we also released the 21 animated gifs on Tumblr – which is a hugely unutilised medium – and Tumblr went nuts. It got us on the front page of Reddit by Saturday morning and it stayed there all weekend.

Reddit drove it to YouTube and by the end of the weekend, we had eight million views, and after two weeks it was something like 30 million. It was a simple seeding strategy – not a single cent on media, not one. But the media dollars came later when we activated it at a local level about two weeks after and we did transit advertising, and we bought radio. We didn’t need to buy much for radio because radio stations were playing it on their playlist – a song about railway safety!

ADOBO And how’s it doing now?

MESCALL The video just hit 50 million views, the main video. But there’s so many different

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ONE-HIT WONDER: TANGERINE KITTY

When it came time to write the tune for what would become the world’s most-recognized PSA, John Mescall engaged the talents of Ollie McGill (pictured above), of local band Cat Empire. With lyrics written by Mescall himself, McGill put his talents into the project based on the brief to avoid anything that sounded like a jingle.

“We gave him the brief and said we wanted this song to chart on iTunes, even thought it’s an ad,” says Mescall.

“He was skeptical, but said, ‘Yeah I’ll do that but I don’t think it’ll sell on iTunes.’ We told him that we thought it would!”

copies. We got the first parody within three days. It was ‘Cool Things to Find’ about the Mars Rover, it’s awesome! There’s also a Walking Dead parody, so awesome. Last month, there was a Hasidic Jewish a cappella quartet that did their version of it – there’s hundreds. Subsequently, we released the app – the smartphone game – which, for the last three weeks, has been the number 1 free app in the world. It launched about April, so once the video had peaked, we then had more content. Tetris released a new game the same day and we beat them. There are 11 million people playing that right now.

ADOBO So what’s next for you and your team?

MESCALL What you’re thinking about is always the thing you’re working on or the next thing, you’re only as good as the next thing.

We’re winning for something we’ve done but, again, we’ll have a really interesting phase 3 on this one. We make things for a living – we’re like a factory. We’re always making things, so that’s always your obsession.

ADOBO Having conquered Cannes and D&AD, what would you like to win?

On the choice of vocalist, Mescall said that he had a specific “waif” sound in mind when he tapped the talents of Tinpan Orange lead singer Emily Lubich.

With the lyrics, music and vocalist in place, all that was left was to create a name for the unlikely trio.

“We created the band name, ‘Tangerine Kitty’,” says Mescall, “...a mash-up of the two names so some people would question who the band was. The music took about six weeks, the basic melody was there and it just got better and better and better, and then it got worse and then it got better and better.”

The results speak for themselves.”

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MESCALL It’s going to sound old school, but everyone wants film. Still. When you think about the glue of social campaigning, it’s the film, it’s the video. It’s the rectangle with moving pictures. You get that right, and your integrated and social campaign will work. Video has become more important.

Remember this crazy notion the internet would kill TV advertising? It’s been our savior! YouTube has saved us as an industry – look at what we can do now. But look, I wouldn’t say no to Titanium either!

We’ve got a lot more work to do at MCCann, we want to be great. We want people to respect us and hate us from time to time. I think we’re getting a lot of love and respect now because people are saying that its great to see McCann back again, but I want to start pissing people off soon. I’d like us to be: Fuck those guys again. Like it is with BBDO, in Australia. It’s rewarding, what we’re doing is working. We’re growing, we’re having fun,

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we’re making good work, just keep doing more of it, getting pleasure from making good things.

ADOBO In your experience, is there a correlation between awards won and clients coming in?

MESCALL The more good, visible work you do, the easier it is to... good work makes you money. Simple strategies win, you win awards, you win business, you win pitches, you win, you win you win. You win hearts and minds.

Keep it simple. The agency needs a simple focus. It’s a very hard business but it’s very simple, it shouldn’t be complex. I think dumb people make things complex to hide the fact that they really lack insight and you can always strip things to absolute simplicity when you really understand the issue.

ADOBO Aside from books, what turns you on, what stimulates your imagination?

MESCALL I like the constructs that human beings create for themselves. I like cities. I also like mountains – I like extremes. I love big cities, I love wilderness. I hate all the shit in the middle. I think I’m like that with most things.

ADOBO What do you do for fun?

MESCALL I used to do rock climbing and stuff, I like hiking and skiing and things like that. But I like extremities. I like people, I like what we make for ourselves. Just… the world is fucking awesome. There is no one thing. You walk around and you keep your eyes open and you need to be aware of what interests you. Too many people go through life and things just pass them by. If you keep yourself open and think about what interests you and why, you get more interested in the world. The kind of hiring policy I have is you must be interested and interesting for me to hire you. You have to be interested in the world around you, interested enough to really dig and be curious. But you’ve got to be an interesting person, you’ve got to bring something beyond your job tasks into the agency. That’s it.

Globe gears to strengthen prepaid market share with new head Globe Telecom veteran Issa Cabreira takes on the helm of the Company’s prepaid segments to further strengthen its goal of expanding its share in the highly competitive prepaid market.

Armed with close to two decades of brand and marketing experience from both local and multinational companies, Cabreira heads the new Prepaid Business unit, which houses the Globe Prepaid and TM brands.

The new unit will allow Globe to compete in the sizeable prepaid market, which today still accounts for 95% of total mobile market, in a cohesive, comprehensive way and with clear propositions for the target customer segments. In addition, the new system capabilities in the coming months will allow the consolidated organization to come up with new integrated solutions and bundles for key customer segments.

Cabreira joined Globe in 2008 as Postpaid Segment Head and a year later she took on the TM brand leadership role.

Adept at inspiring success at whatever segment she’s in—Cabreira gave birth to the TM brand and its success in the prepaid market.

It is a tough market for Cabreira who’s known for eating up market share from the dominant competitor. In her stint as TM brand head, TM gained close to 1.4 million subscribers in the first quarter of 2013, almost three times the level in the same period last year and almost twice the level in the previous quarter. The gain helped boost actively-loading subscribers to more than 10 million in 2013.

“With TM and Globe Prepaid brands steadily gaining grounds in both revenue and subscriber base shares, we intend to continue these milestones amidst a highly-competitive prepaid environment by driving greater synergies across the two brands to offer more customer-focused and relevant services to the prepaid market,” said Cabreira.

She is known for her innovative approach, using insights about the target

Issa Cabreira heads the new Globe Prepaid Business Unit

Globe’s commitment to providing the best service for its subscribers free include numerous promotions and offers, including this recent tie-up with instant messaging giant Viber.

market, and an expert in making it easy for customers to get what they want. She strengthened TM’s position in the market with its customized offers and promos especially in the regions, where the brand has steadily attracted a strong base of consumers who look for value-for-money call, text and mobile internet services. In addition, Cabreira also led the launch of many ‘firsts’ in-market products like the All-Net offers for voice and text, validity plays, and extendable offers.

Cabreira also led in the area of customization for Globe Prepaid, where competitors find it difficult to follow. In the past, Globe launched its innovative quick service menu, *143# as a catch-all number for all its prepaid customers that allows subs to just remember one number when managing their prepaid account.

Globe also launched Globe Prepaid Load Watch, a free and automatic load notification service that allows prepaid subscribers to get free and automatic real-time load usage updates, so they are always updated of their load balance, therefore eliminating suspected cases of load theft or “nakaw-load”.

In addition, this year, Globe launched its fully customizable GoSakto prepaid promo, the first and only service in the country that allows prepaid subscribers to create and customize a prepaid promo that fits their needs, budget, and lifestyle. Globe has also recently announced the new GoUnli promo for their prepaid subscribers. The new service has unlimited Viber chat aside from unlimited calls and texts to Globe and TM.

a d v e r t o r ial

READY FOR HER CLOSE-UP Madonna Tarrayo, Unitel Productions, Inc. Straight Shooters Media, Inc. Words Mikhail Lecaros

As the President/Group COO of Unitel Productions, Inc. and Straight Shooters Media, Inc. Madonna Tarrayo may very well be one of the most powerful women in the Philippine production scene. With her attention to the bottom line and a keen eye for detail, it would be easy to mistake her for a strict corporate type. But, as Madonna tells adobo, she’s a softie at heart, a fact reflected in her newfound side career as a film producer.

“I’ve always enjoyed watching movies, and I love watching romantic comedies,” said Tarrayo.

“In fact, when I watch something like Notting Hill, I always think to myself, “Why can’t we do something like that here?”

Madonna would get her chance, when, after several years working on the business side of things, Unitel chief Tony Gloria asked her to serve as full producer on last year’s musical romp, I Do Bidoo Bidoo.

“I have so many more responsibilities now compared to before, but I’m enjoying myself more.

At the end of the day, it’s a matter of learning how to keep a balance of my personal and professional lives,” shared Tarrayo. No mean feat when one considers she’s also a working mom, and a cool one, at that! adobo can vouch for Madonna’s youthful energy; in the weeks leading up to her centerfold shoot, Madonna was giddy as a schoolgirl, helping to make sure every detail was perfect. As the fulfillment of a lifelong dream to be shot for a major magazine, adobo was all too happy to oblige. And when the time came to shoot, Madonna was as professional and fun a talent as we could have asked for.

So what other dreams does Madonna have to cross off her list?

“Well, people always laugh when I tell them this,” says Madonna, with a straight face. “But I want to act in a film someday!”

Photography Mark Nicdao Art Direction Victor Garcia Hair and Makeup by Juan Sarte Styling by Santi Obcena with James Reyes Venue DPI XL Studios Final Art Mark Nicdao and Victor Garcia Special thanks to Joey Torres, Denise Galoyo and Jai Garcia

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JoanNa Chan-mojica

Media ‘addict’ Starcom chief executive relishes pressure-cooker world

Joanna Chan-Mojica Chief Executive Officer Starcom MediaVest Group, Philippines

Few would disagree that the pressurecooker world of media is not for the faint of heart. It’s a 24/7 business where the explosion of media platforms is turning real-time marketing into the norm rather than the exception while consumers have gone from captive to mobile.

Be that as it may, there’s no other business Joanna Chan-Mojica would rather be in. The newly-promoted chief executive of arguably the largest media agency in town – Starcom Mediavest Group, as ranked by Recma last year – insists the pace and unrelenting demands actually make the industry quite addictive.

“I think I’m wired into agency life, the chaos. My DNA now craves for the chaos, the uncertainties of what happens in a day,” she said. “Once you get the virus, there’s no antidote. There is no single day that is the same and I am not exaggerating,” Mojica said by way of explaining her return to a media agency, Starcom in 2008, after a year-long stint on the client side with Coca-Cola, where she was a media manager.

Her time with the beverage giant came after more than a decade in media, having joined JWT under legendary Manila adman J J Calero before the landmark media and creative ‘divorce’.

While the psychology and marketing graduate from De La Salle University saw accounts as a default option – because “I can’t draw, I can’t write” – she was persuaded to try media when an opening popped up.

Before too long, Mojica found herself working under JWT media maven Minda Lansang, then VP for media. It couldn’t have been a better start for the newcomer. Some of today’s top names in media — cut their teeth under Lansang. Acknowledged as the Philippines’ media guru, Lansang brought art and science together long before it became an accepted part of media planning.

It was at JWT that Mojica experienced advertising’s big bang, moving to then newly established sister company MindShare, which became the genesis of what is today WPP’s colossal media investment vehicle, GroupM. Mojica was director of trading when she left GroupM in 2007. Along with the uncertainty, there was also immense excitement at having cut the umbilical cord. “We sort of developed two personalities (pre-divorce). When we were in front of our media partners, we were very bold. But when we are in front of our creative agency partners, we tended to behave like we were the last five minutes (of a presentation, then the description of media in pitches).

“Suddenly we were on our own. We had no one to run to for cover, no one to do a preamble in meetings – the small talk that sets the mood of the presentation.”

Necessity though has a way of forcing people to adapt. “I always say media mirrors life. When you are on your own, you try and pull things within you to be able to stand up and walk without other people’s crutches.

“After 13 years of independence, we are thriving… we have built a new future of communications experts and they’re not just technical experts but experts who understand human behavior when it comes to anything that is communications related.”

Having fallen in love with media, after getting over the initial shock that this was no 9 to 5 job, Mojica took to the role with a single-minded focus. “I remember when I had personal commitments and I said I would be there at 8pm – and at 12pm I would still be at work,” she said. She also remembered days when she would see Manila Bay’s famous sunrise from her office perch near Roxas Boulevard after working all night.

“We would have music to make it happy and the bay would be so serene, dark and suddenly you start seeing orange (hues). You

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Mojica’s standbys

Mad Men or reality tv?

Modern Family and Simpsons “I tend to go for lighter fare for appointment viewing.”

Print or digital?

Broadsheets. “Old habits are hard to break… in this country we like getting our hands dirty with the paper and ink.”

Playlist?

R&B and house.

“I got a driver two months ago because I never believed in having a driver. It used to be my therapy to drive and listen to music. I have two favorite stations I grew up with.”

Things we didn’t know about Mojica She is a breastfeeding advocate. “I breastfed all my three kids for a year and breastfeeding advocacy is one of the things I want to take on in the future if I have the time.”

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“He’s the reason I am where I am. He fills the gaps that I have not been able to perform because of the pressures of work.” pause for a while and go ‘wow it’s beautiful’ and then you get back into the rush of work.”

It’s a life that Mojica – now a mother to three young children, aged eight, five and a toddler – says she is still living today, thanks in part to a supportive husband, who was with GMA’s creative agency, has been a teacher and is now exploring his entrepreneurial inclinations with a marketing consultancy.

“He’s the reason I am where I am. He fills the gaps that I have not been able to perform because of the pressures of work.”

Paradoxically, she credits the hurly burly of media for making her an altogether calmer person, one able to see through crisis and challenges, whether personal or professional, with a clear head. “The discipline and type of skill sets you get here (in media) will empower you wherever you’re gonna go. For example, my family tends to get worried about certain things and I am calmer because my benchmark is different.

“For me it was an eye-opener when I started applying my skill set and discipline from media to my life outside work.

“But then I would say, ‘What’s the agenda?’.

No I mean ‘what are we going to talk about?’

Or I would say, ‘I think we should brief first’ instead of ‘let’s plan first’,” Mojica said and laughed at how easily she would slip into industry jargon.

It’s the same discipline Mojica uses to douse the proverbial fires that erupt on and off in a business where no two days are the

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same. A valuable lesson she learned early, and one she uses to this day, is to keep all parties involved on the same page when a crisis breaks. She finds this brings immediate clarity to the situation, helps in setting expectations and pinpoints actions that need to be taken.

“We don’t go through a blame game. It’s more a post review. I always say to my staff it’s ok to make mistakes – as the world we live in is so dynamic, so rich, so alive – just make sure it is not the same mistake.”

As she sees it, this is arguably one of the most critical business lessons she can impart to her agency. Her 22 teams of about 187 people manage a third of the country’s advertising spend, running into billions of pesos, “as if we own the money”. Adds Mojica: “I was brought up with a Minda Lansang model of integrity; everything by the book because everything is money. We are accountable down to the last centavo.”

On top of that, client conflicts run right across the company’s three separate agency brands.

“We have definitely perfected, so to speak, the conflict management processes and protocol that are third party audited such as separate floors, biometric access, firewalls and gardening leave to avoid staff moving to a competing account in the same category for a period of six months to a year.”

For Mojica, it’s all in a day’s work when she entered media, one that is as “addictive” as it was nearly 20 years ago.

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M e c k o y Q u i o g u e (1941-2013)

Farewell Meckoy Words by Cynthia Dayco Photos courtesy of Ina Quiogue, Rose de Guzman, Jojo Ramirez, and Karen Cesario

Meckoy made a career out of retiring. He would go through the rounds of announcements, parties, and tearful farewells. Weeks later, he would reappear, Phoenix-like, to head yet another TV network or ad agency.

Do that often enough, and people expect you to live forever.

His career was one for the books. This man went from client to agency to TV network, from local to expat and back, and he repeated each step thrice for good measure. He successfully introduced self-liquidating promotions, late night primetime, network-produced brand campaigns, and reinjected creative services back into media agencies.

And if that wasn’t enough, then consider: In an industry that can suck the life out of 20-year-olds, Meckoy prevailed for five decades.

Here was a masterful strategist and marketer who lived for the prospect of doing something no one else had done before. He always looked for ways to turn the game on its head.

First, he tinkered with his favorite resource, talent. A great judge of character, he hired agency alumni for TV networks, as he did with Lots Topacio, Rica Dalmacion, and Butch Villanueva; a guy like Marlon Manaol, for an all-female sales team; or a mainstream creatives like me, to lead GroupM’s Digital business development. Meckoy took delight in his counter-intuitive choices, especially when his gamble paid off.

A team culture, driven and open to ideas, was next on his agenda.

“Excellence is a habit,” Marlon quoted Meckoy.

The lone thorn in Studio 23’s bouquet of sales executives (like Tootsy Echaus Angara and Gia Apelo Ramos) explained, “Meckoy taught us that we should compete to win. Even for the smallest things.”

Meckoy presided at meetings that, as his marketing protégé Rica remembered, were “noisy, laughter-filled, and frequently included heated debates that always ended with us walking out energized, inspired, resolute and focused.” The

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next day, he would return with more ideas and start again.

As president of J. Walter Thompson, Meckoy couldn’t be as hands-on, so he empowered (decades before the word was coined) each suit, planner, and creative.

While the agency had proprietary tools, he encouraged everyone to devise their own solutions. He valued his people and their time; if clients were late for more than 15 minutes, he canceled presentations. He gave junior suits like Kiran Vaswani direct access.

Even janitors and messengers felt important, because on Fridays, they could call the president down for a game of basketball.

But empowerment meant you had to be “on”, especially at the receiving end of Meckoy’s critiques.

He was hardest on people before a pitch.

At GroupM, where he was CEO, I saw him leave media directors in tears; managing directors, at their wits’ end. In his open letter to Meckoy, Chuck Araneta wrote of GMA product development sessions where his boss “destroyed, mutilated, and twisted some of the ideas which we spent hours, days or even months working on”.

Eventually, people understood: Meckoy asked a lot of them, but no more than he asked of himself. They came back for more.

1962

1978 - 1980

1985-1987

1987 - 1989

Sales Executive, Supermarket Promotions Connell Brothers Co. (Carnation Milk)

Marketing Manager, 1978-1980 Marketing Services Manager, June 1976 Advertising & Sales Promo Manager, 1975 Sales Promotions Manager, 1974 Coca-Cola

Vice President & Division Manager BVY Group California, U.S.A.

Vice President, Management Supervisor for Unilever Accounts J. Walter Thompson Company (Phils.), Inc.

1963 - 1967 Senior Account Manager, 1966-1967 Account Manager, 1963-1965. J. Walter Thompson Company (Phils.), Inc.

1967 - 1971 Brand Manager, 1967-1968 Product Manager Phil. Refining Company / Unilever

1969 - 1971 Product Manager Phil. Refining Company / Unilever Handled Breeze, the biggest company brand as well as Lux toilet soap.

Introduced the first real self liquidating

promotion in the Philippines.

1972 – 1974 Marketing Manager Levi Strauss Phils., Inc. Introduced Levis in the Philippines.

Developed and executed a plan that made CocaCola Number 1 in 1977 after 15 years of Pepsi market leadership.

meckoy through the years

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Zylos was a men’s contemporary wear line, and the first Filipino apparel brand carried by Macy’s and other US department stores.

1987 - 1989

Responsible for servicing of Unilever PRC account which accounted for 25-30% of total agency bills

1991 - 1994

Jourdan Et Cie Gentex Compound

President & Chief Operating Officer J. Walter Thompson Company (Phils.), Inc.

Established the first successful fashion merchandising group in the Philippines.

Won 17 straight pitches enabling

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Chuck said, “It was because we believed in you. I believed in you. When you joined presentations… you talked about our ideas as if they were the best on the planet. You showed us that you would stick with us, no matter what.”

Impassioned tributes like Chuck’s are not rare. On Facebook, scores of colleagues and former staff posted cherished memories of “MPQ”, like flowers on a grave. Some of us are marketing directors, heads of sales, captains of our proverbial ships, and our stories of his leadership and generosity came pouring out: Overhearing that a creative had found her dream house, Meckoy advanced her down payment so she wouldn’t lose it.

He came to the aid of a media director whose father needed surgery, after everyone declined to give her a loan.

Recently, Shu Manalo consulted with him on a business idea. She said, “It took no less than a few minutes of listening before he said, with utmost sincerity, ‘Use me. Use my name.

When you sell (your idea) to a client, I will front for you’.” She couldn’t believe her ears.

For me, nothing says more of his love for people than his last days at J. Walter Thompson.

May Tobias Papa, then an art director, received a handwritten farewell from Meckoy.

JWT to become no. 1 advertising agency, and awarded Agency of the Year, as well as J Walter Thompson APAC’s Agency of the Year in 1993.

1994 - 1997 Vice President – Division head, Sales & Marketing ABSCBN Broadcasting Corporation

Turned previously unsaleable late primetime to contribute significant revenues which had become necessary due to saturated loads of other time slots.

1997 - 2002 Managing Director Studio 23 Established the first successful niche channel in the Philippines. Despite the lack of ratings, Studio 23 became

She recalled, “It was inspiring, uplifting and very personal, and his letter made me feel really special…for about five minutes. Because it took me that long to realize that he’d written goodbye, I think, to everybody in our office.”

Such stories make us smile. They speak volumes of the relationships he built and the qualities that enabled him to stay on top of his game for as long as he did, for as long as he lived.

As Shu wrote, “The man was too big for most of us, but he was always so willing to offer his time and his enthusiasm to fuel someone’s spirit, to make someone feel special, to drop the subtle hint that things will be OK.” Do that often enough, and people remember you forever.

Happy retirement, Meckoy.

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“People understood: Meckoy asked a lot of them, but no more than he asked of himself.”

Today, Marlon Manaol is a sales director, while Chuck Araneta is a senior product development specialist, at GMA Marketing and Productions, Inc. May Tobias Papa is an author of children’s books. Rica Dalmacion and Shu Manalo are marketing and creative consultants.

Former adobo magazine editor Cynthia Dayco is now head of MEC Interaction.

Since working for Meckoy Quiogue, their lives have never been the same.

profitable on the third full year, a year ahead of schedule.

1997 - 2002 CEO – Narrowcast Group ABS-CBN Narrowcast Group Studio 23 was the lead company in the group, with ABSCBN Publishing, ABS Interactive, and cable channels such as Lifestyle Channel, Cinema One and ANC as the other platforms in the group.

2002 - 2009 President & Chief Operating Officer GMA Marketing & Productions, Inc. Part of core group that plotted strategies of GMA in 2002 to achieve ratings

leadership in 2004.

Increased sales of GMA from 3bn in 2001 to 12bn pesos in 2009.Responsible for positioning and establishing QTV, a Woman’s Channel.

Introduced the creative-and-talent services offerings of TV networks to clients.

2012 - 2013 Chairman & CEO GroupM Philippines

three years ago to about 48%, due to the acquisition of the Jollibee Food Corporation accounts and agencies Netbooster and Masscom. This 48% market share is unprecedented in the country.

2013 Chief Commercial Officer,Solar Entertainment Corporation

Helped grow its market share from less than 30% just

meckoy through the years

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trendspotting

Mark Viña Soundesign

Sid Maderazo 88Storey Films

Photographer: Ryan Sulit Stylist: KC Mempin assisted by Mayrae Will for Miss Kayce Make-Up Artist: Nadj Zaragoza Hair Stylist: Missy Rivera Art Director: Ricardo Malit Venue: Car Porn Racing

Andro Blay Soundesign

Ian King Collective Ego, Wreckless Nation

When it comes to mixing high performance machinery with hand-eye coordination, there are very few things in this world that can beat the sheer visceral of driving fast. Whether working on a project or hurtling down a speedway, presented here are some industry practitioners who know firsthand the pure, unadulterated thrill that comes with being in control.

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BONG OSORIO

BONG OSORIO is an active marketing and communications practitioner, educator, and writer. He currently heads ABS-CBN’s corporate communications department, and is a professor at the University of Santo Tomas, as well as a columnist at the Philippine Star.

Logic & Magic

Are you cool?

What creates space in your mind is usually what is novel and unusual. It brings a differentiating element that gets embedded in your head that is assaulted with all kinds of messages. Al Ries and Jack Trout call it a unique positioning, and to achieve uniqueness, be bought or win awards, you have to be unlike any other; and you cannot be a “me-too”, a second-best, or a challenger forever. You have to constantly innovate based on what your conversation or dialogue is with your customers and stakeholders to stay “cool”.

But what exactly is ‘cool?’

Marketing hot shot Noah Kerner and fashion visionary Gene Pressman look at ‘cool” as more than a state of mind, a celebrity fad, or an obsession — it’s a business. In the corporate world, product managers are examining vodka bottles and candy bars, tissue boxes and hamburgers, wondering how they can be made cool, or how a product or a gadget can be turned into “the iPod of your industry”. Cool comes out of the dream, the inventiveness and the originality of people with great ideas who stick to their guns.

You are “cool” if people are in love with you. The analogy of being the iPod in today’s marketplace is “cool”. There is no denying that no matter how remarkable or innovative your product is, the public will not bite unless its promotional campaign is properly scheduled and

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managed. Mac timed the release of the iPod perfectly; and because of this excellent “surprise release”, the public fell in love with it; and the iPod became one successful musical product launch in recent marketing history.

“Cool” is anti formula. The essential qualities of “cool” are akin to the ingredients of a triedand-true recipe: Authenticity, passion, spontaneity, and willingness to take risks. It is the result of a process, not a strategy that can be designed and implemented.

“Cool” entails going all-out for the next big thing. It can also be the most up-to-date look or the most notable achievement.

They are great things to bring to your self, but with all these, you should be ready for a life that is overscheduled, overworked, and overspent.

“Cool” is enormously functional in business. Apple takes coolness to the bank every day. Facebook, Twitter, Nike, Coke, Havaianas, Lady Gaga, Philippine daytime soap opera Be Careful With My Heart, and Coco Martin, among others are “cool” because of

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the effortless way they bring themselves closer to people’s hearts. If you’re visibly trying too hard to be “cool”, you’re not “cool”.

“Cool” is achieving relevance to a particular group. Anne Curtis is the coolest thing ever to her fan base and Twitter followers, as Vice Ganda is to his. Some may not fully understand why they resonate. But the fact is: There is no objective and definitive meaning of “cool”. As Kerner and Pressman insist, “Never was.

Never will be.”

The only way to build a true communion with an audience – to point where they might deem you or your work “cool” – is to follow a personal vision and stay true to that vision no matter what.

And if your completely off-thewall idea gets old, come up with another one.”

“Cool” is winning a Cannes, an Araw Value, a CMMA or any legitimate award for legitimate work.

Cool!

MO V ER S

#

2012 ADOBO CREAT IVE R ANPE KIN G SE O PL

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The 2012 adobo Creative Rankings It is with deep regret that adobo magazine is suspending further publication of the results of the 2012 adobo Creative Rankings due to the discovery of significant discrepancies in the compilation and tabulation of submitted data.

Rest assured that adobo magazine is now taking the necessary steps to put things in order so as to preserve the integrity of the Rankings.

adobo magazine extends its humblest apologies for any inconvenience caused and thanks you for your continued support and understanding.

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T H E F I RM

Taproot’s Agnello Dias (standing) and Santosh Padhi

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An upstart on a roll Critical acclaim came quickly for the former indie outfit that reunited two highly decorated creatives who were also firm friends Words Sharon Desker-Shaw

Bringing home your country’s firstever Cannes Lions Grand Prix is usually a surefire way unlock a great many doors to new opportunities.

For India’s advertising wunderkinds Agnello Dias and Santosh Padhi, however, the unthinkable happened: The trophies ended up delaying well-laid plans to ditch their big network agencies, enviable compensation packages and other perks, to bankroll Taproot, a Mumbai-based ad agency upstart that ended up paying off handsomely for the pair.

Aggie and Paddy – as the pair are known in the industry – were colleagues for nearly a decade at Leo Burnett India. But after lengthy stints with network giants, they were hungry for the kind of creative experimentation that would break new ground. In short, they were aiming for the scrappy indie spirit that branded legacy agencies, strapped down by processes, systems and large teams dependent on the networks for their livelihood, struggled to deliver.

“After sometime, the whole process of heading a large global agency in its largest market became too non-creative a job for me,” recounted Dias, the commerce graduate–cum–ace–copywriter who led JWT’s creative department for nearly three years before taking the plunge. “I pondered whether this was the way things went in this career or whether I still had a bit of juice left in the tank, a bit more creative fuel that needed to be drained before I moved on to a more coach-like job. I felt this was not going to happen at JWT.” As chance would have it, Padhi, then executive creative director and national head

‘Farmer Suicides’ Illustrated to sharply reflect its rural subject matter – India’s poverty-striken farmers driven to desperation – the Times of India fund-raising campaign took home 4 Golds and a Silver, the largest haul by an Indian agency to date.

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taproo t

“Creative people operate from the heart. No figures and numbers can impress them but somewhere during the course (of negotiations) we both felt connected with them.”

01 ‘Kathak’ 02 ‘Rajasthani’ 03 ‘Sadhu’ The Conqueror Paper series was a firm favorite on the awards circuit.

With wins from Cannes, Clio, AdFest and Spikes the work is one of the most awarded from India.

01

02

03

of art at Burnett, was himself entertaining thoughts of reuniting with his erstwhile partner.

Notwithstanding the formidable demand for scale in a market the size of India, a requirement that plays to the strengths of network giants, the pair was itching to bet on their indie ambitions. “The risks would not be too great because we both were the sort who could do with the bare social necessities in life,” says Dias.

But life has a way of throwing a curve ball to the best-laid plans; this time it came in the unlikely form of a coveted Lion trophy.

At Cannes 2008, the would-be partners found themselves unexpectedly basking in the glow of their shiny Lions – Dias had nabbed India’s first-ever Grand Prix with the ‘Lead

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July-August 2013

India’ campaign and Padhi won the nation’s first-ever Cyber Lion.

“We came back and felt guilty thinking it was going to look opportunistic if we announced the new set-up immediately.

Nobody was going to believe us if we said we thought about it before,” Dias recounted.

Eight months would go by before the pair would finally take Taproot to market in early 2009, hardly the best of times after the previous year’s global financial crisis had driven India’s once buoyant economy into a recessionary ditch.

Even the mother of all financial upheavals failed to faze the co-founders. They were determined to slog through the downturn and come out on the other side rather than backtrack, especially after the initial delay had cost them the name for their venture.

Roots had been their first choice. It was laden with meaning – it spoke of their indigenous origins in a market dominated by global players as well as the pair’s return to their creative roots after a stint in semimanagerial roles. But another agency had the name on its door by then.

Fortunately, Taproot was not only available but packed a bigger symbolic punch. It is after all the main root from which all other roots draw their sustenance.

As it turned out, the recession wasn’t an entirely bad thing. Forced to re-evaluate their strategies in a depressed consumer market, clients were demanding more creative approaches to knotty marketing problems, which played to the pair’s formidable creative strengths, further burnished by their respective Cannes coups. Dias has since added another feather to his cap. He’s the only Indian

T H E F IR M

tapr o o t

to make the 100 Most Creative People in Business 2013 list compiled by US technology, innovation and leadership e-magazine Fast Company.

But the downturn also meant clients were looking to cut costs and saw the start-up as a cheaper alternative to their considerably larger network rivals with multiple service offerings under one roof.

Taproot’s big break came when the Times of India, the country’s leading national daily, demonstrated “unconditional faith” by adding the start-up to its roster of more than 10 agencies that work on its many brands. Both had worked with the company that would become Taproot’s anchor client. Dias’ Grand Prix ‘Lead India’ campaign was in fact crafted for the group’s publisher Bennett Coleman.

Taproot has since added a new milestone to the relationship with ‘I am Mumbai’, a highly-charged TV campaign that dramatized the crusade against corruption and scams mounted by one of the group’s titles.

“I Am Mumbai’ went on to strike gold at Cannes and London International last year and AdFest this year.

Before too long, the agency was on a roll.

The likes of PepsiCo, DTH, Unilever, Sony, DeBeers, Nike, Heinz, Conqueror Paper and Johnnie Walker, among others, came knocking for Taproot’s brand of creativity.

Bharti Airtel handed it a sizeable mandate to change its branding.

Going by the way the pair has set up the agency, it’s clear Taproot’s structure is atypical in the industry. Reports out late last year noted that as many as 30 of its 33-person team were creative talent compared with the industry norm of about 40% of a typical agency.

“It’s all about ideas these days,” says Padhi.

“No client is looking for a 20-storey glass and chrome agency building with 2,000 people working for them if none of them are passionate about the client’s business.

“More clients are also looking for personal attention… it’s the cherry on the cake when the

87

04 ‘I am Mumbai’ This visceral piece of film for Times of India’s Mumbai Mirror riveted Cannes audiences when it was screened last year, winning a clutch of awards across major shows.

04

person who takes the brief is also the person who works on it.”

Few clients would argue with the approach especially with Taproot bringing home Gold within a year of launch. With wins from Cannes, Clio, Spikes and AdFest, the series of Conqueror Paper ads was ranked the 11th most awarded campaign in the world in the 2011 Gunn Report. Cannes 2013 again produced new critical acclaim, again for longstanding client, Times of India – ‘Farmer’s Suicides 1,2 and 3’ created history, winning four Golds and a Silver, the biggest haul to date for an Indian agency. In fact, the indie shop has a habit of rewriting the record books on Indian advertising – along with winning the Best Creative Agency of the Year and South Asia’s Best Creative Agency of the Year from Campaign, the shop became the first from India to nab AdFest’s Creative Agency of the Year award this year.

If the first five years were about building the agency’s name, its USP, the coming years will be about expanding its largely advertisingcentric offer to new disciplines.Dentsu, which took a 51% stake in the agency last year, will

Agnello Dias

be key to Taproot’s forays into new service areas such as the newly-launched Square Root Design vertical. “Design is relatively new compared to other media in our country.

Brands have discovered the need of great design at every consumer interface. There is a great need of design and aesthetics while keeping the brand philosophy in mind in a cluttered and massive market like ours,” Padhi said.

The pair were sold on Dentsu for a variety of reasons in a deal that reunited Dias with former JWT alumnus Rohit Ohri, currently Dentsu’s executive chairman in India.

“Creative people operate from the heart.

No figures and numbers can impress them but somewhere during the course (of negotiations) we both felt connected with them,” said Padhi of one of several suitors that came courting over the years. “They came across as more human, more real, genuine and they agreed to most of what we wanted – the freedom, the management control.

“Plus they are one of the most futuristic digital companies in the world, and India is just starting the journey.”

Santosh Padhi Paddy, the other half of the partnership, is often hailed as one of India’s best art directors. His work is bold and confident, making for a distinctive style that is apparent in visually-led work for Conqueror Paper and ‘Farmer Suicides’. He spent a decade at Leo Burnett most of it working with Aggie, as the agency’s ECD and national head of art, before launching Taproot.

Aggie, the one-time commerce graduate turned ace copywriter, has become one of India’s most decorated creative talent during stints at Leo Burnett and JWT. He brought home India’s first-ever Cannes Lion Grand Prix for ‘Lead India’ while at JWT, and crafted the visceral ‘I am Mumbai’ film, both for Times of India brands. Dias was the only India to make Fast Company’s 2013 Top 100 list of the Most Creative People in Business.

July-August 2013

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T H E F I RM

ce b u ana Lhui ll ier

L-R: (seated) Ergie Ong, Chief Information Officer; (standing) Leo Escano, Vice President for Operations; (seated) Danny Francisco, Executive Assistant to the President; (standing) Rommel Bernardo, Chief Finance Officer; (seated) Jean Henri Lhuillier, President and CEO; (standing) Michael Sena, Group Head for Integrated Marketing and Communications; (standing) Gigi Teves, Senior Adviser to the Chairman and President; (seated) Marissa Ancog, Group Head for Corporate Planning.

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cebuana Lhui ll ier

C E B U A N A

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L h u i l l i e r

Not your father’s pawnshop How a legacy brand is retooling for the future Words Mikhail Lecaros Photos Chris Yuhico

“While I have experimented with some other things, I’ve always sort of known, growing up, that I would be running the business,” says Jean Henri Lhuillier president and CEO of Cebuana Lhuillier. Jean Henri is a busy man – in addition to running Cebuana Lhuillier, he is the honorary consul for the nation of San Marino to the Philippines, and counts sports and philanthropy among his numerous pursuits.

A fully qualified gemologist, Jean Henri took over the reins of the company from his father, current Philippine Ambassador to Portugal Philippe Jones Lhuillier, who had previously taken over from his father, former French Consul Henry Lhuillier, who started the business in 1935. It was then, in the Queen City of the South, Cebu, that Henry opened the doors to his first Agencias pawnshop. Over the years, more branches in Cebu and the surrounding provinces would follow, laying the foundation for what would eventually become the family business, and a mainstay on the Philippine pawn brokerage scene.

Jean Henri reminds adobo that while pawn brokerage remains the core business of Cebuana Lhuillier, it is no longer the sole service the company offers.

It was in 1968 that the Lhuillier family business came to Manila, as Phillipe opened the first Lhuillier pawnshop at Libertad Street in Malibay, Pasay under the trade name Agencia Cebuana. As branches multiplied throughout the country, the trade name Cebuana Lhuillier was adopted in 1987. Today, the Lhuillier network has branches up and down the Philippines, from Aparri to Tawi-tawi, with an average 30,000 clients serviced daily.

Indeed, under Jean Henri’s stewardship, the company his forebears built has made customer service, whether online or in-person, a top priority, a move that has not gone unnoticed. Indeed, Cebuana Lhuillier was the recipient

July-August 2013

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ce b u ana Lhui ll ier

01 Coco Martin in the 'Re-meet' campaign 02 Sarah Geronimo in a Lhuillier tv spot 03 Cebuana Lhuillier president and CEO Jean Henri Lhuillier has moved the company forward by introducing new services and marketing strategies.

01

02

“What works in the Northern provinces may not work in the South, and we’ve learned to adjust accordingly.” adobomagazine

of the 2012 International Service Excellence Award in the Large Business Category from the Customer Service Institute of America.

Aside from excellent customer service and an expansion in services offered, Jean Henri says the secret to the company’s success is being where the clients need them; because of their long experience doing business in and around the Philippines, Cebuana possesses a localized expertise that many looking to enter the same line of business would find difficult to match. “What works in the Northern provinces may not work in the South, and we’ve learned to adjust accordingly.”

Jean Henri went on to share with adobo that getting the company to this point – in terms of services offered and branches opened – was a combination of pre-existing expansion plans and a response to the needs of the market, as well as an open mind when it came to the adoption of new technologies to carry out traditional transactions.

July-August 2013

Indeed, a method by which Cebuana is leading the way is in its willingness to fully embrace the digital era, utilizing the Internet, social networks and even SMS to move customer service beyond the individual branches and carry out practically real time communication with clients. “Thanks to SMS, we can carry on with transactions, even in the event of a brownout, which is something none of our competitors can do,” says Jean Henri.

While times and technology may have changed since Jean Henri’s grandfather first opened Agencias in the 1930’s, what hasn’t changed is the company’s dedication to its customers, as shown by their proud adoption of the tagline, ‘Walang Kapantay Magpahalaga’ (no equal in service)” in 2008.

In recent years, Cebuana Lhuillier has begun taking on celebrity endorsers to showcase their brand and educate the public about their new services. The first of these was singing sensation Sarah Geronimo. More recently, Coco Martin was added. Himself a former OFW who would have had use for Cebuana Lhuillier’s new money remittance services, Martin stars in ‘Re-Meet’, a campaign which – aside from possessing a fabulously clever play on words for a name – managed to win audiences over with its simultaneous play of wit and heart.

The scenario is thus: The relative of an OFW approaches the counter at a local money remittance outlet, ready to pick up the hard-earned cash that has been wired to him from across the world.

It is here that the scene diverges from

cebuana Lhui ll ier

“We started as a pawn company and have now evolved into a financial service network.”

reality to deliver the first of two surprises.

To the shock of the relative, primetime TV star Coco Martin appears behind the counter to process the remittance. The relative’s incredulous laugh has barely dissipated (and the ramifications of what must be Cebuana Lhuillier’s astoundingly over-the-top hiring policies have yet to hit him) when Martin steps aside to let a new player enter the remittance tableau: The OFW who sent the money from abroad is here in the store, in the flesh, and he proceeds to hand over the cash he himself remitted to his now-openly weeping relative.

To say that the ad series was well-received would be an understatement, as thousands of

03

Filipinos across the social world shared the spots.

“Even before this series (of ads) with Coco Martin, we felt that we should have ads that cater to emotion, showing that the “caring” aspect was crucial, says Lhuillier. “What we discovered when we entered into money remittance, was, compared to, say, pawning a piece of family jewelry, the process here was very unemotional, almost business-like.

What we asked the agency to show was that the act of money remittance was an emotional experience, one that millions of Filipinos go through every day.”

The scenario in the ‘Re-Meet’ spots isn’t the cold financial transaction of yore that Jean Henri described; this is, for better or worse, a slice of Philippine life, encapsulated, captured and broadcast to depict a heartbreakingly familiar story. As conceived and executed, ‘Re-Meet’s’ emotion is palpable, and the reactions garnered, genuine.

The decision to go for a reality TV-feel is one that Ace Saatchi & Saatchi’s executive creative director, Andrew Petch, feels helped to sell the base idea.

“What we saw here was a very rare opportunity to show something that, in a lot of ways, only really applies to the Philippines, as so much of the money that is remitted here is sent by families who are separated by necessity,” says Petch. “The thing that really sold it for me was the idea to make it real. To take real people and just go for it, that would take it to another level.”

So what’s next for Cebuana Lhuillier, the company the Guinness Book of World Records listed as being the largest chain of pawnshops in the world?

“We started as a pawn company and have now evolved into a financial service network,” says Jean Henri, with the confidence of man who has taken chances and come out on top.

“Yes, competition is there – there are more pawnshops around now than 10 years back – so in order to differentiate ourselves, we had to offer different services. We started out (the evolution) with insurance, before moving on to money remittance and bills payment. The pawn market has evolved, and we’ve had to change our model to meet those needs.”

With decades of experienced service, scores of customers and numerous awards to their name, it would seem that the ball Henry Lhuillier started rolling in 1935 is still moving strongly ahead, well-prepped to meet the challenges of the 21st century and – more importantly – eminently equipped to address the needs of the Filipinos living in it.

July-August 2013

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more than a pawnshop

The first of its kind in the pawnshop and remitance industries, the 24k Rewards Program is a point based rewards program for Cebuana Lhuillier customers.

Based on the belief that education is the most important brick in building a successful future, Cebuana Lhuillier regularly supports education programs with initiatives such as this ‘Balik Eskwela’ promo.

p.j. Lhuillier Inc., corporate group head Marissa Angcog recieving a plaque of appreciation from Smart Communications Inc. commemorating the companies’ partnership, dating back to 2010 when Cebuana Lhuillier first began offering Smart Money Services in their branches.

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I N T E L L I G E N CE

i n t e l l i g e n c e

Shopping habits

More supermarkets are opening, changing local shopping behavior

adobomagazine

Frequency of grocery shopping 2012 vs 2011

37%

Weekly

Daily

45%

29%

2012 2011

20%

Every month

Every 2 weeks Every month

4%

2-3 times a

7%

Never

2012 Average (per month) 2.49 2011 Average (per month) 2.61

19%

18% 27% 14% 13% 9% 15% 22%

Less often

18%

Less often

3%

Weekly

39%

Every 2 weeks

Frequency of Buying Few Items/ Top– Up Trips (Among Supermarket/Hypermarket Shoppers)

39%

17% 1% 2%

2012 Average (per month) 7.59 2011 Average (per month) 2.73

Source Nielsen Shopper Trends Report

Shopping Frequency among Main Grocery Shoppers (Among Supermarket/Hypermarket Shoppers)

Point of origin and mode of transportation to supermarkets

1%

1%

3% 7%

Home Office/Work School Friend’s Home 88%

July-August 2013

Others

Ride a Jeepney

32%

Ride a Tricycle

28%

On Foot

21%

Ride a Motorcycle

7%

Ride a Private Car/Van

4%

Ride a Bus

2%

Ride a Bicycle

1%

Others

4%

Source Shopper Trends Report

Manila Nielsen Philippines has tracked changes in the way Filipinos shop for groceries, noting an increase in the frequency of trips to supermarkets as this modern retail channel expands across the country.

Its Shopper Trends Report found that although Filipino shoppers replenished their pantries twice a month – from 3 times a month previously – they were heading to supermarkets 7 times a month.

“I believe the increased trips to supermarkets is a direct result of a couple of factors – more supermarkets have opened particularly in provincial areas, and secondly as shoppers try to be frugal with their spending they often cut back on their shopping only to discover they have forgotten something or run out and go back to the supermarket to ‘top up’,” explained Nielsen Philippines managing director Stuart Jamieson. “We are seeing a move from buying additional essential items from the neighborhood sari-sari store to shopping in the supermarket, which is now also in the neighborhood.”

Respondents also revealed that they increased their monthly spend on food, grocery and personal care by 8% in 2012.

“The perception of shoppers that prices have stabilized plus factors such as introduction of new products or brands and promotions made sticking to the shopping list a challenge.”

In 2012, the proportion of early adopters or those who look out for new brands and products increased from 9% to 15%. 3 out of 10 shoppers are promotions driven, although for brands that they already like. “The dramatic increase in the frequency of grocery shopping in supermarkets presents more opportunities for manufacturers and retailers to interact with shoppers,” Jamieson noted.

“This means manufacturers need to look at which parts of the supermarket are being visited more frequently and maybe adjust their in-store activation strategies to target those areas of the supermarket.”

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PRECISION & PASSION

July-August 2013

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M ARK E T I N G

QSR mentions March- May 2013, Philippines Share of Voice 2% 5%

SOCIAL MEDIA TR ACKER

Fastfood is king Jollibee is undefeated hometown favorite MANILA Fastfood is king in the Philippines but only one in the cluttered quick service restaurant category has the crown, as Ci8’s tracking of local social media chatter shows.

With 783 outlets, Jollibee remains the undefeated hometown favorite, commanding a 70% positive sentiment while its biggest competitor, McDonald’s, came in a distant 4th. Wendy’s appeared to fare better than its US rival with a 60% positive rating during Ci8’s evaluation of social media chatter between March and May this year.

On the flip side, Jollibee and its foreign rivals – KFC, McDonald’s and Wendy’s – had remarkably low negative sentiment scores, at just 4%.

It was a different story for Jollibee’s sister company Chowking. It scored the highest negative mentions of the five brands tracked.

“The negative mention count is still quite low – 10% – and was largely based on mentions of service and facilities,” said Mark MacKenzie, managing director of social media research company Ci8.

In a market that loves its chicken meals, KFC unsurprisingly scored the top product

mentions for its Original Recipe meal and Krushers.

While McDonald’s has struggled to break Jollibee’s grip since entering the market more than 30 years ago, it can at least savor two tasty nuggets – the chain’s French fries was the most talked about QSR product on its menu, helped by a combination of the taste factor and a humorous product-specific spot like ‘Eyes On Your Fries’, featuring its latest celebrity endorser Nonito ‘The Filipino Flash’ Donaire.

McDonald’s also commanded the greatest share of voice among the five brands no doubt helped by its healthy advertising spend on campaigns such as the upbeat ‘Hooray for A G AME O F Today’. Some 1,000 NUMBERS McMuffins were handed out free in some 300 participating McDonald’s stores in Number of March as part of its first Jollibee stores nationwide, breakfast activation. while Chowking The push appears has 389 outlets to be paying off: McDonald’s mentions were even throughout the day, but ahead of competitors during Targeted number breakfast and late night/ of McDonald’s early morning hours. outlets by 2015 While fastfood has been increasingly vilified in Western markets, there were few healthrelated mentions in the Wendy’s projects Philippines. “It was less sales of more than 1bn pesos than 1% – fastfood is this year as it king for Pinoy netizens,” grows its network said MacKenzie. to 50 stores

783

500

P1bn

21%

12%

60% Chowking Jollibee KFC McDonald’s Wendy’s

Top product mentions McDonald’s 67%

11%

10% 12% Mc Float Burger McDo Cheese burger McDonald’s Fries

Jollibee 20%

30%

25%

25% Spaghetti Fries Ultimate Burger Steak Chicken Joy

www.ci-8.com

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July-August 2013

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M AR KE T IN G 95

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marketi n g 2 0 2 0

Data and creativity will become ‘friends’ Data mining and analytics cited as must-have skills

CANNES Havas Media offered up what should be a frightening statistic for anyone in the business of building brands, whether agency or marketer. 73% of brands globally would not be missed if they were to suddenly disappear, its Meaningful Brands study found as the industry struggles not only to get to grips with a radically altered media landscape but with indifferent, if not skeptical, consumers.

A real part of the problem is that brands are not delivering what people want. Instead, they deliver what they always have: The same old combination of faster/bigger/newer, Havas said following the release of the 2013 study.

What consumers want though are brands that are meaningful and improve the wellbeing of their lives in a tangible, significant and fulfilling way, an insight that gels with findings from a CMO Roundtable at the Cannes Lions, the first in a planned series as part of a Marketing2020 research initiative that aims to develop best practices for the industry to focus on and find ways to organize and support their business growth.

73% of marketers, according to Marketing2020 research, believe that brands with a societal purpose drive business growth.

It is a shift that the industry has picked up.

Judging by awards submission, brands and agencies are increasingly producing work with strong social responsibility themes. And such works have been well rewarded across the awards season. A sizable number of Grand Prix winners fell into this category from the Philippines’ ‘TXT BKS’ to Brazil’s ‘Immortal Fans’ and France’s ‘Bench/Shelter/Ramp’, in which outdoor ads doubled as street furniture to make life a little easier for folks.

Other key findings of the survey were: •Technology developments drive massive change in the way marketers develop value propositions and connect with consumers • Data mining and analytics are the

capabilities marketers most want to develop over the next five years “We are going to see the logical extension of current trends playing themselves out fully: Technology will continue to surprise, the line between technology and media will blur even further, audiences will polarize between very mass and very niche, social responsibility will become a bigger part of brand choice, data will skewer everything, privacy will become an even greater concern,” Bob Jeffrey, chairman and CEO of JWT Worldwide, told adobo. “Understanding how to generate insights from big data, make it simple and engaging for consumers fits really well with agencies’ skills sets and practices.”

Yet, while technology has expanded the horizon of insights and solutions, it has also opened the door to immediate customer feedback, a challenging and now unalterable part of the marketing landscape.

“It will require agencies to develop a culture that embraces data in the process of creating ideas, and a culture that embraces effectiveness in the process of evaluating ideas. Contrary to popular opinion, data and creativity will become ‘friends’, using and informing each other in an ‘always on’ world,” Jeffrey observed. “Agencies will need to fail faster, learn faster and move faster in response to that.”

Jeffrey though sees a turning point from more than a decade of technology upending the communications business. “We are leaving behind a period when so many things have been uncertain. The influence of the internet is now clear, the effect on the ‘interruptive’ model is well known, and the need for a fully global view of the world is transparent. That means there will be less reliance on hunches, opinion and guesswork when it comes to developing communication.”

Marketing2020 also forecast a greater role for brands despite increasing consumer

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July-August 2013

“Understanding how to generate insights from big data, make it simple and engaging for consumers fits really well with agencies’ skills sets and practices.”

- Bob Jeffrey, chairman and CEO of JWT Worldwide

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tech’s helping hand

information and global transparency. “For a while, marketers have employed tactics that are fashionable or technologically possible, rather than relevant to building their brands,” said Jeffrey. But he believed flash-in-the-pan executions and tactics would eventually give way to more informed brand-building tactics.

Marketing2020 also appeared to answer agencies’ long-held wish for greater C-suite access – it anticipated a greater role for creative and agency partners in marketing organizations in the future.

“The need for brand understanding and wisdom about how communications work is going to be just as important as the rise in social media and its interactive experiences,” said Jeffrey, acknowledging a fix would be necessary across the communications sector. “In the past agencies needed to be experts in content creation within one channel – predominantly TV advertising but even today there are agencies specializing in one channel like social media, or mobile, or gaming.

“The future is increasingly about expertise between the channels; knowing how channels interact, how they should be best synced together, how they create a coherent experience through the purchase process to build a brand. Knowing how communication works in the broadest sense is going to be the agency trump card rather than just knowing how to execute a piece of communication.”

But observations by Mondeléz International’s Dana Anderson suggests there are other areas in the relationship needing an overhaul before agencies can play a greater role in marketing organizations.

“We can see into each other’s worlds and I’ve come to the conclusion that we don’t see in very well,” said the former adwoman and now SVP for marketing, strategy and communications during her Cannes 2013 session, ‘Making it Work When it Isn’t’.

Her message to both sides underscored the need for collaboration and generosity: “I want you to think about collaboration and the power of being one instead of two.”

“We can see into each other’s worlds and I’ve come to the conclusion that we don’t see in very well.”

- Dana Anderson July-August 2013

Work ‘Missing Children’ app Agency JWT Beijing Developed in partnership with the missing children site Baby Back Home, the app utilized facial-recognition technology to help identify missing or kidnapped kids. Anyone who owns a smartphone can become an instant search volunteer just by taking a photo of a child they suspect may be lost or stolen. The app will then compare it to Baby Back Home’s missing persons database to identify a match. The work won three Lions at the 2013 show –1 Gold and 2 Silvers.

Work Pedigree ‘Doggelganger’ Agency ColensoBBDO While New Zealand pet shelters were successful with pet adoption drives, the large numbers of abandoned pets that turn up each year prompted the need for something new: Enter ‘Doggelganger’ from Pedigree, which wants to make the world a better place for dogs. Using “hard-core’ facial technology’ – the kind that is used for anti-terrorism and border control, ‘Doggelganer’ would match pets with people looking to adopt since people and their pets share personality and physical traits. People uploaded their image, which were matched with canines awaiting adoption. When a match is found, the likeness will be rated and a time and place set for human and dog to meet. By partnering with shelters all over the country, Doggelganger now hosts the largest database of homeless dogs, giving them the very best chance to set up the vital first meeting in the journey to finding them a new home.

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M ARK E T I N G

adobo Sidedish 01

12

03 05

04 06 08

Marc O’Connor Soong Executive Director Jaguar Cars Inc

09

10

What is the one thing that will surprise people about you? I am part Irish. My lovely mother Maureen is an O’Connor. And yes, people get shocked. So I am Filipino, Irish, Chinese and some other things in between.

02

What’s your guilty pleasure? I love to cook, feed, and simply take care of people at home or anywhere in the world.

11

07

Do you have a secret or hidden talent? I think I am a good cook. I love to travel and eat amazing food from around the world. I then try to come home and make it exactly how it is supposed to taste like in its home country.

Oh... and I used to sing for a choir. So I guess I could be a singing cook and waiter.

What are your favorite brands aside from your company’s? This is difficult to answer because my brands are my favorite brands in the world! I like understated brands – Tumi, Puma, Northface, would be up there among many others.

What makes me laugh? I always find myself in the strangest situations that get me laughing and wondering how I got into that position.

It’s a good thing though: I laugh at myself and am amused with how interesting life is and am always excited for what’s coming next.

In the Bag Marco Nieto Vice President, Marketing Splash Corporation

My briefcase given to me when I graduated FROM college. three years ago. It holds:

02

A heavy laptop that probably shouldn’t be in the bag in the first place

July-August 2013

09

My working external HD

10

Jocks that I bought at Cotton On (free plug) optimistically but now realize that I need to return for an, umm, ‘different’ size

11

Receipt for the Jocks I bought and needed to return. Hopefully they’ll accept despite the Jocks being in the bag for a couple weeks now

03

My Citibank bill that I should bring down

04

My meralco bill that I really need to bring down

05

My Deal Dozen Shi Lin deal!!

They’re not lying when they say they have the best xiao long bao in town

12

Smints that I always forget is there and so end up buying Max

My iPad connector for an iPad I haven’t had since last year

13

And of course, love your own, hygienix

06

Complete this sentence If I wasn’t in marketing, I would be… saving the Earth by day and be a chef by night.

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07

My gangnam thumb drive that doesn’t work (pieceof-@#&$)

08

A connector to a portable charger that I can’t find

13

M AR KE T IN G

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An Inquirer for the 21st century An ongoing battle of evolving and adapting Words Mikhail Lecaros

manila In an age where print is fighting to retain its relevance in light of digital ubiquity, the Philippine Daily Inquirer’s Sandy PrietoRomualdez stands at the forefront. adobo sat with the Inquirer president and her chief marketing officer, Catherine Advincula, to talk about how their publication is evolving with the times.

One of the methods the Inquirer has used to bridge the gap between print and online was the launch earlier this year of ‘INQSnap’, an augmented reality app that enables users to launch interactive features on the printed page using their smart phones or tablets. INQSnap permits Inquirer readers to easily and rapidly launch digital content, including audio clips, documents including PDF files, video files such as TV news reports and movie trailers, photo galleries and zoomable maps, by pointing their iOS or Android smartphones or tablets at preselected AR triggers. Upon doing so, a set of logos – corresponding to the digital content that can be accessed – will appear. A reader can then elect to consume this content and/or even share it with his or her contacts on Facebook or Twitter.

“It’s an attempt to make things multidimensional, rather than just text. The

only downside, really would be the availability and quality of the internet connection,” says Advincula.

“I don’t remember particularly when, but it was certainly many years back when we, as an organization spent more and more time on the mindset that we are a news and information organization, rather than just thinking of ourselves as a newspaper, even changing our mission and vision statement to reflect that,” says Prieto-Romualdez, matter-of-factly. “The landscape is changing and we have to change, have to embrace it, rather than be in denial. I see it as more of an opportunity rather than a point to panic over.”

Redefining the Inquirer’s mandate to one befitting a multimedia organization was merely the beginning; with that declaration came internal structural changes to reflect the new direction. “Merely acknowledging it wasn’t enough” says Prieto-Romualdez, ”We all had to adjust. Strategies and approaches that worked before didn’t necessarily translate, and those were competencies we had to learn. For instance, just because you can write articles for the paper, it might not work online.”

Of course, Prieto- Romualdez is quick to point out, this is not to say that print has had its day. “We still feel that print is very robust and does play a role among its readers and the public. We feel that it is still very healthy and growing. But, again, we are not satisfied to leave things at that. We are constantly looking for ways to engage our readers by using our platforms in complementary ways. Media is no longer compartmentalized.”

Advincula concurs, “While print remains our core, we can also engage the consumer through our different platforms.”

“When it comes to choosing between print and online,” says Prieto-Romualdez, “it all comes down to engagement, it’s not about choosing one or the other.”

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the inquirer branches out “There will always be a need for trained journalists,” says Sandy Prieto-Romualdez. Acknowledging the changing face of media, the Inquirer has, in recent years, expanded its coverage to include online, radio and, most recently, augmented reality, via inquirer.net, DZIQ and INQ Snap, respectively.

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THE RIGHT KIND OF CRAZY Looking back on 8 years of 88storey Films “People tried to talk us out of starting the company” says Sid Maderazo, as Louie Araneta, Cielo Sanchez and Mark Querubin, his fellow cofounders and partners at 88storey Films, nod in agreement. “They said we were crazy.”

Although all four partners had successful careers before they ever dreamed of starting their own business, the notion of a new production house going up against the big names of the industry was seen as a big risk.

“It was the right kind of crazy at the right time,” says Querubin, grinning.

“Of course, there’s no way you could start a similar company now for as little as we put in (back then)” adds Araneta. Indeed, funding the operation entirely out of their pockets and working out of a modest Makati office space, 88storey Films’ eventual success was the product of timing, hard work and more than a little luck.

Barely two weeks after opening their doors and put up as the wild card supplier in a client

bid, against all odds, the then-new kid on the block 88storey Films won the account. “Our first client is what really made us. If they hadn’t trusted us, (and) if we couldn’t do what we said we could do, we might not have lasted,” says Sanchez.

The rest, of course, was history.

As project followed project, and with the company’s reputation growing, the quartet’s striking out on their own began to look less and less crazy, to the point that 88storey Films is now one of the most respected names in the business.

So what do people say about the team behind 88storey Films these days?

“Oh they still think we’re crazy,” says Maderazo, with a laugh.

With eight years of defying expectations under their collective belts, one gets the distinct impression that they wouldn’t have it any other way.

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When the medium is the message How agencies are redefining media

CANNES Technology and the internet have not only shifted advertisers’ focus to digital media platforms, but the advances have turned the world of media into an amazingly elastic one.

Agencies such as Droga5 and Cheil Worldwide have creatively redefined what makes media. They have masterfully embedded messages in overlooked surfaces from the bottom of pools to balloons, bridges and the consumer themselves, going where eyeballs have gone today. In doing so, they have given their campaign’s added buzz.

Take for instance Droga5’s ‘Decode Jay-Z with Bing’, which broke new ground with its media, outdoor and publishing strategy, going on to nab two Cannes 2011 Grand Prix, one of which was in the prestigious Integrated and Titanium category.

The agency turned a rooftop in New Orleans, the bottom of a Miami pool, cheeseburger wrappers in New York City, a pool table in Jay-Z’s club, a Cadillac in Queens into media vehicles on which it slapped all 320 pages of the rapper’s memoir, one page at a time, creating a scavenger hunt for the artiste’s fans. Logging on to the campaign’s site, fans had to follow some 200 clues to Bing Map locations where larger-than-life text for each page had been plastered. As such, die-hard fans got a chance to read the book free-of-charge weeks before its launch, Bing raced ahead of Google in the rankings for a moment and Jay-Z ended up with a best-seller as the campaign delivered 1.1 billion media impressions.

Cheil Worldwide has been similarly adroit in embedding messages in the medium used.

For an anti-suicide campaign, it eschewed barriers, opting instead for the human touch to get its message across. Motion sensors were

installed on one of Korea’s bridge’s guardrails, turning the bridge into an interactive medium on which short messages would appear. In this way, the platform became the ‘Bridge of Life’ as it appeared to be speaking to passers-by, offering kind words, comforting song lyrics, jokes, and other phrases console the anxious and confused thinking of ending their lives.

The work for client Samsung Insurance scored Asia’s only Titanium Lion at Cannes this year.

Cheil is now taking its media approach further. “Rather than getting media to get in the way of their lives, we believe that media should become a useful part of our audiences’ active life,” said Thomas Hongtack Kim, executive creative director of the Seoul-based agency.

“This for us represents the third stage of the media evolution … it is very much about

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02

01 Droga5 plastered a page from Jay-Z’s memoir at the bottom of a pool for ‘Decode Jay-Z with Bing’ 02 Cheil Worldwide turned a suicide black spot into the ‘Bridge of Life’, Cannes 2013’s only Titanium winner from Asia

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“Rather than getting media to get in the way of their lives, we believe that media should become a useful part of our audiences’ active life.” recognizing that if you really add to people’s lives, they can become the media. Anyone or anything can become a medium.”

Cheil and its US agency McKinney explored the concept at its Cannes 2013 session, ‘Every Company is a Media Company: We Create Media and then Media Shapes our Lives’, outlining the shift in its focus for client brands.

While brands used to deliver messages based on ‘mind-share’, brands now have the opportunity to create solutions based on ‘lifeshare’ in an era where content is king, every surface, device and appliance is a potential media channel and every brand has the opportunity to influence consumer behavior at every touchpoint, online and off.

In taking the life-share path, Kim said: “I do not wait for clients’ requests. Many projects, which begin with client requests, usually ask for highlighting product features.

The solutions coming from such projects may succeed in raising mind-share and sales but usually fail to suggest practical solutions.”

Kim said he advocated proactive proposals because he believed answers could be found on the site – be it a bridge or a flying store with WiFi-equipped balloons taking free coupons to time-pressed consumers living far from the stores. “I made an approach to the core of the problems of a consumer. As such, I was able to raise life-share. When life-share goes up, mind-share follows.”

‘Life-share’ makes even the most mundane transaction an experience, the cornerstone of Cheil’s ambition to create consumer-toconsumer communications. Or, as Mark Earls, the author of Herd, noted, “We need to move from a world where we are marketing to people to one where we are marketing to each other on our behalf.”

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Life-share in action

When customers become the platform Campaign Mezamashii Run Project Brand Mizuno Agency McKinney, US Work ‘Mezamashii’ is a word that captures the euphoric feeling of a brilliant run in Japanese. To bring this feeling to life, the brand distributed 2,600 pairs of shoes over three months through the mezamashiirunproject.com rather than spend a small budget on traditional advertising. The brand also asked them to give a pair of shoes to someone, as big a reward as getting their own free pair and to share their thoughts on running in Mizuno shoes, a risky path as they could have said anything. “They could’ve said the shoes sucked. But to my knowledge that never happened,” said an agency spokesperson. Instead people made elaborate unpacking videos, shaved the campaign logo onto their heads and one even got a tattoo of the Mezamashii symbol. Within hours, people were tweeting and talking about

Campaign ‘Chip-It’ Brand Sherwin-Williams Agency McKinney, US Work A first-of-its kind, web-based interactive tool created for the paint company that turns the “entire internet into a Sherwin-Williams paint library”.

Capitalizing current consumer behavior to surf the internet daily, the app allows consumers to transform any picture on any website they see into a color palette pulled from the company’s more than 1,500 color choices. All consumers need to do is drag the app button to their tool box in order to ‘Chip-It’, save share any photo they like and take the file with them when they’re ready to paint.

“It’s all about closing the gap between inspiration and activation. At the same time, it’s a tool that is really fun and, in and of itself, can lead to all kinds of inspiration,” said Jonathan Cude, McKinney partner and chief creative officer. “The whole idea behind the campaign to begin with came from the notion that we should use and own the vernacular of the category – the paint chip. We knew from research that even though people objectively know that any manufacturer

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their experience on social networks. The Mezamashii community now has over 42,000 members, who the brand will continue to engage with early access to product launches and other exclusive events. The campaign won 5 Effie awards in 2013 and Effie and Warc Worldwide named Mizuno North America’s top brand.

is able match any color – when they get a particular brands’ paint chip in their hand they are predisposed to buy the paint from that company. People love poking around on sites like Pinterest for ideas, with Chip It! we found a way to become a part of their life at the moment where inspiration strikes, then we asked them to color with us and then share it with the world. Or at least the salesperson at their local Sherwin-Williams store.”

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Nielsen Media Spend Highlights

Q 2012 Q 2013

Advertising Tracking TV, Radio and Print Q1 2013 Report Total Media Adspend Increased in Q1, 2013

Total Media

Share of Adspend by Media

19%

59,135

TV Continues to Dominte Adspend

4%

72,803

45,735 58,177

TV

17% 3%

77%

10,871 58,177

RADIO

TV Radio Print TV Radio Print

2,529 2,390

PRINT *values expressed in million pesos based on published rate card costs **regular thematic and promotion placements only

**regular thematic and promotion placements only *** based on published rate card costs

Total Media Ad Volume Decreased in Q1, 2013

Total Media

80%

Advertising in Minutes

801

754

1,884,819 1,780,396

118

137

298,532 348,078 1,540,986 1,390,502

16% 45,301 41,816

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*regular thematic and promotion placements only ** Standardized count of inserts (30’s, 1 full page)

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6%

**regular thematic and promotion placements only *** Ad minutes count comprised of all placements (15, 30, 60 seconders and others )

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Top 10 Product Sections Based on Adspend

HAIR CARE PRODUCTS

+5%

HOME CARE PRODUCTS

+51%

OTHER PERSONAL CARE PRODUCTS

+23%

DAIRY PRODUCTS

+71%

MEDICAL PRODUCTS & EQUIPMENT

-6%

RESTAURANTS, FASTFOODS, BAKESHOPS & THEATERS

+24%

FOOD PRODUCTS

+22%

BEVERAGES

+32%

COMMUNICATION & BUSINESS MACHINES

+15%

GOVERNMENT AGENCIES, INSTITUTIONS & PUB. UTILS

+135% 0

1,000

2,000

*values expressed in million pesos **regular thematic and promotion placements only

3,000

4,000

5,000

13

+32%

Other Food Products/ Other than Biscuits & Bakeshop

+62%

Detergents & Laundry Preparations

2

+87%

Powdered Milk

3

+5%

Dentifrices, Mouthwashes & Toothbrushes

4

1

5

8

+10%

Cough & Cold Remedies

Skin Care

-20%

Entertainment

6

9

+20%

Seasonings Sauces & Extracts

10

-21%

+17%

Communications/ Telecommunications

+15%

Proprietary Drugs/ Other than Vitamins & Tonics

7

+273%

Government Agencies & Public Utilities

8,000

+51%

+73%

Coffee & Tea

Hair Shampoos, Rinses, Treatments/ Hairdressing Products

7,000

*values expressed in million pesos **regular thematic and promotion placements only

Top 20 Categories Based on Adspend

+5%

6,000

Health & Beauty Soaps

12

17

+30%

Business Machine & Office Equipment

14

18

+46%

-10%

Soups & Noodles

Vitamins

11

+53%

Ice Cream, Sherbets & Frozen Delights

19

15

-3%

Flour, Bakery Products & Bakeshops

16

+18%

Banks, Finance Companies & Investment Houses

20

*values expressed in million pesos **regular thematic and promotion placements only

July-August 2013

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CARMENCITA CARMENCITAESTEBAN ESTEBANPLATINUM PLATINUMAWARD AWARD It’s It’sMore MoreFun Funininthe thePhilippines Philippines Client: Client:Philippine PhilippineDepartment DepartmentofofTourism Tourism Agency: Agency:BBDO BBDOGuerrero Guerrero BBDO BBDOGuerrero GuerreroChairman Chairmanand andChief ChiefCreative CreativeOfficer OfficerDavid DavidGuerrero Guerrero(1st (1stfrom fromleft), left), Philippine PhilippineDepartment DepartmentofofTourism TourismSecretary SecretaryRamon RamonJimenez Jimenez(3rd (3rdfrom fromleft), left),BBDO BBDO Guerrero GuerreroChief ChiefExecutive ExecutiveOfficer OfficerTony TonyHarris Harris(4th (4thfrom fromleft) left)together togetherwith withtop topexecutives executives receive receivetheir theirtrophy trophyfrom fromthe theaward awardpresenters, presenters,Regional RegionalPresident PresidentofofLowe Lowe++Partners Partners Asia AsiaPacific Pacificand andOverall OverallJury JuryPresident Presidentofofthe theUA&P UA&PTambuli TambuliAwards Awards2013 2013Rupen RupenDesai, Desai, President PresidentofofPhilippine PhilippineSurvey Surveyand andResearch ResearchCenter CenterCarmencita CarmencitaEsteban, Esteban,President Presidentofof University UniversityofofAsia Asiaand andthe thePacific PacificDr. Dr.Jose JoseMaria MariaMariano Marianoand andChairman Chairmanofofthe theUA&P UA&P Tambuli TambuliAwards AwardsAdvisory AdvisoryBoard BoardJavier JavierCalero.

Calero.

EFFECTIVENESS EFFECTIVENESSADVERTISER ADVERTISEROF OFTHE THEYEAR YEAR Philippine PhilippineDepartment DepartmentofofTourism Tourism BBDO BBDOGuerrero GuerreroChairman Chairmanand andChief ChiefCreative CreativeOfficer OfficerDavid DavidGuerrero Guerrero(2nd (2ndfrom fromleft); left); Philippine PhilippineDepartment DepartmentofofTourism TourismSecretary SecretaryRamon RamonJimenez Jimenez(3rd (3rdfrom fromleft) left)with withaward award presenters presentersPresident PresidentofofUniversity UniversityofofAsia Asiaand andthe thePacific PacificDr. Dr.Jose JoseMaria MariaMariano, Mariano,PresiPresident dentofofPhilippine PhilippineSurvey Surveyand andResearch ResearchCenter CenterCarmencita CarmencitaEsteban, Esteban,Regional RegionalPresident President ofofLowe Lowe++Partners PartnersAsia AsiaPacific Pacificand andOverall OverallJury JuryPresident Presidentofofthe theUA&P UA&PTambuli TambuliAwards Awards 2013 2013Rupen RupenDesai, Desai,Chairman Chairmanofofthe theUA&P UA&PTambuli TambuliAwards AwardsAdvisory AdvisoryBoard BoardJavier JavierCalero Calero and andChairman Chairmanand andCEO CEOofofNestle NestlePhilippines PhilippinesJohn JohnMiller.

Miller.

EFFECTIVENESS EFFECTIVENESSCREATIVE CREATIVEAGENCY AGENCYOF OFTHE THEYEAR YEAR McCann McCannWorldgroup WorldgroupPhilippines Philippines McCann McCannWorldgroup WorldgroupPhilippines PhilippinesChairman Chairmanand andCEO CEORaul RaulCastro Castro(center) (center)receives receivesthe the award awardwith withhis hisagency agencyteam. team.

TAMBULI TAMBULIChief ChiefMarketing MarketingOfficer Officer(CMO) (CMO)OF OFTHE THEYEAR YEAR Albert AlbertCuadrante Cuadrante Jollibee JollibeeFoods FoodsCorporation Corporation Former FormerVice VicePresident Presidentfor forMarketing Marketingand andcurrent currentGeneral GeneralManager Managerfor forGreenwich Greenwich Albert AlbertCuadrante Cuadrante(center) (center)accepts acceptshis hisaward awardfrom fromthe theaward awardpresenters, presenters,Regional Regional President PresidentofofLowe Lowe++Partners PartnersAsia AsiaPacific Pacificand andOverall OverallJury JuryPresident Presidentofofthe theUA&P UA&PTambuli Tambuli Awards Awards2013 2013Rupen RupenDesai, Desai,President PresidentofofUniversity UniversityofofAsia Asiaand andthe thePacific PacificDr. Dr.Jose JoseMaria Maria Mariano, Mariano,President PresidentofofPhilippine PhilippineSurvey Surveyand andResearch ResearchCenter CenterCarmencita CarmencitaEsteban, Esteban, Chairman Chairmanofofthe theUA&P UA&PTambuli TambuliAwards AwardsAdvisory AdvisoryBoard BoardJavier JavierCalero Caleroand andChairman Chairman and andCEO CEOofofNestle NestlePhilippines PhilippinesJohn JohnMiller.

Miller.

The UA&P Tambuli Awards congratulates all the winners of this year’s competition, which culminated last May 30 at the University of Asia and the Pacific (UA&P). The only awards in the world that celebrates the best integrated marketing communications campaigns that value both business results and the promotion of the social good, the Tambuli Awards is evolving to become a regional award in the Asia-Pacific. It is organized annually by the UA&P School of Communication.

Representatives from Hakuhodo Indonesia and PT Kompas Media Nusantara Indonesia

UA&P Tambuli Awards Advisory Board Chairman Javier Calero, Regional President of Lowe + Partners Asia Pacific and Overall Jury President of the UA&P Tambuli Awards 2013 Rupen Desai, BBDO Guerrero Chairman and Chief Creative Officer David Guerrero, Philippine Department of Tourism Secretary Ramon Jimenez and Brand Learning U.K Consultant and Tambuli Juror Ying Miller

Lowe Singapore Regional Planning Manager Jonathan Nienaber (1st from right) with award presenters (left to right) Lowe Vietnam Managing Director Michel Borelli, Starcom MediaVest Group Philippines Managing Director Joanna Mojica and ABS-CBN Creative Communication Management Head Robert Labayen

Adobo Magazine’s Angel Guerrero announces the special awards

Jollibee Philippines President Jose Miñana, Jr., Tambuli Awards 2013 CMO of the Year Albert Cuadrante and his wife Joy

UA&P School of Communication’s Dr. Jerry Kliatchko, dean, with Dr. Francine Calero-Racho, vice dean Regional President of Lowe + Partners Asia Pacific and Overall Jury President of the UA&P Tambuli Awards 2013 Rupen Desai giving the opening remarks

Lowe Vietnam’s Michel Borelli, Managing Director (2nd from left) and Sajju Ambat, Brand Planning Director (3rd from left) receive their award with Havas Media International Asia Pacific Managing Director and Tambuli Juror Stuart Clark

Ace Saatchi and Saatchi executives: Mio Chongson and Andrew Petch receive their award

Janelle Squires of Adobo Magazine together with BBDO executives: Tony Harris and David Guerrero

Nestle Philippines, Inc. Chairman and CEO John Miller receives the award for Nestle Philippines

GMA 7 Marketing and Productions, Inc. President and Chief Operating Officer Lizelle Maralag receives the award for GMA 7

Draftfcb Manila President and Chief Operating Officer Jenny Wieneke receives the award on behalf of Draftfcb China

Joey Ong receives the award for DDB Group Philippines

Media Sponsors:

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Rewarding effectiveness Show draws highest number of entries

Manila UA&P’s 7th Tambuli awards attracted its highest number of entries — over 300 from the Philippines and Asia Pacific, living up to its claim of being the “only global award that celebrates integrated marketing communications (IMC) effectiveness and the promotion of societal values”.

Lowe + Partners Asia Pacific president Rupen Desai returned to lead the 47-strong jury composed of marketing leaders from across the client and agency divide. “An IMC effectiveness judging forces a larger sense of responsibility on each juror – as it’s not just one aspect of results that you are judging, be it creative, performance or change – but all three,” said Desai. “This kind of holistic lens forces us to ensure the awarded entries are a standard that the industry continues to celebrate of years to come.”

This year, the highest distinction — the Carmencita Esteban Platinum Award — was conferred on BBDO Guerrero’s ‘It’s More Fun in the Philippines’ tourism campaign, which also won one Silver and two Golds, while client, Secretary Ramon Jimenez, accepted the Department of Tourism’s trophy for Effectiveness Advertiser of the Year.

McCann Worldgroup Philippines triumphed as the Effectiveness Creative Agency of the Year, while picking up the biggest metal haul, including Gold, for CocaCola ‘Little Red Schoolhouse’.

The following agencies each snared two Gold Tambulis: Ace Saatchi & Saatchi ‘Ariel Olympic Shirt Flag’, PLDT ‘Anna Banana’), DDB Philippines (Pepsico ‘Pacquiao Positive’, PLDT ‘Project Pagsulong’), Publicis

JimenezBasic (Monde Nissin ‘Woman of Substance’ and ‘The Mission’) and TBWA\ Santiago Mangada Puno (Boysen ‘Project EDSA’, Del Monte ‘Coming Home’).

Three country offices from Lowe Asia Pacific network bagged a sizable number of metals including a Gold and Silver for Singapore, four Silvers for the Philippines, and two Silvers and a Bronze for Vietnam.

India was represented by Interface Communications, snagging a Gold for Kraft Cadbury India’s ‘Oreo Dear Dad’ campaign.

Hakuhodo Indonesia brought home a Silver award for Kompas Gramedia’s ‘Youth Spread’.

“Most notable is that there were significantly more regional entries,

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which means that Tambuli is now on the international radar and that more business entities realize that campaigns that promote values do build the business and contribute to the bottom line,” commented Greenwich general manager Albert Cuadrante, who served as juror this year. He also received the sole people award — the Tambuli Chief Marketing Officer of the Year — for his work with Jollibee Foods Corporation.

“The quality of this year’s entries was far better than any of the previous years,” shared Desai. “Sieving through some very persuasive cases and separating the ones that were not only effective but also effecting change for good made this process truly engaging and powerful.”

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Building brands that matter Tambuli speakers on what makes good business sense

Stuart Clark

Albert Cuadrante

Harpreet Kaintel

Noel Lorenzana

The managing director of Havas Media International Asia Pacific, Clark spoke about Havas’ pioneering global study, ‘Meaningful Brands’, for which the company had surveyed over 120,000 consumers worldwide, including many in several Asian markets.

One of the core findings is that there is a significant amount of consumer indifference as regards most brands; analysis found that most consumers would be indifferent if as many as 70 % of brands were to cease operations.

The key, therefore, Clark said, was for brands to establish a more meaningful relationship with their customers, defining ‘meaningful’ brands as those that people could relate to in terms of marketplace outputs and personal and collective wellbeing. While many brands are functional and others aspirational, Clark said, those brands that do best are those brands that make actual positive differences in people’s lives.

Cuadrante, general manager of Greenwich, shared significant insights on proceeding from consumer insight to human insight, as well as how brands can gain and maintain relevance nowadays.

As opposed to customer insight, he said that human insight was inherently more comprehensive, concerned as it was with the human condition and concerns as a whole, and could thus offer a view of the bigger picture.

Human insight, he claimed, could be derived from an in-depth examination of the conflicting goals that each one of us is faced with in this day and age.

Cuadrante concluded that those brands that help resolve conflicts are ultimately those that have a more significant and meaningful impact, not only on markets but also on people – and that those brands that can do so are the brands that will remain relevant.

ZenithOptimedia’s chief strategy officer, Asia Pacific, discussed the value of integrated connections that establishing a consistent and integrated approach was absolutely critical in this day and age. Integrated communications, he said, were fundamental in helping brands craft messages for consumers that were both holistic and consistent.

Consumers in the world today come into contact with brands at many points in their daily lives and through many channels, thus making it incumbent upon brands to ensure the consistency of their messages to customers.

Brands should be making sure that a single-minded, holistic and focused message goes across. He also pointed out three of today’s most critical challenges for market players, namely the need to be able to know how to mine new digital data; the need to be able to foster lasting connections with customers; and the need to properly capture value and measure results as well.

The president and CEO of MediaQuest Holdings Inc., spoke about how the world needs to pave the way for mobile-led integration. Lorenzana said the industry was witnessing the emergence of a new era – the era of the cloud.

Modern-day developments are proceeding apace and are stimulating the creation and development of layers of new services thanks to the development and emergence of the cloud. Such new services include a new and advanced breed of home security and monitoring services, as well as connected cars and other complex machines and devices.

All this, said Lorenzana, has a profound impact on brands and way they do business; engagement with an increasingly mobile and increasingly connected set of customers can literally take place anywhere, even everywhere, and at any time as well.

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01

McCann Worldgroup: Effectiveness Agency Plus a haul of 1 gold and 11 assorted metals Manila McCann Worldgroupwalked away with the biggest trophy haul of the night along with the title of Effectiveness Agency of the Year.

Taking to the stage, chairman and CEO Raul Castro said: “The Tambuli validates our long-standing belief in McCann that business success and values are entwined, and that indeed, true success requires that the work we do creates positive impact on people, on lives.

McCann has always been about this. We are in business to build brands, and to orient them towards a goal that serves a higher purpose.”

The agency received a Gold Tambuli for Coca-Cola’s ‘Little Red Schoolhouse’ under the Family-Oriented Brand category. In 2012, McCann crafted a film chronicling the early success of 13-year old Jenny Sanchez, one of the few Aetas to finish elementary education.

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Like millions of Filipino children, Sanchez gets up early for school every day – only in her case, she crosses a mountain (literally) to arrive on time for class. She endures the distance and shortage of facilities so one day she could stand in front of her own class of little learners. It’s young dreamers like Sanchez who inspire Coca-Cola Philippines to keep up the Little Red Schoolhouse project it launched in 2007.

Through the program, Coca-Cola partners with schools in remote areas, offering training for teachers, a special reading program in partnership with Sa Aklat Sisikat Foundation, and parent-teacher-community associations to help keep the children in school. Jenny graduated from Malasa Elementary School, one of Coca-Cola’s partners in Tarlac.

McCann’s five Silvers were awarded to campaigns for Maggi ‘Tribute’ (Family Oriented category), Bank of the Philippine Islands ‘Talk To Us’ (Integrated Digital and

Mobile-led Program), Jollibee ‘The Happy Filipino’ (Integrated Digital and Mobile-led Program), Coca-Cola ‘Milyon-milyong Pasasalamat’ (Integrated Promo and Activation-led Program) and Coca-Cola ‘Little Red Schoolhouse’ (Advocacy).

In addition, the agency took home six Bronzes for BPI ‘Bankers Online’ (Integrated Digital and Mobile-led Program), Coca-Cola ‘Concert ng Bayan’ (Integrated Promo and Activation-led Program), Coca-Cola ‘Milyunmilyong Pamaskong Pa-Blowout’ (Integrated Promo and Activation-led Program); Ceelin ‘Ten Times More’ (Family-Oriented Brand), Jollibee ‘The Happy Filipino’ (Advocacy, Integrated Digital and Mobile-led Program) and Royal ‘The Royal Kulitkada’ (Teens brand).

“I loved the entries from McCann and think they have raised the bar for next year’s awards,” commented jury president Rupen Desai.

01 Castro and McCann’s triumphant team 02 Coca-Cola’s ‘Little Red Schoolhouse’ 02

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WI N N E R

Albert Cuadrante: CMO of the Year Jollibee marketer wins top honors

Manila Jollibee Foods Corporation's (JFC) Albert Cuadrante was recognized as Tambuli Chief Marketing Officer of the Year. Cuadrante was recently shifted to another JFC brand as general manager of pizza chain, Greenwich.

“I am grateful and honored to be the face and representative of the whole Jollibee Marketing Team for this truly unexpected recognition,” Cuadrante told adobo. “I am equally thankful for being given the trust and confidence by Jollibee’s Leadership Team to be the custodian of such an iconic brand.”

Prior to Greenwich, Cuadrante served as Jollibee’s vice president for marketing and was instrumental in driving strong sales growth by building on campaigns that uphold Filipino family values. Under his wing, Jollibee won the most number of awards and recognition from various marketing and advertising shows. His most notable projects included Jollibee’s ‘Build-A-Classroom’ in partnership with its Franchisees Association; the ‘Maaga ang Pasko’ toy-and-book collection drive that benefits underprivileged children; and the annual Jollibee Family Values Awards, which recognizes Filipino families who serve as inspiration through shared values and good deeds.

“I consider myself very fortunate to have been given the opportunity to work on a brand that, for 35 years has built its equity around two values, which I also personally hold dear

– pride in being Filipino and happiness of the family,” said Cuadrante.

Jollibee also bagged two Tambuli Awards for its ‘The Happy Filipino’ campaign –Bronze in Advocacy and Silver in Integrated Digital or Mobile-Led Program.

‘The Happy Filipino’ (thehappyfilipino. com) was launched in August 2012 to support the Department of Tourism’s ‘It’s More Fun in the Philippines’ campaign. Jollibee took Bogart the Explorer and his foreigner friend Kirk on a tour around the Philippines, highlighting countless reasons why the Filipino joyfulness is infectious.

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02 01 Albert Cuadrante takes to the Tambuli stage to accept his award for Chief Marketer of the Year 03 Happy beneficiaries of the Jollibee ‘Build-AClassroom’ smile with their favorite mascot.

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BBDO Guerrero & DoT: An effective partnership Manila There is still more fun to be had for BBDO Guerrero and the Department of Tourism. The client-agency tandem behind the ‘It’s More Fun in the Philippines’ campaign came out on top at Tambuli with a back-toback win: The coveted Carmencita Esteban Platinum Award and the Effectiveness Advertiser of the Year title.

At the presentation, BBDO Guerrero chairman and chief creative officer David Guerrero turned the spotlight back to all the Filipinos who participated in the campaign.

“It is with some relief that we can say it’s not our campaign, but everyone’s,” he said, adding that, “I’m also relieved that after almost 20 years here, I have learned something about my father’s country. The Philippines and millions of Filipinos have proved and continue to prove that we are born leaders in that.”

DoT Secretary Ramon Jimenez extended the theme when he received the Effectiveness Advertiser of the Year prize: “As with all great

Carmencita Esteban & Effectiveness Advertiser award winners

and successful campaigns, the solution came down to a basic truth. Expressed in an idea so simple, it sounds more like a text message than an advertising claim. The Philippines may have more of so many other things but there is one thing we have the most of. And the one thing captured in the one word I have managed to avoid saying tonight. You know that word because you live that word. Because you are the word.”

In 2010, the DoT decided to finally retire the famed, long-running ‘WOW! Philippines’ brand. A crowd-sourcing effort led by Carlos

Celdran and Team Manila followed and kept social media abuzz with ideas and encouraged a dialogue between the people and the government. Towards the end of 2011, the DoT figured it was time to leave the thinking to the professionals and handed the account over to pitch winner BBDO Guerrero. At the dawn of the new year, the agency and the client were convinced the world was ready for the country’s new claim: ‘It’s More Fun’.

News broke on Twitter and, mere hours into Day One, #itsmorefuninthephilippines – complete with a website and logo – became a conversation piece, generating a fiesta of memes.

For jury president Rupen Desai, the campaign won for effectively harnessing the power of people. “The way this idea has been developed, executed and co-authored with every member of the country made this an easy choice. Kudos to David’s team for showing how great ideas are, at best, simple.”

“It is with some relief that we can say it’s not our campaign, but everyone’s.”

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01 DoT’s multi-awarded global campaign ‘It’s More Fun in the Philippines’ makes them this year’s Effectiveness Advertiser of the Year 02 CMO of the Year Albert Cuadrante is joined on stage by the Jollibee mascot 03 Secretary Mon Jimenez with his platinum Tambuli, joined by adobo COO Janelle Squires 04 Effectiveness Agency of the Year recipient McCann Worldgroup celebrates on stage as CEO Raul Castro delivers his acceptance speech 05 GMA’s chief Lizelle Maralag receives a gold Tambuli for broadcaster’s Chrtismas short film Hating Kapatid for Columbia International Food Products 06 Draftfcb’s Jenny Wieneke goes up on stage for the nth time, here for a gold for the agency’s work on PLDT’s ‘Project Pagsulong’ 07 TBWA\Santiago Mangada Puno’s seniors and the gold win for Del Monte’s ‘Coming Home’ 08 Carmencita Esteban Platinum Award winner BBDO Guerrero’s CEO Tony Harris is given a big bear hug by DoT secretary Mon Jimenez 09 The Lowe network led by Lowe Philippines and Lowe Vietnam proudly pose with 8 of their 10 combined Tambuli wins for the night 10 Ogilvy & Mather’s receives gold for creative effectiveness for Unilever’s ‘Real Men are made of Tough + Love campaign 11 Starcom MediaVest’s Joanna Chan-Mojica proudly holds the agency’s gold Tambuli for ‘A Mother’s Aruga (care)’ campaign for Unilab 12 adobo’s Angel Guerrero flanked by gold Tambuli recipients Andrew Petch of Ace Saatchi & Saatchi and Joey Ong of DDB.

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adob o cup 6

adobo Cup 6 champs - Design by Jaycee

Largest-ever adobo Cup Design by Jaycee is champ Words Chris de Pio Sanchez Photos Shampoo Padilla

The adobo Cup 6 was held May 18, with five-a side teams vying for the coveted ‘Dobo’ trophy, at the Evia Football Field along Daang Reyna in Las Piñas.

Initially organized in 2007 for participants from the advertising industry, participation in the Cup is now open to teams from TV networks, media and production, and collaboration with teams’ clients is also welcome.

The roster of teams that participated in the adobo Cup 6 included ABS-CBN/Balls TV (last year’s champion), Ace Saatchi & Saatchi, Activasia, BBDO Guerrero, DDB/ Smart, Design by Jaycee, Go Motion, Group M, Havas Media, Havoc Digital, JWT, Leo Burnett, McCann/Nestlé, Movent, Ogilvy, Publicis, Publicis Jimenez Basic, Rappler.com, Starcom Mediavest, Summit Media, and TV5.

The participation of these 21 teams made

the adobo Cup 6 the largest-ever this year’s tournament to date.

When the dust settled, only one team was left standing. This year’s champion, Design

by Jaycee, took the crown after a hard-fought and well-applauded battle with fellow finalist Publicis Manila/Nestlé. Special awards were also given out to those players who excelled in particular areas.

Aside from serving as a venue to showcase the professionalism, camaraderie and sportsmanship of its participants, the adobo Cup 6 also served as a venue for adobo to help take the Cup to the next level and, by doing so, further the development of football in the Philippines. The acclaimed Chelsea FC Soccer School co-organized the Cup, helping ensure that the event was smoother and more professionally run than ever.

Members of the internationally– renowned Philippine Azkals team showed their support by joining in the festivities, to the delight of fans.

Additionally, a portion of the sponsorship from the adobo Cup 6 was set aside for FutKal Philippines, a non-profit organization aiming to promote football in the Philippines at the grassroots level.

An all-star tournament for selected members of the various teams may be in the works for the fourth quarter of 2013.

partners and sponsors adobo Cup 6 was presented by adobo and Smart Communications, and supported by KIA, St Lukes Medical Center, Enervon, Gatorade, LGR Athletic Wear, Manila Beer, Milo, Executive Decisions, Vistaland, Chelsea Football Club, and The Younghusband Football Academy.

Trophies were donated by Randy Roxas, president of the United Football League. Special thanks to Crystal Clear Water, Unilever (Clear, Rexona, Axe, Ponds and Vaseline), Avon Men, Krispy Kreme, Jamba Juice, !Gung Ho Films, WYD Productions, Small Fish + Co, Geronimo Photographico, and Shampoo Shots.

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Overall Champion Design by Jaycee Best Striker Romeo Rapal, Rappler Best Defender Robbie de Vera, Publicis Manila/Nestlé Best Mid-Fielder Crio Sanchez, Design by Jaycee Best Goalkeeper Gabby Tripon, Publicis Manila/Nestlé Most Valuable Player Ricardo Awil, Design by Jaycee Best in Team Spirit DDB Best in Uniform Havas Media Ortega

Scan the QR code to view the official adobo Cup 6 video online!

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01 Industry funny man Fabo interviews adobo’s Apple Manansala for hilarious coverage by !Gung Ho FIlms and Small+Fish Productions 02 EIC Angel Guerrero gets autographed by Philippine Azkal and TV5 team member Phil Younghusband as organizer Bixie Reyes look on 03 The iconic “Dobo” trophy 04 Neither hail nor thunderstorm will keep this noble soul from fetching some Manila Beer (Below Zero) for his teammates 05 Rain, rain go away…everybody wants to play! 06 adobo Cup 6 tagline: How Bad Do You Want It? 07 You go, girl! 08 BBDO’s Tony Harris and David Guerrero 09 ABS-CBN vs Rappler at the semis 10 The Gatorade Rocketman’s mobile refilling station keeps everyone hydrated 11 Serious action at the goal during the championship match between Publicis and ABS-CBN 12 Havas Media Ortega’s Jos Ortega in a team huddle

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13 Former adobo Cup Champions - Ace Saatchi & Saatchi 14 Second time runner-up Publicis Manila show that they are indeed a team to be reckoned with. 15 Defending champions ABS-CBN Balls run away with a third place win over newcomers Rappler 16 A display of sportsmanship after the championship match 17 Team DDB is Best in Team Spirit 18 5 members of the Philippine Azkals grace the event for a children’s clinic organized by event sponsors KIA. 19 Starcom Mediavest team 20 Team McCann United 21 GroupM-Centrum United 22 Team JWT

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AD V E R T O R I A L

A Man Apart Words Mikhail Lecaros Photography Adrian Gonzales

C ody M iller I I I When it comes to apparel, trends can be as arbitrarily capricious as the tides, separating the sartorially savvy from the aesthetically oblivious.

But for men of a certain station and accomplishment, such concerns are hardly determining factors in their raison d’être.

Enter Cody Miller III. Cool, confident and with more than his share of accomplishments under his belt, Miller has never been one to go with the flow, living to no one’s standards but his own. As Marketing Director and co-founder of Welovepost, Miller’s entrepreneurial, take charge spirit has secured for him a reputation as someone who gets things done, regularly working with some of the biggest clients here and in the region.

Miller has worked hard to get to where he is today, distinguishing himself early on as someone who knows what he wants and where to get it. While concessions to clothing don’t govern the manner in which he lives his life, Miller knows a good thing when he sees it and, as for all men of accomplishment, the General stands ready, exceptionally outfitted to suit his needs.

GENERAL Shot on location at the General Store, C1 Building Upper Ground Floor, Bonifacio High Street Central, Taguig City

WARRDROBE: TOP LEFT Brixton Castor/Lyle & Scott Blanket Stripe Tee/Lyle & Scott Chino Shorts TOP RIGHT Peinfield Austin Shirt/ Lyle & Scott Chino Trousers BOTTOM Boxfresh Carys/Boxfresh Sam/Boxfresh Savill Lea

Scan the QR code to visit the official General website

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main course

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Fighting for relevancy Digital disruption and big data defining the battleground Words Danielle Austria Photos Shampoo Padilla

Manila Digital strategist Christel Quek – one of The Guardian’s Top 10 digital strategists to watch out for” – kicked off the second adobo Main Course of the year with an impassioned battle-cry: “We are at war every day because we are always fighting for something. And in this age of digital creativity, we are fighting for several things.”

‘Winning a War of Hearts’ registered a full house at the Mind Museum, with slots sold out the week before. There was a war to win and the army came willingly.

“We are fighting for relevancy... to get our brands out there and connect with our consumers. As agency people, we are passionate for the brands that we work for,” said Quek. “Because we feel something for the brand. And because we’re fighting for a good cause, we need to win this war.”

Tech firm IBM predicts that in 2013, the number of mobile devices in the world will exceed the number of people on the planet.

The smartphone revolution has brought about a shift in the way businesses exploit digital – it is not longer enough to catch their attention, brands must engage. According to Quek, two things are currently defining this battleground: Digital disruption and big data.

Take the humble banner ad. Ubiquitous, sometimes to the point of intrusiveness, it is a well established fact that the number of people who respond to such digital disruptions in their daily online routine is small. Indeed, as stated by Quek, “The likelihood of you dying in a plane crash is higher than you clicking a banner ad.”

Today’s always-on, always-connected consumers are smart, demanding relevancy and turning to brands that are able to recreate their experiences. All the posts and interactions consumers make every

day on social media sites constitute big data — spanning volume, variety and velocity.

But, like crude oil, big data is useless in its original state. It has to go through a process of distillation before it becomes valuable commodity.

“Brand experiences are going to be very, very important. Mass advertising is not going to work well as it used to. Awareness does not spark action,” charged Quek. “It will take a convergence of technology, insight and intuition, plus an acceleration of user trends to spark brand experiences of constant evolution.”

“I don’t think we’re being honest with ourselves if we say that people really want to talk to brands on Facebook,” said Quek.

“Yes, they’re part of the community. Yes, they participate. But to involve them in a long-term conversation – to change perceptions, we need to build our pages based on passion points.”

Quek refered to the “rise of the quantified self” which what happens when products and technology intersect with big data and the different user graphs (personal, social, interest, behavior) to define who as a person.

Users want to improve themselves — to become better people at a limited time — and more brands are jumping in on this through mobile apps and a burgeoning technology

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called wearable computing.

A perfect example is the Nike+FuelBand – an activity tracking bracelet that allows the wearer to monitor his physical activity, steps taken daily and amount of calories burned.

The data is wired into the Nike+ online community and app, where the user can set fitness goals, track progress and compare results with other members.

Bringing this innovation to a different level is the Jawbone Up wristband + app, which added food intake log, smart sleep alarms, idle alerts and group interaction. A focus sensor comes in the form of Melon headband + app.

And then there’s the Pebble watch, a highly customizable timepiece with downloadable time faces and internet-connected apps.

Quek believes the industry will continue to move towards a marketplace where consumers will clamor constantly for personalized value. “All this data you can use, if it’s made available and accessible, will be a gold mine for many brands and marketers to craft more meaningful experiences that will create resonant relevance to get within reach.”

The Main Course with Christel Quek was presented by adobo, in cooperation with the Mind Museum, Sodexo, Fairmont / Raffles Hotel Makati, Executive Decisions, WYD Productions, The Philippine Star, IMMAP and E-Learning Edge.

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01 The perfect venue for creative inspiration - The Mind Museum 02 A packed auditorium sees a mix of creatives, marketers, digital practitioners, and other curious minds 03 Christel Quek works the room collecting insights from participants 04 Unitel’s chief Madonna Tarrayo listens intently 05 DM9’s Eugene Demata (2nd from right), with delegates from McCann 06-07 adobo Magazine’s EIC Angel Guerrero talks to radio guru Tony Hertz of Hertz Radio and Shayne Garcia of iProspect 08 Angel Guerrero relaxes with delegates 09 L-R Spinweb’s Jaime Garchitorena, Angel Guerrero, adobo COO Janelle Squires, and PTFJ’s Markus Jentes 10 L-R Dadi Santos of McCann Worldgroup, Grace Alvarez and Bonsai Fojas of J.Romero & Associates, Roche Vandenberghe, Budjette Tan & Yves Gonzalez of MRM/McCann 11 L-R Janelle Squires, Christel Quek, All Famous CEO Robin Leonard, Philippine Star’s SVP Lucien Dy Tioco, and Angel Guerrero

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COMMENTARY 124 Future-proofing the industry 128 Trending towards good 135 Asia Pacific turns in golden performance 145 Historic year for the Philippines showcaseS 130 Grand Prix 136 Asia Pacific Gold 152 The Philippines

The Philippines’ official Cannes Lions representative

REVIEW 146 DM9’s win for the Philippines 148 Five Lions for Saatchi 149 JWT: Sweeter the second time 150 McCann shines 150 Y&R’s first Lion 151 TBWA wins for Boysen, Ayala

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Future-proofing creative industry Content and data emerge as dominant themes

CANNES The Cannes Lions has always been a creative extravaganza and it was more the case this year with the festival, known for its red carpets, free-flowing champagne, glitzy resort setting and iconic trophies, hitting its senior years.

Despite reaching its milestone 60th year, the organizers kept nostalgia to a minimum, save for a ‘Game-Changer’ exhibition that showcased six decades of groundbreaking work. This year’s gathering in the south of France was all about future-proofing an industry that has been in a state of flux in the decade after the likes of Google ushered in a digital media-driven advertising revolution where algorithms rule and yesterday’s captive audience has given way to on-the-go consumers amid the sweeping mobile wave.

Seminar content was varied, geared getting to the industry talking about ways to reinvent the business. Not an easy feat for a business where legacy players have been around longer than radio and where empowered consumers enjoy calling the shots.

Unsurprisingly with technology advances affording new and innovative ways for brands to tell their stories, content and, its trusty sidekick, data – think “people-friendly” rather than big data – dovetailed to emerge as the dominant themes.

But the overall message from the glittering line-up of speakers was surprisingly reassuring: Technology may be the tail wagging the dog today, but creativity will eventually reassert its primary role. “When the camera was invented, artists didn’t just throw away their brushes and start taking pictures,” Lee Clow of TBWA reminded the audience. “It was technology for many years before artists discovered what they

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could do with it. I think the artist still hasn’t discovered the possibilities in new media and the internet and how you use this technology to beautifully and intelligently express brands.

Technologists have had the lead for a while, but the artist will take over.”

Comforting words indeed. Over the festival’s course, the audience was also treated to some good-natured pot shots (Sean Combs), mea culpa (Tumblr David Karp’s about-face on advertising), realism (Wikipedia’s Jimmy Wales on crowdsourcing being here to stay), praise (Lou Reed) and tough love (George Lois).

Hip-hop artist, producer, brand pitchman and entrepreneur Combs earned loud laughs when he told the audience: “I hate watching

commercials just like anybody else… If you ain’t gonna be great go home and get the fuck out of the room right now!”

Combs is no stranger to brand reinvention, having morphed from Puff Daddy to Diddy and P. Diddy. Fortunately his distaste for advertising didn’t stop him from admitting that ads work – he sent his girlfriend out to Whole Foods for Dannon yogurt after being tempted by the commercial and he heaped praise on work that was disruptive, brave and connected at an emotional level.

Nor did it stop him from playing pitchman for his upcoming music-oriented cable venture, Revolt TV. Combs believes Revolt, launching later this year, will offer advertisers an entrée into a world of cool, to emerging

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01 Cannes’ familiar Lion gets a makeover 02 Party time 03 Lois (left) and Clow... reliving tales from the advertising trenches

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Heard at Cannes “Right now the advertising in new media is the most annoying and the most interruptive, so it’s not artful yet.”

Lee Clow

Photo www.gettyimages.com

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artists in an industry that has benefited enormously from social media’s explosion and,as he sees it, is more successful than ever.

For Combs, music is the ideal platform to target millennials “who don’t like no B.S. and they don’t like a one-way street”.

Conan O’Brien was in fine comic form, quipping: “Advertisers are scum. They need to be told what to do and when to do it. There are none here I am told.” Pokes aside, the late night host knows his digital marketing stuff.

“If you’re not entertaining, no size of team is going to make you ‘go viral’; technology has changed but the important things haven’t changed,” said O’Brien, who credited social media for the success of his post-NBC ouster tour.

“You’re either funny, or not,” he said, underscoring the content is king and distribution is queen strategy that has served the comic and now social media star (with eight million followers) exceedingly well.

Famed photographer Annie Leibovitz made the case for the power of still images, but for all her undeniable talents has become a cautionary tale: Whether you’re a creative or photographer it is becoming harder than ever to stay relevant. Leibovitz, who captured the iconic naked Lennon draped over Ono

shot, insisted the world of photography was stronger than ever, but smartphones have nevertheless given non-professionals the means to record and share momentous events.

The all-in-one gadgets have in effect shaped consumers’ appreciation for spontaneous, uncontrived images.

Leibovitz chose to describe her longrunning ‘Disney Dream Portraits’ series, featuring celebs as fairy tale characters, as entertainment rather than advertising.

The series, she said, was about reminding consumers about their magical experiences with the entertainment giant, which elevated the brand by building a strong emotional connection with the consumer.

Amid the content discourse, SapientNitro’s worldwide chief creative officer Gaston Legorburu urged the audience to do less “story-yelling” and more “storytelling” as he set the stage for maverick designer Dame Vivienne Westwood’s session on ‘A New Breed of Storyteller – Stories Are More Than A Narrative. Fashion Is More Than A Design”.

“The world has forgotten more than it knows,” said the anti-establishment heroine, doing an about-turn on her worldview. She urged delegates to learn from the past she once rebelled against, and to take their time

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“Nowadays, people say, ‘Oh, that was a great ad.’ Before, it used to be, ‘You fucking sellout.’ But what’s fair is fair. And the ad people play fair with you.”

Lou Reed musician

“You guys are more talented than any one in the Tumblr office or in Palo Alto or Sunnyvale, We’re constantly in awe, constantly in service.”

David Karp Tumblr founder’s about-turn on his 2010 sentiment that advertising “turns our stomach”

“Great ideas don’t just come from creative anymore… now they can come from anywhere, anyone.”

Jimmy Wales Wikipedia founder

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“The name of the game isn’t technology.

The name of the game is creativity.”

Heard at Cannes “Funny how Coca-Cola linked the past to the present… sometimes we don’t need words, sometimes the power of a simple visual like the peace symbol, like the Coke ribbon sharing (‘CokeHands’) is such a powerful thing … it’s something to think about as we create work for the digital future and the digital present.”

Pete Favat Arnold Worldwide chief creative officer

“When we say technology it could be something as simple as a paint brush …innovation isn’t everything, emotion is everything.”

Masashi Kawamura PARTY creative director and founder

“Our brains are organized on narrative … what’s perceived as serious and masculine on the news is statistics and generality and is part of the reason why people don’t hook into it …”

Gloria Steinem journalist and activist

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to absorb universal ideas. A strong advocate for justice, Westwood believed the past generation had provided her with the ideals and culture, even if she rebelled against them, while distractions in the current media landscape only impeded the deep thinking necessary for attaining true creativity and developing ideas to improve the world. “If you want to engage the world, fight for an idea or an ideal,” Westwood urged the audience in a year when a slew of good-for-society work shone as the festival’s darlings (see Grand Prix round-up, pg 130).

Legendary admen and firm friends George Lois and TBWA’s Lee Clow and Google X’s Astro Teller emerged as powerful advocates of creativity and the ability to tell stories over technology. “The name of the game isn’t technology. The name of the game is creativity,” said Lois, the “original Mr. Big Idea”. “Guys come to me and say, ‘It must have been great back then, when clients would accept good work.’ And I say, ‘What the fuck are you talking about?’ Do great work, and have the courage to sell it. Force it to be sold.”

Setting the record straight, Teller added: “Story-telling is not the wrapping and the bow that goes around a change-the-world invention. It is the foundation around which the invention can be built.

“It’s not the technology but the story that matters. The story you pick to tell when you make a moonshot changes everything about it,” said the director of the secretive lab behind ‘moonshot’ projects such as Google Glass and self-driving cars, the seemingly–impossible yet impossibly–important ideas that are brought to life through science, technology and creativity.

“What if we said by creating self-driving

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cars we would give back to people 10% of their waking lives – that’s also a good story.

Or we could say we want to solve an urban transportation problem by putting less cars on the road. The story you pick is the moonshot almost more than the technology you work on.”

Speaking of Google, its rise in the last decade ushered in the era of algorithms and big data, which was referenced with as much frequency as content in a festival where the likes of Twitter, Tumblr, Facebook and a stew of tech giants were making their own pitches for the advertising dollar.

In its session, MindShare held up elite F1 team McLaren as a shining example of adaptive, data-driven behavior that marketers would do well to emulate. “It is our ability to adapt to data and to create and distribute content in real-time that will define success for this generation,” said Nick Emery, MindShare’s global CEO. “F1 is all about data and it is about the speed of action and reaction to that data, but there is one fundamental difference between McLaren and our business and that is the level of personal and corporate faith in data far surpasses our own,” he added. “For both the individual driver and the company, it really is a matter of life and death in terms of your trust in the feedback you get from data and the actions you take as a result of that.”

McLaren group brand director John Allert, however, zeroed in on the type of data that makes a difference: “Big data is dead… data needs to be agile, organic and peoplefriendly.”

Some would say Allert’s call, borne out of McLaren’s deep comfort and understanding in making data work for the brand, makes sense. The kind of data he talked about will likely become the industry’s new best friend as the rush to create content invariably leads to content overload. It will take “people-friendly data” to provide the checks and balance in crafting the deep propositions that resonate with a sophisticated marketplace.

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Record entries for 60th outing Total of 1,173 Lions awarded

CANNES This year’s record 35,765 entries from 92 markets entered across 16 competition categories were whittled down to 1,173 Lions – 20 Grand Prix, 221 Gold, 370 Silver, 549 Bronze, 6 Effectiveness and 4 Titanium Lions – by more than 300 jury members.

Overall entry numbers rose for the 5th year in a row but there were double-digit falls in 5 of the 16 categories, which this year included the inaugural Innovation competition.

Entries were down 10% for the Film Lions, 7% Media, 6% Press and 13% Radio. The sharpest falls were reported for Titanium and Integrated, a surprise considering brands’ demand for greater integration across media for impact and marketing efficiency in an increasingly mobile world.

Droga5 New York chief creative officer Ted Royer had a different take. “The Titanium and Integrated are notoriously tough categories

so it’s understandable why a lot of people prudently choose not to enter. A Titanium has to change the world forever basically, and Integrated has to have seamless parts all working together. Tough, tough categories.”

The decline in entry numbers for the categories came as organizers continued expanding the battle ground – Creative Effectiveness was added in 2011, Mobile last year and Innovation this year. Innovation’s 270 entries came from a mix of agencies and internet and tech development companies.

Conversations at Cannes suggest the organizers will have to work harder to differentiate the Titanium and Innovation categories.

“It’s fuzzy, and that was reflected in a lot of conversation I heard over the week. Which was which?” noted Royer. “Titanium was becoming a catch-all for any cool idea that was not easily categorizable, and that included a lot of tech development. Hopefully Innovation can clarify that. It’s a cool award, and as time goes on, it will become a little clearer for all.”

Perhaps efforts by the father of the Titanium category to redefine the competition could help better differentiate it from the Innovation category. Dan Wieden, Wieden+Kennedy’s co-founder and executive creative director who conceived the Titanium in 2003, said the award should be given “in recognition of work that’s truly transformational, and offers a new way forward for the industry. Not for the interest of agency or client, but the customers we both serve. That definition helped us to focus”.

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Most Awarded Global Markets US176 02 Brazil114 03 UK101 04 Australia87 05 Germany67 06 France54 07 South Africa34 07 Sweden34 08 India33 08 Japan33 09 New Zealand32 10 Canada28 01

Source Campaign Brief Asia

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Trending towards good Grand Prix honors civic-minded brand campaigns

CANNES While the 2013 Cannes International Festival of Creativity may very well be the year of McCann Melbourne, whose ‘Dumb Ways to Die’ became the most-awarded campaign in history, it may also be remembered for being the year in which civic-minded campaigns and executions took center stage. Indeed, taking a peek at the list of 2013’s Grand Prix winners, one would be hard pressed to find a campaign that didn’t have some notion of greater good built in.

The only Grand Prix that could even be considered in any way traditional in terms of pushing product was the one for Press, and even that was for the Apple iPad! Of course, the aforementioned ‘Dumb Ways to Die’ was the big winner, with a record-breaking five Grand Prix Lions to its

credit. Juggling morbidity and merriment with a flair that would make the Addams Family proud, the catchy theme-tuned PSA to prevent Metro-related fatalities bagged for its agency Grand Prix immortality in the film, radio, PR, direct and integrated categories.

Not to be outdone was Pereira & O’Dell, which scored Grand Prix honors in Film, Branded and Cyber for their work on ‘The Beauty Inside’. Created for clients Intel and Toshiba, ‘The Beauty Inside’ was an interactive film experience about Alex, who wakes up with a different appearance and/or gender every day, making judicious use of his Toshiba Portege Ultrabook with Intel Inside to chronicle his quest to win the heart of a girl he has fallen for.

The festival’s highest honor, a Titanium

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Grand Prix, was awarded to Ogilvy Brazil for Dove ‘Real Beauty Sketches’. An internet sensation almost from the moment of upload, ‘Real Beauty’ chronicled, with the help of an FBI sketch artist, how women’s perceptions of themselves was, more often than not, inversely proportionate to their actual appearances.

Whether taken as a message of belief in oneself or merely the latest salvo in Dove’s ongoing ode to natural beauty, it was an award well-deserved.

The Grand Prix for Creative Effectiveness went to Wieden+Kennedy Amsterdam’s Heineken ‘Legendary Journey’ campaign, the latest entry in the ongoing ‘Legends’ series, which has, through a series of increasingly entertaining, irreverent ads, rejuvenated the brand in much the same way as the Old Spice Guy did for his.

The trend towards good was evident in DM9 JaymeSyfu’s dark horse Mobile Grand Prix win for their Smart ‘TXTBKS’ project for client Smart Communications, an inexpensive method of using obsolete cell phones and surplus sim cards as e-readers for students in impoverished areas. The initiative garnered additional headlines for being the first Grand Prix to come from the Philippines.

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Ogilvy & Mather Paris earned their Grand Prix by finding ingenious ways to promote smarter cities in as purely an Outdoor manner as possible.

In Media, Ogilvy & Mather Amsterdam scored a Grand Prix with ‘Why Wait Till It’s Too Late’ campaign, for the Dela funeral insurance company, which invited people to express their traditional testimonials to dearly departed friends and relatives while those friends and relatives were still alive.

The campaign was a success, as the Dutch seized the opportunity to have their heartfelt messages to loved ones broadcast, displayed and transmitted across a variety of media.

Reinvention and confection were the ingredients for success when it came to the Cyber category, as the Grand Prix was awarded to Draftfcb, New York, for their Oreo ‘Daily Twist’ campaign, which adjusted the appearance of their venerable cookie client every day for a year to reflect current headlines.

01 John Mescall and his multiple Grand Prix winning team 02 DM9’s Louie Sotto and Mobile Jury President Rei Inamoto 03 Wieden+Kennedy Amsterdam’s duo with Creative Effectiveness Jury President Shelly Lazurus (right) 04 Ogilvy Brasil São Paulo’s ‘Immortal Fans’ team with their Promo & Activation prize

Literal invention resulted in an Innovation Grand Prix for The Barbarian Group, New York’s ‘Cinder’ program, which took a program originally created for the visual effects industry and reworked it to provide technical solutions for a variety of multimedia platforms and executions.

Also on the technical side was the Design Grand Prix of Serviceplan. This is a back-toback Grand Prix for Serviceplan, having won last year for their solar power company report that could only be read when exposed to sunlight. This year, the win was for ‘Selfscan Report’ for client Auchan. In order to promote the environmental practices they observed, Serviceplan Munich hit upon the notion of encoding an annual sustainability report – accessible when scanned with a smartphone or tablet – onto the surface of a shopping receipt.

While it remains to be seen whether or not the trend towards good will be one that continues into the next year, one thing is clear: With the social responsibility bar having been so definitively raised across so many categories, it will be unquestionably interesting to see who, if any, will rise to the challenge of topping it.

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July-August 2013

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BBDO Düsseldorf received a literal Grand Prix for Good for client WWF’s ‘The 6 0 Ye a r s o f G r a n d P r i x W i n s Ant Rally’, wherein an army of ants was 60 Yearsb yofi n d u s t r y Game conscripted to serve as the world’s smallest Grand Prix Wins Changer: protestors. Utilizing messages printed onto

By Industry The 2000s specially-made miniature leaf banners, With the 60th anniversary of Cannes Lions comes athe celebration of the iconic work that an estimated 500,000 ants carried 1 NEW WIN - 2013 changed the landscape of advertising.

7 NEW WINS - 2013 messages over a five – day period, garnering 1 NEW WIN - 2013 international media attention.

1 NEW WIN - 2013 Adding athleticism to social responsibility were the Grand Prix-winning campaigns gy no lo t n-p p no tv oys of 4Creative – the in-house creative team rofi hot ch /fi e t/g ogr t lm a ov ern phic for the UK’s Channel 4 – and Ogilvy Brazil. me 7 NEW WINS - 2013 nt The former took top prize in Film Craft for travel an d hosp automotive itality its ‘Superhumans’ spot, which presented Bobthe Greenberg paraplegics as star athletes, while fashion foo and d, agric founder of R/GA (like R/GA itself) started resta ultu latter took home the Grand PrixThe in Promo/ uran re out in visual effects. Since then, one thing has t g in h persisted: Greenberg's love of combining lis b u Activation for their efforts to promote organ /p ia creativity and technology to further a story. s d po e me g rt He’s won almost every major industry award, ra s/ donation that proved so effective, the waiting ve sp including the Academy Award, D&AD, and of or be ts lic course the Cannes Lions Titanium Grand Prix. o w list for heart and corneal transplants in that ea oh c r al n o part of the world was brought down to zero. n Press and Outdoor categories saw their Winning 1 NEW WIN - 2013 respective media tweaked in deceptively Work: 1 NEW WIN - 2013 1 NEW WIN - 2013 simple ways, to award-winning results.

1 NEW WIN - 2013 The 2000s TBWA\Media Arts Lab Los Angeles claimed a Grand Prix in Press for an iPad Mini Top 10 Winning Countries campaign that paid tribute to print even as Entries v. Shortlists v. Wins it sounded its death knell, while in Outdoor,

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c r e at i v e s h o w c a s e

Grand Prix the winners

Branded Content & Entertainment Lions • Direct • PR • Radio • Integrated Title ‘Dumb Ways To Die’ Advertiser/Client Metro Trains Product/Service Metro Trains Entrant Company McCann Melbourne, Australia

Branded Content & Entertainment • Cyber • Film Craft Title ‘The Beauty Inside’ Advertiser/Client Intel + Toshiba Product/Service Toshiba Laptop With Intel Inside Entrant Company Pereira & O’Dell San Francisco, Usa

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Creative Effectiveness (Film & Internet Film)

Cyber

Title ‘Heineken’s Legendary Journey: Justifying A Premium The World Over’ Advertiser/Client Heineken International N.v.

Product/Service Heineken Entrant Company Wieden+Kennedy Amsterdam, The Netherlands

Title ‘Oreo Daily Twist’ Advertiser/Client Mondeléz International Product/Service Oreo Entrant Company Draftfcb New York, USA

Design

Film Craft

Title ‘The Selfscan Report ’ Advertiser/Client Auchan Product/Service Auchan Entrant Company Serviceplan Munich, Germany

Title ‘Meet The Superhumans’ Advertiser/Client Channel 4 Product/Service On Air TV Promotion Entrant Company 4Creative London, United Kingdom

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Grand Prix For Good Title ‘The Ant Rally’ Advertiser/Client Worldwide Fund For Nature (Wwf) Product/Service Wwf Entrant Company Bbdo Germany Düsseldorf, Germany

Innovation Title ‘Cinder’ Product/Service Software Technology Entrant Company The Barbarian Group New York, USA

Media Title ‘Why Wait Until It’s Too Late?’

Advertiser/Client Funeral Insurance Company Dela Product/Service Dela Brand Entrant Company Ogilvy & Mather Amsterdam, The Netherlands

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Mobile Title ‘Smart TXTBKS’ Advertiser/Client Smart Communications Product/Service Smart Public Affairs Entrant Company DDB DM9JaymeSyfu Makati City, The Philippines

Titanium & Integrated Title ‘Real Beauty Sketches’ Advertiser/Client Unilever Product/Service Dove Masterbrand Entrant Company Ogilvy Brasil São Paulo, Brazil

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Press Title ‘Time’, ‘Surfer’, ‘Wallpaper’ Advertiser/Client Apple Product/Service iPad Mini Entrant Company Tbwa\Media Arts Lab Los Angeles, Usa

Outdoor Title ‘Bench’, ‘Shelter’, ‘Ramp’ Advertiser/Client Ibm Entrant Company Ogilvy France Paris, France

Promo & Activation Title ‘Immortal Fans’ Advertiser/Client Sport Club Recife Product/Service Football Club Entrant Company Ogilvy & Mather São Paulo, Brazil

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Asia Pacific turns in golden performance Region’s 287 Lions include 60 Golds

CANNES Asia Pacific agencies converted 805 shortlisted submissions from 9,090 entries into 287 Lions, according to numbers crunched by Campaign Brief Asia.

The region’s share of Lions represented 24.5% of all trophies awarded at the festival.

McCann Melbourne’s world-beating ‘Dumb Ways to Die’ pop culture phenomenon was undoubtedly the campaign with the wattage. The agency’s record-breaking haul of 18 Gold, 3 Silver and 2 Bronze Lions pushed Australia – with 87 Lions in all – to pole position in the region and 4th place globally.

While the US earned 1 Grand Prix honor more than McCann’s 5, the latter’s haul is another festival record as it’s the most number of best in show trophies won by a single agency, while it took 4 US agencies to better ‘Dumb Ways’.

Three markets from the region made the global Top 10 this year – India and Japan tied for 8th position with 33 trophies each followed by New Zealand with 32 Lions.

60 of the region’s Lions were Gold as Asia Pacific agencies performed respectably across most categories save for PR, Film and Film Craft, where they took the least number of the overall Gold Lions awarded though ‘Dumb Ways’ took the PR and Film Grand Prix prizes and the Film’s top award.

The region also only managed 2 Golds apiece out of Film Craft’s 12 Golds awarded and Film’s 13 Golds. Aussie agencies won all 4 Golds, leaving Asian shops out in the cold, a point highlighted by Film juror Jureeporn Thaidumrong.

McCann Melbourne took a Gold in each of

the competitions; the remaining two went to Clemenger BBDO Melbourne’s ‘Beer Chase’ in Film and Revolver/Will O’Rourke and George Patterson Y&R’s ‘Tumble’ in Film Craft.

Cyber was another disappointment for most of Asia with ‘Dumb Ways’ flying the region’s flag to take 5 of the 17 Golds awarded.

Asia Pacific’s strongest performances were in Creative Effectiveness, Direct and Design, categories where the region accounted for half of the Golds in the first or more than half in the latter 2 competitions.

New Zealand and Australian shops dominated the Effectiveness and Direct competitions, taking 3 of the former’s 6 Golds and 8 of the 13 handed out in the second.

DDB Group Singapore won Asia’s remaining 2 Direct Golds, both with ‘Third Eye’ for Starhub Mobile.

Asian agencies shone, however, in Design, with Japanese agencies winning 8 of the overall 23 Golds awarded. Dentsu’s Golds came from the ‘The Ultimate Pencil’ and ‘Sticky Notes Annual’ among others, Hakuhodo scored with ‘Kikuchi Naruyoshi: Jazz’ and ‘Magnetic World’ and I&S BBDO

with ‘The Japan Pill-Harmonic’. Taproot’s multi-awarded ‘Farmers’ Suicide’ won 1 of its 4 Golds in Design, and Ogilvy & Mather accounted for India’s other Design Gold with ‘Day Light’.

Press was another strong category for Asian shops, which won 10 of the 19 Golds awarded overall. Gold winners included Lowe Bangkok’s ‘Pig/Lamb’, Grey India’s ‘Positive & Negative 1 and 2’, JWT Shanghai’s ‘Sumo Elephant/Wrestler Bear’, Ogilvy & Mather Hong Kong’s ‘Golf’ and Publicis Singapore for ‘War’.

Asia delivered 6 of the 25 Golds awarded in Outdoor, which included double wins for Taproot’s ‘Farmers’ Suicides’, JWT Manila’s Icons’, McCann’s perennial winner ‘Dumb Ways’ and Hakuhodo’s contribution to Indonesia’s only Gold with its Berlitz Language Center series.

Regional shops accounted for 5 of Branded Content’s 17 Golds, 3 of Promo & Activation’s 16 Golds and 4 of Radio’s 9 Golds. In Branded Content, Ace Saatchi & Saatchi Philippines not only equaled ‘Dumb Way’s’ 2 Golds, its ‘Screen-Age Love Story’, a fusion of virtual and reality, was also a contender for the category’s Grand Prix, according to a juror for the competition. Pereira & O’Dell’s ‘The Beauty Inside’ eventually triumphed to take the Grand Prix.

Cheil Worldwide’s ‘Bridge of Life’ (pictured), an interactive bridge to deter suicides at a suicide black spot, won 1 of 3 Promo Golds awarded to the region alongside ‘Dumb Ways’. ‘Bridge of Life’ was also the only winner in the notoriously difficult Titanium competition from Asia. #10 Hong Kong #5 China 5

26

#9 South Korea

11

#8 The Philippines

13

#2 Japan

33

#12 Malaysia 4

#2 India

#11 Indonesia 3

33

#6 Singapore

most awarded Asia Pacific markets

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#3

22

New Zealand 32

#7 Thailand

16

#1 Australia

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gold showcase

asia pacific selected winners

Australia Title ‘Small World Machines’ Advertiser/Client Coca-Cola Entrant Company Leo Burnett Sydney, Australia

India Title ‘Farmers’ Suicides’ Entrant Company Taproot, Mumbai, India

Thailand Title ‘A Million Reasons To Believe In Thailand’ Advertiser/Client Coca-Cola Entrant Company Initiative Bangkok, Thailand

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Japan Title ‘Aqua Social Fes!!’

Advertiser/Client Toyota Marketing Japan Corporation Entrant Company Dentsu Tokyo, Japan

New Zealand Title ‘Believe’ Advertiser/Client Lion Nathan Entrant Company Ddb Group New Zealand

China Title ‘Sumo Elephant’ Advertiser/Client Samsonite Entrant Company Jwt Shanghai, China

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Singapore Title ‘War’ Advertiser/Client Crisis Relief Singapore Entrant Company Publicis Singapore, Singapore

South Korea Title ‘Bridge Of Life’ Advertiser/Client Samsung Life Insurance Entrant Company Cheil Worldwide Seoul, South Korea

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Indonesia Title ‘Afrochina’, Arabamerican’, ‘Indijap’ Advertiser/Client Berlitz Entrant Company Hakuhodo Indonesia

Hong Kong Title ‘Golf’, ‘Horse Racing’, ‘Soccer’ Advertiser/Client Beijing Sports Radio Entrant Company Ogilvy & Mather Group Hong Kong

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Cyber celebrates storytelling Oreo offers shining social media sexample Words Valerie Cheng, Chief creative officer, JWT Singapore

CANNES For all who have been chasing the awards game for years, we’ve learnt that it not only takes great strategy and creative work to win but an element of timing and luck is equally important – basically what the juries are looking for that year.

Looking at the big winners of this year’s Cannes Cyber category, it’s obvious that the jury was definitely celebrating the power of content and storytelling. From ‘The Beauty Inside’ to the ‘Oreo Daily Twist’, both Cyber Grand Prix winners, the focus this year has gone back to agencies and brands that have invested a lot in carefully crafted digital experiences that result in users spending a substantial amount of time with the brands.

‘Oreo Daily Twist’ is my favourite and I personally wished I had done this for my clients. It is a brilliant example of how every brand should approach social media – create simple, engaging content that is appropriate for the platform but, more importantly, highly relevant for the brand. Not some random baby picture or cat video.

Oreo has demonstrated how a brand can play to the hearts of its fans and provide them with more of what they love to share with their friends online. This highly strategic and effective campaign is worth every weight of its Grand Prix as it has shown the way forward for so many bigger brands that have gotten social media very wrong.

That said, I still miss the little wow factor that used to be present in previous Cyber

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winners. The technology wonders and applications that make this category exciting to watch like the ‘Nike Fuelband’ or ‘Pay With A Tweet’. The pieces that make you go, ‘I didn’t know that was possible’.

Maybe this category has hit a plateau and we’ve all seen a lot. Or maybe, we just need to try harder and let our imagination go wilder.

After all, this is a creative business and we always believe that nothing is impossible, especially with technology.

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Jurors’ thoughts Insights on jury room deliberations Scott Donaton President & CEO, Ensemble US Branded Content Jury President Dan Wieden Global executive creative director, co-founder Wieden+Kennedy Titanium & Integrated Jury President “The Integrated Grand Prix went to ‘Dumb Ways to Die’ – it was very, very effective but it’s also something that gets in your mind and stays with you with a lightheartedness and sophistication that you just had to go for. The Titanium went to Dove (‘Real Beauty Sketches’) and it was a real difficult choice because there was a lot of really great work in Titanium this year but I think Dove had a way of not just moving product and making clients happy… but both are given together in this campaign in a way to help the consumer.” * Piyush Pandey Executive chairman, creative director, Ogilvy & Mather South Asia Titanium & Integrated juror

“The movie ‘Out Here’ from Kokanee was really it.

We got down very quickly short after we solidified the short-list. We asked everybody for their top choices and a private ballot for the first time and those really became the two things that were the centrepiece of the discussion the rest of the time.”

Jae Goodman Creative officer and co-head, CAA Marketing Branded Content & Entertainment juror “…for a lot of us from the jury ‘Screen-Age Love Story’ which came from the Philippines… was just beautifully crafted and a wonderful interaction between the fictional content and the usergenerated content and at times even the audience was fooled with regard to which was which and we loved that about that campaign.”

Joe Pytka Director, US Film Craft Jury President

“It was not really easy to separate the Integrated from the Titaniums. But it all fell into place and we found that Titaniums could be Integrated, but Integrated need not mean a Titanium. There’s some fantastic pieces of work out there –‘Dumb Ways To Die’ as the Grand Prix for Integrated and Dove ‘Sketches’ as a Grand Prix for Titanium. I think it’s a fantastic statement of including people.

The biggest thing that this jury did was not to forget that every piece of work is created for the people.”

“We selected the ‘Superhuman’ commercial … at first it seemed like an obvious choice and we tried to get away from having an obvious choice.

We were looking for something more clever.

But the message and honesty of that thing just broke through. In the end it became more important than all the other stuff. All the elements blended without any ego on the part of the film-makers.” *

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Dominic Stallard Chief creative officer, Lowe Singapore Promo and Activation juror “(Brazil’s) ‘Club Recife’ was the most inspiring. I think for me it was a very strong promotional message that actually can be copied and used around the world by other football clubs. I loved the fact that it felt like a charity but actually at the end of the day it was ‘Immortal Fans’ of a football club. It had a commercial aspect to it that was why I loved it.

But it’s one of those things, it was a promotion, it had a card... but it actually changed people’s lives, it was very powerful.

“It was really inspiring and I think that was at the heart of it, inspiring creativity this year through promotion and devotion.”

Rei Inamoto Chief global creative officer, AKQA Mobile Jury President “This Grand Prix (DM9 Philippines’ ‘TXTBKS’) may not be the most sexy piece, if you will. It’s not the shiniest piece of work but it’s definitely one of the most beautiful pieces I’ve ever seen. …it gives knowledge to every child in this country, possibly, and potentially every child in the world. It’s one of the few ideas when we talked about it that it actually has a chance of changing the world.

We get paid by clients to do a lot of different types of work and I guarantee that this piece of work… has the smallest surface of any winner that you will see throughout the festival... but it’s possibly one of the biggest ideas that you’ll see throughout the week.”

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Ralph van Dijk Co-founder and creative director, Eardrum Australia Radio Jury President Tony Granger Chief creative officer, Young & Rubicam Worldwide Outdoor Jury President “JWT Manila’s Schick (‘Icons’) was an easy Gold winner. It really stood out very, very early on in the judging and we were all talking about it. It’s just so so graphic and so beautifully done.

Simple, impactful – you can imagine seeing this outdoor driving quickly down the highway. It’s quick, you get it. In any kind of outdoor experience, it needs to be quick, it needs to connect, and this does beautifully.”

David Guerrero Chairman and chief creative officer, BBDO Guerrero Philippines Outdoor juror “Fantastic news that one of the Gold winners is from the Philippines (JWT Manila’s ‘Icons’ Schick posters) and it’s a beautifully simple piece that is graphic, striking and you know is absolutely, provably word-class. So that was really a fantastic result. It shows that budget is not an obstacle. It shows that client is not an obstacle. There is really no excuse especially in outdoor and poster where there are very few constraints to anyone putting enough effort and imagination into the work and enough craft to produce it that can do something great.”

“…a lot of advertisers in some of the developing countries … assume the listener is interested and they will then do a very direct message and throw in as many facts and figures and shouts and present something aggressively, quickly in an ad. That’s the direct opposite of why listeners choose to listen to radio in the first place. Don’t assume that listeners are interested in you . To make something cut-through, interesting, takes time like the Cancer Foundation ads (McCann Worldgroup Philippines’ ‘Press’ and ‘Hold’) that won Silver. Great example of a very simple thought, very pure advertising, and you’re not going to forget that.”

Sir John Hegarty Worldwide creative director and founder, BBH Global Film Jury President “‘Dumb Ways To Die’, one of the great challenges – if you’re writing something that’s working in the advertising sphere, how do you (then) get that piece of work to move beyond advertising. I would say to people, ‘I work in advertising, I don’t live in advertising.’ I try to get my work to go beyond that, to be part of the social fabric of the place I’m in. And I think certainly ‘Dumb Ways To Die’ is obviously down there. I think the other thing too, a number of people have sort of observed that it’s rather long. But actually in this situation this works. I think it’s

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a very interesting way, a new way of using television – in other words, instead of relying on a conventional 30-, 40- or 60-second even, create something that is truly truly imaginative. It captures people’s imagination and they then in turn pass it on.”

Jureeporn Thaidumrong Creative chairwoman, nudeJEH Thailand Film juror “(After) we judged the first round, I felt a bit disappointed about TV commercials nowadays … it seems nobody tries to produce great TVCs anymore and all good things go on the internet. But at the end – when we came down to the shortlist – the great TVCs came out. Very outstanding. I felt very inspired. Thailand and Asia didn’t do so well. But when you see the work, I have to go back home and try to encourage the creatives, even myself, to work more, work harder and try to get back into the film category. Thailand used to be very strong in film but we are weak nowadays.”

* Cannes Lions TV

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COMM E N TARY

Historic year for the Philippines Bar well and truly raised Words David Guerrero, Chairman and Chief Creative Officer, BBDO Guerrero

CANNES My first visit to Cannes was in 1997.

And we came home with a shortlist in TV – for a Huggies spot entitled ‘Singing in the Rain’.

At that point it wasn’t such a big deal. The atmosphere was more of a large group of creative and production people gathering in the south of France, very much out of the spotlight. Few account leads and even fewer clients attended. Locally, there were debates about whether work should be ‘pang-Cannes’ or ‘pang-masa’. And there was even talk about whether our work would be understood in a global arena such as this.

Fast forward to 2013. Cannes has become the biggest creative gathering on the planet.

Over 25% of the 11,000 plus delegates are now clients. Which means at least another 25% are agency account people. Creatives are now a minority of the attendees. But as festival chairman Terry Savage puts it: “The awards are at the heart of everything we do.” The number of entries has reached over 35,000. And juries now judge work in a dozen major categories. The results are transmitted instantly to expectant creatives in agencies worldwide. And performance in both client and agencies is increasingly measured by achievement at the show.

So Cannes has become a very, very big deal.

And winning there even more so. Over the years we’ve done respectably well at Cannes – winning five Lions last year for example. But this year will be remembered as the year we really broke through.

The thing to realize about the festival is that there are four separate awards nights during the festival. And multiple categories and many awards each night. So the organizers have had to compress the shows by only showing the Grand Prix and Golds. Everything else is on a quick rolling set of credits that flash by quite quickly.

Winners of the various Grand Prix and

Golds also get to go up on stage and get their awards. If you’ve won more than one Gold in same category they will again compress that into one visit on stage. So in total the Philippines had three journeys on stage in the festival. The most ever. And by the end of it we were ahead of countries like Singapore – which despite winning multiple Lions over the years – has never won a Cannes Grand Prix.

For starters there was the ‘massive coup’, as Campaign Brief Asia put it, for DM9JaymeSyfu and Smart in winning the top Mobile prize.

This is one of the newest categories in Cannes.

And one of the most-sought after prizes.

Secondly, there was the double-Gold win for Ace Saatchi and PLDT in Branded Content. Another recent category. The judges were really taken with the story of ‘Anna Banana’ and, in their press conference afterwards said it was a strong Gold winner and one of their favorite pieces in the category.

And thirdly there was a campaign gold for JWT in Outdoor for the simple and elegant campaign for Schick. As a judge in this category. I can report that this was also a very strong Gold – which needed no persuasion from me or the 16 international jurors. It

stood out for its clarity and simplicity amid a sea of clutter.

Like Cannes itself, I won’t repeat the achievements of the other local agencies, which also picked up very important and well-deserved Lions. All I can say is that the bar has now been well and truly raised. The expectations and the visibility of the country on the international creative stage are at an all-time high. For the year ahead, we all have to continue and extend that success.

So what kind of work will the jury be looking for? Dan Wieden, the head of the Titanium Jury, said that the best work would be work that was “truly transformational, and offers a new way forward for the industry. Not for the interest of agency or client, but the customers we both serve.”

Interestingly, it is this focus on the benefit to society that has perhaps guided our own industry to success. Our local industry has long had a focus on the ‘values’ of a piece of work. And it is that which has helped us get to where we are. We can succeed in future by being true to ourselves, true to our clients – and, most of all, by being true ‘to the customers we both serve’.

Philippine Cannes Agency rankings AGENCY

Grand Pts Prix

Ace Saatchi & Saatchi

Gold

2

Pts Silver Pts Bronze Pts Shortlist Pts

14

Y&R Philippines McCann Worldgroup DM9JaymeSyfu JWT Manila

1

total

1

5

2

6

2

2

27

1

5

1

3

7

7

15

2

10

1

1

11

10

10 1

7

1 1

TBWA\Santiago Mangada Puno

BBDO Guerrero

5

1

8 8

1

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1

3 1

1

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L-R: Eugene Demata executive creative director; Dee Taar illustrator; Alex Syfu chief relations officer, Biboy Royong art director; Merlee Jayme chief creative officer; Aste Gutierrez associate creative director; Caloy Sambrano client services director; Ina Vargas account manager, Buboy Paguio associate creative director for digital Photography Lambert Pangilinan of Cre8tive Zone

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R E VI E W

DM9’s Grand Prix: A win for the Philippines Agency scores big in hot new category CANNES DM9JaymeSyfu stunned the advertising world with a Grand Prix win in Mobile for its ‘Smart TXTBKS’ initiative for Smart Communications. Aside from being notable as a win from a relatively new category – this is only its second year – this is the Philippines’ first-ever Grand Prix win.

The milestone’s significance is one that was not lost on DM9JaymeSyfu chairman and chief creative officer Merlee Jayme. Speaking at the DM9 offices in Manila, Jayme shared that, while her team had been hopeful for a metal win, being awarded the Grand Prix was far beyond their wildest dreams.

She went on to say that the win was also notable for the “unity” it engendered in the country’s advertising community.

“The feeling of unity that this win has created is just incredible,” said Jayme. It shows the local industry and the world that the Philippines can do it, that the Philippines can win.”

The overwhelming success of ‘TXTBKS’ could be traced to its ingenious use of existing, obsolete technology to solve the very current problem of school children carrying numerous heavy textbooks to school every day.

“We’ve always been aware of the problem of heavy textbooks, students carry 22-25 of them a day,” says Aste Gutierrez, associate creative director and copywriter on the project. “And some of these children have to walk to school, not everyone has a ride. So we decided to create something using materials that have been around for the longest time.”

The solution was elegant in its simplicity: To encode condensed versions (a panel of educational consultants was on hand to ensure nothing was lost in the condensing of material) of official textbooks into the

memory of discarded sim cards, enabling the children to access their lessons via older cell phones. Where other countries have been making the move towards e-readers and tablets, ‘TXTBKS’ gives even the underprivileged children in developing countries reliable digital access to their lessons.

According toart director Biboy Royong, one of the biggest challenges lay not in the technical aspects of the project, but in convincing the principals and teachers at the test schools to allow them to try ‘Smart TXTBKS’ in their classrooms.

Account manager Ina Vargas concurs, saying that it started out as a challenge, as schools have traditionally banned the use of cellphones and similar gadgets in classrooms, but once the teachers and principals saw what DM9 was trying to do, they were enthusiastic about the project. Helping to convince them, says Royong, is the fact that the cell phones are disabled for communications use, making their use, “self-policing”.

Adding to the significance of the win, said Jayme, was the fact that their client, Smart Communications, was a local company.

“In addition to being the largest telecom company in the country, from a budget standpoint,” said Jayme, “It made sense.

Smart has always donated computers and materials to schools, but here, we’re not talking about giving the children tablets and e-readers, this is taking phones and sim cards that were otherwise useless and weren’t being used anymore.”

So what’s next for the Grand Prix-wining DM9JaymeSyfu?

“We’ll have to get back to you on that,” laughs Jayme. “Let us enjoy this one first!”

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Saatchi nabs Golds for PLDT Returns with Branded Content Golds CANNES ‘Screen-Age Love Story’ is the follow-up to the immensely popular ‘Anna Banana’, where Derek S. Lorenzo posted a public proclamation of love for his crush online, only to be met with the girl’s rejection.

It tells the “virtual meets reality” story of Derek and his little sister’s quest to find a new Anna.

The multimedia campaign kicked off with a TV spot, and went on-ground and off-ground before stumbling upon Aria Carino’s witty user-submitted response. Indeed, digital connections can create emotional ones.

“To win 5 Lions including two Gold Lions in notoriously competitive categories like Best

Integrated campaign and Best Social Media campaign is a testimony to our wonderfully talented team at Ace Saatchi & Saatchi and wonderful clients in PLDT,” said Saatchi’s executive creative director Andrew Petch.

“The jury also confirmed that ‘Screen-Age Love Story’ was up for the Grand Prix, which makes us even more proud, as the highest honors at Cannes always go to powerful ideas that have proven themselves to build brands, and this campaign certainly did. And a huge congratulations also to our team at Ace Saatchi & Saatchi and our clients at P&G on the ‘Olympic Shirt Flag’ campaign, who received their second Cannes Lion honors

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for the Ariel brand in the space of two years.

The team at P&G are true partners to us and we greatly appreciate our close relationship with them and their constant commitment to developing great creatively effective ideas with us,” he added.

“We’ve always approached our business as a cause, and we took it upon ourselves, as industry leaders, to lead the positive revolution of the Filipino families in embracing the role of technology in delivering the strongest connections at home,” commented Ariel Fermin, PLDT executive vice president, head of home business. “This is who we are, and what we stand for.”

Saatchi’s other winner, the Bronzeawarded ‘Olympic Shirt Flag’ is a campaign that almost didn’t happen, having been shelved after proving too logistically difficult to execute on a worldwide scale. Seeking permission from client P & G to execute the idea in the Philippines, Saatchi Manila (which had originally conceived the campaign) met great success: Filipinos all over the country took part, donating square portions of their t-shirts to go towards the making of the Philippine Team’s official national flag at the 2012 Olympics.

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Sweeter the second time JWT ‘Icons’ scores Gold

CANNES A Gold win is sweeter the second time around for JWT Manila’s executive creative director Dave Ferrer, admitting he’s still overwhelmed for having won the country’s second-ever Gold at this year’s Cannes Lions Festival.

Ferrer looked relaxed and happy as he shared his ecstatic emotions on getting a second Gold Lion. After all, it was JWT that brought home the first ever Gold Lion in 2007, for a radio campaign for client Lotus Spa. Reminiscing on JWT Manila’s history at Cannes, Ferrer says, “Every year before Cannes, I always play that video to the team, and in talks I go to. It is a milestone in the history of advertising that really brought tears to my eyes. This time I told them to just get inspired, just get everything they can get out of it.”

This time, it was their outdoor campaign for Schick’s Energizer razor that bagged the trophy. The ‘Icons’ series of posters feature a

selection of iconic men with distinctive facial hair: Mr. T, Sylvester Stallone, V from V for Vendetta, the surrealist Salvador Dali and Charlie Chaplin. Ferrer said that the JWT Manila team just had fun with the campaign, going for men who were so recognizable by their attributes, the final work needn’t reveal too much about who they are.

Ferrer attributes JWT Manila’s success on their having a good relationship with the client and a team that was open to collaboration.

The best part, Ferrer said, was being able to work with a well-rounded team that enjoys working together.

JWT Manila’s creative leader thinks that the diversity in entries from the Philippines was a significant factor in this being the best-ever year for the country in terms of metal tallies, describing the local advertising scene as being “broken up into little bits and pieces of avenues of creativity.”

Credits: Photography Mark Nicdao, Stylist Veronica Gonzalez, Hair and Makeup Jennie Delica & Production Design Teresa Camposano

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McCann shines with cheeky ads Wins Silver Radio Lion

CANNES McCann Worldgroup Philippines snapped up a Silver Lion in Radio for Philippine Cancer Society’s ‘Press’ and ‘Hold’, part of a nationwide initiative to spread awareness of cancer prevention through regular self-examination.

“It’s an honor for [us] to win the only Silver Radio Lion of the country, besting more than 1,500 entries globally,” said Raul Castro, McCann Worldgroup Philippines’ chairman/ CEO/chief creative officer.

Castro’s sentiments were echoed by production company Hit Productions’ president and managing partner, Vic Icasas, who credited the strength of McCann’s core concept for the win. “They were solid scripts written to raise awareness for a very worthy cause, and we were happy to work on the campaign with McCann. Definitely an award-worthy concept, and congratulations to them!”

Castro quantified the significance of the win, stating, “Radio is a challenging, coveted category where it’s tougher to get attention, and where fresh ideas are imperatives. This win proves that radio can be a powerful medium for championing positive change, which is the intent of McCann and the Philippine Cancer Society.”

Castro and Icasas have every right to be proud; from a shortlist that contained 163 entries, only 47 received metal recognition for their efforts. Of those 47, McCann Worldgroup Philippines was the only Asian agency.

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Y&R celebrates first Lion Scoops Silver, Bronze Lions for ‘Dengue Bottle’ CANNES “We were a little surprised because we didn’t have a range of materials that we fielded in this year. We were surprised because we were lucky to have hit three metals this year,” Y&R Philippines ECD Badong Abesamis tells adobo Magazine.

Y&R Philippines ‘Dengue Bottle’ project for Maynilad Water Services has won not just one, but three awards for the agency’s first metal haul at Cannes: a Silver Lion in Media and two Bronze Lions in Outdoor and Activation.

‘Dengue Bottle’ was launched in December last year in partnership with Maynilad Water Services. It unleashed the power of clean water using a simple technology – plastic bottles plus a combination of brown sugar, yeast and clean water. The contraption gives off carbon

dioxide, which attracts the mosquitoes before trapping them in the bottle.

A local community consisting of 500 families participated at the onset, but after dengue cases decreased by more than half, Maynilad later on decided to enjoin more.

“Certainly, we cannot take credit for that whole thing, but we were overjoyed in a sense that it has helped,” Abesamis affirmed.

“I think the judges noticed the idea because of the case study”, comments Abesamis on their win in Cannes. “I mean, mounting it is one thing. Doing a case study is another story.”

Y&R Philippines have also submitted the campaign to various local and international shows. ‘Dengue Bottle’ was a finalist in New York Festival’s International Advertising Awards where it won under the Civic and Social Education Category.

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The briefing, conceptualization and actual implementation lasted for about six months. “It really takes long to produce good work. You can’t really rush things.

That’s what I discovered in my short three years stint as an ECD. You cannot rush these things. You have to make sure that you give time to sell, to conceptualize and to produce materials as well.”

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TBWA wins 2 Design Lions Boysen, Ayala deliver

CANNES TBWA\Santiago Mangada Puno added to the Philippines’ stellar showing this year when it grabbed two trophies in Design: a Silver for Pacific Paint (Boysen) Philippines’ ‘The Biggest Air Filter’ and a Bronze for Ayala Land’s ‘Koi Fish Feed Invite’.

Speaking on the wins, Melvin Mangada, managing partner and chief creative officer of TBWA\SMP and member of the Radio jury for this year’s Festival, said, “Thank God our agency brought home something! (Other Philippine wins were announced earlier in the week)” The Silver for ‘The Biggest Air Filter’ was but the latest win for TBWA\SMP’s innovative campaign, which had already been recognized with a Silver Pencil at One Show earlier this year. Bringing together artists from all over the world, ‘The Biggest Air Filter’ served as the perfect showcase for Boysen’s KNOxOUT air purifying paint line. Using the paint, the artists decorated 8,000 square meters (the air purification equivalent of planting 8,000 trees) of walls along Manila’s main thoroughfare, EDSA, resulting in a reported

20% reduction in air pollution.

“When a brand does something good for a community or stands for a meaningful value, the audience respects the brand more,” said Mangada, when asked about this year’s trend of the Festival rewarding campaigns with social good built in. Mangada went on to credit the open relationship between agency and client as contributing to the success of the campaign.

The second metal, a Bronze, was awarded for ‘Koi Fish Feed Invite’, carried out for client Ayala Land’s latest innovation in eco-friendly living, the Nuvali sustainable development community in Laguna. Among the development’s main attractions is a man-made lake boasting massive schools of koi fish, and what better way to generate awareness than with an invitation that actually doubled as fish food? Comprised of material derived from natural ingredients and printed with edible ink in patterns designed to mimic those of the fish themselves, the eco-friendly invite proved to be an eco-friendly hit with visitors and koi alike.

L-R: Niño Carlo Reyes, associate creative director; John Ed De Vera, associate creative director; Abi Capa, copywriter; Marci Reyes, executive creative director; Jake Tesoro, creative director; Nolan Fabular, art director Photo by Anna Manlapas of Adphoto

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the philippines cannes lions winning entries

Ace Saatchi & Saatchi Title ‘Screen-Age Love Story’ Advertiser/Client PLDT Home Award 2 Golds and Silver in Branded Content 1 Bronze in Media

Title ‘Olympic Shirt Flag’ Advertiser/Client Ariel/Procter & Gamble Award Bronze in Media

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DM9JaymeSyfu Title ‘TXTBKS’ Advertiser/Client Smart Communications Award Grand Prix in Mobile

JWT Manila Title ‘Icons’ Advertiser/Client Schick Award Gold in Outdoor

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McCann Worldgroup Philippines Title ‘Press’ Advertiser/Client Philippine Cancer Society Award Silver in Radio

Title ‘Hold’ Advertiser/Client Philippine Cancer Society Award Silver in Radio

TBWA\Santiago Mangada Puno Title ‘The Biggest Air Filter’ Advertiser/Client Pacific Paint (Boysen) Phils Award Silver in Design

Title ‘Koi Fish Feed Invite’ Advertiser/Client Ayala Land Award Bronze in Design

Y&R Philippines Title ‘Dengue Bottle’ Advertiser/Client Maynilad Water Services Award Silver in Media Bronze in Promo & Activation

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s p e c i a l awa r d s

WPP scores hattrick

Photo www.gettyimages.com

Ogilvy takes Network prize for second year

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02 01 A triumphant Ogilvy & Mather team with their Network of the Year award 02 Cannes’ Terry Savage (left) and WPP’s Martin Sorrell

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CANNES WPP nabbed the Holding Company of the Year award for the third year running, powered by a broad cross-section of its agencies, notably Ogilvy & Mather, which set a Cannes record by winning more than 100 Lions.

Based on awards won by its agencies, WPP scored 2,067 points compared with 2012’s 1,554 points, making for the biggest points gain from one year to the next among the Top 3 holding companies. Omnicom’s 1,552 points represented a 177 points gain over last year, while Publicis lost ground. Its final score of 989 points represented a 43-point fall over 2012.

“It was a good all-round effort,” said WPP CEO Sir Martin Sorrell, noting wins across the group’s creative, media management, PR, branding and digital networks. “As the Cannes Lions and Effies have recognized, our people are creatively effective and effectively creative,” he said.

Ogilvy & Mather was the undisputed star in WPP ranks. Its haul was one for Cannes record books, helping it retake the Network of the Year accolade for the second consecutive year.

Ogilvy’s closest competitor, BBDO – the six-time Network of the Year champ before Ogilvy – had its best-ever year at Cannes, which included the Grand Prix for Good for

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Dusseldorf’s WWF ‘The Ant Rally’.

But its haul of pg. 130 awards fell short of Ogilvy’s take, which included four Grand Prix prizes. DDB was ranked network in the network index.

Two of Ogilvy’s Grand Prix awards came from São Paulo –Dove ‘Real Beauty Sketches’ scored the notoriously elusive Titanium prize while ‘Immortal Fans’ won for Promo & Activation. Amsterdam produced a Grand Prix in Media with ‘Why Wait Until It’s Too Late’ and Paris in Outdoor with ‘Outdoor as Utility’.

The Dove campaign, which ended Cannes with 16 awards, was instrumental in Ogilvy São Paulo’s Agency of the Year triumph ahead of McCann Melbourne with its own record-breaker in ‘Dumb Ways to Die’ and AlmapBBDO, São Paulo.

Wieden+Kennedy Portland was Independent Agency of the Year for the third straight year, while its New York office ranked third behind Serviceplan Munich, the Design Grand Prix winner with The Selfscan Report.

Wieden’s winning work for Procter & Gamble (‘Thank You Mom’ for the 2012 Olympics and Old Spice’s ‘Muscle Music’ and ‘4 ½ Weeks to Save The World’ among others lifted the Portland office to pole position, while Southern Comfort’s ‘Whatever’s Comfortable Beach’, a convention-defying piece of work featuring a star well past his younger days.

OMD Sydney emerged as Media Agency of the Year, having scored wins for McDonald’s in partnership with sister agency DDB Sydney.

Legendary adman Lee Clow was honored with the Lion of St Mark for his long and outstanding contribution to creativity in advertising. The chairman of TBWA\Media Arts Lab and director of Media Arts, TBWA\ Worldwide has been in the business, starting at Chiat\Day in Los Angeles, where he went on to create some of eminently watchable campaigns for Apple, with the Energizer Bunny, refreshing the world with Pepsi and celebrating sports with adidas’ ‘Impossible is Nothing’.

“Lee is a creative icon, a source of inspiration and a genius at telling brand stories in an artful way - and not least a true Californian surfer!” comments Terry Savage, Chairman of Lions Festivals. “Remaining true to his beliefs coupled with his fresh approach to work has led him to create some of the greatest campaigns ever made. It is with pride and honour that we present Lee with the Lion of St. Mark for his outstanding contribution to creativity in communications.”

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Dentsu pitches open source Perfume wows audience CANNES Internet giants from YouTube to Wikipedia empowered the public to co-create, a concept that is not entirely risk-free, but one that can be a sight to behold, as Dentsu’s session showed.

The ‘Happy Hacking: Redefining the Co-creation Frontier’ seminar was a spectacle of light, sound and music brought spectacularly to life by groundbreaking Japanese production company Rhizomatiks and the surreal performance of techno and J-pop group Perfume.

“Our model grew out of this mindset of understanding people not just as ‘target consumers’, but as audiences,” Yuya Furukawa, chief creative officer of Dentsu said. “Today, as it was during Dentsu’s earliest days, it is important to know the kinds of stories and content that people choose to consume, engage with or co-create through hacking.”

To demonstrate the open-source approach to creativity, Dentsu showcased the collaboration involving Rhizomatiks,

Perfume, fans and creators, who provided creative input for the group’s global site.

In fusing its brand of entertainment with cutting-edge digital art, Perfume’s performance effortlessly blurred the lines between reality and the world of CGI effects, stunningly created by Rhizomatiks multimedia artist Daito Manabe and Kaoru Sugano, a data analyst who worked with Dentsu on the Honda Internavi, a navigation system to show accessible roads in the wake of Japan’s earthquake and tsunami.

Combining projection and wearable technology, video, music and dance, dynamic digital graphics were projected with precision

Lou Reed applauds advertising industry

Making music these days is akin to the artiste making an advertising campaign for him or herself, since music had become more commercialized and less expressive, he noted.

Only hip-hop musician Kanye West earned a pass from Reed. “Kanye West is good, and he knows he’s good – and it annoys me,” he said, crediting West for his creativity and innovativeness while noting that his album credits read like an encyclopedia. “He really knew his stuff.”

Reed also had misgivings about the advent of music’s digital media era both on the sound experience and for the artistes.

While the technology allowed musicians to capture even the most minute of sounds in perfect clarity, MP3s offered miserable quality sound quality, he added.

Reed also had another axe to grind with digital music: “Digital is great because you can access every music genre in the world but it sounds like shit, [with iTunes]. Steve Jobs made something that benefitted Apple but not musicians… My first paycheck was for $2.60, which is the same I get now for digital downloads. I’m back where I started.”

Reed, however, singled out advertisers for special praise. “Nowadays, people say, ‘Oh, that was a great ad’. Before, it used to be, ‘You fucking sellout’. But what’s fair is fair. And the ad people play fair with you.”

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But slams iTunes for only benefitting Apple

CANNES Rock legend Lou Reed didn’t let a liver transplant keep him away from the festival, where he dished praise and censure for the advertising and music business respectively.

Speaking at Grey Group’s regular Music Seminar, the founding member of Velvet Underground, singer, songwriter, poet, playwright and photographer, was dismissive about the music business’ content and the way it distributes music today.

on the group’s outfits and Cannes stage as Perfume performed its hit single, ‘Spending All My Time’. The performance at Cannes was significant as Perfume were embarking on its European tour and global release of their songs on iTunes. Prior to arriving in Cannes, a website aimed at global fans was launched, inviting fans to co-create content.

Rhizomatiks in fact captured a Cyber Silver Lion for the development of the global site, which offered original sound data, motion capture Perfume data, add-ons for handling data, and free code examples to encourage crowd-sourced creative contributions, which will feature in the group’s world tour.

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The new big idea Creativity at scale for a sharing world Words Katrina Encanto and EJ Galang, Creative directors, Lowe Thailand

CANNES When we first entered advertising eight years ago, it became apparent to us how everyone was a little bit obsessed with the Big Idea. We understood it as a kind of brand story, expressed in a witty tagline, a TV commercial or a key visual, without which, David Ogilvy declared, advertising would pass like a ship in the night.

Fast forward to 2013. Industries are built with the purpose of shutting down the stories that we create to make way for a million others shared by the minute. Yes, the obsession with the Big Idea still exists but now in order to make it legitimately big, it must have scale.

Droga5 founder David Droga and Facebook’s director of global creative solutions Mark D’Arcy, and director of

engineering Andrew Bosworth led discussion in the Creativity at Scale session.

The audience was treated to a slideshow of possibly the biggest marketing campaign of it’s time: Elizabeth II’s coronation. People across the world tuned in on TV and radio. There were posters everywhere and articles were published in a variety of languages.

“True creativity at scale is participatory.

People need to feel compelled to share the story,” Droga said. He touched on the need for the advertising industry to work with the different canvasses available today and be deeply embedded with how stories would be amplified in the real world. “When content, context and canvas come together in the right way, exceptional things happen.”

Be unoriginal to be original Magic in creative alchemy Words Ali Silao, Creative director, TBWA\Santiago Mangada Puno

CANNES How often have we heard the phrase “been done”? I’m sure most creatives have this one idea they find annoying, because it simply keeps resurfacing in ads, refusing to die. Even this magazine has a dedicated section for ads that look alike.

But there are also campaigns where we say, “I wish I thought of that.” It’s those ads that leave us drooling, or induce our creative hard-ons. It’s those ideas that we haven’t seen before. Or have we?

How were these ideas created? Cannes speaker Kentaro Kimura (pictured), the co-CEO and executive creative director of Hakuhodo Kettle, said it was not by inventing an entirely new method of thinking or a new

field of advertising, but something he calls ‘Creative Alchemy’. According to him, the most innovative campaigns happens when an existing field of advertising is paired with an approach that has never been used in that field. Kentaro offered 5 ways: 4 Combine Fuse two old ideas together to create an entirely new one. Kentaro cites Intel’s ‘The Museum of Me’ as a combination of Facebook and design to create a beautiful autobiography of anyone with a Facebook account.

4 Mimic It’s not simply copying, but applying the underlying fundamentals of one thing to another to make it different. Kimura showed how Nike+FuelBand mimicked

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Creativity also marches to a different cadence today. Droga noted that the industry had become lazy for some time now, believing there was only a need to think of a campaign and then launch it, which signified the end of their duties. Today, it’s only the beginning.

“Scale happens because of conversation and the content is created,” D’Arcy added, pointing to Target’s school funding program being amplified with 300 million stories shared on newsfeeds. According to D’Arcy, communications was about building a myth; today it’s about building a truth.

For Bosworth, scale comes from focus, from finding the one bullet point that matters.

He recounted Facebook’s launch of perhaps the worst photo-sharing platform at that time in terms of photo editing and flare – the resolution was bad, and users could only rotate and tag photos. But the tagging feature alone was able to make the platform the internet’s biggest, simply because it fed people’s desires to share photos. In summing up their session, the speakers said scale happens when there is truth, participation, relevance, and social responsibility or long-term value. “It’s a process not a product,” they concluded

people’s habit of recording their personal finances accounting and applied it to personal fitness.

4 Upside Down It’s about questioning the standard to come up with something new. While everyone is into advanced technology, Google Maps turned this around and went back to 8-bit technology.

Instead of punishing speed limit violators, Volkswagen used fun to make everyone follow the rules.

4 The Truth Behind In ‘Help I Want to Save a Life’ campaign, it’s a fact that people get cuts everyday, but Droga5 saw a truth behind it – that each wound was an opportunity to become a marrow donor.

4 What if? – Kentaro believes breakthrough campaigns like TBWA’s ‘Be The Ball’ for Adidas and Hakuhodo’s stunning ‘Tokyo City Symphony’ started from this very simple question.

Creative Alchemy is about creating new and unexpected ideas from ordinary combinations. By mixing different elements like design, technology, and human behavior with an existing field of advertising, something that has been done can indeed become original again.

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CANNES “You are, creatively, the most intelligent people on the planet gathered in one space.” Bob Geldof couldn’t have said it any better. Knowing we would be pitted against only the crème de la crème of 20 other countries added to the intense pressure we were feeling about the Young Marketer’s Competition. With the previous three Philippine teams winning a Silver and Gold Lion, and special commendation, respectively, we knew we had very big shoes to fill. And we were nothing but determined to be the perfect fit.

Our task in the Young Marketer’s Competition was to ideate a new product/ service to generate revenue to fund the girl’s education program of the international NGO, Room to Read. Applying what we learned from our mentors, we challenged ourselves to dig for a deep, cultural insight that would

help us solve the problem of Filipino girls not finishing their education. The uniquely Filipino problem we identified was that many girls could continue with their education because their moms were unable to fund their schooling. Often times, this was because their moms were domestic helpers – yayas.

But they are still moms. Knowing that the top purchasers of Johnson & Johnson products are also moms, we saw the unique opportunity to bring these two sets of moms together to care for each other’s children.

Thus, our solution was a ‘Help your Helper’ mobile app, in which the J&J mom would enroll her helper’s daughter as her primary beneficiary. She would then scan the barcode of the J&J product she purchases, triggering a donation for educational purposes for her helper’s daughter through Room to Read.

We were proud of being able to reframe the problem and arrive at (what we thought was) a clever solution to a culturally rooted insight. Unfortunately, this idea was not what the judges were looking for, so there was no ‘bacon’ to be brought back for our return.

This devastated us to the say the least, but we are still happy to have developed a viable service that would benefit Philippine society.

Gold or no Gold, this exercise has only made us better at our craft. Competing as Young Marketers has made us determined to develop inspiring briefs that will spark creative work worthy of a Cannes Lion.

organization focused on transforming children’s lives through literacy and gender equality in education. Competitors then presented their communication plans to a panel of industry leaders, which was led by Jerry Olszewski, Ketchum senior partner and chief client officer.

Mendis, assistant manager, research, Wijesinghe, product manager, marketing, at Etisalat, developed the winning brief, ‘Empower Another You’ to win Sri Lanka’s

first-ever Gold Lion. The creative idea centered on the telecom company’s mobile recharge cards, which, when purchased, would designate a percentage of the profit to Room to Read and would prompt the card users to donate via SMS messages.

The Silver Lion went to the team from the Dominican Republic, Banco Popular Domincano’s Yasser Marmol, product manager, and Maria Elena More, sub manager, brand management, for their campaign brief, ‘The Ignite Movement’, while Canada’s team, Reckitt Benckiser’s Sahar Jamal, assistant brand manager, and Michelle Yee, marketing specialist, won the Bronze Lion for ‘World Change Starts with a Sisterhood’ campaign brief.

Participants were briefed onsite at Cannes and then given 30 hours to develop their product or service concept before showcasing their communication plans in a two-page written brief and short presentation to the judging panel.

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‘Help your helper’ pitch for NGO drive J&J Young Marketers pair focus on mum-yaya link Words Nikka Arcilla and Roz Noriega, Young Marketer competitors, Johnson & Johnson

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Sri Lanka nabs marketer prize Country’s first-ever Gold

CANNES Sri Lankan pair Hiruni Shermila Mendis and Lakshita Wayan Wijesinghe of telecoms company Etisalat won the Gold Lion for the fourth-annual Young Marketers competition.

Sponsored by Ketchum, this year’s competition challenged 23 teams of young in-house marketers from around the world to develop a creative brief for a product or service that would benefit Ketchum’s global pro bono partner, Room to Read, a global

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01 Galang (left) and Encanto with Lowe Bangkok’s Gold Lion 02 The pair’s ‘Portrait of a Creative in the Digital Age’ in AdAge’s cover competition that won them a free trip to Cannes

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Happy to be there Soaking up the fun and inspiration of Cannes Words Katrina Encanto and EJ Galang, Creative directors, Lowe Thailand

CANNES Returning with 12 Lions, ranging from Bronze to a Grand Prix, the Philippines’ Cannes contenders gave every Filipino a reason to celebrate in the south of France. And we there.

Before anything else, sincere congratulations to all the agencies that participated. For us, win or lose, joining the festival was a matter of faith for an industry with more thanits share of cynics. So congratulations to those who battled for years to land a Lion and finally did; to the multiple winners whose wins as a single agency equaled what was previously the metal haul of the entire country; to the Gold winners that made it seem effortless to get it the second, third, and fourth time around for the Philippines; and of course, to the country’s first ever Grand Prix.

That win left us swelling with pride.

The wins put the country on the map.

Philippine work won high praise from jury members. Delegates from all over the world were congratulating Filipinos up and down the Croisette, and social media was flooded with cheers.

But what is the significance of all these Lions? What is the festival anyway but an expensive and lavish display of pageantry

that feeds egos and glorifies phonies, where a single entry fee equals a fresh grad’s monthly salary. That’s always the convenient answer. It’s also the global measure of our creative standards. It’s where we see falling chestnuts becoming musical instruments, ants as environmental activists, a catchy song reducing train-related accidents, a football fan becoming immortal, and messages on a bridge detering suicides.

It’s an entire week of listening to people whose ideas have changed the way we book our travel accommodations, helped a candidate win the US elections, disarmed 17,000 guerillas working for drug cartels with spilling blood, and forced politicians to legalize same-sex marriages.

It’s a way to attract new and current clients with impressive ideas. It’s a way for local clients to spread their name across the world.

It builds brands with every win, if not the small local corner bakery then at least our most beloved one – the Philippines.

The festival also inspired us to be ambitious and forced a change in our conversations from: Is it a scam? Is that ad from this agency?

How many points is that worth? to: Will we be able enact the brand’s story and not just

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tell it? Can this idea have social impact? How can we achieve more earned media without paying for it? In our next presentation, should we challenge our clients with facts such as eight of the last 10 Cannes Advertiser of the Year winners enjoyed an all-time high share price? Should we respond to David Droga’s challenge and bake in scale in every idea and make it as huge the Queen’s coronation in ’53?

Lofty thoughts entered our little heads because it made us realize that if we are going to spend 50 or more hours a week in this industry, then why not, once in a while, try to make something amazing or something that matters.

Cannes is definitely one of the most affirming experiences for any advertising professional. It is as much an investment in ego as it is in knowledge, creativity, finding relevance, and driving the evolution. And this year, as Filipinos, it also became an investment in national pride.

In a nearby bar, after one of the award shows, a few of us Filipinos gathered and recalled how just a few years ago being a finalist was reason enough to treat the entire office for lunch, dinner and drinks. Who knows, maybe in the not so distant future, young creatives will be frustrated winning a Bronze Lion. When that time comes, we can always tell them about the 60th Cannes festival and remember when we were just happy to be there.

Lowe Thailand’s creative pair Katrina Encanto and EJ Galang bagged their tickets to Cannes 2013 after winning Advertising Age’s fourth annual cover design competition with their entry ‘Portrait of a Creative in the Digital Age’. The Filipino creatives bested more than 300 entries to pole position.

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01 Pinoy creatives and delegates celebrate the Grand Prix and Golds in Cannes! 02 A meeting of legends! Grey’s Tim Mellor and Ogilvy’s Shelly Lazarus 03 Taproot India’s Santosh Padhi wins another Cannes Gold Lions in Outdoor 04 DDB Singapore’s Joji Jacob (winner of the Cannes Gold in Direct for the Starhub ‘Third Eye’ campaign) with jury president Mark Tutssel 05 Cannes Gold winners McCann India’s Prasoon Joshi and Cheil Worldwide’s Thomas Hong-Tak Kim. Cannes Lions 2013 06 China’s strongmen, JWT Asia’s Tom Doctoroff and Omnicom Asia’s Serge Dumont 07 Sir John Hegarty sits on the throne of the Cannes Film 08 At the China Round Table dinners is Norman Tan and AdFest’s Jimmy Lam 09 Dentsu’s master Akira Kagami with the Young Lions winner for Film 10 The Periera & O’Dell team behind Dove’s ‘The Beauty Inside’ show off their Film Grand Prix 11 The Ogilvy Asia boys Doug Schiff, Gavin Simpson and Eugene Cheong

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01 abobo’s Angel Guerrero interview Ogilvy’s Shelley Lazarus. Cannes Lions 2013 02 A splash of the “adobo in Cannes” t-shirts on DDB’s Karen See and Campaign Brief’s Kim Shaw 03 Lowe Singapore’s Dominic Stallard is happy with his 30-something Cannes shortlist 04 BBDO Guerrero creatives Tin Sanchez, Corey Cruz and Rey Tiempo 05 Cannes festival chairman Terry Savage, BBDO Singapore’s Danny Searle and Ogilvy India’s Piyush Pandey 06 Philippine VIPs in Cannes Connie Kalagayan and Pepito Olarte of PDI and Jackie Ongking of Boysen Paints 07 Philippine judge BBDO’s David Guerrero with Outdoor Jury President Y&R’s Tony Granger 08 TBWA’s Melvin Mangada out after jury duty on Radio here with JWT’s Tay Guan Hin 09 The legendary Lee Clow and Creative Juice Thailand’s Tanampatanakul 10 DM9 Cannes Young Lions’ Benci Vidanes and Josh Galvez with boss Louie Sotto 11 Leo Burnett Manila president Raymond Arrastia in Cannes!

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Gearing up for Spikes Singapore prepares for this year’s festival of creativity Words Danielle Austria

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Building on 26 illustrious years, the Spikes Asia Festival of Creativity returns to honor the region’s best on September 15 to 17 at Suntec, Singapore.

This year’s show is introducing the Innovation category, designed to award technologies and inventions such as apps, tools, programs, hardware and products which have allowed clients to communicate in a new way.

Also new for 2013, Spikes is setting up an Account Executive Academy, Media Academy, and the Student Creative Award for Print Competition.

The latter is free to enter and open to all students in Asia Pacific, up to 25 years of age, in full-time education. Child rights organization UNICEF set the brief for the young creative to produce an original poster which will be judged by Spikes Asia juries.

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Spikes Asia director of talent and training Steve Latham calls it an “unmissable opportunity” for students to flaunt their skills to the creative industry’s key decisionmakers, while benefiting a deserving non-profit organization. He adds: “Spikes Asia is very much committed to nurturing and promoting the creative talent of the younger generation, so by launching the Spikes Asia Student Creative Award for Print we want to encourage students to participate in this valuable competition that could ultimately be the launch of a career.”

The seminars and workshops are always something to look forward to, so are Spikes Nights and Networking After Dark with Singaporean agencies opening their doors to delegates for an evening of fun and socializing. The festival will reach its height with the Awards and After Party.

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J URY PR E SID E N TS THAM KAI MENG Worldwide Chief Creative Officer, Ogilvy & Mather Film, Press, Outdoor, Radio, Integrated Advertising Age considers Tham Kai Meng to be “one of the world’s most influential people in the communications business” – undoubtedly so, having spent the last 28 years exploring every corner of the ad business. He joined Ogilvy & Mather in 2000 as cochairman and regional creative director for Asia Pacific.

While there, Meng reigned as Campaign Brief Asia’s ‘Creative Director of the Year’ for seven straight years and was inducted into the Hall of Fame. He moved to New York in 2009 to assume his current post. Three years later, Meng led Ogilvy & Mather on a winning rampage at Cannes Lions, bagging a Grand Prix, 83 Lions and the Network of the Year award.

LYNNE ANNE DAVIS President and Senior Partner, FleishmanHillard Asia Pacific PR Lynne Anne Davis runs FleishmanHillard’s operations across 19 offices and three brands in 10 countries. Under her wing, the network has been recognized as number one four times from three different organizations. She has been building a name in PR for the last 25 years, and her opinion on industry issues is frequently sought after by the likes of The Asian Wall Street Journal, South China Morning Post, CNBC and Working Mother.

ANTHONY FREEDMAN Group CEO, Host Branded Content & Entertainment Anthony Freedman set up Host in 2000, reinventing the agency model and the way campaigns were developed. Host was the largest independent agency in Australia until 2011 when a partnership with Havas Worldwide was announced. Today, the agency has offices and Sydney and Singapore and a growing roster of global brands as clients. Before Host, Freedman co-founded PR and social media agency One Green Bean and was elected as inaugural chairman of The Communications Council in 2010.

MIKE COOPER Wordwide CEO, PHD Media Mike Cooper started out in the media department of Saatchi & Saatchi in London in 1984 and was transferred to the Hong Kong office in 1989, where he was elevated to regional media director and eventually, CEO. He joined OMD Asia Pacific in 1997, and is credited for its regional growth spanning 26 new offices and being hailed the number two media specialist as well as the most awarded media agency in APAC. In 2005 Cooper launched PHD across the Asia Pacific region and a year later was named ‘Regional Head of the Year for Asia’

by Media Magazine. In 2007 he became CEO of PHD Worldwide, taking him back to London.

LO SHEUNG YAN Chairman, Asia Pacific Creative Council, JWT Craft Since entering China’s advertising industry in 1996, Lo Sheung Yan has helped JWT garner accolades from many regional and global shows, including China’s very first Grand Prix at Cannes Lions in 2011 for the Samsonite ‘Heaven and Hell’ ad. He was the first Chinese jury president at the Festival, presiding over Outdoor in 2012.

JOSE MIGUEL SOKOLOFF President, Lowe Global Creative Council & Co-Chairman and CCO, Lowe SSP3 Colombia Direct and Promo Activation Jose Miguel Sokoloff and Lowe SSP3 led quite a few notable firsts for Colombia’s creative community: the country’s first Black D&AD Pencil in 2012 (the only one awarded that year), its first time to be included at Gunn Report’s most awarded list in the world, and the first ‘International Agency of the Year’ title from Advertising Age earlier this year. Not to mention Latin America’s first win of the coveted Titanium Lion at Cannes for Lowe’s work against terrorism in Colombia.

JAREK ZIEBINSKI President, Leo Burnett Asia Pacific Creative Effectiveness Jarek Ziebinski landed in Asia Pacific in 2009 to lead Leo Burnett in the region. Since assuming top role, the network has become of one of the most awarded in the region and one of the top performing in R3’s New Business League 2010, 2011 and 2012 reports. Prior to Asia Pacific, Ziebinski has also led Leo Burnett in Central and Eastern Europe as chairman/CEO, and in Poland as CEO.

MASARU KITAKAZE Executive Creative Director, Corporate Officer, Hakuhodo Digital & Mobile Numerous trophies from international competitions decorate Masaru Kitakaze’s work on digital, including Gold from Cannes. He began his career as a TV gossip show infomercial planner before moving on as a radio commercial writer and graphic copywriter. He has also served as creative director for TV commercials, winning left and right at Japanese advertising awards. In 2012, he steered Hakuhodo into being named Most Awarded Agency in Digital in the World by the Gunn Report, a first for the country.

DEREK LOCKWOOD Worldwide Director of Design, Saatchi & Saatchi Design Design As worldwide director of design at Saatchi, Derek Lockwood’s main charge is to recognize and build world-class, fully integrated, idea-led design expertise. He’s been in the industry for over 25 years, and today he sits on Saatchi’s Wordwide Creative Board and was on the inaugural Cannes Lions Design jury in 2008.

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(Don't) Show Me the Money Technology is disrupting the way we think about money and transforming virtual currencies into material assets / By Arwa Mahdawi ‘It's the Harlem Shake of currencies,’ commented one journalist. ‘It's the future of money,’ countered another. ‘Bitcoin?’ concluded a third, ‘it's a fucking joke.’

Whether you think Bitcoin represents a temporary trend, a meaningful movement, or a supremely elaborate gag, you have, by now at least, probably heard of it. If you haven't, it's a largely untraceable, stateless digital currency founded in 2008 by the pseudonymous ‘Satoshi Nakomoto’. A year ago the enigmatic crypto-currency excited only a small niche of tech geeks, but recent fluctuations in its value have sparked a flurry of interest in the mainstream media and sharply divided opinion.

While many view Bitcoin with suspicion, there are few of us who haven't happily used some form of alternative currency; loyalty points being the most obvious example of non-governmental money that has seeped into the economy.

Indeed, in 2005 The Economist described frequent-flyer miles as ‘one of the world's main currencies’, calculating that the total stock of unredeemed miles was worth more than all the dollar bills in circulation.

Branded currencies Loyalty schemes are growing increasingly sophisticated, evolving into economic ecosystems of significant value. This is partly due to the way in which technology is bringing the mechanics of payment and loyalty together. At Starbucks, for example, more than 30% of transactions in US stores are made with a Starbucks card – which, when registered, automatically earns reward points (‘Stars’). That means almost one third of transactions at Starbucks involve Stars and don't involve physical cash. Bearing that in mind, it's not a huge leap to imagine Stars becoming an international currency option across the more than 50 countries in which Starbucks has a presence.

Starbucks hasn't explicitly positioned its loyalty scheme as a currency but other brands are doing just that. Amazon recently introduced a loyalty scheme in the guise of a virtual currency named, imaginatively enough, ‘Coins’. From May, US customers would start to use Amazon Coins to buy apps, games, and in-app items on the company's Kindle Fire tablet. The retailer is clearly committed to establishing its currency, giving out ‘tens of millions of dollars worth of Coins’ as a preliminary stimulus package. While there are currently no plans to extend Coins into the wider Amazon network, this remains an intriguing possibility. As Professor Edward Castronova, an expert on synthetic economies at Indiana University, notes, Amazon has the technology and capability to do so: ‘It's within its power to turn its massive online market into a big virtual payment system. If it wanted to it could create a shadow economy.’ Further, it would be a fairly significant shadow economy: Amazon is, after all, a company with $61bn in global revenue – more than the GDP of nations like Kenya, Jordan, and Croatia.

The idea of corporations minting their own currencies in the future makes a certain sort of sense, and seems to have gained some level of acceptance. In a survey commissioned

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by Contagious in partnership with research firm Opinium, 19% of people in the UK and 27% of people in the US say they would be happy to use a currency issued by a private entity or brand. That figure rises to 45% amongst 24 to 35-year-olds in the US. And 36% of that demographic agree that they would be comfortable if sovereign currencies were replaced altogether.

State-backed currency may not be under imminent threat from possible Pepsi Pounds or Star-Bucks; nevertheless, branded currencies are already functioning as a de facto currency in some regions. In parts of Africa, for example, prepaid mobile airtime is an established form of money that can be transferred between phones or exchanged for goods and services. Telco business intelligence company Berg Insight estimates that the value of international airtime transfers has doubled from $350m in 2011 to $700m in 2012. small change The use of airtime as money is particularly prevalent in Zimbabwe, where rampant hyperinflation led to the abandonment of the local currency in 2009. While various currencies can be used, small denominations are in chronically short supply, meaning shoppers are frequently short-changed: a situation that has resulted in shouting matches and physical fights. ‘I have been slapped a few times for not having change,’ one bus conductor told reporters last year. Coming to the aid of bus conductors across the nation, Harare-based startup yo!Time launched a service that lets people redeem change as mobile phone airtime. As of January 2013, yo!Time was processing more than 9,000 payouts a day for clients; six months previously the figure was 2,000.

Zimbabwe isn't the only place to suffer a change problem; in Egypt, shopkeepers often have to offer low-value items like a single aspirin or a piece of gum to customers instead of change. Noting the frustrations this caused, Vodafone, along with JWT, Cairo, advanced a range of very low denomination prepaid cards as an innovative solution.

Vodafone knew that its Micro Recharge Cards, which are priced between five and 30 British pence, ran the risk of being perceived as ‘Vodafone for poor people’ if they were simply positioned as low-price variants of existing prepaid cards. In a category already saturated with price-led messaging, rather than place the cards within a framework of other recharge options, Vodafone decided to compare it to something that would elevate its value offering: the meaningless objects small shop keepers gave people instead of change. So the mobile phone operator went about creating a new, branded currency. It dubbed its recharge cards ‘Fakka’, Egyptian for small change, and designed them to be small enough to fit into cash registers. This opened up a whole new distribution system from the higher-priced recharge cards, with Vodafone gaining 46,000 new outlets

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Brands may not be the banks of the future, but the future may well not have any banks.

that did not carry any telco products until then. Crucially, this network aligned with the shopping behaviour of its more low-income users, who did most of their shopping in small, neighbourhood stores. The initiative increased average revenue per Vodafone user by 7% and, by providing people with a more valuable substitute for the useless items they often received as change, brought the promise of ‘Power to you’ to life in a tangible way. (For more information, see Cannes Predictions on p. 27).

Mobile airtime isn't just attractive in countries where you're routinely given candy instead of coins as change. In our survey, 36% of 25 to 34-year-olds in the US say they would find it more useful to receive change in the form of mobile credit than the equivalent value in dollars and coins.

Particularly amongst digital natives, the difference between one sort of ‘value’ and another is blurring. ‘20-year-olds don't see any difference at all between dollars, gold coins, GPAs, airtime, etc.,’ asserts Professor Castronova. ‘They're all just digital score sheets.’

Dismissed as a fringe phenomenon for years, alternative currencies are starting to irrevocably alter the payment landscape, and regulators are sitting up and taking note.

With technology facilitating the exchange of various types of value, our definition of what constitutes currency is growing ever wider. We are already beginning to witness a restructuring of the value exchange between brands and people, both through the creation of alternative currencies like Amazon Coins and Fakka, and the evolution of loyalty programmes into what are effectively micro-economies. Brands may not be the banks of the future, but the future may well not have any banks.

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AD NAUSEAM: S p o o f E d i t i o n

Most ads for feminine hygiene products around the world go for the subtle approach in showcasing their anti-leak features.

Amusingly, the minds behind this ostensibly Russian campaign for Tampax decided to go for a spot featuring swimsuit models and, well, a bloodthirsty shark in the mood for a bite.

The result? YouTube infamy and a spot of honor in our Ad Nauseam section.

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by TEPAI PASCUAL

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PROJECT RUNWAY D R A W S I R E W IT H RACY AD Heidi Klum has been a head turner her entire life, but when it came time to launch a billboard promoting her Project Runway television program she had the opposite problem, as the image in question was banned by the city of Los Angeles for being too racy.

We just want to know what exactly the ladies in the photo are supposed to be modeling.

When UK-based company Bodyform got a cheeky Facebook wall post from an irate boyfriend regarding their campaigns, the company saw fit to educate him in a manner that, amazingly, makes all the sense in the world.

Sorry, guys.

P R B O D Y S L A M B Y B O D Y FO R M

Y o un g L i o n lea v es C annes a VIP

DM9JaymeSyfu art director and Young Lion contestant Reuben ‘Benci’ Francis Vidanes left his mark on the 60th Cannes International Festival of Creativity when he won the Cannes Lions 2014 VIP delegate badge, an all-access pass to next year’s Festival. Vidanes beat out 1,572 delegates in accumulated points by checking in to nearly every seminar on the Cannes itinerary via the Cannes Lion app, a feat thought to be physically impossible by those less motivated. Said DM9JaymeSyfu creative chief Merlee Jayme, “We’re happy for him, but I had to ask if he was even stopping to eat anymore!”

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Events Calendar

July 23 Creative Rankings Live Vibe Centrale Makati City

August 7-8 National Retail Conference & Expo 2013 SMX MOA ARENA

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August 31 BIG FISH - Innovation Black TBA

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August 17 BIG FISH - Innovation Black TBA ----

July 25 CEO Excel Awards 2013 Awards Intercontinental Hotel

August 22-24 AD STARS - Conference

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Busan, Korea www.adstars.org

September 15-17 SPIKES ASIA Suntec Convention Center Singapore www.spikes.asia

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August 23-24 DLSU’s PLAY “Think.Play.Create”

July 25 4A’s Agency of the Year, Awards Night Manila Peninsula

Le Parc, Roxas Boulevard, Pasay City

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July 25-26 DLSU’s 1st Student Media Congress

August 29-30 IMMAP Summit

DLSU MANILA

Power Plant Mall Cinema, Rockwell, Makati City

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July 31 4th CMO Asia Awards

August 30 7th Boomerang Awards

Pan Pacific, Singapore

The Loft, Manansala Condominium, Rockwell Makati City.

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October 5-12 London Int’l Awards 2013 London www.liaawards.com

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October 21 21st Cresta International Advertising Awards 2013 www.cresta-awards.com

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October 26 Big Fish “SCREAM Halloween Ball” Power Plant Manila, Philippines

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