adobo magazine | September - October 2013 by Sanserif, Inc.

The word on creativity

Form & Style

marcello serpa ALMAPBBDO, brazil

festival coverage Boomerang Awards Agency of the Year Ad Stars interview Eduardo Mapa, Jr. Havas Media China

Charles Cadell

McCann Worldgroup Issue 47 september - october 2013

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

E D I TO R ’ S N OT E September-October 2013, Issue 47

Bittersweet time Talk about a grand slam. Since our last issue, DM9 JaymeSyfu has gone from being the agency that brought home the Philippines’ first-ever Grand Prix from Cannes to the newest festival topnotcher. Bolstered by the strength of their Smart TXTBKS initiative, DM9 grabbed dual Grand Prix wins at both Ad Stars and Spikes, bringing their campaign’s current Grand Prix total to a recordsetting (for the Philippines) five. Speaking of first-ever Grand Prix wins, the man responsible for Latin America’s first such Cannes nod, AlmapBBDO partner and creative director, Marcello Serpa, takes pride of place on our cover. As the creative widely touted to have brought Brazilian creativity to the world with his keen eye for detail and sense of humor, Serpa’s consistent work on some of the world’s biggest brands has him ranked among the industry’s best. Among his not inconsiderable accomplishments is taking a little-known Brazilian flip-flop brand and thrusting it on the global stage, with the end result being that you’d be hard-pressed to find a fashionista now who isn’t aware of Havaianas or its country of origin. The past two months have been a time of flux, seeing members of the old guard go on to bigger and better things (see our profile on Havas’ Eduardo Mapa, Jr. on page 90), while fresh faces have arisen to assume new roles (check out PLDT’s Ariel Fermin on page 94 and page 98 for AirAsia’s latest employee, Jonathan Yabut). Amid the changes, no one was probably celebrating more than John Mescall – who was featured on our last cover – whose ‘Dumb Ways to Die’ is continuing to steamroll over the competition, picking up an astonishing seven Grand Prix wins at Spikes. This issue, we’ve profiled his regional chieftain Charles Cadell (page 84), under whose tenure the Network of the Year nod was achieved, underlining the scale of McCann’s turnaround.

For The Firm (page 112), we take a look at some of the new indie agencies that have popped up in recent years to challenge more established “brand name” agencies for their crowns. Also, we wish Lowe Philippines a happy 35th anniversary (page 108), a milestone if ever there was one; as one of the mainstays of the local industry, name changes notwithstanding, the house has remained largely unchanged in structure since opening its doors as C.A. Lintas in 1978. For our Special Report, we present our official coverage of the country’s toughest awards show, the 4As’ Agency of the Year, as well as on-the-ground recaps of the IMMAP Summit, Boomerang Awards and the Ad Stars International Advertising Festival in Busan, Korea. Meanwhile, in marketing, we take a look at some brands that have seen fit to refresh their old packaging in favor of new looks that better reflect their corporate directions. As we prepare for the final stretch before the curtains close on 2013, we would be remiss if we did not acknowledge that, amidst all the triumphs, there has been a fair share of tragedy in the form of friends lost along the way (page 16). While it is a given that the industry is, on any given day, a cocktail of mercurial emotion, rarely have our practitioners been forced to run the full gamut of feelings in so short a time. As such, our thoughts and prayers go out to the families affected, as well as our wholehearted hopes that such events may never be repeated.

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 Editorial Coordinator & Writer Charisma Felix

Digital Editor Carmela Lapeña Multimedia Journalist Amanda Lago

ART Creative Director Victor Garcia Multimedia Artist Ricardo Malit

Graphic Artist & Illustrator Joshua Gonzales

marketing & events Sales & Marketing Head Apple Esplana-Manansala Account Managers Tricia Amarilla Jona Loren Atienza Paul Genato

Events Manager Ched Dayot Marketing & Events Coordinator Andrew Sarmiento

admin Finance Head Steve Pelimiano Accounting & Admin Officer Elsa Bagalacsa

Cover Photo Dean Dorat www.deandorat.co.uk Special thanks to Amanda Benfell Press and PR officer, Cannes Lions

Database & Subscription Romina Claros

CONTRIBUTORS Writers Matthew Arcilla, James Cridland, Karl de Mesa Illustration Clint Catalan, Camille Noceda, Tepai Pascual, Joshua Salvosa Photography Dominic Calalo, Dean Dorat, Joser Dumbrique, Shampoo Padilla, Ryan Sulit, Hugo Treu Make-up/Styling Clint Catalan, Mark Familara, Chuchie Ledesma, Camz Materiales, Lena Quintana, Trisha Quintana, Nadj Zaragoza

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 Fax +632.845.0217 adobo magazine Unit 203, Bldg 1, OPVI Center (Jannov Plaza) 2295 Pasong Tamo Extension, Makati City 1231, Philippines Follow us on Twitter @adobomagazine Like us on Facebook www.facebook.com/adobomagazine

GOOD TO KNOW adobo would like to apologize to Lowe Bangkok’s EJ Galang and Katrina Encanto for wrongly designating the pair as creative directors in the July-August issue’s Cannes coverage. They are both associate creative directors. The same issue also erroneously listed McCann Worldgroup Philippines’ haul as 2 Silvers. The agency had won 1 Radio Campaign Silver and scored 1 shortlist for Coca-Cola. The same issue also listed Mike Constantino as Yahoo! Philippines’ deputy country manager. His correct designation is deputy country sales director.

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 September-October 2013, Issue 47

Dean Dorat Photographer

Shampoo Padilla Photographer

Joser Dumbrique Photographer

Karl de Mesa Writer

Nadj Zaragoza Make-up artist

Dominic Calalo Photographer

Clint Catalan Illustrator/Stylist

Matthew Arcilla Writer

Camz Meteriales Stylist

Ryan Sulit Photographer

Trisha Quintana Make-up artist

Joshua Salvosa Illustrator

Tepai Pascual Writer-artist-creator â&#x20AC;&#x2DC;Krokisâ&#x20AC;&#x2122;

Chuchie Ledesma Make-up artist

Camille Noceda Illustrator

Marcello Serpa

Eduardo Mapa, Jr.

130

BBDO Guerrero

Table of Contents September-October 2013, Issue 47 Cover Story 68

Marcello Serpa

Philippine News 08 10 12 13 14 16 18

Grand Prix, Take 2 Starcom on top Protesting Pork Snack attack ASPAC’s ambition In mourning New wins

Global News 20 22 23 24 25 26

McCann victory Blockbuster deal Doritos goes global Tearjerker Carat cuts New wins

Digital 31 33 35 36

Broadband on steriod Video appeal Integrate IMMAP Summit

The Work 44 48 50 52 53 56 58 61

Creative Review: Eric Cruz Book Review: The 7 Secrets of Creative Radio Advertising Bang fot the buck: ‘Share a Coke’ Creative Corner: Jay Tablante Creative Showcase Ad of the Month LIA contest 2013 DM9’s Big idea

Design 62 64

Design showcase adobo Exhibit: Arnold Arre

Centerfold 76

Joel Limchoc, Film Pabrika

Trendspotting 78

Skin deep

People 80 84 90 94 98 102

Amir Kassaei Charles Cadell Eduardo Mapa, Jr. Ariel Fermin Jonathan Yabut Movers

The Firm 104 Y&R 108 Lowe Philippines at 35 112 Independent Agencies

Intelligence 116 Consumption Boom

Marketing 118 Rural Tactics 120 Sidedish: Alex Panlilio, Head of Active in Unilab 120 In The Bag: Nicole Bulatao Nestle Philippines

Media 112 Philippine RECMA 124 Social Media Tracker 126 Hola! Philippines

Special Report 130 4As Agency of the Year 141 Mad About Awards 144 Ad Stars 2013

Regular Sections 153 Logic & Magic: It’s the experience? 154 Downtime 156 Events calendar

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p h ili p p ine news

Photo The DM9 winning team led by Jayme (fourth, right)

Grand Prix, take 2

DM9 ‘TXTBKS’ wins big at Spikes and Ad Stars

Jurors’ views

Low tech take on a big issue

SINGAPORE Philippine pride was in full force as DM9JaymeSyfu received two Grand Prix, (in Direct and Mobile) for its groundbreaking ‘Smart TXTBKS’ initiative. DM9JaymeSyfu chairman and chief creative officer Merlee Jayme was jubilant as she told adobo, “It’s the first time, I think, for the Philippines to win a Grand Prix here, and the team is so proud to have these!” According to Direct and Promo & Activation jury president Jose Miguel Sokoloff (president, Lowe Global Creative Council & co-chairman and CCO Lowe SSP3 Colombia), the voting on ‘Smart TXTBKS’ in Direct was unanimous for its “perfect use of technology not for technology itself, but for repurposing technology…to do good and be good,” adding that it had a resonance in society that was “brilliant and laudable”. The Philippines was well-represented at this year’s awards, with BBDO Guerrero

bagging a Gold Spike in Creative Effectiveness for the ‘It’s More Fun in the Philippines’ campaign, while Ace Saatchi & Saatchi took home silvers in Media and PR for MyDSL’s ‘Screen Age Love Story’ and one in Film for ‘Re-Meet’ for Cebuana Lhuillier. Leo Burnett Manila won a Bronze Spike in the Print Category for its work for WWF, while Y&R Philippines also won a Bronze in PR for its ‘Dengue Bottle’ campaign for Maynilad Water Services, and TBWA\ Santiago Mangada Puno won a Bronze Spike in the Design category for Ayala Land Nuvali’s ‘Koi Fish Feed Invite’. The country achieved eight metals this year against 23 in 2012 but it won its first-ever Grand Prix – two at that. Visit adobomagazine.com/ spikes2013 for a showcase of Philippine winners.

BUDJETTE TAN, Deputy ECD, McCann Worldgroup Philippines Spikes Mobile Juror “I was trying to not look like I was cheering for the Philippines, but I didn’t need to because when the question came up on whether it should be Gold or Grand Prix, all of the other judges agreed!”

ERIC CRUZ, ECD, Leo Burnett & Arc Worldwide Malaysia, Ad Stars Juror “The focus of this festival is ‘Creativity for Humanity, so the thing we were talking about was, “what is the one idea that really changes humanity? If you really want to talk about public service, this campaign ‘TXTBKS’ is what changing humanity’s all about.”

DM9’s star turn at Ad Stars Double Grand Prix win from Busan show BUSAN Fresh from a stellar performance at Cannes earlier this year, DM9JaymeSyfu did the Philippines proud, with double Grand Prix wins and a Gold at Ad Stars 2013. The agency scored a Grand Prix in Mobile for ‘Smart TXTBKS’, as well as a Grand Prix of the Year award for PSA (with a US$10,000 cash prize), in addition to a Gold in PSA (for Human Rights) for their ‘Bury the Past’ for women’s rights group Gabriela.

Other agencies that did the country proud at Ad Stars were: Leo Burnett scoring Crystal in Public Service Advertising for its ‘Tree’ and ‘Iceberg’ works for WWF, while BBDO Guerrero received a Gold for ‘The Fun Phenomenon’ for the Department of Tourism and Bronze honors in Radio for its Saridon series of spots. DDB Philippines received a Silver for the ‘Pacquiao Positive’ campaign for Pepsico. TBWA\Santiago Mangada Puno

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September-October 2013

was the recipient of a Bronze in Film for ‘Nativity’, while Y&R Philippines was recognized with Crystal wins in Innovation and Outdoor for its ‘Dengue Bottle’ initiative. See page 144 for more on Ad Stars.

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September-October 2013

adobomagazine

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Philippines Billings 2012 by Agency Brand

Recma Media Agencies Report RANK 2011

RANK 2012

INDUSTRY SHARE 2012

AGENCY BRANDS

OVERALL BILLINGS ‘12

GROWTH RATE 12/11

RATIO OA/ STAFF 2012

28.5%

Starcom Mediavest SMG / Publicis Manila

480

20%

3.0

17.2%

MediaCom / Group M

290

15%

3.0

14.0%

ZenithOptimedia / Publicis Manila

235

40%

3.1

9.2%

MEC / Group M

155

35%

4.0

6.8%

Mindshare / Group M

115

28%

2.4

5.6%

UM / Mediabrands

-21%

1.0

5.3%

PHD /Omnicom Media Gr.

13%

2.7

5.1%

Carat / Dentsu Aegis Network

241%

1.7

2.7%

OMD / Omnicom Media Gr.

-10%

2.0

2.4%

Maxus / Group M

33%

2.5

1.9%

Vizeum / Dentsu Aegis Network

45%

2.1

0.9%

Havas M / Havas Media Gr.

1.7

0.3%

Dentsu Media / Dentsu Aegis Network

0.8

100%

Total Networks studied by RECMA

1682

24%

2.7

Starcom on top But GroupM brands dominate Recma’s Top 5 MANILA Starcom MediaVest Group topped the Recma leaderboard measuring 2012 media billings for the ninth straight year, a year when GroupM came to dominate the Top 5 line-up with three brands. MediaCom again retained its second place, but MEC and Mindshare both climbed two places to the fourth and fifth slots respectively with a sharp increase in billings and next to no increase in head count.

Aside from Starcom, the other Publicis Media brand in the Top 5 was ZenithOptimedia, which grew billings by 40%, rising one place to finish third in the 2012 ranking. Carat, now a Dentsu Aegis brand, booked the largest billings increase for the year – up a staggering 241%, the result of a late 2011 restructuring, which included the appointment of media veteran Angelito ‘BoyP’ Pangilinan as CEO, to revive the brand.

The agency moved up four places to finish in 8th place with billings of US$85 million. It was helped by account wins from Philippine Airlines, AirPhil Express, Asia Brewery Interbev, Tanduay Distilliers among others. Two agencies, however, saw their billings take a hit in 2012 – Universal McCann’s billings dipped 21% to US$95 million, largely on the loss of Globe Telecom, which defected to ZenithOptimedia, while OMD billings were 10% down to US$45 million. Havas Media Ortega made its debut in the rankings in 12th place after launching last year and integrating the group’s two brands MPG and Media Contacts with creative thinktank Collab and mobile brand Mobext. See page 122

appointments HAVAS TAPS MAPA Havas Media has tapped Eduardo Mapa, Jr, a founding partner of Havas Media Ortega and Media Contacts before it, for a new role as chief innovation officer for its China group. Mapa, who has relocated to Beijing, said: “This is a new role in China because China is an important market for Havas.” Mapa said that his new posting was overdue as a result of HVMO’s 2012 launch. See page 90

adobomagazine

BBDO PROMOTES BBDO Guerrero has promoted Dale Lopez, who has been with the agency since 2004, to executive creative director alongside Tin Sanchez. Lopez was part of the team behind the agency’s two major award winners – DOT’s ‘It’s More Fun in the Philippines’ and Pepsico’s ‘Liter of Light’.

September-October 2013

DIGITAL ROLE Althia Yu has moved from MRM Manila to sister agency IPG Mediabrands as digital director for the Philippines, tasked with growing the agency’s business across all platforms: Social, search, display and mobile. Yu held a similar role at MRM and also served as its head of media, working with content teams to help Nescafé extend its creative assets across all digital channels such as Facebook.

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September-October 2013

adobomagazine

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Consumers care CSR’s business boost

Out of 10 Filipinos are willing to pay more for goods and services from companies that give back to society, up 3 points over 2011*.

2nd

The Philippines’ 71% score puts it in the second spot globally after India of countries willing to pay more for goods and services from CSR-driven companies*.

63%

Of consumers reported spending on goods and services offered by CSR-driven companies*.

14%

The percentage of companies in the finance services sector with an inclusive business model, which the Asian Development Bank defined as a profit-making private company whose core business is designed to address pressing social needs of the poor and vulnerable people; not to be confused with CSR.

Protesting pork Industry, social media galvanize protestors Manila Industry talent helped mobilize tens of thousands for an anti-pork barrel protest rally in late August following sensational revelations that billions of pesos in taxpayer funds had been siphoned off. Social media influencers such as APO Hiking Society member and television personality Jim Paredes, Publicis Manila creative director Peachy Bretana, Publicis Jimenez-Basic art director RJ Ferrer and TV commercial director and actress Mae Paner tapped into public anger to power a social media movement against corruption. Revelations that politicians colluded with a fake non-government organizer Janet LimNapoles to line their pockets with taxpayer funds meant for poverty relief sparked widespread public fury. Bretana vented her anger online and provided the movement with a focal point by suggesting a rally at Luneta Park. “This isn’t the end. This is just the start. We need to be vigilant from here onwards and other budding citizen leaders can take on the next steps,” Bretana said before the rally. Best remembered for her role as Juana

Advertising and activism Campaign’s & Grey’s political campaigner

The number in thousands in the Farmer Entrepreneurship Program operated by Jollibee, which was cited by ADB for its inclusive business practice. Source Nielsen’s ‘Consumers Who Care’ report

adobomagazine

September-October 2013

Illustration RJ Ferrer

Change, a character known for skewering the government as it pushed for good governance, Paner appeared at the rally with a pig snout and a barrel around her body. Ferrer designed a protest logo (above) as a visual pun. It was quickly adopted as a potent emblem for the movement and spread rapidly across social networks and found its way on T-shirts. “I wanted to do something in my own way. I wanted to give the movement a face, an image that unifies or reflects the sentiments of the people on the issue,” he said.

Manila While Publicis Manila creative director Peachy Bretana has strenuously avoided being tagged a political activist, the local advertising industry has a fine tradition of activism. One of the industry’s best-known political activists is Campaigns & Grey managing director Yoly Villanueva-Ong. The advertising veteran produced a series of negative ads aimed at senators seeking re-election in 2001 for protecting former President Joseph Estrada in his impeachment trial earlier in the year. The ads discredited senators, including Juan Ponce Enrile who went on to suffer his first-ever election loss. More than a decade later, Ong followed up with a blistering column – ‘Like Father, Like Son’ – in the Philippine Star in October 2012 that cited inconsistencies in Juan Ponce Enrile: A Memoir. The senator filed a 31-million peso damages suit for libel in late 2012 against Ong, who responded with an 88-million peso countersuit. Ong had also volunteered for Benigno Aquino III’s election campaigns, serving as his media manager in the 2007 senatorial vote and 2010’s presidential run.

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Snack attack

Rivals light up airwaves to pitch vegetarian alternatives to sinful chicharrón treat

ROLL-OUTS

Philippine launches MANILA DEBUT Movie producer and president of Revolver Studios and PostManila, Ronald ‘Dondon’ Monteverde, has been tapped to spearhead Activa Media’s Philippine entry as CEO. Manila is the third regional outpost of the digital marketing group, which was drawn to the country by its growing online penetration and rising marketer spend on digital media. Activa claims to be the only Southeast Asian agency with dual Yahoo! and Google accreditation.

Top Padilla pitches Oishi Marty’s Cracklin’ by playing on his “bad boy” image Left Lourd de Veyra in the high-energy ‘Winlalaki’ spot for Chicharron ni Mang Juan Right ‘Simumot’ shows the Mang Juan variant is good to the very last crumb

MANILA Snack competitors Oishi and Jack ’N Jill have taken to the airwaves with dueling campaigns for their respective brands of the once sinful chicharrón treat, since reinvented as a healthy vegetarian alternative. Oishi agency TBWA\Santiago Mangada Puno signed on young star Daniel Padilla as the face of a new action-packed commercial for Oishi Marty’s Cracklin’. Clad in a leather jacket and with his signature coif, Padilla does his best to bring a “bad boy attitude” (inherited from his action star kin) to the campaign. While running and jumping, he turns to the camera and says: “Yung medyo bad boy? Di naman talaga bad, Medyo good boy din (Sort of bad boy? Not really bad. Sort of good boy as well)” – a send-up of online memes bearing his face and hashtag #MedyoBadBoy and an allusion to the treat’s transformation into a healthy snack made from peas, not pigs.

Seven A.D. relied on humor for Jack ’N Jill’s TV ads for Chicharron ni Mang Juan and Chik’n Skin ni Mang Juan variants. Awardwining poet, musician and media personality Lourd de Veyra introduces new slang terms from word combinations – ‘Winlalaki’, ‘Simumot’ and a third to launch at press-time. CEO Teeny Gonzalez said the campaign reflected local passion for inventing new terms for things people like doing such as snacking. In the high energy ‘Winlalaki’, a snacker dances with abandon after having picked the biggest chicharrón in the pack. The name of the campaign is a play on the word, ‘hinlalaki’, which means ‘thumb’ in Tagalog. For ‘Simumot’ – meaning down to the very last crumb – de Veyra and friends are shown finishing the treat by wiping everything clean – from the plate, lips, fingers and even each other’s cheeks. Oishi launched its vegetarian alternative two years before Jack ’N Jill’s 2011 entry.

September-October 2013

MOBILE MARKETING Havas Media’s mobile marketing arm Mobext has launched the Mobile Marketing Academy to train local professionals. The academy will open in mid-October and run for five weeks. It will offer 12 one-hour webinars with 10 regional experts focused on the range of mobile marketing disciplines and more than 100 learning modules and case studies.

ARENA LAUNCH Havas Media Ortega (HVMO) was poised to take the wraps off its second brand Arena Media at presstime. Arena Media is touted as the group’s tailor-made communications network. The year-old HVMO integrated MPG, Media Contacts, Mobext and Collab to offer a fullservice media agency model.

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Aspac’s ambition Indie shop evolving into a multi-discipline group

Photo Dimacali, Antonio and Ong

MANILA Aspac has beefed up its leadership bench strength, appointing Susan Dimacali and Joey Ong to lead its new business drive and creative product development as the agency is elevated to a group level. Brand and agency veteran, Susan Dimacali, has been tapped as group CEO of The Aspac Group, playing “rainmaker” to bring in two-to-three pillar accounts. With Dimacali’s arrival, Aspac has expanded Angel Antonio’s role to president and chief operations officer from president and general manager. Ong has come on board as chief creative officer and partner to launch DoJo, which will offer strategic branding and design services for industrial and packaging projects. “We are very proud to have Susan take on the leadership for The Aspac Group. With her sterling record leading high performance agency teams we are looking forward to competing and winning at the highest level against the bigger boys. With Joey likewise driving the overall creative product for the

group, we are assured of world-class ideation and execution of business building creative campaigns for our clients,” said president Miguel Ramos. “Angel’s expanded role allows her to take on the challenge of building our group offerings from a holistic approach through our specialist teams in three disciplines, brand development, engagement/ community building and content creation.” Aspac had been looking to fill the creative position for more than a year, and decided it wanted “a keeper” in the post, which explains Ramos’ decision to partner with Ong in DoJo. The venture fulfills Ong’s entrepreneurial ambitions while offering the agency new growth opportunities. DoJo will operate alongside the advertising unit, creative digital production studio Republika Worldwide, social media arm Pepper and media partner Mediaforce Vizeum. “We are talking about brand life from end-to-end production – from defining a brand to content development, execution and management to building and engaging a community,” Antonio added.

Creative pursuits Pop culture silk screens

Manila Mini, the iconic small car brand from the UK, had a colorful upgrade at the deft hands of master water color artist Rafael Cusi, who painted four Mini hoods and two pairs of mirror caps with abstract designs. Using acrylic paint, Cusi turned each car part into works of art, which were sold in a silent auction. Winning bidders could install the car parts onto their Mini.

September-October 2013

Group CEO Susan Dimacali has held senior roles in McCann Erickson, BBDO Guerrero and DDB Philippines, where she helped found businesses such as Tribal DDB, Touch DDB, DM9 JaymeSyfu and DM9 Cares. She launched DimSu Consulting after leaving DDBCares in 2010.

COO/PRESIDENT Angel Antonio’s career has been largely with multinational agencies, including JWT and Bates 141, where she accumulated extensive FMCG (handling Unilever’s Kleenex and Kimberly-Clark brands and Knorr across the region) as well as pharma experience ( Lipitor and Postan).

CCO/PARTNER The appointment has reunited Joey Ong with long-time partner Antonio. The pair had worked together at JWT and Bates 141 before Ong left to join DDB Philippines. Ong is credited with sharpening DDB Philippines’ creative product in his three years with the agency.

and hand painted Minis

Manila Publicis JimenezBasic associate creative director JP Cuison is due to open his solo ‘Misplaced’, a silk screen exhibit featuring pop culture characters out of their natural habitat. There will be five designs of a stock of 55 limited edition posters worldwide, available at the exihibit on October 9, Pocket Universe Art Collective, 2F SaGuijo Café Bar, San Antonio Village.

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ASPAC’S GENERALS

Trio add management muscle

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In mourning

Industry demands justice for slain MRM executive MANILA Police have apprehended four suspects in the slaying of young advertising executive Kristelle ‘Kae’ Davantes following widespread industry demands for justice for the victim. The fifth suspect was still at large at presstime following what had been described as a robbery gone wrong. The 25-year-old senior account manager of MRM Manila had been abducted and slain following an evening out with her colleagues in mid September. Family and friends had turned to social media to spread a ‘Justice for Kae’ campaign online. The campaign gathered momentum when industry associations, including the Advertising Board (AdBoard) and United Print Media Group (UPMG), offered their backing to ensure a swift resolution. AdBoard also wrote an open letter to President Benigno Aquino III and Justice Secretary Leila de Lima: “We condemn this violence and demand the authorities to use their power to give Kae justice. We appeal for a speedy, thorough and full investigation. “For what good are a rising economy and a growing GDP if the country’s people are unsafe? We still fear for our security, our lives,

amidst this lawlessness. Kae paid for the persistent lack of peace and order in our country with her life – as did hundreds of other innocent victims and nameless faces that await closure and justice.” The President subsequently alloted 2 million pesos in reward money for information, which AdBoard had backed in the hopes it would speed up the capture of those responsible. UPMG meanwhile rallied its members, which include the country’s biggest dailies, to use a picture of the visual of a black ribbon with the words ‘Justice for Kristelle Davantes’ in reporting on the case as part of its information campaign. “Our collective role as print media in proactively reporting cases like this will help pressure the authorities to resolve the brutal killing of Kristelle Davantes and other cases like this,” said UPMG president Ricky Alegre.

Davantes, a rising star at MRM MANILA Tributes flowed in swiftly for Kristelle ‘Kae’ Davantes, led by her colleagues at MRM Manila, where she had been employed since September 2011. In that time, Davantes emerged as a rising star, serving as account manager on viral sensation, ‘The OFW Project’ for Coca-Cola, which went on to amass a hoard of award wins. McCann Worldgroup Philippines expressed its shock and sadness in a statement: “We are one with the Davantes family and we will continue to offer them our support.” In a Facebook post, MRM executive creative director Budjette Tan offered his tribute to Davantes: “Despite all the OT we do and all the weekly workload, she was still excited to work on a new project and win a new account.” ABS-CBN’s head of digital Donald Lim, who recruited Davantes when he was then MRM’s managing director, recounted her leadership qualities. “I was her professor in graduate school in De La Salle under my eMarketing class. She was very hardworking and intelligent. During group projects, she would automatically be elected as group leader to lead the group discussions and assignments. Because she did very well there, I gave her the opportunity to work with MRM – during that time, we were beefing up the agency… I had her work on one of our biggest accounts, which was Coca-Cola. Our business with Coca-Cola grew, mainly because of how she was able to do her job very well. At the same time, she was able to support and mentor the newer people coming into MRM…At her young age at that time, she was a big sister to many.”

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September-October 2013

GODSPEED

Magnolia ‘Mags’ Martin

PUERTA PRINCESA Magnolia ‘Mags’ Martin perished along with six others in an auto accident on August 26 in Palawan. Martin worked mainly in events and activation in her 10 years in the industry. She left MRM Manila three months ago and was with Hot Air Balloon as business director at its Altitude unit at the time of her passing. Donald Lim, MRM Manila’s managing director during Martin’s year-plus tenure, said: “She was our bright light during her stay in MRM, and would bring so much warmth and happiness to her job, amidst the pressure of being a digital accounts person. She was as excellent and as passionate towards her job, in as much as she excelled in her number one love: Surfing. So, to Mags, enjoy the heavenly waves up there!” Mike Aguilar, Altitude’s managing director, spoke dearly of a very good friend and colleague. “We will always remember her as someone who was free spirited and certainly the life of the party. She was always in high spirits and was fun and easy to get along with. Mags was unselfish, generous, optimistic, full of wit and very passionate at what she does. I can say that she was one of the best that I’ve worked with in the industry.”

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r3 new business league

new wins CORPORATE TASK First Philippine Holdings, a multiportfolio corporation, has tasked BBDO Guerrero to create a corporate campaign to define the group to its stakeholders. “BBDO managed to convey a real understanding of the values, which run so deep in our organization. But more importantly, they are able to portray this in a fresh and imaginative way, which will transform the way our stakeholders consider us,” said Danny Gozo, FPH consultant for corporate communications.

REUNITED McCann Worldgroup has retaken ACS Manufacturing’s Pride detergent after losing it four years ago to Publicis JimenezBasic. “The brand is richly embedded in McCann’s history of best works that have made a positive impact on Filipinos’ lives,” said McCann’s chairman/CCO Raul Castro. McCann had previously held Pride for 24 years.

PHINMA REBRAND IdeasXMachina (IXM) has been tasked with helping rebrand Phinma Properties’ marketing communications. “By winning Phinma Properties, IXM has been given a shot at changing the way property advertising is done in the country,” said an IXM spokesperson.

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July 2013 Philippines Top 10 wins Creative Agency BBDO

Month

Account

Area

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

July

First Philippine Holdings

Philippines

Leo Burnett

July

Melco Crown Entertainment

Philippines

Leo Burnett

July

SM Homeworld

Philippines

Month

Account

Area

Jan

Pag-ibig Fund

Philippines

Media Agency Vizeum Universal McCann

Jan

Johnson & Johnson

Japan, Philippines, Malaysia and Singapore

MediaCom

Mar

Bank De Oro

Philippines

ZenithOptimeida

Apr

Maybank

Philippines

Starcom MediaVest

May

Philippine Airlines

Philippines

ZenithOptimeida

May

Merck

Philippines

Havas Media

May

Mundipharma

Philippines

MediaCom

July

Fonterra

Asia Pacific

Havas Media

July

Kakao Talk

Philippines

Universal McCann

July

Volkswagen

Philippines

Havas’ Arena savors Krispy Kreme win Wins with media-agnostic pitch MANILA Krispy Kreme has a new media agency partner in Arena Media, Havas Media Ortega’s (HVMO) new second agency brand, which triumphed in a five-way shootout. Arena beat Carat, Mindshare Geiser-Maclang and On-Media Pro for the assignment from The Real American Doughnut Company, part of Max’s Group of Companies, which brought the donut and coffee chain to the Philippines. “As we enter our 8th robust year in the Philippines, we felt it was time for us to take our game to the next level,” said Mark Gamboa, marketing director of Krispy Kreme Philippines.

September-October 2013

“The Havas Media Ortega group understood the Krispy Kreme brand. They traced its history and gave recommendations that remained true to the core of the brand. No gimmicks,” added Jim Fuentebella, chairman of The Real American Doughnut Company. HVMO chairman Jos Ortega attributed Arena’s win to the “media agnostic business solution” it offered. “It was surprisingly simply… obvious,” said Ortega. Krispy Kreme has 44 branches nation-wide and expects to end the year with 50 locations.

t he ph il ippin e s

TBWA\SMP scoops TV5 creative brief

new wins

Incumbent declined to repitch MANILA Broadcast network TV5 has handed its creative business to TBWA\Santiago Mangada Puno following a pitch in which incumbent DM9JaymeSyfu did not take part. The shift comes four months after Noel Lorenzana, PLDT Group’s head of individual business, moved to head TV5’s parent company MediaQuest. Both companies are part of tycoon Manuel Pangilinan’s First Pacific empire. “We asked a few very good agencies, just so happens TBWA came up with a presentation that was consistent and the best translation of strategy into the creative output,” said the former Unilever turned telco marketer. “I’ve worked with them, I know the guys, I have full respect for them. They’re great friends and colleagues.” The committee tasked with the agency selection had a difficult time making its choice because “everyone (in the pitch) was good, so it wasn’t unanimous”. Lorenzana revealed that the incumbent

declined to repitch. “They had a series of pitches and I think they had to recover from that. They’re also good friends of mine. They worked for me at (PLDT’s mobile arm) Smart and you know the work that came out of that,” Lorenzana said of DM9 nabbing the country’s first-ever Cannes’ 2013 Grand Prix with a campaign to load school textbooks on Smart’s surplus SIM cards and old mobile phones. TV5, the primetime ratings winners with its mid-August weekend coverage of FIBA Asia Championships, knows it has to be different in targeting the younger set if it is to unseat established rivals ABS-CBN and GMA. “We want to challenge current thinking. We want to be a destination for the people they want to target because basically the youthful people are no longer consuming just TV, but also lots of internet, mobile phones, tablets, computers, basically the whole content and viewer experience.”

LBC keeps account with Mediaforce

as well as the media efficiencies already being delivered by Mediaforce Vizeum,” said Angelito Pangilinan, CEO of Carat Philippines, an Aegis media brand. “An agency participating in a review of agencies is generally at a disadvantage because it cannot offer anything new versus the bright new ideas of the competitors. In the end, solid performance prevails versus offers yet to be proven,” he added. Mediaforce Vizeum’s pitch team was led by its general manager Tonton Santiago, with the support of business unit head Regi Brosas. “The pitch, the media exercise, and the eventual awarding of the LBC account ably demonstrates Mediaforce Vizeum’s capability and capacity to provide relevant media strategy and cost savings, especially in these times where budget rationalization is core to all our clients,” said Santiago.

Aegis shop in 3-way shootout

MANILA Mediaforce Vizeum successfully saw off challengers in a three-way shootout for LBC Express, Inc’s above-the-line media account. The Aegis Media brand defended its six-year grip on the business against Havas Media Ortega and Mindshare after LBC pitched the business, which was part of its strategic advertising plans for the fourth quarter and the coming year. “This is doubly significant: It is difficult for an incumbent to retain a business being targeted by bigger and more aggressive competitors. They can offer efficiencies as well as other services that can potentially excite the client. For LBC to stay with incumbent is testament to client’s satisfaction with the servicing, the strategic planning

September-October 2013

Menarini awards Mediaforce Vizeum has outgunned two rivals to handle a new skincare brand for Italian biopharmaceutical company Menarini, which will launch in October. The agency’s general manager Tonton Santiago attributed the win to “a lot of hard work, collaboration and creative thinking to provide Menarini with the right strategy to maximize their media spend”.

VW re-entry Automobile Central Enterprise (ACE), part of Ayala Automotive Holdings, has awarded creative duties to Harrison Communications, tasking it to steer iconic brand Volkswagen’s return to the Philippines before year-end. The win, pegged as one of the biggest in the local auto industry this year, came after a thorough multi-agency review.

FLYING WITH EMIRATES Havas PR Agatep has won Emirates’ PR assignment ahead of the Dubai-based carrier beginning services to Clark International Airport in October. Senior PR consultant Joanna Abdulkadil with support from group account director Michelle Bayhon and managing director Audrey General will service the account, according to Havas PR president/CEO Charlie Agatep.

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global news

McCann victory

Dominates Spikes to win Network, Agency honors and 7 Grand Prix

King of Asia... a triumphant Charles Cadell and his team

SINGAPORE After breaking Grand Prix records at Cannes earlier this year, McCann Melbourne’s ‘Dumb Ways to Die’ made Spikes Asia history with a record seven Grand Prix trophies, powering the McCann Worldgroup to victory as Spikes Network of the Year and Melbourne as Agency of the Year. The Grand Prix wins were for Branded Content & Entertainment, Digital, Film, Film Craft, Integrated, Promo & Activation and Radio, as well as a special award for client Metro Trains as Advertiser of the Year. Speaking with adobo after the awarding, McCann Worldgroup Asia Pacific president Charles Cadell called the win as one being well worth the wait, as, “We’ve been trying to up the creative game for two or three years – it kinda takes that long in a network – so this is it, and hopefully we’ll see more of them. It’s fabulous!” Of the Advertiser of the Year win, announced before the start of Spikes, Lions Festival chairman Terry Savage said, “It is remarkable what Metro and its agency have achieved with the ‘Dumb Ways to Die’ campaign. This is the best use of creative communications that we have seen recently. Not only has it captured the imagination and engaged the public through multimedia platforms radio, outdoor, gaming, social media, etc. — but it has also been effective

in achieving a change in people’s behavior. This is exactly what this award represents, as such we are proud to present the Spikes 2013 Advertiser of the Year to Metro.” Says Leah Waymark, general manager corporate relations at Metro Melbourne: “What a great honor! Our task now is to keep the conversation about train safety alive so we can change behaviors among our next generation of customers.” Cheil Worldwide’s Cannes-winning campaign for Samsung Insurance, ‘Bridge of Life’, took the Spikes Outdoor Grand Prix, while McCann WorldGroup India bagged a Design Grand Prix for ‘Keys are Hard to Find’ for ATSS Keyless Entry System, and 303Lowe, Perth was awarded the Grand Prix in Creative Effectiveness for its ‘A Roommate Worth Having’ campaign for IKEA. Draftfcb New Zealand’s simultaneously heartwarming and amusing ‘Driving Dogs’ for Mini/SPCA New Zealand won a Grand Prix in PR. No Grand Prix was awarded for Print or Print & Poster Craft.

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September-October 2013

Scan the QR code to check out our full Spikes coverage online at www.adobomagazine.com/ spikes2013 for complete winners’ lists, a breakdown of Grand Prix winners, photos, and more!

Juror’s view ‘Goes beyond ideas’

JOSY PAUL Chief Creative Officer, Chairman BBDO India, Spikes Radio Jury “First thing, it’s a great song you can’t get out of your head. Next, there are some things in life with an x-factor that you just can’t dissect why it’s bothering you or affecting you or delighting you. ‘Dumb Ways’ goes beyond ideas, it goes beyond everything and is just this impactful, organic sound that bothers you in a nice way. The guys (on the jury) who raised their hands for everything weren’t able to put their hands down.”

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Blockbuster deal

What’s in it for clients and talent from new ‘big bang’?

Merger mania Advertising’s new titan

$35bn

From left: Lévy and Wren

The stock market value of the new entity, dwarfed by Google’s market cap of US$295bn.

$500m

NEW YORK/PARIS Advertising is poised for a second ‘big bang’, this time involving two holding companies in a merger that will likely reshape the industry while raising questions about who exactly will benefit from the union. Omnicom, formed in the first ‘big bang’ in 1986, and Publicis have played out their proposed cross-cultural combo – the Publicis Omnicom Group (POG) – as a “marriage of equals”. United, the pair will create a colossus with US$23 billion in revenues, several billions more than the current top-ranked holding group WPP, but dwarfed by Google, one of the digital media titans dubbed a “frenemy” that is reshaping the industry. WPP’s revenue is pegged at $16 billion and Google’s at $50 billion. More than WPP, it appears that Google and other digital media behemoths have driven the pair into each other’s arms. Publicis Groupe CEO Maurice Lévy said as much in a statement announcing POG: “The communication and marketing landscape has undergone dramatic changes in recent years including the exponential development of new media giants, the explosion of Big Data, blurring of the roles of all players and profound changes in consumer behavior.” At this early stage, it is unclear how a communications-focused group like POG will compete with companies like Google or Facebook that have essentially changed the rules of consumer engagement by building the technology and digital platforms and are increasingly investing in content creation.

Rivals have throw cold water on POG’s bigger is better mindset. “I’m not sure this is in the best interests of their clients or their talent. Clients today want us to be faster, more agile, more nimble and more entrepreneurial, not bigger and more bureaucratic and more complex,” Havas CEO David Jones said in a statement. Speaking to Fast Company, 72andSunny chief strategy officer Matt Jarvis said: “From the sidelines, it appears that the creative product was not a significant consideration. It was for shareholders first, not for clients and not for talent.” Also speaking to Fast Company, Bob Vallee, chairman and CEO of Project: Worldwide, added: “This business is all about talent. Top creative talent is going to migrate to where they feel empowered to generate the best work. Nimble, lean organizations that are focused on clients’ business needs first and foremost will excel in this new world. Unfortunately, really big, as in the case of Publicis Omnicom, is not better in the world of advertising and marketing.” Rival groups and smaller networks have meanwhile reported a surge in resumes from talent at agencies within POG. Regulatory approval for the union is likely to take months especially from China, which can rule on global mergers that affect its market through its anti-monopoly laws. Dentsu took all of eight months to win China’s nod for the considerably smaller purchase of Aegis earlier this year.

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September-October 2013

The amount in efficiencies POG will seek, which could mean layoffs for the combined workforce of 130,000.

The number of months Omnicom’s John Wren and Publicis’ Maurice Lévy will serve as co-CEOs of the new, Amsterdam-based entity.

Significant client conflicts exist in at least 5 advertising categories for POG – automotive, beverage, beer, food and telecoms.

The contentious cross-cultural DaimlerChrysler union, also promoted as a “marriage of equals”, lasted all of nine years, leading to Daimler selling Chrysler in 2007.

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Doritos goes global Casts wider net for 2014’s ‘Crash the Super Bowl’

TWEET DECK

Twitter gearing for IPO

$1bn

‘Fashionista Dad’ 2013 winner

PLANO Doritos has gone global with its ‘Crash the Super Bowl’ competition to find a crowd-sourced ad for what is its biggest annual marketing splash, the 48th Super Bowl next year. The competition has been opened to 46 worldwide markets in line with the Pepsico Frito-Lay label’s ambitions to become a global brand. Earlier this year, Doritos unveiled a modernized logo and unified its global identity packaging. Doritos will pay two winners a US$1 million each and a chance to work with Marvel Studios on the set of Marvel’s The Avengers: Age of Ultron with Stan Lee, who will also judge entries. ‘Crash the Super Bowl’ has been running in the US since 2007. Entries can be submitted online to a centralized Facebook page from October 8 to November 24. Last year’s competition drew 3,100 entries. “Incredible content has no geographical boundaries,” said Ann Mukherjee, senior vice president and chief marketing officer, PepsiCo’s Frito-Lay division. “As a brand that spans 46 countries on six continents, we know firsthand that regardless of where our fans are located, they are all about seizing the moment and making an

impact in the boldest way possible. With Crash the Super Bowl, we’re now delivering an unprecedented opportunity for fans around the globe to share their talent and creativity on one of the world’s largest advertising stages.” A judging panel comprised of Doritos executives, advertising professionals, and legendary Spider-Man creator Stan Lee will select five finalists from the global entry pool. The vote to choose the winning submission will then be opened to the world.

Seven-year old Twitter is looking to go public and raise this amount, according to Reuters. This would be a fraction of the US$16bn the significantly larger Facebook raised in 2012.

53%

The percentage of 2013 ad revenue that came from mobile for Twitter, which tweeted its IPO plans about the same time that Facebook’s stock price rebounded from one of the rockiest IPOs.

$300m

The amount in US dollars Twitter paid for mobile ad exchange MoPub, the social network’s biggest acquisition to date.

97%

GLOBAL ROLES Ogilvy appoints data chief

IPG hands G14 job to Nead

NEW YORK Todd Cullen has joined Ogilvy & Mather as global chief data officer, tasked with expanding the network’s global data and analytics practice, which was established by Dimitri Maex, who was promoted to managing director of OgilvyOne New York. Cullen will lead the expansion of Ogilvy’s global data and analytics practice, focusing specifically on identifying unique and emerging data sources and techniques, building scalable predictive analytics models, and applying the resulting insights across Ogilvy’s service offers.

LONDON IPG Mediabrands has appointed Howard Nead business development director for the network’s G14 market cluster, which includes China, India, Japan and Australia. Nead was most recently PHD worldwide business development director overseeing all international pitches. In his new role, Nead will provide strategic leadership to unlock client opportunities and help develop new business strategy, overseeing IPG Mediabrands business development teams at UM, Initiative and BPN to refine and manage how the pitching process operated.

September-October 2013

Brandwatch found this percentage of top brands were using Twitter this year versus 62% last year based on its survey of more than 250 leading brands in the US and the UK.

221

The number of times US brands tweet a week compared to 30 tweets a week by UK brands, according to Brandwatch.

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Tearjerker

An Extra Gum spot and a Thai mobile firm’s film effortlessly deliver an emotional connection BANGKOK The bigger tearjerker of the two, TrueMove H’s Pay It Forward-inspired ad has stirred emotions across the world, giving it plenty of earned press in British and US dailies. Only the flint-hearted wouldn’t at least feel a lump in the throat with this tale about a random act of kindness – a young boy caught stealing supplies from a pharmacy for a sick mother is saved by a hawker who pays the bill and is repaid many times over 30 years later. The three-minute spot sought to strike a chord, reminding viewers: ‘Giving is the best communication’. Commentators have raved about the spot, which has been watched 10 million times online and scored 40,000 likes and plenty of glowing comments.

CHICAGO Wrigley’s agency Energy BBDO ditched the functional messaging of the category with ‘Origami’, a spot about the precious bond between a father and daughter that has tugged at heartstrings the world over. In the TVC, the father gives his daughter an origami crane made from the silver wrapper each time they enjoy a stick of gum. He is completely unaware of what she does with it. It is years later when he is packing her off to college that he stumbles on her little secret. Energy BBDO makes the point that sometimes the little things last the longest, playing on Extra’s marketing line about having a longer-lasting flavor.

VivaKi brings realtime service to AP SINGAPORE VivaKi has launched an Asia Pacific activation center based in Singapore for its realtime bidding marketplace, Audience on Demand (AOD) service. The Publicis Groupe multi-channel digital addressable media buying practice enables global and local advertisers to reach the right

audiences, at the right time, at scale, across all digital touchpoints in real-time. Publicis combined addressability experts along with industry-leading technology and data partnerships to provide data-driven display, video, social and mobile advertising buys for its agencies, which includes Starcom MediaVest Group, ZenithOptimedia, Razorfish and DigitasLBi. Grace Liau, part of the team that launched AOD in 2008, will lead the operations as regional general manager. “(AOD) represents the epitome of laser-

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September-October 2013

Grace Liau to lead AOD

targeting consumers – a real-time matching of advertising inventory to consumer profiles... AOD will bring an industrial-level of efficiency over ‘retail’ media buying and will provide our agencies with the competitive advantage needed in our technologyinfused industry,” said Jeffrey Seah (pictured), VivaKi country chair in Southeast Asia

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Carat cuts Slower economic recovery prompts downward revision

ASIA PACIFIC Carat has revised its global advertising spending forecast for the year down marginally though Asia Pacific remains a bright spot despite australia flat-lining. The Dentsu Aegis network cut worldwide spending levels to 3% for the year, based on an analysis of data from 57 markets. Jerry Buhlmann, CEO of Aegis Media and Dentsu Aegis Network, said the poor global economic recovery had proven extremely challenging for some markets to maintain 2012 adspend levels. Carat predicted adspend would rebound in all regions by 2014. Latin America, however, led the revised growth chart, projected to grow at a blistering

pace even though spending expectations for Brazil were nearly halved after public demonstrations rocked the country earlier in the year. “In parallel to this, the new trend of a three-speed world is reinforced, with the rates of growth in the faster growing markets remaining ahead of steadily recovering markets, such as the US, followed by the struggling Eurozone markets.” said Buhlman. Digital spend continued to outpace all other media with the highest year-on-year growth rate of +15.6% in 2013, more than 10% higher than any other media and a trend which is expected to continue as emerging markets, such as Brazil adopt a more digital approach. Digital spend predictions continue to meet expectations of taking one out of every five dollars from the advertising wallet in 2014. “The forecasts also reinforce the strength of digital media in today’s world and the upward direction of its market share, a media which is somewhat untouchable from the current, uncertain economic conditions.”

September-October 2013

Year-on-year % growth at current prices 3.0 3.7

GLOBAL

3.1 3.5

NORTH AMERICA

-2.3 WESTERN -0.3 EUROPE

Figures in

4.7 5.3

ASIA PACIFIC

0.0 1.5

AUSTRALIA

6.9 6.9

CHINA

1.3 2.7

JAPAN

9.0 9.1

LATIN AMERICA

4.6 9.4

BRAZIL

show Carat’s previous forecasts from Mar 2013

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gl o ba l

new wins

SIEMENS SHIFTS MediaCom has won the global media planning and buying duties for energy, technology and healthcare company Siemens following a pitch. The shift comes as Siemens prepares to work with fewer publishers and develop deeper content packages. PHD was the incumbent since 2008.

SWEET DEAL Hershey’s has awarded its global media account for planning and buying to Universal McCann following an eight-month-long review. The assignment, which extends across television, print and digital, is significant for the group’s Asian operations as Hershey’s is looking to grow globally, in markets such as China and India. The chocolate giant, which previously worked with OMD, planned to spend 20% more on advertising this year. GLOBAL CALL TBWA Worldwide has scooped the global strategic and creative brief for investment group BNY Mellon following a pitch. The account will be run from TBWA \ New York’s office employing the collaborative model of bringing the best London and New York talent created for the pitch to the account. TBWA will handle development of global digital, TV and print campaigns that highlight BNY Mellon’s ability to help its clients succeed.

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BBDO bows out of SingTel pitch Incumbent for past 5 years SINGAPORE BBDO Singapore has walked away from SingTel’s pitch for an integrated agency partner after serving as creative incumbent for the past five years. Its decision came a little over a month after one of Singapore’s largest listed companies put the account up for review in June. SingTel has been searching for a more integrated creative and digital agency, while considering having one agency replace the current two-agency arrangement to handle all its duties. “In a challenging environment the brand stands out and we have made a significant contribution towards this. We will now refocus on our clients, people and creative product…,” said Jean-Paul Burge, BBDO’s president for Southeast Asia and CEO for Singapore. Sources said three agencies were left standing after the three-stage review, which began with five shops. It is believed that Ogilvy & Mather, which shares the business with BBDO, TBWA and Saatchi & Saatchi are involved in the shootout.

BBDO’s SingTel Digital Life Greeting

Ogilvy has been handling SingTel’s digital business for the past four years, while BBDO had the above-the-line account and its digital brief after winning the business in an eventful pitch in 2007 despite not being shortlisted. “We have enjoyed a fruitful relationship with BBDO. But the time has come for new ideas and perspectives as we expand our business in a fast changing market. We remain open to working together again in the future,” said Allen Lew, SingTel’s chief country officer. BBDO said it would continue working with SingTel until the review and handover are completed.

OCBC’s Frank hands creative to Arcade Brand created for Gen Y group SINGAPORE Indie shop Arcade Singapore has scooped the agency-of-record account awarded by banking giant OCBC for its pioneering Gen Y banking and credit card brand Frank. OCBC has tasked Arcade to build on the warm reception accorded to Frank when it launched in the market last year, targeting the city’s population of one million young working adults and university students. Arcade partnered with Liberty to win the account, which is for two years and covers digital, social and advertising. “We see this new generation of people demanding a bank that can live with them in their highly connected lives,” said Mark Leong, head of Frank and Workplace Banking, OCBC. “The power of community

September-October 2013

and the introduction of new technologies are changing the relationship a bank enjoys with its young customers in such exciting ways. “Arcade’s solution gave us the perfect way to communicate how Frank fits into this world.” Arcade’s approach is based on the film industry model’s collaborative model, with talent coming to work together and disbanding once the project is done. Based in Singapore, Arcade just turned three and has been winning global and regional assignments, including the global digital remit for Unilever’s CloseUp brand earlier this year.

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new wins

Carat extends ties with BMW China Wins digital job in pitch BEIJING Carat China has scooped the digital account for luxury marque BMW in the mainland market following a six-month-long competitive pitch. The win represents an expansion of BMW’s relationship with the agency, which has been handling the brand’s traditional media communications aspects. “During the pitch process, we were very impressed with the passion, energy and the quality of work that the team at

HAVAS SCORES Accor’s boutique luxury hotel, Sofitel So Singapore, has handed its media assignment for the region to Havas Singapore. The business, running for a year, was awarded without a pitch. The Havas network handles several properties of the Accor group. Carat demonstrated. We believe that this is the team that is going to go the mile to make a difference,” said a BMW China spokesperson. Cathy Kuang, managing director, Carat North China, added, “BMW, as well as the brands under its umbrella, is well-loved and has a long history of success, which we are keen to extend. Given the brand’s willingness to grow and challenge digital innovations in this competitive market, Carat now has a significant responsibility to boost the brand’s investments and competency in this area.” BMW is facing a challenging time in China, which denied its request made through its local joint-venture to expand its factory to double production by 40,000 sedans a year.

Ogilvy scoops Pizza Hut’s India creative Agency now has 3 Yum brands NEW DELHI Pizza Hut has shifted its business out of JWT India to Ogilvy & Mather, which already has Yum! Restaurants’ KFC and Taco Bell brands. The win represents a consolidation of the entire Yum! Restaurants’ India brand portfolio with the WPP agency. Pizza Hut’s advertising account was estimated to be in the region of Rs 15-20 crore. The account shift comes amid challenging times for quick service restaurant brands such as Pizza Hut as India struggles through a slowdown, leading consumers to reduce spending on dining and other activities. To counter softening sales in its category, Pizza Hut launched one of its biggest

campaigns anchored around the 23% increase in the size of its pizzas but without a price increase. Ogilvy crafted the campaign to bring the ‘Bigger Pan Pizza’ message to consumers with a humorous slice of life execution. The multimedia campaign, running across television and social media, which is expected to run for six weeks, is Pizza Hut’s bet to counter slowing restaurant sales. There are 264 Pizza Hut and Pizza Hut Delivery outlets in the country, while Yum! as a whole operates 500 restaurants in India, including its KFC and Taco Bell stores.

September-October 2013

COCA-COLA COUP MediaCom has been awarded media planning and buying duties as well as analytics and digital marketing for all Coca-Cola brands in Vietnam in a shootout against incumbent Starcom and Carat VMC. The win represents a bigger regional remit for the agency, which was named agency-of-record in Singapore and Malaysia in 2011 and won the business for Indonesia and Myanmar last year.

DIGITAL DUTIES Rémy Martin has awarded its Vietnam digital agency-of-record assignment to Y&R Vietnam and the Y&R Group’s digital agency VML Qais Singapore. Projects include master brand website – Centaur Spirit – as well as the activation site for Rémy Martin’s sponsorship of the Cannes Film Festival. “Y&R and VML Qais showed an in-depth understanding of our market and category as well as wonderful creative prowess that can be hard to find in Vietnam’s chaotic digital environment,” said Rémy Cointreau marketing manager Indochina, Timen Swijtink.

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gl o ba l

Global pitch

From originals in music to a campaign that’s ‘Not Normal’

New Balance

Mini

Budweiser

Adidas

Campaign ‘Runnovation’ Agencies Arnold Worldwide, PGR Media, Almighty of Boston The Work ‘Runnovation’ is an update on 2011’s ‘Let’s Make Excellent Happen’, documenting runners to highlight new interpretations of the sport. Three different storylines feature in the campaign – in the first spot, a grassroots group called the November Project is turning running into a more social and participatory sport, while the second, fronted by New Balance athlete Anton Krupicka, is about challenging the limits of the sport. The third spot looks at innovative technologies in product and design that is revolutionizing running. ‘Runnovation’ also leads into the launch of the brand’s Fall 2013 range, which includes the new Tri-Viz collection geared for low-light running conditions. Along with North America, the campaign will roll out in South America, Europe and Asia Pacific markets such as China, Hong Kong, Taiwan, Japan, Singapore, Australia and New Zealand.

Campaign ‘Not Normal’ Agencies BSSP San Francisco, AKQA Amsterdam, KKLD Berlin The Work Mini’s first global campaign speaks to its ‘Not Normal’ DNA with two films highlighting the personal cardriver connection. Offering a humorous take on Mini as a lifelong companion, ‘Friend for Life’ shows people at different life stages enjoying their Mini. In ‘Band of Mini’, four Mini enthusiasts arrive at a crossroads with different models, all listening, performing and singing out loud to the same song, the Darkness’ I Believe in a Thing Called Love. Lost in their air drumming and guitar playing, the drivers are interrupted only by flying sparks from a streetlight, the moment when Tillman, the famous English bulldog, whizzes by on his skateboard. Both spots are about shared passions, be it their love of the Mini, their independent attitude to life or their taste in music, and works for a brand that has spent years differentiating itself as ‘Not Normal’.

Campaign ‘Made for Music’ Agency Translation The Work In its first use of music as a platform, Budweiser teamed up with two of today’s biggest stars to turn the brand into a global household name. Launched in 85 markets, the musical ads feature Jay Z and Rihanna on the heels of the former’s Magna Carta Holy Grail album release and the Barbadian songstress’ Diamonds World Tour. Director Mark Romanek shot a pair of 30-second black and white TV spots with Jay Z on ‘PSA’ and Rihanna on ‘Right Now’ – which feature the statement, ‘It begins and ends with what you make’. The pair were chosen because their inspirational stories of giving their best every day to pursue their dreams amplified the brand’s point-of-view. ‘Made for Music’ will offer a unified look and feel and one set of content in place of separate local efforts for different overseas markets.

Campaign ‘Unite All Originals’ Agency Carat USA The Work Adidas reunited with longtime brand ambassadors Run DMC in the latest iteration of its ‘Unite All Originals’ global outing. Billed as the ultimate culture clash, the hip-hop legends go head-to-head with one of today’s hottest mixmasters, DJ-A-Trak, in creating a contemporary anthem, All Day Originals. As an added bonus, Run DMC gave fans a chance to influence the interactive music video, set in New York. Using voice commands and adding visual effects, fans will be able to influence the video and trigger special effects and animations on the adidas.com/ unite site. Adidas has promised plenty of sparks in a clash that the brand expects will “produce a zeitgeist moment for 2013”. One of the genre’s most influential performers, Run DMC’s relationship with Adidas goes back nearly 30 years.

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Broadband on steroids PLDT boosts mobile, web speeds

Manila The PLDT Group is giving local digital media consumption a lift with the aggressive rollout of its Fibr network to bring advanced broadband services across the Philippines. Using fiber-optic lines in place of traditional shared cables for home use, Fibr supports high-speed browsing and high definition downloading with peak connection speeds of up to 100mbps, according to the communications provider. It can support multiple devices on the same connection without sacrificing speed with its familysized plans. Accordingly, home users can simultaneously access e-mail, social networks, watch videos, stream movies or play online. Investment in the fiber-optic network will also allow the company’s mobile arm Smart Communications to increase mobile speeds to 42mbps, giving a boost to mobile web use. To demonstrate Fibr’s edge over traditional internet offerings and drive subscriptions, the telco partnered with Cignal to provide subscribers with access to more than 200 movies on demand through Clickplay and the Cignal Digital TV service.

“Our Fibr customers can upgrade their Fibr plan so they can watch HD channels without running out of their Fibr connection,” said Gary Dujali, vice president and of Head PLDT Home broadband. PLDT has rolled out the service to 600 sub-divisions in key cities nationwide, including Forbes Park, Dasmarinas Village, Ayala Alabang, Greenhills, White Plains and Greenmeadows in Metro Manila; as well as Cebu and Davao. The operator is looking to double its Fibr subscriber base to 30,000 by end-2013, up from the current figure of 15,000, when it extends the network to 700 residential subdivisions by year-end. A TV-led campaign ‘Nothing Beats Fibr’ trumpeted the arrival of the high-speed service. “We needed to tell a lot of things in one TVC so if you notice, we did a lot of things basically (to show) Fibr is the most powerful broadband. It’s a fiber-optic run system so people can experience high-speed internet,” said Greg Martin, creative director of Ace Saatchi & Saatchi, the agency behind PLDT Home’s latest campaign.

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To simplify the service proposition, the agency used the analogy of a sports car powering down a road while other cars are stuck in a traffic jam to underscore the service’s high-speed promise. “It’s like a sports car on an empty highway,” said Martin. PLDT’s executive vice president and head of PLDT Home, Ariel Fermin, said Fibr was the result of plan drawn up years ago to provide a “connected home” for customers. “We’ve drawn this plan on how a telco business (with products such as Fibr) can be instrumental in nation-building and making lives better for Filipinos. Filipinos should not be lagging behind because the rest of the world is on Fibr (mode) already.”

700

Fibr will launch in this many villages and subdivisions nationwide by end 2013

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Video appeal Yahoo! adds content real estate with ANC

Manila Yahoo! Philippines and ABS-CBN News Channel (ANC) have joined forces in a landmark content-sharing partnership to provide news content across screens and devices, while expanding its media inventory to attract advertisers. Kate Delos Reyes, Yahoo! Philippines’ newly appointed country manager and country editor, dubbed the deal as a true online and on-air collaboration. “With this partnership, we have changed the game in terms of how video is consumed online. We’re leading the industry in this emerging area and we’re taking our key advertisers and agency partners along with us,” she said. “Video content is certainly a big draw, especially for clients that are currently heavily-invested in TV. Now, millions of users worldwide don’t have to wait to get to a TV set to catch breaking news. The prospects for this are mind-blowing for any marketer, and the very encouraging number of inquiries we have been getting is proof that brands today fully recognize this.” With the deal, Yahoo! will be able to beef up its content line-up with ANC’s television assets for its 2.1 million daily average user base, while ANC is counting on the partnership to extend the trust it has built up in television to the online space, where advertisers are slowly but surely starting to shift more of their marketing funds. “Every day, millions of Filipinos turn to Yahoo Philippines for their daily dose of news and we want to continue being a trusted source of news and information for them. It will enable us to bring together cutting-edge developments in news creation and delivery by combining ANC’s first class journalism and Yahoo’s scale and technology.”

The partnership is one of many Yahoo has pioneered across the world, notably in the US where it works with broadcast giant ABC News and recently acquired micro-blogging platform, Tumblr, which cost US$1.1 billion. Its latest US partnership with Viacom speaks of the internet company’s collaborative approach to becoming a force across multiple screens. The link-up will provide more than 1,000 hours of comedy content – including the entire Saturday Night Live (SNL) archive and clips from Comedy Central – and MTV music content online and mobile with its new Yahoo! Screen app for iPad, iPhone and iTouch devices. Additionally, partnerships are in place with US TV and film stars such as Jack Black, John Stamos, Ed Helms and Cheryl Hines for

September-October 2013

original content for Yahoo!’s series of comedy web shows, which will be available around the world along with the SNL programming. Within Southeast Asia, the content deal with ANC is Yahoo’s largest to date. “We’re just at the tip of the iceberg in terms of the possibilities, ad sales-wise,” Delos Reyes said, adding that the fledgling site had already closed a number of advertising deals. “We consider this as a new product for Yahoo and ANC views it the same way. As such, we are treating it like any product we have ever launched – we curate content that’s relevant to our users of that space, then generate the numbers – the ‘ratings’ so to speak – that we offer to our advertisers so they can achieve their various digital objectives.”

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I n t eg r at e ,

Integrating your online and offline branding is a crucial part of your brand strategy.

i n t eg r at e ,

Often times, this piece of the marketing puzzle may be neglected because your online and offline team may function independently of each other. Here are a few tips to make your online brand reflect your offline brand: Establish a common set of design guidelines Your brand might already

have an established set of design guidelines, however it might not be followed in some circumstances. For instance, you might not be following the same white space parameters in mobile application, or there might be too much white space in an outdoor advertisement. It is therefore beneficial that your design guidelines account for most if not all your branding mediums so you can make them as consistent as possible. Make your online and offline teams talk Let both teams generate ideas together

for a new campaign or fill each other in on what theyâ&#x20AC;&#x2122;re currently working on. This will allow them to think of a common theme that works for both online and offline mediums. It would also be useful for the online team to know the processes involved for the offline team and vice versa. For example, the online team might want to know the media buying time frames for print and outdoor while the offline team might want to know how YouTube takeovers and Promoted Tweets work. Audit your past and current campaigns Review your past and current

campaigns to see if your online and offline branding integrate well together. This way, you can see the areas you can improve on and

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proactively change the way your teams work for your next campaign. Check for consistency across messaging and design assets Your logo

is not the be all and end all of your brand. Check that your taglines, color schemes, imagery, rich media and styles are similar across your online and offline assets. If something online, like an interactive website, cannot be directly translated to an offline medium like print, then it must at least be of similar style and use the same imagery as well as a similar tagline. Initiate a mini brand redesign, if appropriate In some cases, online design

guidelines might be fundamentally different from the offline one because one is not applicable to the other. For instance, if you use a lot of light grey in your design assets, it might not be suitable for online purposes due to screen brightness issues. In this case, you might want to embark in a mini brand redesign where you make the shade of grey darker across all your mediums. However, the scope of your brand redesign must be thought of carefully and the timescales for rollout must be consistent across all mediums. 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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Trending towards ROI in digital IMMAP Summit puts the focus squarely on performance

Manila Digital media adoption levels are rising in the country, a rise reflected in the topics that made the Internet and Mobile Marketing Association of the Philippines (IMMAP) line-up for its 7th Summit, where the focus was on ROI, performance marketing and media convergence. Themed ‘Digital Drive – Trending Towards ROI’, the two-day summit featured experts from across the country and globe addressing a near-capacity audience at Power Plant Mall in Rockwell Center. Keynote speakers – iProspect Asia Pacific CEO Ruth Stubbs and ABS-CBN chief executive Gabby Lopez – touched on media convergence, the result of technology advancements, extensive mobile adoption and the birth of new channels from partnerships such as ABS-CBN’s deal with Globe Telecoms to bring content to mobile platforms. Stubbs said technology had contributed to more media, devices, interconnection and business being done online. “Media is a component of business,” she said, pointing to a slew of digital giants from Google to YouTube, Facebook to Xbox that are part of the drive towards media convergence. Digital also leaves a substantial data trail for marketers – data reveals intent, “it’s how we understand what consumers want”, according to Stubbs. “Search reveals the world’s intent,” Stubbs said, noting however that it is often just the first step. Brands should aim for a

performance-focused marketing culture by taking a truly data-driven approach to everything. By analyzing and interpreting data, Stubbs said brands could find the insights that drive consumer behavior and tailor their communications plans accordingly. Amid the ongoing convergence, Stubbs still saw a place for television, a point underscored by Neilsen (see figures below). “The role that we understand the television to play is awareness. We believe that the action part of the proposition lies firmly in the hands of the new digital arena,” she explained. To this end, Stubbs touched on the need for attribution modeling to provide marketers with a fuller understanding of what happens along each touchpoint within the sales funnel and the influence each has on consumers’ decision. Keynote speaker Lopez is meanwhile seeing media convergence gather pace on the home front: ABS-CBN inked a deal with Globe Telecoms in May this year to use the latter’s platform to push content out on mobile. In his content-focused talk, Lopez called

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78%

The percentage of consumers who trust television ads, according to Nielsen’s new Global Survey of Trust.

on Filipinos to pitch ideas for new programs and digital content concepts to the company, underscoring the culture of collaboration digital has engendered. “If you have an idea, let’s collaborate,” he said in his presentation, ‘Insights About Innovation: Online and Offline Synergies’. Lopez also offered a nod to the rapid rise in local video viewing and the penchant to create memes by revealing plans to replicate the video-sharing model that turned YouTube into a digital media sensation. YouTube has funded channels for celebrities, online video creators and Hollywood studios producing enormous amounts of content that has delivered eyeballs. “You only need passion and your ideas. We want ideas that are different, that can be compelling and that can lead to significant views.” Five or more ideas will be chosen for production for its online platform iwantTV. com or its YouTube channels. “Our feeling is that the digital era is really the great equalizer. You are at par with any studio, any network, any movie company. You

82%

The percentage of Filipinos who believe brand websites to be credible, the highest level of trust in owned advertising, says Nielsen.

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Facebook fatigue? Not just yet, say IMMAP panelists

Max Sim JobsDB

only need passion and your idea. I think it is passion that will drive the digital era.” MediaCorp’s new head of digital enterprise, Nick Fawbert, explained that digital makes it possible for brands to create a modern customer experience that extends well beyond what was possible in the traditional media era. By placing digital at the center of the customer experience, brands can do the following: “To create awareness, inspire. To create interest, inform. To break the ice, engage. Interact. Transact. Empower.” Google and its evolving search product took center stage when Dan Petrovic, director of Dejan SEO, spoke about ‘The Next Evolution in Search Advertising,’ Traditional search is declining as Google evolves to “giving answers, not search results”, he explained. “Google is indexing you, you and you. For brands, it’s a dream come true,” he said. Google’s evolution and its ongoing cleanup to improve the search experience has also created risks for those gaming the system. “Google is penalizing link schemes, link building and next guest blogging. So start cleaning up.” He urged brands to produce “content that (is) engaging, written not for search engines, but for people”. He said: “Big or small you gotta be in organic search. SEM still works – organic search made me look like a big brand.”

Nicole Bulatao

Nestlé Philippines

Shayne Garcia

Illustration Camille Noceda

Words carmela lapeña

IProspect

Manila The Philippines is Facebook’s second largest global market behind Brazil, a position that speaks of the market’s deep attachment to the social networking behemoth. Which explains why IMMAP panelists in the ‘Dissection Facebook in 2013’ session unanimously dismissed the notion of Facebook fatigue setting in just yet. Nestlé Philippines’ Nicole Bulatao, iProspect’s Shayne Garcia, and JobsDB’s Max Sim led panel discussions. Garcia noted that people were in fact spending more time on the social network, which posed a challenge when it came to providing creativity and relevance to these users. “We need to create fantastically brilliant stories to captivate these people,” she said. Bulatao agreed: “Facebook has been a very useful tool for us in terms of engaging young people.” Like most websites, Facebook is also moving towards mobile, which Sim described as a “gold mine”. In the second quarter of 2013, mobile advertising represented 41% of its total ad revenue. Other recent breakthroughs for the site were its graph

September-October 2013

search, the hashtag, and its phone software Facebook Home. “Sooner rather than later, mobile will be the way people access the web,” Bulatao said. She emphasized that a brand has to be ready to adapt and move quickly as technology shifts. According to Bulatao, it’s not about platform, but about content. “Always create great content. I don’t know if great content will go out of style.” On the other hand, Garcia noted that brands must be able to differentiate between platforms such as Facebook, Twitter, Pinterest, and Instagram. “What’s the role of which, and why?” Garcia said. Sharing their bold predictions for Facebook, Sim said Facebook would continue to be the leader. Bulatao agreed, saying Facebook would be extremely aggressive in keeping its position. “I’m sure Facebook will continue to be relevant,” she said. Meanwhile, Garcia predicted Facebook becoming a shopping place. “Buying in a social context gives it a spicy flavor,” she said. Sim was optimistic, as well. “There are so many flavors of Facebook I don’t think we’ve seen yet,” he said.

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Bounty of Boomerangs Nestlé’s shops scoop lion’s share of awards Manila Nestlé Philippines was far and away the biggest victor at the Boomerang Awards, with its roster of agencies winning metal across a range of brands and taking the show’s only Special Award. Twelve of the night’s 44 Boomerangs went to the food and beverage giant, its biggest haul ever in a single award show. Nestlé shop, OgilvyOne Manila, shared the lion’s share of the night’s five Golds with Di9it-DM9JaymeSyfu. The pair won two Boomerangs each. Both of OgilvyOne’s Golds were won for Nestlé’s community-building Nestlé Club in the F&B/Program by Industry and Program Effectivity/Sales categories. Nestlé Club also went on to become the only work honored with a Special Award, a category reserved for Gold Boomerang winners. It won the Best in Business Results prize. Di9iT-DM9’s Golds and lone Silver also came from a single, multi-awarded campaign – ‘Bury the Past’, a project by advocacy group Gabriela to help women bury the memory of sex scandal videos by burying them in search engine results. Its Gold came from NonProfit Campaign and for Engagement in the Campaign Effectivity. The night’s final Gold went to Mobext in Campaign Effectivity for McDonald’s ‘Ang Pao’ mobile vouchers. Havas Media’s mobile operation also won Silver for the vouchers, which were launched for Chinese New Year. “The 12 Boomerangs we took home this year is a great result, but what’s been especially exciting is the fact that we won across brands and agencies. This is a credit to both our Nestlé digi-champs and our agencies, who share the same passion and inspiration for our corporate mission,” said Sandra Puno, Nestlé Philippines’ communications director. “The awards serve as testament also to the way that we’ve brought digital into the heart of our communications planning process.”

Elly Puyat, OgilvyOne managing director, added: “Nestlé has been our partner in building the Nestlé Club for a little over 15 years now. Our focus in building the community of loyal Nestlé users has always been consumer engagement with business results. Following the mothers in the digital space with the same mindset is natural for us. We are believers that insightful and consistent consumer engagement leads to loyalty which leads to business impact.” OgilvyOne’s ‘Gerber Farm’ work for Nestlé’s Gerber Foods brand delivered a Silver in Campaigns by Industry. Its second Silver was awarded for Unilever’s Clear Men’s ‘Dream Match’ for Campaign Effectiveness, which also provided one of three Bronze awards to the agency. Minute Maid Pulpy’s ‘Improv Your Day’ for Campaigns by Industry and KFC’s ‘Cheese Top Burger’ for Campaign Effectiveness won the remaining Bronze awards.

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Nestlé’s other roster shops MRM Manila took four Silvers, while Publicis Manila and NuWorks Interactive Labs won a Bronze each for the Nestlé Drumstick Duo and Nestlé Crunch’s ‘Fun Philosophy’ respectively. MRM’s Silvers for Campaign Engagement were awarded for Nescafe’s ‘EDGAR’, a Japanese sentai-inspired viral spot, while a viral video starring a photogenic Jack Russell AKA ‘Toffee, the ‘Ultimate Human Whisperer’, created for Alpo won for Campaign Effectiveness. Its two other Silvers were awarded for Kitkat’s ‘The Break Movement’ and Royal’s ‘Kulitkada’.

01 IMMAP President Miguel Ramos, Boomerang founder Eduardo Mapa, Jr. amd 2013 Boomerang co-chair Isa Garcia-Sicam 02 Lourd de Veyra gives the closing remarks for the 2013 Boomerang Awards

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Illustration Camille Noceda

Jurors’ take

F&B brands having fun in digital

Entries were globally competitive

Pia Roxas Ocampo Wunderman Executive creative director

Albet Buddahim Performics Philippines Managing Director

“It was inspiring seeing the variety and quality of work this year. There wasn’t a trying-toohard flash banner or gimmicky ‘viral’ video in sight. It seems like the guys working on F&B are having the most fun. This was one of the largest categories but also the most enjoyable to go through. It seemed the categories with the most work also happened to be the most competitive in terms of creativity. Just because these industries aren’t as ‘crowded’, the opportunities are definitely in Real Estate; Retail; Travel, Leisure and Entertainment and Publishing and Media. As the executions improve in terms of creativity and production, the aspect I feel we need to most work on now is the measurement of results. This year’s biggest winner – Nestlé Club – deserved their win because they invested in finding out how the work affected business. More work would have gotten through if they had put in the monitoring to get the numbers that showed the work had business impact.”

“The entries were competitive; well-integrated campaigns with digital playing a key role in strategic audience engagement and amplifying the message into PC and mobile phones. The business results of the case studies were amazing and I hope it can be shared with the Philippines industry. I have seen Campaign case studies from Cannes and from the region when I was Procter & Gamble’s Asia digital business platform leader, and this is why I am able to say that the Philippine digital campaigns are globally competitive. In the use of the media channels – it will be interesting on what was the percentage allocation of media budget in the campaign and to establish the ROI per media channel, versus not knowing what media worked hard/best for the campaign. All of the metal winners are excellent examples of leveraging digital to drive business results. What separated the Golds from the rest: Is it inspiring? Is it innovative? Is digital at the core of the campaign?”

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gold showcase

Boomerang Winners

Title ‘Bury the Past’ Agency Di9it-DM9JaymeSyfu Advertiser Gabriela

Title ‘Nestlé Club’ Agency OgilvyOne Worldwide Manila Advertiser Nestlé Philippines

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Title ‘Manila Scandal’ Agency Di9it-DM9JaymeSyfu Advertiser Gabriela EVAW campaign

Title ‘McDonald’s Ang Pao Coupons’ Agency Mobext Advertiser McDonald’s Philippines

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Snapshots

i m m ap s u mmit

01 TV5 ‘s Shiela Paul, Globe Telecom’s D` Artagnan Aguilar, Havas Media Ortega’s Carlos Palma, IMMAP Summit 2013 co-chair Michael Palacios 02 Delegates packed the Rockwell Powerplant Mall Cinemas for the two days IMMAP 2013 03 IMMAP founding president and ABS-CBN chief digital officer Dr. Donald Lim 04 Immap Summit 2013 co-chair Menchie Viduya-Dizon & Michael Palacios 05 Globe Telecom’s head of mobile advertising Bela Gupta D` Souza 06 Spiralytics managing director Jimmy Cassells 07 The Media Merchants’ founder Brodie Gunning 08 Millward Brown regional director Rob Valsler 09 iProspect APAC CEO Ruth Stubbs 10 DM9JaymeSyfu chairman and CCO Merlee Jayme 11 Media Corp head of digital enterprise Nick David Fawbert 12 ABS-CBN chairman Eugenio Gabby Lopez III

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Snapshots

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boomerang

01 NuWorks Interactive Labs Inc accepts their Boomerang in Fun Philosophy, Food and Beverage for their work on Nestlé Crunch 02 Miguel Ramos speaks at the Boomerang Award ceremony 03 Robin Leonard of All Famous with adobo EIC Angel Guerrero 04 Performics Philippines’ Albet Buddahim with BPI Head of Digital Virginia Brocka 05 IMMAP founders Nix Nolledo of Xurpass and Leah Besa-Jimenez of Smart 06 Havoc Digital’s Mike Palacios and IMMAP VP accepts his Silver Boomerang 07 Publicis Manila with a Silver Boomerang for Nestlé Drumstick Duo 08 Former adobo staffer Mika Amador receives a Bronze Boomerang for Sun Life Financial Philippines’ Banking and Financial Products win 09 IMMAP President Miguel Ramos and founding member Ed Mapa with adobo’s Janelle Squires and Sharon Desker Shaw 10 DM9/Di9it wins gold for Gabriela’s Bury the Past 11 Big winner of the night with the lone Excellence Award for Best in Business - OgilvyOne- Nestlé Club. Elly Puyat of OgilivyOne (far left), with Sandra Puno, Nicole Bulatao and Au Alipao of Nestlé (2nd, 3rd and 4th from left)

September-October 2013

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T H E W ORK

cre ativ e r ev iew

Eric Cruz

Creative Review Eric Cruz is a creative director, designer, director, educator and ‘Trans National’ who calls home wherever his foot happens to be. He is currently executive creative director at Leo Burnett Malaysia, where he oversees the agency’s entire creative output, helping brands like Petronas, Samsung, Maxis/Hotlink, Dutch Lady, Twinings and McDonalds communicate their brand stories in the connected age.

Welovepost Summit ‘Split’ I think an interesting visual angle, showing two sides of different athletes who pursue the same passion. Overall good production quality. It’s a straight endorsement. Decent production. But needs to go further for it to have a lasting impression. This is a tried and true way of doing ads. Nothing wrong with it. But could be pushed much further.

Cheil Samsung ‘Inspire’ Classic Samsung TVC. Slick. Future facing. Looks very “now”. Wants to be perceived as progressive, but stays within the norms of technology ads. Well produced, but a cliché advert. Will we remember this a year from now in the clutter of ads that look the same?

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September-October 2013

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THE WORK

DDB Smart ‘Unlimoves’ It’s the kind of spot I wouldn’t be into. But funny enough, I like these. Fresh. Memorable. Appeals to both guys and gals. Just really good scriptwriting. Same repetitive story but each time it’s fresh. You kinda look forward to what he will say next. Even though you know the plot, you still watch it to see how he gets the girl. I like the acting and directing. Not overdone. Filipino stuff leans on the side of slapstick but this was just right. Nicely shot too.

MediaCom Olay ‘Picture! Picture!’ Predictable RomCom. But decent film. Definitely scripted for the target so in that sense the tonality caters to the right audience. My fave part was the dialogue when he confronts her in the garden. That’s the film’s saving grace. The Filipino side of me is a sucker for that Jerry McGuire sappiness. Can’t fault it. It works and I’m sure it gets to all the ladies. Respect goes out to Olay for not being so heavy-handed. I would love to see more of these kinds of films but really push the storytelling towards less predictable scripts. Don’t get me wrong, it can still be cliché but as long as it’s done in an unexpected way or just less predictable. Work would be a great avenue for short brand-sponsored films.

September-October 2013

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Collab/HVMO Phoenix Petroleum ‘Old School’ TVC What can I say. It’s a promo. It works. They tried to make it interesting. Applause to that.

Ace Saatchi & Saatchi PLDT ‘Race Car’ Classic cliché advert that will most definitely be understood by masses. Makes the point of high speed internet in a very literal way. Can’t fault it. It does the job. But there’s nothing special about it. The end VO really stuck out for me. Feels off. It’s a different message than the rest of the TVC. Almost like another idea of its own but jammed it in because it’s a nice line. So it leaves me confused as to what the TVC’s message really is... About fast speed? Or about strong family connections?

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THE WORK

JWT Manila KitKat ‘Swimming’ I normally don’t like spots like these. Seen it many times. But this stuck out for me in a good way. Taps into the call centers phenomenon in the country and was executed in a good way. So thumbs up. A good local adapt of a global platform.

Leo Burnett McDonald’s ‘Eyes on Your Fries’ TVC Good ad. Not just because it’s by LB :-) but because it taps into a universal insight of people stealing other people’s fries. It’s universal and everyone is guilty of it. Like the way this used a famous public figure with an interesting way. Didn’t try to saturate with the next big boxer. But used this really wisely. A worthy TVC.

September-October 2013

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T H E W ORK

b ook r ev i ew

James Cridland

Book Review James Cridland is a radio futurologist, as well as an award-winning copywriter, presenter, and internet advisor. Since 2009, he has worked for a variety of businesses across Europe in radio and radio-related fields, including the original Virgin Radio and the BBC. James lives in North London, and likes beer. He blogs about the future of radio on his website at james.cridland.net.

Radio secrets from a master This book is the book I wish I had at the start of my career. Unashamedly passionate about the medium of radio advertising, many of this book’s “seven secrets” will be a useful refresher to creatives, but some are a new look at the medium. I liked the idea of visual radio advertising - doing storyboards for radio ads, just as you do for TV. For ad agency creatives and their clients, this appears to be an excellent way of doing things - it makes radio feel as ‘important’ as television when presenting the radio ads, and means the creative process for both is seen as similar, so creatives don’t stray outside their comfort zone. As an idea, I rather like it. Each section of the book contains ample examples of great radio ads - facilitated by scripts and by an accompanying webpage with audio. Interestingly, the book is wholly printed in full colour, with abundant illustrations that really aid comprehension of the various

adobo Main Course ‘Make More Waves’

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concepts. Considerable care has been taken: and it shows. Hertz’s approach comes out of every page of this book: to bring care (and, yes, even love) to the skill and craft of writing good radio advertising. For someone new to the business, this book would be the best start they could have; for someone who’s been doing it a while, this might help them see things differently and re-arm their creative mind. You can bring

these skills into a busy production office, too, with skill and care. Just ask some of the people I used to work for. This book could raise the standard of radio commercials on-air by itself: and, frankly, I’d like to send this book to the folks who write the ads on the radio stations I listen to. The difference on the air would be marked: and, dare I say it, result in higher audience figures too.

Black and Yellow Pencil winner, radio writer, author and a teacher. Tony Hertz will front the next adobo Main Course on Oct. 15, exploring all aspects of brand sound. Hertz has brought his seminars to 37 countries.

September-October 2013

ADVERTORIAL

Ebb and flow Words Mikhail Lecaros Photography Ryan Sulit

D AV I D G U E R R E R O In a world undergoing a media revolution, advertising is an industry caught in a crosscurrent of trends, tastes and technology. With traditional rules being rewritten faster than people can Tweet, trying to keep one’s head above water is difficult enough, to say nothing of the uncommonly high levels of talent, steadfastness and gumption necessary to steer an entire agency through the turbulence. Fortunately, those are qualities David Guerrero has in abundance. Ascending the advertising ladder by way of copywriting stints in London and Hong Kong, Guerrero made his way to the Philippines, where he would come to head an agency that would eventually bear his name. Economic crises, increased competition and the rise of social media have done little to diminish Guerrero’s drive, resolutely guiding his house to the level where it can – and does – compete on an international level with some of the biggest names in the world. For every leader, now, more than ever, there are standards to be met, and expectations to be exceeded. For David Guerrero, the General stands, ever able, and ever ready to serve.

GENERAL Shot on location at the General, C1 Building Upper Ground Floor, Bonifacio High Street Central, Taguig City

WARDROBE: TOP Lyle & Scott Oxford Shirt/ Penfield Millwood Chino/ Swims Harry Derby BOTTOM LEFT Lyle & Scott Core Pique Polo/ Reyn Spooner Mo’olio Short BOTTOM RIGHT Victorinox Hamilton/ Boxfresh Walker As part of his ongoing support for charitable causes, David Guerrero donated the value of his last ensemble to Child Hope.

Scan the QR code to visit the official General website

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b ang fo r t he buck

Bang for the Buck a case for effectiveness

create their own Facebook commercials with pictures from their Facebook album. Key media and celebrities with large social media followings were sent personalized seeding kits and encouraged to share with their fans. TVCs featuring a montage of volunteered photos of people sharing a certain name blanketed the airwaves, while an iconic outdoor sign in Sydney was turned into an interactive billboard where passers-by could text a friend’s name to see it up in lights and later share the image sent them via MMS on Facebook or email.

Coca-Cola

What is it? ‘Share a Coke’ marked the first major packaging change in 125 years, with Coca-Cola going where no other brand had gone before. The campaign had been created specifically for summer, a key sales period and made the most of summer sharing after tracking data found that 50% of teens and young adults hadn’t enjoyed a Coke “the month before”. Launched in October 2011, the start of Australia’s summer season, the campaign

set out to increase consumption in the mass and get people talking about Coke again. The brand saw the opportunity to “once more become part of people coming together with the best conversation starter of all – your first name” by inviting Australians to share a Coke. For the campaign, the brand swapped its name on labels, printing 150 of the most popular names, nick names, widely-used Australian idioms and ethnic choices on cans and bottles. Publicly available data was used to select the most popular names, ensuring the campaign’s relevance in a multi-cultural market. The high quality labels basically stated: ‘Share a Coke’ with Luke or Kate, Matt, Damian, Laura or even Sis, Nan, Mate and Champ plus ethnic names such as Fadi among others to encourage Australians to connect with each other during the summer season. ‘Share a Coke’ was fully integrated and featured a strong digital component since digital media had changed the way people connect, requiring the brand to adapt to the changing marketing environment. Prior to the formal launch, Coke began placing bottles with names in refrigerators across the country, allowing consumers to discover them and talk about the personalized cans in a bid to spark online conversations. The A$5 million formal launch kicked off with a Facebook promotion that invited fans to ‘Share a Coke with a Mate’, giving fans the tools to find and connect online to share a virtual Coke and invited fans to

adobomagazine

September-October 2013

‘Share a Coke’

Client Coca-Cola Agency Ogilvy & Mather Sydney

Award wins ‘Share a Coke’ has enjoyed huge success on the 2012 awards circuit that extended into 2013 when it picked up a Cannes Creative Effectiveness Gold award after qualifying for the competition with an Outdoor Gold Lion in 2012. The campaign also struck Gold at Spikes 2012 and ADMA.

Results Response exceeded the brand’s expectations, with consumption by young adults increasing 7% in the three months after its launch, making the 2011/2012 season Coke’s most successful summer sales season in Australia. The increase was notable as the overall soft drinks category had been declining. During the period, the campaign earned 18.3 million plus impressions. Coke’s Facebook traffic increased 870%, making it the most talked-about Facebook page in Australia and 23rd globally. Coke also improved scores with the teen and young adult audience on critical measures such as “is a brand I love” and “for someone like me”. Why it worked? By printing the 150 most popular Australian names on its bottles, the brand reminded Australians not only of those people currently in their lives, but also people they may have lost touch with, giving them a reason to connect. This was personalization on a massive scale and gave young Australians a reason to re-energize their relationship with the iconic brand. Coke also demonstrated its savvy in adapting to the changing marketing environment, devoting a large chunk of its campaign effort to where young people congregate today – on digital platforms – with a campaign that had all the ingredients for sharing. The campaign’s astonishing success led the brand to take the campaign global in 2012, just months after its Down Under launch. By the middle of this year, the campaign had rolled out in 27 territories and there are plans to eventually reach 32 markets.

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cre ativ e co r ner

j ay ta b l a n t e Photographer

Creative Corner 1

Stuffed toys to guard my unopened Macross Frontier kits and my bottle of Jack.

A QNAP file server does a complete mirror of my HDs every Sunday.

I am the rare Windows user in the world of advertising. I assemble and fix my own PCs.

3 5

Mugs for coffee (coffee maker hidden from view)

Various art prints I have bought or were given to me at conventions.

Voyager HD dock

Toys and figurines from various conventions I have visited.

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September-October 2013

cr eat iv e sho wcase

THE WORK

Creative showcase

Title ‘Boracay, Caramoan, Cebu’ Agency Publicis JimenezBasic Advertiser Islander Group CD Lawin Bulatao Associate creative director Jess Villaruel Art directors Jess Villaruel, Gian Mawo Creative director/copy Lawin Bulatao Accounts Jackie Monteclaro

Title ‘Kuya’ Agency Leo Burnett Manila Advertiser McDonald’s Creatives Raoul Panes, Alvin Tecson, Mela Advincula, Carlo Cruz, Alexa Remalante Accounts Donny Dingcong, Maik Alturas, Xea Kho Producers Steve Vesagas, Lester Parulan Director Henry Frejas Production house Filmex Audio house HIT Production Post Production Optima Digital Food stylist Lydia Go Caster Edge Pasion

September-October 2013

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Title ‘Hair Quartet’ Agency JWT Manila and Singapore Advertiser Unilever Cream Silk Executive creative director Tay Guan Hin Creative director Gayle Lim, Teng Runrun Copywriter Gayle Lim Art director Teng Runrun Account manager Missy Tolentino Group account director Mylene Rayala Account executive Nikka Velilla Producer Missy Tolentino Advertiser Unilever Asia Pacific’s Jopa Malantic, Sze Tian Poh

Title ‘Break up, Revenge’ Agency JRomero and Associates Advertiser Mighty Bond Title Break up Agency JRomero and Associates Advertiser Mighty Bond Executive creative director Grace Alvarez Creative director Juni Simbulan Copy group head Carl Clemente Art director Clei Adriano Agency producer Jim Carrelli Production house Straight Shooters Media Inc. Director Nic Reyes Post house Engine Room Audio post house Soundesign SVP Din Estrada Senior account managers Bea Loinaz and Regine Mercado Account managers Misha Agcaoili and Carla Fulgencio

Title ‘Simumot, Winlalaki’ Agency Seven A.D. Advertiser Jack n’ Jill Mang Juan Director Jeorge Agcaoili Producers Steve Vesagas and Bon Bonus Production house Provill Post house Post Manila

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September-October 2013

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THE WORK

Title ‘Scooter Helmet, Sport Helmet, Touring Helmet’ Agency Publicis JimenezBasic Advertiser Motortrade Executive creative director Alex Castro Creative director John Sacro Copy John Sacro, Martin Sarmenta Associate creative director Jess Villaruel Art directors Jess Villaruel, Gian Mawo Accounts Myles Naguit, Anna Domingo

Title ‘Freestyle’ Agency Harrison Communications Advertiser Jack n’ Jill Roller Coaster / Universal Robina Corporation Creatives Mark Mendoza, Rin Estrella, Alex Arellano Accounts Alex Gonzalez, Ian Panlilio, Noelle Segundo, Monday Gonzalez Producer Bon Bonus, Steve Vesagas Director Joey Agbayani Production house Provill Post production Optima

Title ‘Roadtrip’ Agency Ogilvy & Mather Manila and India Advertiser Cadbury Creatives Richmond Walker, Gerry Cacanindin, Abhijit Avasthi, Manoj Shetty Planning Kawal Shoor, Toni Tiu, Account management Soames Hines. Hephzibah Pathak, Avni Pujara, Mike Garcia, TesAranda Production director Vivek Kakkad Producer Shahzad Bhagwagar, Wishnie Torres Production house Curious Films

September-October 2013

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ad of t he mo nt h

Ad of the Month july and august JWT Manila puts hair to musical use, while JRomero and Associates has Mighty Bond help out a woman scorned

july JWT Manila and Singapore Unilever Cream Silk ‘Hair Quartet’ Title ‘Hair Quartet’ Agency JWT Manila and Singapore Advertiser Unilever Cream Silk Executive creative director Tay Guan Hin Creative director Gayle Lim/Teng Runrun Copywriter Gayle Lim Art director Teng Runrun Account manager Missy Tolentino Group account director Mylene Rayala Account executive Nikka Velilla Producer Missy Tolentino Advertiser / Unilever Asia Pacific Jopa Malantic/ Sze Tian Poh

august JRomero and Associates Mighty Bond ‘Break up’ Title ‘Break up’ Agency JRomero and Associates Advertiser Mighty Bond Title Break up Agency JRomero and Associates Advertiser Mighty Bond Executive creative director Grace Alvarez Creative director Juni Simbulan Copy group head Carl Clemente Art director Clei Adriano Agency producer Jim Carrelli Production house Straight Shooters Media Inc. Director Nic Reyes Post house Engine Room Audio post house Soundesign SVP Din Estrada Senior account managers Bea Loinaz and Regine Mercado Account managers Misha Agcaoili and Carla Fulgencio

adobomagazine

September-October 2013

www.88storeyfilms.com

A D V E R T O R I A L

EVERYTHING IN ITS PLACE Welcome to the 88storey Films warehouse. To the average person, it may look like a random collection of odds and ends, but to us, these are just some of the things that have made us one of the most trusted and recognized names in production. For us, whether we’re working on a big-budget TVC or the latest music video, realizing the visions of our clients is always the top priority. Whether it means getting store-bought baubles or fabricating custom-designed props to clients’ exact production specifications before a shoot, every single item here has played a part in getting us to where we are today. This isn’t junk, this is our craft. Not pictured: The passion and pride that go into everything we do. (Lucky thing too, because otherwise we’d need a bigger warehouse.)

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l ondon int er nat i o nal aw ar d s

Luck be a lady for lia 2013 manila For the 2013 London International Awards, adobo magazine once again teamed up with the festival organizers for the latest in our series of annual contests to select two representatives from the Philippines to attend the LIA Creative Conversations in Las Vegas, USA. Open to practitioners under the age of 30 and working in 4As-affiliated agencies, the brief was to design the funniest meme under the theme ‘Advertising. More Fun in the Philippines’. Winning entries were selected by a panel of local judges. JWT Manila art director Drea Dizon was struck speechless when she got the call that she’d won for her entry, ‘TVC Shoot’, but quickly became as excited as her happily supportive officemates when it sunk in that she would be flying halfway across the world to meet some of advertising’s biggest names and personalities. The other contest winner was BBDO Guerrero copywriter Donna Dimayuga, who made adobo LIA contest history by securing a spot to Vegas for the second year in a row with her entry, ‘Adaptation’. “I signed up this year using my first name and my mom’s maiden name. Everyone was going crazy trying to figure out who ‘Lyn Lucas’ was!” laughs Dimayuga. While entries were reviewed by the judges without names attached, it did make figuring out who the mysterious ‘Lucas’ was a bit tricky for the contest organizers. Fun and games aside, Dimayuga told adobo that she had enjoyed her previous trip to Las Vegas, where she won the chance to dine with cantankerous ad man Neil French. “I had a blast last year learning from Neil French and all the other speakers,” said Dimayuga, “And I look forward to learning more this year.” After this rambunctious pictorial session wherein we let our winners unleash their inner party girls on a handy rooftop, Dizon shared with adobo that, “I actually visited Las Vegas once, 10 years ago, but I was too young to even go into a casino! All I could do was look out the window of the hotel (back then), so I’m looking forward to making up for lost time (laughs).”

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L to R:

2013 adobo LIA contest winners JWT Manila art director Drea Dizon and BBDO Guerrero copywriter Donna Dimayuga ponder their life choices as Sin City beckons. Words Mikhail Lecaros Photography Ryan Sulit Art Direction Victor Garcia Stylist Clint Catalan of Clintworm Makeup Artist Chuchie Ledesma of Maybeline New York Hair Stylist Mark Familara

September-October 2013

lo nd o n i nt er nat io nal awar d s

THE WORK

The 2013 adobo LIA meme-making contest was judged by McCann Worldgroup AVP/Deputy Executive Creative Director Peter Acu単a, Ace Saatchi & Saatchi VP/Creative Director Trixie Diyco, JWT Manila Creative Director Joe Dy, Seven A.D. Chief Executive Officer Teeny Gonzales, Aspac Advertising Chief Creative Officer Joey Ong, Collab Manila Inc. Chief Collaborator Tonypet Sarmiento, DM9JaymeSyfu Executive Creative Director Louie Sotto, Leo Burnett Manila Creative Director Alvin Tecson, TBWA\Santiago Mangada Puno Creative Director Jake Tesoro,

September-October 2013

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l ondon int er nat i o nal aw ar d s

LIA poster making contest

1st Adaptation Donna Dimayuga BBDO Guerrero

2nd Direct Marketing Donna Dimayuga BBDO Guerrero

3rd TVC Shoot Drea Dizon JWT Manila

Peopleâ&#x20AC;&#x2122;s Choice Anna Cleita Adriano J. Romero & Associates

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September-October 2013

THE WORK

smar t t xt bks

surplus SIM cards from Smart “Because they must bring so many heavy textbooks, the kids end up physically deformed,” said Chaong Elementary principal Teofilo de la Cruz. “Every single work order that lands on our desk is an opportunity,” Jayme told the audience at the 7th Annual Internet and Mobile Marketing Summit.

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Big idea set to go bigger DM9 builds momentum with ‘Donate a Phone’ bid Words carmela lapeña

MANILA Having won the Oscars of the advertising industry for a creative solution that relieves school children of having to carry heavy books, DM9JaymeSyfu is set to roll out its ‘TXTBKS’ campaign for client Smart in schools across the Philippines. ‘TXTBKS’, which resurrects old phones into low-tech yet life-changing educational tools, won the Grand Prix in Mobile at the Cannes Lions International Festival of Creativity as well as the Grand Prix of the Year for Public Service in Ad Stars in Korea. According to Merlee Jayme, chair and chief creative officer of DM9, the group is finalizing a ‘Donate a Phone’ campaign, so that people can donate their old phones to help take ‘TXTBKS’ nationwide. These will be used together with SIM (subscriber identity module) cards that have been converted into textbooks and workbooks. After a successful pilot test in Makati and Bulacan, schools and education sector members have made petitions and pledges, and the next step is to add more subjects and grade levels, as well as kits so that schools can reproduce ‘TXT BKS’ themselves, for free.

The backer For its creators, it’s heartening to see a small idea go nationwide. It all began with the Smart Public Affairs group, the CSR arm of Smart, which pushes a campaign to demonstrate their pillars every year. When DM9 was tasked with an education campaign, they saw it as an opportunity to use the very tools of the client’s trade: mobile phones. The problem Kids as young as seven must bring up to 22 books daily, which leaves them exhausted and unfocused and in many cases, afflicted with scoliosis.

September-October 2013 Friday, August 30, 13

The solution was to use technology, but as Jayme pointed out, cost was a challenge. “In developed countries you have tablets, all of these gadgets. But it is very, very expensive for us. We cannot afford it. So we had to look for other solutions,” she said. Taking a cue from Filipinos’ resourcefulness, the group hit on the idea to use surplus SIM cards and old phones. “As Filipinos, ang tawag diyan ‘May pera sa basura’.” The idea was to turn “trash” into ‘TXTBKS’, using the SIM as a storage facility for learning materials. The execution Over six months, DM9 collaborated with textbook publishers to condense official school text into SIM cards provided by Smart. The contacts were transformed into the table of contents, while the messages contained the textbook content and exercises. Although the look is low-tech, Smart ‘TXTBKS’ have made a profound difference in the children’s lives. As a result, students had 50% lighter school bags and scored 90% average test performance. “We did not create the most innovative technology. We created the most innovative solution,” Jayme said. “We always like to be at the cutting edge of innovation, particularly relevant information,” Ramon Isberto, Smart’s head of public affairs, said. According to Jayme, the combination of creativity, technology, and humanity were key to the campaign’s power. “Creativity is really powerful. But coupled with technology is even more powerful. If you’re into technology, you have to think of many ways to help out. Because what makes it great is when it’s coupled all the more with humanity,” she said.

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DE S I GN

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Design Showcase The round-up of beverage brands that have sharpened their looks

Absolut The Brand Union The Swedish vodka brand’s flavored range has been given a striking makeover, with each of the 11 all-natural flavored, sugar-free drinks artistically expressed. Traditional design tools such as pen, crayons, paint and brushes were used in place of computers to create distinctive designs for flavored variants such as peach, pear, mango, apple and grape, among others. In creating the striking designs, the team set out to find each flavor’s core essence and amplify that essence through art.

Tanduay Asian Rum The Shear Partnership

‘Smart’ Metallized Paper Touch Pads AR Metallizing

Tanduay sported a new brand identity, telegraphing its Asian origins for its North American debut this summer. The new identity combined icons of its traditional design heritage with visual cues suggesting its Asian origins – from the world’s oldest rum distiller, Tanduay Distillers of the Philippines. It also featured a new bottle shape and label graphics that were a marked departure from familiar rum imagery of coconuts, pirates and palm trees to differentiate it in a category dominated by Caribbean-themed competitors.

‘Smart’ metallized paper touch pads are on the way and could revolutionize the way consumers interact with brands in stores. Europe’s AR Metallizing, which specializes in producing metallized paper applications for labels and packaging, is poised to unveil technology that could be used to develop touch-sensitive labels for food items and boxes, provide interactive games on cereal boxes and multi-digit disposable code pads on shipping boxes and even paper-based keyboards.

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September-October 2013

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Carlton Draught Cowan Melbourne Carlton Draught has unveiled what it is calling the “keg can”, which brings the Aussie pub experience into consumers’ homes in line with the brand’s ‘brewery fresh’ positioning. The new look was made possible with supplier Amcor’s new can embellishment capabilities. As part of the distinctive design, the new look features ‘hoops’ that run horizontally around the entire can, giving each can the look of a beer keg. Originally planned as a limited edition, the keg can – complete with a new color palette – replaces the brand’s existing 375ml line.

Extreme Bluemarlin Miller Highlife DDB Mudra Group To help the beer brand stand out on India’s store shelves, the agency created a sixpack hold-all that is actually a series of perforated coasters on the side. Coasters come off easily, perfect for parties or home consumption. The coasters also provide a canvas to showcase the brand’s tone as young, fun, living in the moment. And the coasters serve as ice-breakers too, as one of them incorporates the spin-the-bottle game.

A 2D/3D packaging design was created for Extreme’s initial two offerings’ – Extreme Sport and Extreme Energy – UK launch. As Vimto Soft Drinks was looking to shake up the fast-growing drinks category, the packaging had to stand out on store shelves as the brand was aimed squarely at young men known for their individualism, enthusiasm for counterculture and addiction to extreme sports. Graphics had the feel of street art, while the rugged to bottle shape delivers a tactile experience reinforce the brand’s push-the-limits DNA.

Maggi Just For 2 Bluemarlin Australian design shop Bluemarlin has created new packaging to encourage smaller, younger households to see the traditional family-oriented Maggi brand in a new light as Nestlé brings its new Just for 2 range of recipe bases to market. Striking food photography and a graphic device features on the packaging. Maggi’s signature yellow pantone with a white sunburst background and silver highlights, all contributing to the packaging’s modern aesthetic.

September-October 2013

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DE S I GN

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“Milky Boy” animated feature reveals the pleasures and perils of advertising work Words Karl De Mesa Images courtesy of the artist

The products of Arnold Arre’s imagination have informed pop culture for almost a decade now. Best known for the award-winning fantasy comics series Mythology Class and the breakthrough noir-fantasy graphic novel Ang Mundo ni Andong Agimat, Arre has since added animated filmmaker to his many hats as visual artist with a mid-length film titled Milky Boy. Milky Boy revolves around the titular character. He was once a child star made famous as the face of a brand of milk, but eventually ended up as an advertising copywriter. From the looks of it, in the establishing shots of their office, this company must be one of the most unkempt and rubbish-filled agencies to ever mushroom from Philippine soil. Of course, people still recognize him as The Milky Boy and badger him for photos, to say the famous line from the TVC, and just to give him heck about why he hasn’t achieved so much more than being an ad flunky – which seems to prove that the claims of the brand he endorsed were bogus since he clearly didn’t rise far, hey? He hates his past, no doubt, but can’t get away from it. This 20-minute featurette isn’t just about the intrinsic pleasures and perils of working in advertising (endless all-nighters, midnight client presentations, leaning towers of pizza and instant ramen) though, it’s also a sweet tale of infatuation and friendship, and about how we surprise ourselves with the courage we didn’t know we possessed.

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arnol d ar r e

ARNOL ARRE For now Milky Boy will not be released or screened publicly since Arre is submitting for consideration to festivals abroad. He does it fervently hope that, after it does the festival rounds, a local series of public screenings will be possible. ANDONG AGIMAT (SHORT)

MILKY BOY (TRAILER)

September-October 2013

ADOBO sat down with Arre to find out more about the film, how it was made, and his motivations for making it. ADOBO Why set Milky Boy’s story in the local advertising world? ARNOLD ARRE Milky Boy was supposed to be the second chapter of a graphic novel I was working on when I was still in advertising. I wrote it in 1993. Back then I was working at Satchi and Saatchi as a fresh grad. It was anthology of three different stories of various characters working in advertising. The first story was about a writer and an art director.

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LD Shots from Arre’s Milky Boy, animated by the artist from a short story he wrote in 1993.

The second was Milky Boy, about a former child star who ended up in the ad industry. The third and last was about awards, the politics of winning awards, doing everything just to win one, and such. ADOBO Hustling for awards is a very in-advertising gestalt of politics, right? ARRE Yes, but in the end, who buys your product? The first story has a scene about the art director and the copy writer fighting about a chocolate wrapper they’re working on. To the point na halos magpatayan na sila. Finally na-approve yung design and then

one day they’re walking down the street and there’s a kid with the chocolate who unwraps it and then just throws it away without looking at it. ADOBO What made you decide to animate the second chapter and not the first or the third? ARRE I discussed ‘Milky Boy’ with [my wife] Cynthia, since she’s been in advertising longer than me and she said that there’s just something about Milky Boy that touches everyone. Especially not the third story, which I think only advertising people will understand.

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ADOBO Still, it took you a very long time to decide to turn it into an animation. Why now? ARRE In 2011, Gang Badoy approached me to do something for Rock Ed, to turn into visuals a piece of music called ‘Kaninong Anino?’ And before that I already did two short films, in 2009 and 2010, so I wanted to see if I could have a go at it by myself. I even bought a camera for it, a Canon EOS 600-B, and a green screen – a real green screen! But then something happened and Rock Ed said it was going to take them some time before they could give me the music. So while waiting I thought: What if I tried animation?

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Images from Arre’s wide body of work, including 01 The Mythology Class 02 Amihan 03 Pepe Smith in Space 04 The Eraserheads Anthology vol. 2 (album cover art) 05 Andong Agimat

ADOBO Looks like siting with idle hands eventually became quite productive. ARRE That’s when I wrote the script. There was no hesitation [in deciding to] do that, it’s funny. I just googled flash animation and tutorials on Youtube. My first effort in moving animation was just Andong Agimat walking. Turned out great so I colored it. It took me about one week to nail the basics of animating something. ADOBO Did it help that desktop animation programs are cheaper, easier to use and acquire now? ARRE I used to do flip books - those things on the margins of notebooks that would move if you flip the pages fast enough. So, yeah, I’ve always wanted to see my drawings in motion. Now that we have the technology to produce a film from a desktop I have the resources to do this. It’s exactly because we’re empowered with the tech now that this is possible. I keep telling the kids: You guys are very lucky kasi I wish I had all this technology back then.

ARRE The process during recording was just for them to keep the key words in the script and then I just let them say it their own way. It comes out more natural that way. I told them: Read it once and just say it like you’d say it. It made them more comfortable. I hate actual “voice acting” and dialogue. Futurama is the best example of non-bouncy voice acting. Eventually I found out that Mihk Vergara, who plays Milky Boy, was an extra in a McDonald’s TVC when he was a kid. So I guess this was all very serendipitous. I feel very happy with how all the voice acting turned out. ADOBO With the story, did you make a lot of revisions from the original comics? ARRE There were some small changes, especially with the last scene, but for a great part this is really still based on the comics I drew way back in 1994. ADOBO Does this mean you’ll be turning your energies more towards animated features?

ARRE I still love working with comics of course and right now I’m working on a project with artist author Gerry Alanguilan, which I have to keep secret, though. Of course I love films and I’ve always just wanted to make them. What I don’t get from working in comics is making use of music. Milky Boy is still rough as an animation but it accomplishes the telling of this story good enough, I think. I want them to see these characters and that it’s them talking. That this is their story. ADOBO We’d love to see how the rest of the advertising world reacts to this and hope it screens to the Pinoy public soon. ARRE When it finally screens here I hope that they like it and see something different whether it’s in how I drew the characters or the story. I hope they have fun watching it, even if they’re not in advertising. I want them to know that these people behind the advertising products are real. I want them to go: “kilala ko yan eh!”

ADOBO Any difficulties in the process of making it? ARRE I find it easier to animate around a pre-recorded voice so we rented a studio near our place and then asked my friends to do the voices. I basically called up whoever was interested. There was no casting which is really the case in indie. You don’t cast anybody. You don’t really “hire” actors. You just work with people who want to work with you. I think we recorded over two days lang. ADOBO From what we saw your non-actors sound spot-on and natural.

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Form Style 68

COV E R S T ORY

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Words Mikhail Lecaros Interview angel guerrero Photography Hugo Treu Special thanks annamaria marchesini, ALMaPbbdo

With his effortless charm, selfdeprecating manner and silver-streaked mane, one could be forgiven for mistaking Marcello Serpa for a movie star. For those in the know, however, Serpa’s credentials are far more impressive than those of any mere matinee idol. A native of Rio de Janeiro, Brazil, Serpa put his country on the advertising map of the world when he won Latin America’s first Grand Prix at the Cannes International Festival of Creativity in 1993. In the years that followed, that win would prove to be but the first of many, both at Cannes and other shows,

as Serpa proved that his metal was no fluke. To date, the partner and chief creative officer of AlmapBBDO has 133 Cannes Lions and 25 Clios to his name, including a Clio Lifetime Achievement Award, presented to him at the decidedly un-ripe old age of 45. His ongoing run as Brazil’s most awarded creative notwithstanding, counting accolades is not an activity that Serpa engages in, preferring to let his work do his talking for him. Indeed, the man’s creations for clients such as Pepsi, Volkswagen, Getty and Audi speak volumes about his predilection for clean, simple designs backed

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September-October 2013

C O VE R ST O R Y

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COV E R S T ORY

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I love You/Boss/Melissa/ Adopted (2011) Serpa’s gift for irreverent word play is on full display in this witty campaign for Volkwagen

up by clear objectives served up with a healthy dose of humor. Having previously performed jury duties at D&AD, Clio, Ad Fest and Cannes, this year’s 60th Anniversary Edition of the Cannes Lions saw the man, whose colorful campaigns brought Havaianas to the world, taking on the role of jury president. Shorty after the festival, adobo caught up with Serpa to get his impressions on the festival, his career, and just how much social awareness is enough. ADOBO You’ve been a mainstay at Cannes for many years. What do you look forward to when you go?

Chief creative officer Marcello Serpa Executive creative director Marcello Serpa Creative director Luiz Sanches Art director Bruno Prosperi Copywriter Renato Simoes

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SERPA When I go to the festival, there are two things that are very important to me: First, the competition itself, because we like to see how our work stands against the other work from all the other countries – it’s important for me to see how competitive our work is. The other thing is, for me, something that has become more relevant and more important over the years is to get input (in the form of) shots of information and feedback on creative work and how it can improve what we do. I think the most important part of Cannes is going there and opening your mind for new models, directions and ways of doing things. I like to see ideas that really make me feel uncomfortable about the work we are doing. It is always a very humbling experience when you go there, it’s not a matter of winning or losing, it’s about looking at Grand Prix

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winners and thinking, “Wow, I wish I had done this. What can I learn from this? What can I do to make it better?” ADOBO What are some of the campaigns that impressed you this year? SERPA There were a lot of single pieces where I really enjoyed the thinking and craft, but if you’re talking about overall works, I loved – along with everyone else – ‘Dumb Ways to Die’, which is an amazing piece, and ‘Dove Real Beauty Sketches’. There was a lot of small stuff that I liked, but those were the big two that I loved. What I love about Cannes this year which is becoming for me, quite interesting to see, is the work, the social work is becoming more relevant than that for softdrinks, for cars, for services, and so on. I don’t know if this is good or bad, but I noticed the tendency of all the judges to award social work much more than work for real clients, real brand work. If you look, all the brands are doing very strong social campaigns, everybody’s social, social, social! Somewhere, the selling became somehow inferior to the social attitudes of the brands. I don’t know if it should be looked at as good or bad – a lot of people say that it is good because it’s evolution. But we shouldn’t forget that advertising is about selling something to someone and we can do it in a very, very nice way, but when you become too social, you can become a bit of a hypocrite because the end game is about selling a brand, selling a purpose, selling a

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product – we shouldn’t fool ourselves. The brands are there, advertising is there to make some money, some profit, and if you push too hard for the social side of it, it could sound like you’re being a hypocrite. Again, I’m not sure; it’s something we in the industry are discussing among ourselves, how advertising is becoming the savior of the future, of the planet, and how much of this is real and how much is hypocrisy. ADOBO That’s something that more than one person has remarked on, and it’s interesting that in the Press category, your category, the ad that won was for a product “iPad Mini, Time, Surfer, Wallpaper”. Was that intentional on your end? SERPA Yeah, probably! (laughs) It’s one of the reasons why it won, definitely. I said (to the jury), let’s choose a campaign that’s a print campaign – not something that’s part of a 360 degree campaign – and sells something very straightforward, that only works in print, and something that people will remember as a print ad and not just a part of a bigger campaign. We choose the Apple campaign after a long discussion because of the big question mark on how someone can go advertise in a print magazine to sell the end of it? And, at the same time, you realize one way that these magazines will survive is on i-products, so it’s a very interesting concept, and that’s why we chose it. This is a real product, with a real campaign selling something.

I’m an advertising guy, and I do a lot of social work and stuff for NGOs. Brazil is still a Third World country – there’s so much that needs to be fixed – and we (in advertising) actually can help through communication very, very much, but I have to ask, if all the brands are saving the planet, who the hell is actually killing it? If everybody’s saving it, who’s destroying it? It’s very nice, yes, but there has to be a limit. Are you selling me a softdrink or are you selling me world peace? (shrugs) ADOBO So you haven’t found the answer yet? SERPA I think someone should start the discussion, because the road to Hell is paved with good intentions, and we should be careful about how far we should go. I love the social side of the brands, but we have to be clear – we should never forget we’re here to sell something to someone. ADOBO In all fairness, maybe the whole trend towards social responsibility, is because of many markets’ cynicism towards advertising. Do you see any of that in Brazil? SERPA I don’t see much of this because in Brazil advertising is part of our culture; advertising should be a part of the culture in every single market. There is a very clear contract between consumers and brands that allows you to do advertising because that’s the way media works, and that’s the way capitalism works: Anyone has the right to

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sell something to someone else. Advertising is what we do, and the basic contract is that we’re selling and we have to sell in the most appealing, seductive way, but if you’re not choosy about what product you sell, even if you win by getting the client to buy your product, you have failed if in the end they don’t like it. I think there’s a lot of questioning of advertising nowadays, and one of the concerns on our side is being punished on social networks if your product doesn’t do exactly as promised. I think brands are trying to be as good and honest as possible (now) to avoid being attacked, because social networks can be a very powerful weapon for the consumer to build up a brand or kill it. People are very afraid of being destroyed in a social environment, so I think this search for purpose or goodness in brands is a way of protecting them. That’s my personal opinion. ADOBO Does this mean your agency is investing more on digital? SERPA Yes, absolutely, we have a very strong media capability in Brazil for certain brands that work on social media. Facebook and Twitter are very nice tools to detect any noise or communication (that a problem in products or service could provoke) because you can react very fast to fix it or discuss it. We had a couple of very nice experiences with this on a controversial Havaianas commercial we did two years ago with an old lady talking about sex to a teenager. Thanks to social media, we knew the conservative part of the country was very, very upset, so we were able to do a follow-up very fast and put it online quickly where the same old lady said that since it’s a democracy, people had the choice not to watch the commercial. How a brand reacts to this kind of environment shows how clever a brand can be, because we have to be very fast and be able to change direction to reflect people’s opinions on the web. We are very aware of this, so we always have to anticipate people’s reactions Provocative and minimalist, this campaign for Diet Soft Drink Guarana won Serpa a Grand Prix at Cannes - Latin America’s first 01-02 Advertiser Guarana Antarctica Product Diet Soft Drink Agency DM9 Publicidade Country Brazil Year 1993 Award Grand Prix

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on the web and hope it’s positive, but if it’s not, we need to be able to accommodate that. It’s very dynamic; it’s not the old-fashioned way of producing content then moving on to the next one. Now, when we produce the content, we see the reaction and then interact with the consumer

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In his spare time this ace ad man can be found indulging in his hobbies, including surfing, painting and cooking.

ADOBO Let’s talk about Havaianas? This brand started in Brazil, it’s now a global brand, are you surprised how Havaianas has grown worldwide as a brand? SERPA I think it’s very interesting because the only global brand we’ve ever had is Havaianas. It’s fun to see a global brand with Brazilian identity and DNA because selling Havaianas, at the same time, sells the way we are as a people, so people are aware it is a Brazilian brand. It started very strong in Brazil and then very slowly, as Brazil became bigger on the global stage, the brand went with it until all the top fashion models were buying Havaianas in France, New York, in the States – it become an underground movement! ADOBO No doubt, your campaigns for Havaianas played a big role in that. Tell us about the first campaign you did for the brand. SERPA We started working for Havaianas in 1993, and we got the account in 1994. The first ad that we did for the brand was in Wallpaper, a very fashionable magazine at the time, and we did it in Portuguese. A lot of the ads we did that first year, we did in Portuguese and because some people couldn’t understand the copy, that just made the brand cooler. So there was a snowball effect, getting bigger and bigger, so now wherever you go, whether it’s Hawaii or St. Tropez or Australia or the Philippines, you have Havaianas everywhere. So it’s nice to see. We still hold the account now, and we do all the work, even the international work, here, in-house. ADOBO Fantastic. Are there any campaigns you consider uniquely Brazilian – similar to what you’ve done for Havaianas – that have become successful globally? SERPA I think there’s a cultural limit as to how far Brazilian advertising can be exported, and the reason for this is, we’re the only Latin American country that speaks Portuguese, a language not a lot of people understand. Everything has to be translated, and we have a certain humor, a tone of voice, that is very

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Brazilian, and most of it doesn’t translate. It’s not like work or films from the US or the UK that everybody understands because people have English as a second language. People know hamburgers, Coca-Cola, Pepsi, Budweiser, and so an American cultural joke can be understood everywhere. A Brazilian joke, on the other hand, can only be understood in Brazil or Portugal! So we have many, many, many good campaigns that, if they were created in English or in the US, they would be hits everywhere, but since it’s from Brazil, only a small percentage of our work is exportable. That’s ok, since we have a huge market, with 200 million, so we have to make campaigns that work for them. ADOBO Language barriers notwithstanding, Brazilian creativity seems to be experiencing a kind of renaissance as of late, with campaigns like ‘Beauty Sketches’ and ‘Immortal Fans’ bagging metal all over the world. SERPA Rennaisance, maybe; but we’ve always done well at Cannes, Brazil has always done well in one way or another, we’re always among the top 5 most-awarded countries. Where it was just two or three agencies in 2000 doing good work, there are so many more now. What happened? There was a change of scale – Brazil became big. Brazil has become a huge economy, and that helped. In the past, we were big but poor, now we’re big and middle-class. We began importing and working with good directors, good production companies, and then big agencies started coming down to Brazil for ideas, so it began to happen that Brazilian ideas weren’t being produced here, but in places like New York! ADOBO In past interviews, it comes across that you enjoy what you do, what is it about our business that excites you? What’s the best part of your job? SERPA I think the best part of my job is to come up with…I think we are all miners, in the sense that we all go down to the mountains and stay the whole day looking for gold nuggets. Some can smell gold better than others, but in a sense, we’re all digging to find that small nugget. The thing that I love the most is when I come up or I see someone coming up with a gold nugget, and that, for me, is the most relevant part of the job. What we do with these nuggets is something else, how we can sell it to clients, how we can produce it, how to make the theme, how

This hilarious campaign for Aspirin was seemingly designed to speak to anyone who’s ever worked in an office. Campaign ‘Boss’s Jokes’ Client Bayer Brand Aspirin Agency AlmapBBDO, Sao Paulo, Brazil Chief Creative Officer Marcello Serpa Executive Creative Director Marcello Serpa Creative Director DulcídioCaldeira, LuizSanches Copywriters Pernil, Marco Giannelli, AryNogueira Art Director AryNogueira

people should love it or hate it or be provoked. This really is the best part of the job, and everything else is just a diversion. When we have one or three nuggets in the hand, then we’re happy, then we love it, when people don’t love it, then we have to dig some more. ADOBO What bearings do awards having on your agency and your creative process? SERPA The awards are a measurement of how good we are (or not). I hate when people here or somewhere else look at a piece of work as an award, and not as a good piece of work. When people look for the gold nuggets, they should look at the gold nuggets themselves, and not what the nuggets can buy. Of course, awards are important for the agency because they put the agency in the spotlight, and clients, at the end of the day will be looking, not just for the agency that can do the most creative work, but the ones who can be the most consistent. I don’t believe in awards on their own, I believe in winning

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consistently with many different clients. I don’t care about being number one or number or number three, but on the average, we have to be the best. It’s a long-lasting effort; it’s not about making it big one year and then changing careers or agencies to make more money or doing it for a bonus – that’s stupid. The moment you attach money to winning awards, then the festivals will be doomed, because it will no longer about the work. ADOBO Another thing that strikes us about your work is the overriding sense of humor that seems to accompany each campaign. How would you describe your sense of humor? SERPA I think we, as an agency, believe a lot in humor, we like to laugh a lot, we have a very funny environment here. We like color, we like fun, we like jokes, probably one of the things we are most passionate about is humor. We make jokes about anything. We say the best jokes are the ones you make in sad situations.

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Blue / lime / purple / green / orange / red

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“...misconception is from people who work in advertising who think that advertising is the most important profession in the world.”

Playful colors and word play, as in this Gold Lion-winning campaign helped make Havaianas a successful international brand Brazilians are very funny, it’s part of our culture, part of who we are, and it works. ADOBO How did you get into advertising?

Executive creative director Marcello Serpa Copywriter Renato Simoes Art director Bruno Prosperi Typographer Jose Cortizo/Daniel Moreno Photographer Fernando Nalon

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SERPA I always wanted to be a painter. My grandfather was a painter, he was a teacher in an art academy so he would always takes me with him and we would work together, so the smell of paint and oil was very, very important for me from the beginning. I was drawing from a young age, I always had paint on my hands. I could’ve done anything from architecture to fine arts to advertising, graphic design, artistic design, whatever. I could’ve done industrial design, drawing chairs, building houses, whatever. Advertising, in a sense, (my career) advertising was a consequence of my studying at Munich Fachhochschule fur Grafik-Design in Germany, where I studied graphic design. At the time, design in Germany was really, really fantastic, but the process of developing a corporate identity was too long – two or three years – and I was very Brazilian in a sense where I thought everything should be fast, so I got a job in an advertising agency as the assistant of the assistant of an assistant. There, I saw that there were campaigns that had to be done in three or four days and then it goes on the air or into a magazine and then it was gone and you’d move on to another one. It was interesting, like a moving canvass. Like, if you saw a billboard, and no matter how much you loved it, in two weeks, it was gone! Advertising gave me this feeling of doing everything to make something beautiful and then, just like that, it was gone and you’d be doing another one, and I liked it! I liked the speed and how advertising can sometimes be very shallow, but can sometimes have a deeper meaning, and it should always be very beautiful. ADOBO What are the biggest misconceptions about pursuing a career in advertising? SERPA Good question, very good question. Misconceptions come from inside and out of the industry. The first one is from the

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people outside who think the advertising is something very fancy, fashionable, with beautiful models, beautiful designs, beautiful suits, shoots everywhere, and all that. At the same time, some people who don’t have any concept of advertising think it’s a very shallow profession compared to medicine or journalism or law. Now, part of that is true, but there’s a deeper meaning than people actually suppose. Another misconception is from people who work in advertising who think that advertising is the most important profession in the world and the only thing in the world that counts; they only have advertising people as friends, only read advertising books. Advertising should be fun but to put so much of their lives into it makes people burn out very fast, and they don’t see the world as it is. There are young creatives now who think the most important thing in the world is to win a Lion. Say they win, then what? What do they do next? The balance isn’t right. ADOBO Do they treat ad people like you as celebrities in Brazil? SERPA Not so much. It used to be like that in the past, but I don’t think it’s like that anymore. Advertising is part of the culture in Brazil because people really understand and like when they see our work on TV that’s been created in our language and tone of voice. So they want to know who did what – who did the good work. ADOBO What’s the moment that made you feel you’d arrived in advertising? SERPA I never thought of that too much, I was just doing it! I only realized later on that I was already doing it, and the insight I got was that, if you think too much, you end up doing nothing. My motto is to be like a pencil, where you chew one side while you are thinking, so one side is for thinking and the other is for doing. You think, then you do. In my career, I’ve been more about solving problems and piling up work. We don’t stop

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to write a revolution. We have to do work that’s good enough, and if it’s not, shove it in the garbage, and let’s do another one! For me, that’s the insight I got after my first seven years in an agency. We’re doers, so we don’t talk much. ADOBO What’s the nicest thing that someone has said about your work? SERPA “Your work is simple”, is the best compliment I ever got. I like it, because that is what we’re looking for, something direct and straight. Advertising is communication, so it has to be simple. If you need too many terms to express an idea, it probably doesn’t work. I come from a country were people don’t spend time trying to decipher ads, so you have to impact them very fast. I remember Jean-Marie Dru from TBWA, when he was the chairman and I went on stage to get a Lion (I don’t remember what for), he told me, “I really like your campaign because it’s very simple, it’s very direct”. Some French creative directors, they don’t think like what we do because they think that the more complicated the talk, the more money they deserve because it’s a kind of complicated thinking. We are not ashamed of being straightforward. ADOBO What do you do to refresh your creative juices? SERPA I try not to read advertising books, I try not to look at D&AD. I go to art galleries,

I look at anything else, but advertising! I look anywhere, and I have a different life: I’m a surfer, I have my family. I buy books, I’m baking, I’m drawing, I’m cooking, I’m reading, I join my kids, it’s a very fruitful life, I tell you, with a lot of stuff to do! I buy books, I’m painting, I’m drawing, I’m planning the next painting, I’m buying a shirt, I’m planning trips to Indonesia, to Dubai…I go to the beach, I am very active, and now I have a baby! Every weekend I cook for the family. You have to enjoy life, if you want to be happy, you have to be happy, do what you like. ADOBO Has it been a difficult transition for you to spend less time at work? SERPA I’m around 50 now, so now I have young people running the agency. I have a great department and many other creative directors. It’s important to understand that you cannot be the cook for 60 years, or even 30 years – I’ve been doing this for 20 years! And I’m stepping down a little bit, I have a life different from advertising now. I like to travel, but not for meetings, I’m not sitting on judging panels all over the world, so I figured it’s quite amazing how many good creatives have become professionals at judging awards. Every single award show, you see the same people judging, and you think, “Wow, who the hell is doing the work?” ADOBO On that note, did it take much arm twisting before you agreed to head up the jury at this year’s Cannes?

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SERPA I haven’t been on a jury in three years, because I’d rather be on the beach! But I accepted the Jury chairmanship for this year’s Cannes because was the 60th, and it’s a great honor. ADOBO What’s the main lesson you’d like young creatives to learn? SERPA Young creatives now have a different – they have a different approach to advertising because they are looking for all the possibilities that we did when we started. When we started, we were in the business of producing ideas and getting them on the air and moving on the next one. We didn’t care about the reception of the idea or any concept of the reaction of the consumer. Now, you have to develop a sensibility of working together with the consumer and evaluate their reactions to the work you are doing and how you can use it to change/ improve what you’re doing. ADOBO Do you spend a lot of time on Facebook and Twitter? SERPA I’m a social media freak! I like seeing how things work, and how you can spread your work many ways and it can be seen everywhere. You don’t depend on a single media to share a piece of work. It’s really exciting how you can use technology to make things work everywhere; you could create something in the morning, and by afternoon, someone is tweeting about it in Russia. Or you could make someone laugh in Malaysia – it’s an amazing feeling to show people work we’ve produced. ADOBO What is something about yourself that you wish that more people would know about you? SERPA I wouldn’t wish anything that people will know about me because, there’s a part of me that is very shy and sometimes I hide myself a little bit. It doesn’t mean that I don’t talk, because when I start talking I never stop – I talk a lot but I’m a little bit shy. If we’re talking about the celebrity in Brazil, there’s a certain truth about advertising people as a celebrity but I don’t see myself as a celebrity, I don’t expose myself too much. There are some people who love every spotlight, they are in every TV show, magazine, they talk about politics, go to fashion shows. Me? I like to talk about work, but I’m a little bit shy.

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centerfold

Joel Limchoc

A Day in the Life As the crew was setting up for Joel Limchoc’s Centerfold photo shoot, the inclement weather was trying its best to dissuade us from pushing through. After all, shooting on the rooftop of a major Makati landmark is one thing, doing it in the rain is another proposition entirely. Through it all, Limchoc was the picture of calm, a reflection of the dependable, easygoing personality he’s become known for, and rightfully so – you don’t become one of the country’s top commercial directors by

scaring easily. Now, we’re not saying that a career in the everchanging world of advertising can give one control over the elements, but by the time we were good to start, the weather suddenly decided to cooperate, gracing us with blessed sunshine. As Limchoc stepped gamely out onto the roof and samples from his prized vinyl toy collection were put into place, one got the distinct impression that he’d been expecting it all along. Now that’s directing.

Words Mikhail Lecaros Photography Joser Dumbrique Art Direction/final art Ricardo Malit Stylist Camille Materiales for Miss Kayce Venue Mandarin Oriental Manila rooftop

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Gabie Osorio

Art Director McCann Worldgroup

Debbi Baybay Account Executive Havoc Digital

Skin

Deep

A moment of suffering for a lifetime of art, or a logical exercise in selfbranding (this is advertising, after all)? Wrists, shoulders, legs, backs â&#x20AC;&#x201C; whether as a declaration of pride or a hint of treasures unseen â&#x20AC;&#x201C; these creatives wear their skin art with pride. With design taken from Maori, Polynesian, Asian and even pop culture inspirations, these creatives prove that love for art can well and truly be skin deep (literally).

Words Charisma Felix Photography Shampoo Padilla Art Direction Victor Garcia Stylist Clint Catalan of Clintworm Makeup Artist Trisha Quintana Hair Stylist Lena Quintana Venue Vice Ink Tattoo, Marlon Capuno & Raoul Olbes, 7838 Makati Avenue, Makati City,

Tel No. (+632) 964 1250

Raymund Sison

Associate Creative Director Publicis JimenezBasic

Mica Cabildo

Senior Art Director Team Manila

Derrick Periodico Art Director Y&R Philippines

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amir ka ssaei

September-October 2013

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From New York to Shanghai and everywhere in between, the world is his office Words Mikhail Lecaros Interview Angel Guerrero

MAN OF THE WORLD For all the inherent international intricacies and technological transformations that affect modern advertising on a daily basis, keeping an agency’s plates spinning can be a full time job. Amir Kassaei knows this and, his position as DDB Worldwide chief creative officer notwithstanding, it would be hard to argue that cultural diversity and adaptability are things he wasn’t hardwired with from the outset. Born in Iran, Kassaei was raised in Austria and educated in France before choosing to settle in Germany, honing his skills at agencies such as TBWA, Barci & Partner and Springer & Jacoby, working every position from accounts, strategic planning to copywriter and art director, before taking on the role of executive creative director on the global Mercedes-Benz and smart accounts. In 2003, Kassaei joined DDB Germany as associate partner and chief creative officer. As the youngest-ever DDB CCO in Europe at the time, Kassaei quickly distinguished himself, bolstered by a portfolio that, over the years, has come to encompass some of the world’s top brands, including Allianz, Apple, Adidas,

Bosch, Coca-Cola, McDonald’s, Nike, Reebok and Volkswagen. In 2011, Kassaei ascended to the position of DDB Worldwide chief creative officer, a role that sees him regularly dividing his time between New York and Shanghai, in addition to the global awards circuit, where he has become a familiar presence on juries – including Cannes, LIA and Spikes – as well as the winners’ podium, with over 2200 awards to his credit. adobo spoke with Kassaei shortly after having completed his judging duties at this year’s Cannes International Festival of Creativity.

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ADOBO How does what you do draw from the different cultural backgrounds you were exposed to growing up? KASSAEI I think every human being is a result of their experiences, so I was lucky to have this multi-cultural background. It helps to look at the world in a completely different way and also understanding different points of view from people and respecting different cultures. As we are transforming to a more

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amir ka ssaei

“Winning awards only proves one thing, that you’re good in winning awards, that’s not the main purpose of the job.”

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global world, you have to think in universal insights, so it helps me a lot. It helps me to help in all positions in advertising and marketing to understand the full perspective. ADOBO How does it feel to be responsible for creativity across an entire network? KASSAEI My job is, I’m the service guy of the network. What I did when I started, I said, ‘We should have a common vision about how we want to transform this company and we should set the bar in terms of the creative product.’ My job is to help them by building an infrastructure and the tools to unleash the potential in every office because they have amazing people. The nice thing about DDB is we’re not a very “centralistic” system, we are a very federal system. So there are DDB agencies all over the world and if you look them, they’re different in their countries but they have one common vision; we are the only company in our industry which is acting at the intersection of creativity, humanity and technology because the foundation was around the idea that if you are at this intersection, you can change the world for the better. We feel we have a special responsibility to society and throughout our industry. We have to be the role model in the way we are acting, in terms of ethical principles but also in terms

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of how we are leading in terms of innovation. But everyone is doing it in a different way so that’s the great thing about DDB. ADOBO How do you define innovation? Common consensus seems to have that pegged as being purely technological in nature. KASSAEI I think they have to come up with a different definition for innovation for festivals; I believe it’s the wrong message because innovation in all industrial meanings is if you’re coming with a game changing solution for the client. Technology is part of it but it’s not the main thing. So only focusing on technology is the wrong sign. ADOBO Be that as it may, we hear a lot these days about the integration and digital being the way of the future. Of course, just as many say, the future is already here. KASSAEI To me that’s bullshit, typical bullshit from the advertising industry. Because if we look at the stuff that is awarded at Cannes, you see that 99% of all the people in our industry from the advertising side, but also from the marketing side, are still treating technology and digital in the wrong way. They’re confusing it as a new medium, which is not the case for me. To me, it’s the infrastructure; it’s a tool and the people are

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01 Campaign: ‘For boys who were always men’ Client: Volkswagen Golf GTI 02 Campaign: ‘Beasts Two’ Client: IKEA 03 Campaign: ‘Dandruff Trails - Escapade’ Client: Schwarzkopf Anti-Dandruff-Shampoo

not unleashing the potential of technology the way that they should. And I’m not sure if technology is the future. I believe the future of our business is if we’re able to transform ourselves from being the deliverer of an advertising idea to (that of) a business solution. That’s the future of our industry. And technology will play a crucial role as a tool, but that’s it. Technology is not the future, technology is not everything – we’re not technology companies. ADOBO With on-demand services, social media and crowd-sourcing being what they are, are the days of advertising and traditional media numbered? KASSAEI I don’t think so. I think advertising will always exist. I think it evolves as it will always evolve. And I don’t see that traditional media will disappear. But again, I think there’s more to our business than only advertising and awareness – we’re not in the advertising business, we are in the business of making things relevant. Making things relevant means that you have to have the full perspective. So I don’t believe that traditional advertising will die because there are products and services where you need traditional advertising to support them and it will always exist. ADOBO At Cannes, you taught a master class. When you’re teaching young creatives,

what’s the most important thing you want to impart to them? KASSAEI The most important lesson is that your goal is not about winning awards. Winning awards only proves one thing, that you’re good in winning awards, that’s not the main purpose of the job. The main purpose of the job is to use your talent and add value to the business. And if you do that in a great way, one day you will get the recognition. And that they should stick to themselves and be truthful to themselves and be passionate about what they’re doing. And making mistakes, get it wrong and never asking for permission. That was the stuff that I told them. It’s an amazing time to be a young creative, I believe, because we are at the intersection of the old world and a new world. They have the big chance to shape this new world and that’s amazing. ADOBO What’s your take on mainstream recognition that the industry now enjoys? Shows like Cannes get bigger and bigger every year, and it’s not just the agencies, clients are just as likely to get excited about the awards as those actually taking part in them. KASSAEI in terms of Cannes, it’s a great success story and it’s getting bigger, bigger and bigger but at the same time they should be very careful that the currency is not getting weaker because of too many categories or too many

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Lions. They should be careful about it. If they want to be the world stage, they should also focus on the quality of it. ADOBO Is quality what inspires you to do the work that you do? KASSAEI I get my inspiration from real life. I’m not confusing the advertising world with the real world. You should be in the path of the real world and real life to understand what life means and get your inspiration outside of advertising – that’s what I’m trying. I think that’s very important because at the end of the day, that’s our job. Our job isn’t to fulfill ourselves or please ourselves; it’s about approaching other people and adding value to their lives and you can only do it if you understand them.

“We’re not in the advertising business, we are in the business of making things relevant.” adobomagazine

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Ch arl es Cad ell

September-October 2013

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Cut out for a career in advertising Words sharon desker shaw

One way or another, Charles Cadell, the head of Spikes’ newly-crowned Network of the Year thanks in part to a certain tousled haired Australian star, was destined for a career in advertising. The president of McCann Worldgroup Asia Pacific had been dabbling in the business back in the ’80s, during university in Manchester. It may have been a cottage industry of sorts, but Cadell’s Time Out-inspired free-sheet spotlighting the clubs, music and theatre among other activities of the happening city’s nightlife and entertainment scene, offered a glimpse of his entrepreneurial nature. He sold ad space to fill the outer edges of the free-sheet, giving him his first commercial

contact with an industry that would provide the fledgling entrepreneur with a rewarding career halfway around the world. “The business was a significant success and I soon found myself conflicted between getting an English degree and having too much fun in the Mancunian music club scene, where I found I had become a valued business contact for them into the student community,” Cadell recalls. “The free-sheet was the closest I had got to advertising at that stage as regards any form of interest, but it was providing a heady mix of good income with early fame in a vibrant youth-oriented community.” Cadell’s venture ended up opening doors to advertising after his success made the

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local and national dailies. Clippings were duly sent to clients and agencies and, before too long, he had his pick of jobs. Among the companies that came calling, Leo Burnett stood out in a way that mattered to the young graduate: “They were the ones who promised me the fastest overseas transfer,” recounts the one-time expat kid who hankered to return overseas having spent his childhood moving from country to country with a father, who was then in the British Royal Navy. It helped that Burnett was “very persuasive and had very cool offices in Covent Garden”. Before too long, though, Cadell was itching to pack his bags for distant shores, particularly as London had an introspective ad scene, one that was “amazingly pleased with itself”. “I still vividly remember the tipping point that was my spur to demand a move when my account manager and boss started boasting in the office that he had just made a call to the French office. He could just as well have been telling us about a trek to the Artic,” he says. Latin America was an option for the budding Spanish speaker. Then Thailand came up and Cadell never looked back. Thailand was his entrée to an “endless intellectual feast” that is Asia Pacific, a region with a culture as diverse as its geography. For Cadell, it was the start of a 20-year love affair with the region that woul take him to

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Cadell on advertising What do you admire in agencies? “Persistence. Never give up. Never say die. It’s what built civilizations and is what the best of us aspire to every day keeps us young as well.” What do you deplore in agencies? “Ego and politics.” What will keep agencies going? “Agencies, like others, will thrive if they embrace big data and learn how to use it more effectively especially as relates to mobile. The lifeblood of our business will always be of value and worth – engaging storytelling and we must never lose our focus on this as the core of what we do. Our ability to link this skill with improved targeting and measurement and therefore effectiveness is going to be the biggest single determinant in our sector is success.”

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IndoChina, Hong Kong, Malaysia, India and Singapore. “One’s mind is consistently challenged, intrigued and expanded in the people one meets and the places and things one sees. I know it has made me a better, more rounded and more understanding person and I can’t get enough of it.” Timing and luck were on his side. Arriving in Bangkok to run the Goodyear business in 1993, the 26-year-old was, without warning, tapped for bigger things. “Suddenly the US-Vietnam sanctions came down and I was asked to set up operations overnight for our major multinational clients – primarily Coke. This turned into a wonderful IndoChina experience as I set up operations across Vietnam, Cambodia and Burma. “It was the Wild West of advertising. Frontier land. A group of six men each respectively leading their agencies’ presence into the markets. “We had nothing to start from and these markets had no experience whatsoever in the basics of advertising. It was perhaps – outside North Korea – one of the last countries that was so raw. It was as exciting as it gets.” Four years into the hardship posting, Burnett moved Cadell to Hong Kong in its handover year, when the city began cementing his gateway role to a Chinese economy

seemingly on steroids. Foreign agencies all wanted in on the China play and Cadell, as head of the Hong Kong office, helped Burnett plant its flag on the mainland. Malaysia beckoned in 2001, the start of a a partnership with Yasmin Ahmed, one of the country’s leading creatives who was also a film-maker, scriptwriter and writer before her passing. Cadell’s timing was again impeccable. As marketers started looking beyond advertising, he was tapped once more for bigger things – launching Arc, Burnett’s direct, digital and shopper marketing practice, across Asia Pacific. “This was a challenge that allowed me to launch into the digital and shopper marketing space, which was still relatively new to me. All excellent learning at a time when integrated campaigns was a nice buzz-word but never really got further than the pitch deck.” Though Arc was “a great success”, Cadell called time on Burnett after the fledgling practice’s “financial and management independence was quickly snuffed out as it was taken back into Leo Burnett”. By then, Cadell was ready to trade network and market. He relocated to Mumbai to run Lowe Lintas India, a three-agency, nine-office and 900-staff operation as Indian advertising’s only foreign CEO for the next 01 Coca-Cola’s ‘Hilltop. I’d like to teach the world to sing’ 02 BMW online short film ‘The Hostage’, directed by John Woo

Daily reads “Newspaper regime is International Herald Tribune and FT and magazine is The Economist. Biggest wish is that there is more time in the day to read more…” ALL-TIME FAVORITE ADS Perrier print ‘Eau’ campaign from the UK in 1988, Petronas Malaysia corporate work from 2003-2006 John Woo’ - directed online short film, The Hostage, in the BMW series, Coca-Cola’s ‘Hilltop. I’d like to teach the world to sing’.

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Char les Cad ell

three years. “This was undoubtedly the most challenging of roles but also the most personally rewarding,” he says. “I have not worked in every market of the world but I would argue strongly that India is one of the hardest markets for a foreigner to work within. One requires the patience and equanimity of a saint, and Gordian knots are a daily challenge. India is a place to be loved or hated – it only works in the extremes. I was a lover but, by God, was it hard.” It helped that the part Englishman and New Zealander had a peripatetic childhood, attuning him to the cultural differences that exist from market to market. “In all professions – but ours most of all – I think the most important factor to success is the ability to get the best out of others and get the best people playing in the best roles,” he says.

To this end, his management style mirrors his approach to successful interpersonal interaction. “People want to know where they’re going so give a clear, compelling and concise vision or goal. They want to know what’s important so outline how it will lead to company, society and personal success. They want to know how they are performing in getting there so give clear, regular feedback.” His other fail-safe management approach: Gut instinct. “If it feels like the best way to go, it almost always is. The hours of introspection or analysis that can plague a decision is often a waste of time and energy. Flexibility and speed is more important than being right all the time.” It’s an approach that appears to be paying dividends in his current role. Since joining McCann Worldgroup in 2010 as regional

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managing director for Southeast Asia and Australia and promoted to Asia Pacific president last year, Cadell’s team has clawed back the network’s lost edge. On the award’s front, ‘Dumb Ways to Die’ from John Mescall and his team in Melbourne was the campaign to beat this year; the madcap PSA had legendary creatives gushing about its genius approach. The icing on the cake, though, must be McCann’s Network of the Year prize from Spikes 2013, the first such award for the network under Cadell’s watch. “In Asia, McCann was once the giant in whose shadow many other agencies fell. We were renowned for effectiveness – if not always for creativity – and a ruthless can-do spirit,” Cadell admits. “That mantle was lost over the last decade as we took our eye off what was most important – but McCann is now roaring back and doing so on all fronts.” He expects the regional operation to emerge as the first, if not second, mostawarded network in Asia Pacific this year, a runner-up only to Ogilvy & Mather for new business and in the Top 3 for effectiveness. “I want McCann to the place to work for the best in our business and outside it,” says Cadell, who on average spends a day in the network’s regional Singapore base and the rest on a plane in a weekly schedule that leaves little time for his other passions. A qualified pilot, he paraglides, dives and sails. “I like the space,” he says of his hobbies, but admits that apart from tennis, the others get a look in only once a year. Not that he’s complaining about the demands of a career that has taken him places. After all, as Cadell says with understatement: “My previous jobs were a windsurfing instructor and lifeguard. I did not see long-term prospects in either.” Such is his passion for the industry that he’s happy to see his kids jump in. “(It’s filled with) fascinating people, multi-tasking in a creatively driven business and immense fun. “Even if you only last five years, you would have learnt a bucket load about influencing human behavior… and personally I find nothing more interesting in the world than how to convince people to do what you want them to do.”

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e du ardo mapa, j r .

Man on a mission eduardo

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m a pa , j r .

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Havas Media tasks Eduardo Mapa, Jr. to drive innovation in China offices Words sharon desker shaw

Ed Mapa is often hailed as a digital maverick these days. His accomplishments in the space writ large with Media Contacts, the Havas Media digital brand he set up from scratch in 2008 and steered to immediate acclaim, and in co-founding an industry association to drive digital media adoption. No surprise then that the Havas veteran, who’s clocked 18 years with the network and happily describes himself as its “loyal soldier”, would be tapped for a challenging China assignment. At press time, Mapa was winging his way to Beijing as Havas Media’s first chief innovation officer for Greater China, having added a new feather to his cap by partnering with a group of established industry personalities to launch a full service media model a year ago in the Philippines.

“China has been on my radar since five years ago when I participated in pitches that involved China. So when the opportunity came to help our agency in China develop more innovative thinking I grabbed it,” Mapa says of jumping at the chance to work in what is already the world’s largest internet and mobile iOS and Android markets and poised to become the biggest e-commerce market by 2015. “China already has the biggest QR code consumption and is beating the US in mobile and online engagement. Because of the nature of China it is fertile ground for innovation.” From his base in Beijing, Mapa will work with Greater China chief, Thomas Wong, to champion innovative thinking across the agency. The objective is to create meaningful engagements for brands at the junction of

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data, creativity and technology. As he defines it, the role will be about driving innovative thinking across off- and online, including mobile, channels, basically what Havas Media has done elsewhere in integrating creativity, data and technology to deliver powerful connections. Yet, only a few years back, the new innovation chief was more digital skeptic than evangelist. “After handling major campaigns that utilize the internet as a platform (during his Euro 4D days), it took me over three years to finally take the time and legitimize the revolution that is changing the landscape in advertising and communications including the life around us,” he wrote in his first post on his Zeitgeist blog in 2007. The entry was about a visit to Google’s

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Upclose with Mapa What do you reach for the first thing in the morning? “The first thing I reach out is my pet... yes, my pet dog, Mallows. Our baby Mallows sleeps in our bedroom. He wakes me up every morning.” Newspaper or online for your morning news? “Newspaper. I grew up with a morning newspaper as part of a breakfast ritual.”

When did you get on Facebook? “I jumped into Facebook sometime in 2007. My first network of friends were my colleagues in the digital agency world. Lately, it’s like mixed nuts. And yes, I do unfriend some of them. Oops.” Do you have a favorite time-wasting site? “YouTube. I go bananas watching YouTube videos – from dogs and cats and jumping to documentaries such as Steve Jobs: The Lost Interview.” What did you recently learned in the business that you wished you learned five years ago? “Econometrics. Darn.”

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San Francisco office. “I was totally in awe just being inside their office… what made the visit memorable was how I felt talking to Google executives… this was one of the few occasions that I felt intimidated by them,” he blogged. Mapa wondered if the feeling came from getting up close to a new force reshaping communications or whether he was simply unprepared to clash with the prodigiously capable Googlers in a frank exchange of views. Like most industry practitioners of his time, Mapa had a largely traditional immersion in the industry. He started in adsales (People’s Journal) and crossed over to advertising in the ’90s. During his 18 years with Havas, he rose up the ranks at Euro RSCG Manila, did a cross-posting to Singapore to handle regional assignments for blue-chip brands, returned to launch its digital brand Euro 4D

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in Manila before eventually making the jump to the group’s media division. Having done stints with Havas’ creative, media and digital agencies, Mapa has become something of a rare commodity in the business: A seasoned advertising executive with a fine appreciation of the invaluable role each discipline, especially digital, plays in brand building, their impact best delivered when integrated. Still, it took the visit to Google to turn the digital cynic into a believer and one of the early adopters of digital. So much so that when Havas tasked him to launch Media Contacts from scratch in 2008, Mapa knew he had to provide the agency with a strong digital backbone. To this end, he partnered with online company Yehey Corporation, which was then headed by Donald Lim, ABS-CBN’s chief digital officer and head of its online group.

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01 China immersion... Mapa out and about in ‘Roadtrip’ Beijing 02 Vaseline became first skincare brand to leverage digital ambassador

With few in the field focused on digital media at that time, Media Contacts made much of its early adopter edge in creating pioneering media campaigns for the likes of the Department of Tourism (DOT) and Unilever. “In our first year, we handled an international Philippine tourism campaign when we had five people across 11 markets. We partnered with MTV to do this,” he says. Back then, it was the first-of-its-kind tourism campaign, with MTV VJs anchoring a series of video vignettes, showcasing the country’s top destinations and sharing their favorite vacation spots online to promote the Philippines to youth travellers. ‘Awesome Philippines’ went on to nab Gold in the 2009 Araw Awards for best use of the internet, helping the then fledgling media operation to the first of two back-to-back Araw Media Agency of the Year crowns.

Digital was also instrumental in the shop growing its portfolio of Unilever brands. Starting with Dove, the office had by 2010 added Close-Up, Sunsilk, Vaseline, Rexona and Knorr to the line-up. “Unilever always wanted to take the digital leadership in this market,” Mapa says of a marketer that offered support to what were then breakthrough media strategies, notably for Vaseline, which was preparing to launch its Healthy White Triple Lightening SPF24 in the crowded whitening lotions category. Mapa’s team crafted a strategy to set Vaseline up to own the ‘whitening’ equity in the online space with what was the first digitally-centric skincare campaign in the country. Three friends and celebrated bloggers were co-opted for the first time for a skincare campaign as digital brand ambassadors. They were sent on a memorable road trip across the sun-kissed archipelago. Documenting their experience with a video journal, the trio created a rich cache of content, which they shared virally. With the road trip, the agency not only put the product to the test but also pitched about its effectiveness, helping make a convincing case in a category where more than 50% of lotions contain SPF. TV and advertorials were used to support the campaign, which also featured a competition offering a road trip prizes “This was a progressive campaign for 2011; we used offline media to promote the campaign and the digital personalities.” Stats were accordingly impressive – 32 million impressions of Facebook social ads, more than 25,000 page views of the microsite, 724,000 Cosmop.ph impressions among

others. More importantly, ‘Roadtrip’ helped Vaseline’s lotion business grow 52%, 26% of which was directly attributable to the new product. Needless to say, ‘Roadtrip’ also scored Gold in the local awards show, helping the shop nab its second Araw Media Agency of the Year prize in 2011. Mapa’s belief in digital also led him to join hands with 15 other like-minded industry personalities, including then Yehey chief Lim to launch the Internet and Mobile Marketing Association of the Philippines in 2008. The group has been instrumental in making digital a more credible part of the marketing mix through education, its annual Summit and the Boomerang Awards. Even as Media Contacts brought home the business and the awards, Mapa was tossing about for ways to grow the agency at a time when brands were spending less than 5% of their budgets on digital media. Last year, he brought together a trio of established names to launch Havas Media Ortega: Collab under Tonypet Sarimento, Media Contacts’ creative collaborator of a few years’ standing, former BBDO Guerrero co-founder and ex-JWT CEO Jos Ortega and media veteran Hermie de Leon, then CEO of Omnicom Media Group. “Media Contacts was progressing at the time but the reality is – in order to grow in the market – we needed an offline component,” Mapa says of the decision to launch Havas Media Ortega, a media offering with a creative service component, a year ago. It is this brand of innovative thinking and belief in integration that prompted Havas Media to export Mapa’s expertise to a market that matters to every global organization.

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AR I E L F ERM I N

At home with PLDT Dials up new connections for brand Words Mikhail lecaros

A wise man once said to his universitybound daughter, “Don’t ignore the geeks at school for they will someday rule the world!” This foresighted man must have had in mind guys like Isaias ‘Ariel’ Fermin – a self-proclaimed geek, former soap labratturned sports marketer extraordinaire, pizza expert, and now a certified BMOC (Big Man on Campus) in one of the country’s most established telcos. Meeting Ariel for the first time, it is immediately apparent that he is not your typical corporate suit. With his broad grin, enthusiastic, infectious laugh and an innate sense of wonder, PLDT’s executive vice president and head of home business is like a kid in a candy store, albeit one that is tempered by over 20 years of experience in retail, product development and marketing. And why not? After all, how many people can lay claim to commissioning the creation of a multi-awarded campaign (‘Screen-Age Love Story’, by agency Ace Saatchi & Saatchi) in the months leading up to the first day of their new job? While sneakers- and jeans-wearing Ariel, a graduate of UP Diliman’s chemical engineering program, would be the first to admit that he may not have been the most obvious – much less, conventional – choice to lead a major division of PLDT, he says that this may have been the reason behind his appointment. “Before coming over to PLDT, I didn’t know how to pronounce ‘megabit’ or ‘gigabyte’ – I didn’t even know what those meant!” he laughs. “But, I think, in a sense, that’s where the beauty of bringing in an

‘outsider’ (to the telco industry) comes in: I didn’t need to have that background because the team already had it. It just became a matter of focusing it through a consumer’s lens, and that’s why I guess they got me.” Prior to joining PLDT, Fermin with his chemical engineering background, followed an initially predictable path which led him to work on soaps in the labs of Procter & Gamble and, later on, with Unilever, where he served as the marketing and sales director for its food business. “It always looked like the marketing guys were having more fun, so I decided to give it a try!” An opportunity to make a difference the world’s best-known sporting brands came up and there was no looking back. The life-changing switch was a no-brainer for this avid sports fan, who took on a three-year stint (from 2005 to 2008) as country director of Nike Philippines. It was here where he would play a key role in securing no less than Manny Pacquiao as an endorser when the pugilist was on the cusp of worldwide superstardom. In 2008, he changed industries yet again, joining Jollibee Foods Corporation as president of their Greenwich and Chowking fastfood brands. During his four-year stint with both brands, Fermin is best known for refreshing the then staid Greenwich label. He backed a recipe that highlighted friends bonding, best done over generous slices of cheesy pizza. The ‘Barkada’ campaign starring John Lloyd Cruz and his group of buddies, including hoops star Chris Tiu and poster girl Anne Curtis gave Greenwich new punch and put Fermin on the radar of his next employer: PLDT.

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AR I EL FER MI N

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“A lot of campaigns talk about what the brand means to the consumer, but in the end, it doesn’t sell.”

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“Whether you’re selling pizza or shoes,” says Fermin, “the discipline doesn’t really change; Being linear about your thinking and mixing it up with creativity – that doesn’t change. It all starts and ends with the consumers.” In the months leading to his official start of work at PLDT, Fermin knew that he would have to do some catching up if he was to hold the reins of his new position, and to that end, he credits his team with bringing him up to speed. “It was hard work,” says Fermin, of his immersion in telecoms. “Even before I started, I was asking for material, because I wanted to hit the ground running – which we did – and that’s why we were able to launch a campaign on January 3 last year when my first official day was January 1!”

What made the transition infinitely easier, he adds, was the fact that the team he would be heading up had already done a “remarkable” job in positioning myDSL answering some important questions. “What do we have? What’s our competitive advantage, and who are we up against? And what consumers really want? What does all this speed mean to them? Not a lot of brands have the privilege of being where MyDSL is now. “Take, for example, Coke. You don’t need to sell consumers on the taste of the refreshment anymore, they already know that. So you sell them ‘happiness’. Or what about soap? You’re not going to be selling skin-germ protection the way we did before. You’re going to be selling ‘peace of mind’. Not a lot of brands have that opportunity, so, for MyDSL, we recognize that we got the overall product advantage -- and basically told a story on how this product brought family members closer. Whether you’re talking about a mom wanting the best for her kids or a son falling in love for the first time, these are all things people can relate to. As a tagline and as an insight, ‘the strongest connections are at home’ works; it would be true even if we weren’t building a campaign. For me, this is the test of universal truth.” The campaign in question turned out to be this year’s multiple Cannes Lion winning‘Screen Age Love Story,’ popularly known as ‘Anna Banana’, a humorous, heartwarming

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story conceived, concocted and executed by agency Ace Saatchi & Saatchi, built around the original insight of strong family ties. While Fermin admits that, with an insight like that, it would have been the easiest thing in the world to go what he calls the ‘fuzzy’ route, he had to keep in mind that, “a lot of campaigns overthink what they want their brand to mean to the consumer. But in the end, it doesn’t sell, because it isn’t real” a point of view that has paid off spectacularly. This is a stance that Ace Saatchi & Saatchi ECD Andrew Petch agrees with, telling adobo that, while the “real-ness, the authenticity of the emotion” was what he and his team were going for, “at the end of the day, the product had to be front and center, and I think we succeeded”. As it turns out, Fermin didn’t have to look far in terms of researching the mindset behind leveraging family ties; it is a concept that he lives and breathes. In fact, he tells adobo many of his best ideas have come about just from talking and playing with his nine-year-old son, Iñigo. “It’s not just that he can see things in a way that’s just so honest, but it’s amazing how fast he is at his age, I mean, he can pick up a gadget, and just know how it works.” So what’s the best piece of advice Fermin has received from his son? “Oh that’s easy,” says Fermin, with a twinkle in his eye. “It was just yesterday that he told me, ‘(Dad), get some rest!’””

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Straight to the top Poised, passionate, driven. Nothing can stop Jonathan Words Mikhail lecaros Photography Dominic Calalo

After weeks of competition, the billionaire CEO sitting implacably behind the massive conference table was sizing up the final two contestants, sizing them up for what seemed like eternity. It all came down to this final moment; the two had already given their personal opinions and arguments as to why they (and not the other) should be the next apprentice, and all that remained was the declaration of a name to signal the conclusion of this latest iteration of TV’s most drawn-out (and popular!) job interview. The billionaire? Air Asia’s Tony Fernandes. The show? The Apprentice Asia. The winner? The Philippines’ Jonathan Yabut. A senior product manager for GlaxoSmithKline at the time of his win, Yabut gives adobo a wincing smile at the memory of that boardroom. “The boardroom is a very big, cold and quiet. I’ve been telling everyone that it’s not something I would do again – it’s very stressful! But the good thing is, because the table is so big, you don’t see our knees shaking under it!” Born into a family of modest means, Yabut decided at a young age that that he would devote his future career to creating a better life for him and his family. “We weren’t really

so poor to the point that we didn’t have a refrigerator,” he says, “But we were definitely middle class, and my parents always told me, from grade school onwards, that if I wanted to stay in good schools, I would have to be a scholar, and that’s what I did. “ As Yabut’s sense of responsibility was forged, so too was his competitive streak: “I think I realized it when I was in grade school in Letran; I learned there that if you’re number two or three, no one will notice you.” Despite his parents’ hopes that he would become a doctor, a surgical procedure performed on Yabut while a freshman at UP Diliman made him realize that his interests lay elsewhere, leading him to abandon his original course, Psychology, and enroll in the College of Economics, from where he would graduate. “Now, I thought I would be a lawyer,” says Yabut, “But in my third or fourth year of college, I realized I didn’t want to spend another four or five years in school. It was around that time that Globe Telecoms called with an offer to the top students of the college to take part in a year-long management training program, so I said, “Yeah, why not?” As it turned out, the management program had a focus on marketing, for which Yabut

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“I had to tell my mom that it was like Survivor, but instead of taking place in an actual jungle, this one was in the urban jungle.”

discovered he had a natural talent. “If I had become a doctor or a lawyer, I wouldn’t have loved or excelled in it – It was in marketing that I found my niche. I’ve always been a competitive guy – I was the first in my batch of 16 to be promoted at Globe, and I told myself, ‘I’m liking this. I’m milking this.’ There’s nothing that can compare to the orgasmic high of seeing your product on a billboard or on TV.” When the first calls for The Apprentice Asia contestants went out, Yabut hurriedly submitted his application. As a fan of the longtime American and subsequent British versions of the program, Yabut, who was by then working for GlaxoSmithKline, felt that he had a real shot at winning the competition. “Even knowing full well that the potential exposure meant I might not come back, my boss and HR director were very supportive, which is, I think, something that is very GSK. They said that my job would be waiting for me if I wanted it back, and that they (the company) were about my development, and if this was what would make me happy, then who were they to stop me?” Funnily enough, Yabut’s parents had never heard of the program. “I had to tell my mom that it was like Survivor, but instead of taking place in an actual jungle, this one was in the urban jungle.” What followed once taping began was two months of grueling competition, with contestants from all over the region working with and against each other in assigned tasks for a chance to win a guaranteed one-year

contract working directly under Hernandes. Save from a weekly 10-minute phone call, Yabut and the others were essentially cut off from their families and friends for the duration of the program, the filming of which took roughly two months to complete. The final task was one where, with everyone else having been voted off the program, Yabut and fellow remaining competitor Andrea Loh were required to put together a black tie affair for Fernandes and his influential friends. As an exercise in grace under pressure in the face of a logistical nightmare, it was a task truly designed to test the contenders’ mettle. The hardest part, says Yabut, was that, even if he’d lost at that point and been required to go home, he would not be allowed to discuss his time on the program with anyone until the show had run its course on TV. Yabut sums up the entire endeavor by declaring it an eye-opening experience wherein every contestant learned something about themselves, as well as each other. “One of the things I learned from Andrea was that you don’t need to be a marketer to be good at marketing. She’s 25 and a lawyer! She showed me that if ever you want to switch careers, it’s never too late. As long as you like what you’re doing, you’ll do well with it.” So just what sort of work will Jonathan be doing for Air Asia? “The position is chief of staff for Air Asia, and the role will be to basically build a lot of business development for the company, looking for new routes and ancillary revenues, some of which is already being done. It’s

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basically the right-hand of Tony, and even if he just asks me to make him coffee, I will do that. Right now, we’re at a point where we’re ready for the next big thing. Telco in the 90s, that was a big thing. FMCG was big in the 80s. Now, we’re in a time when aviation is the next big thing. Now, with all the economic and political power shifting towards Asia, mobility is something that everyone needs, whether that means luxury or low cost airlines, and I’m lucky to be somewhere that is looking to build their brand across the region.” What kind of man is Tony Fernandes, off camera? “He was like a strict dad to us at the beginning, but as the show went on, we got to learn how humble and regular a guy he was,” says Yabut. “Furthermore, he really brought out the best in us. If there’s anything I learned from him, it’s humility in the sense that, if you think you’re the best in your field, think again; there’s always someone, and either you haven’t met him yet, or destiny is keeping you from meeting him so you don’t feel bad about yourself (laughs).”

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Cherry Gutierrez NEW ROLE Managing Director, Campaigns & Grey PREVIOUS ROLE VP, Client Services, Campaigns & Grey

After graduation, one of the scholarship program sponsors, JRomero & Associates, offered me an internship and later a job. It was the start of my love affair with advertising. What, in your opinion, helped you win the promotion? I think that my being OC actually helped me win it. In account management, being super organized and having a hands-on style of management and a take-charge attitude helps in keeping clients satisfied (and the boss happy). What additional responsibilities do you have in the new role? My responsibility now covers managing the entire Campaigns & Grey business, C&G Group’s mainstream business unit, and CSR (Campaigns Social Response), the advocacy unit. As head of these two, I am responsible for ensuring their revenue growth and the smooth and efficient delivery of all work to all our clients. Is there anything in the new role that will keep you up at night? What sometimes keep me up at night are new business pitches, but only because we sometimes end up working till the wee hours to come up with a winning pitch. What excites you about the new role? After thinking of going into early retirement I now have this second wind in my career and it’s like starting all over again, but in a better spot.

When did you know you wanted to work in advertising? I was in my college taking up Communication Arts when our advertising professor, Nanette Diyco, announced that AdBoard was offering scholarships to advertising and marketing students. I was among the five out of almost 200 students who passed the written exam and panel interview.

What have you recently learned in advertising that you wished you had learned years ago? Patience, humility, ability to admit your mistakes and genuine love for the people you work with. I didn’t know this when I was starting out. When you’re young you think you’re better than you really are, tend to have a short fuse, and think that you don’t need anyone to be successful. Experience has taught me that in order to survive in this industry with grace and respect, you need to have these traits and genuinely love your job.

Publicis JimenezBasic expands accounts team MANILA Fresh from the expansion of its creative house, Publicis JimenezBasic has beefed up its accounts servicing team with five new account managers: Paolo Banaga, Ira Casas, Tere Gutierrez, MJ Peña and Julia Arsenal. Banaga joins the agency from Ogilvy & Mather, Casas from Lowe, and Peña from Ace Saatchi & Saatchi. Gutierrez previously worked as project manager for Dyll, while Arsenal is a fresh graduate from De La Salle University.

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OgilvyOne beefs up Beijing management BEIJING OgilvyOne China has promoted two senior officers, naming Claudia Ma as vice president of consulting and Daniel Tao as managing director of its Beijing office. Formerly OgilvyOne Beijing’s partner of consulting, Ma will now lead the growth of the consultancy offerings. Meanwhile, Tao will oversee operations of the Beijing office, while driving the agency’s growth in digital, mobile, and customer relationship management areas.

Isobar hires Grey’s Barke for AP role SINGAPORE Digital agency Isobar Asia Pacific has tapped Guy Barke to fill the role of integrated business director. In his new role, Barke will drive the development of the agency’s regional business with particular focus on the Procter & Gamble business and serve as a member of the senior regional management team. Based in Singapore, Barke joins Isobar from Grey, where he was team leader for GSK Asia.

Campaigns & Grey beefs up leadership MANILA Campaigns & Grey has beefed up its leadership ranks – Boboy Consunji has been promoted to chief operating officer, and will be managing operations for the agency’s advertising, print, and activation units. Consunji is an industry veteran with 25 years’ experience working on major brands such as Procter & Gamble’s hair, personal and home care range. In his new role, he will manage operations for Neuron, Bacon and Camp Apple.

mo v er s

Mindshare names MD for Malaysia

Lechaczynski rejoins TBWA\

KUALA LUMPUR Gerald Wittenberger has been tapped as Mindshare’s managing director, taking the reins from former head Girish Menon, who will now focus on his position as GroupM CEO. Prior to joining Mindshare, Wittenberger was managing director for OMD Slovakia.

SHANGHAI Muriel Lechaczynski returns to the TBWA network, this time in the Shanghai office as brand team leader for the office’s international clients, including Pernod Ricard, L’Oreal and Michelin. She has also joined the agency’s management board. Lechaczynski joins the agency from Ogilvy, where was business director for Unilever’s Pond’s brand in Singapore. She started her career at TBWA\ London in the mid-1990s and also did a stint at the network’s Hong Kong office.

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Lai rises at Brand Union SHANGHAI Tab Jethro Lai has been promoted to managing director of The Brand Union’s Shanghai office, taking charge of its finances and general management. Lai joined the agency in January 2012 as client services director. Before that, he led branding and communication and communication projects for KRW Visualution as their strategy and managing director

Mindshare taps Cheng HONG KONG Alfred Cheng has been tasked to lead Mindshare’s adaptive strategy as the agency’s new deputy leader. Cheng will also be leading the HSBC team, expanding the agency’s offering to the client. Prior to joining Mindshare, Cheng was regional director for Richemont in Starcom Mediavest.

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Y & R

Director Network Development Camellia Tan

Chief Strategy Officer, Y&R Asia Hari Ramanathan

Regional Creative Director, Y&R Asia Marcus Rebeschini

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President, Y&R Asia Matthew Godfrey

Chief Creative Officer Singapore Farrokh Madon

Y&R Global Chairman and CEO David Sable

Y&R Malaysiaâ&#x20AC;&#x2122;s Managing Director Lisa Hezila Executive Creative Director Gigi Lee

Y&R Philippines President and CEO Chiqui Lara

Chief Creative Officer China Nils Andersson

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90 and going strong ‘Global boutique’ with heft and scale Words matTew arcilla Photo courtesy Y&R

In the world of advertising, Y&R Advertising is one of the legacy names, up there with JWT and Dentsu. Ninety this year, the agency is one of the industry’s storied brands and WPP’s biggest advertising agency network with revenues of US$1.89 billion, according to Ad Age’s latest Agency Family Tree. But this is not a business where agencies can safely stand still. Reflecting the demands of today’s marketplace, Y&R actively markets itself as a “global boutique”, a seemingly improbable proposition of being both large and specialized at the same time. “Every office has been empowered to be the best in their local market because consumers connect with brands locally. That authenticity is imperative. But at the same time, we’ve also created a global infrastructure – we are unified by the same vision, mission and values; we are connected by resources, tools and technology. Every market can galvanize the full force of the network seamlessly, and draw from talent all around the world,” Matthew Godfrey,

Y&R Asia president, explains of the tricky proposition. In this set-up, story-telling remains the core of Y&R’s business. But the way in which the agency tells a brand story has been transformed by innovation, through both acquisition of businesses or the network’s very own innovation incubator, The Spark Plug. For the latter, space is made available at its offices around the world to interesting start-ups, in exchange for access to their new thinking and technology. In another move-with-the-times step, the agency has in the last few years struck a global partnership with VML, one of the world’s leading digital pure play marketing agencies. In Asia, VML offices have been launched in numerous markets, including Sydney, Singapore, Tokyo, Mumbai, Delhi and Jakarta. But as exciting as the digital bells and whistles may be, Y&R is cognizant of what is a constant in this business: It’s ability to give

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client brands an edge in a cluttered market. “90 years is a long time to be in business, but I think the secret to standing the test of time, is understanding that we have to constantly focus on our clients’ success and not our own. That way we will succeed,” Godfrey says while listing the milestones that has been Y&R a storied advertising brand. “We were the first agency to be started by a creative person and, of course, continue to attract some of the world's best creative talent. We were the first agency to create a research department – we have the world’s largest global database of brands; a year ago we launched eXploring, where we go to the field to live with the consumers to understand the way we live with brands, and we have social listening platforms.” In line with its global boutique positioning, Godfrey underscored the need for “unsurpassed insight into local consumers and brands”. “Our Generation Asia research is the proof of this,” he says of this 10-market

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Y & R

Photo Milestone celebration in Sydney network

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“Our aim is to be our client’s best partner... thinking about how we solve client problems first.”

(Vietnam, the Philippines, Malaysia, Singapore, Indonesia, Korea, Hong Kong, Thailand, India and China) study, described as Asia’s biggest attitudinal research of its kind. It covers covering 16 key topics based on surveys of more than 16,000 respondents across the region. Another is the BAV research to understand local brand strength. This proprietary study of brands covers Australia, India, China, Japan, Indonesia and Korea. “No other agency has such depth of consumer insights at our client’s disposal,” claims Godfrey. “Whether you are a global client or a single market client, our aim is to be our client’s best partner. That means every day, in every office we need to be thinking about how we solve client problems first. We empower our people with a global tool-box to tackle each and every problem. At Y&R we don’t ask a client to work to our model. Instead we adapt our tools and thinking to the client’s needs. Every solution we have for every client in every office therefore must be different and not formulaic.” It’s a recipe that has delivered growth even amid the turbulence and threats of disintermediation marked by the age of Google, where algorithmns– at least for now – rule. Globally, Y&R Advertising is WPP’s biggest network – that makes it bigger than agency power brands such as Ogilvy & Mather and JWT. Asia has been a growth engine for the network, one of the pioneers in cross-cultural

agency partnerships from a decades-long tie-up with Dentsu that continues to flourish till today. Following 2011’s 71% uptick in new business in Asia, the agency’s new business wins delivered a further 25% growth in revenue in 2012. In Japan, the Dentsu Y&R partnership won 15 new pieces of business in 2012, equivalent to a 75% success rate on pitches. “We also continue to have successful joint ventures with Dentsu in many markets in Asia including markets like India. Their agency group has our total respect and partnership,” says Godfrey. Other star offices within the regional network were China, which saw revenues increased by 40%, and Indonesia and Vietnam by more than 30%. Becoming part of WPP nearly a decade ago has been “absolutely critical to our growth”, says Godfrey. “It’s given us a wealth of resources to offer our partners [and] access to great new talent. WPP’s commitment to emerging markets has had a clear impact on our ability to grow in Asia. Our Manila office has also played an important role… and has been one of the centers of excellence for important areas such as shopper marketing. Y&R Philippines was also one of our star offices at Cannes this year, bringing home three Lions.” At Y&R, it’s the sum of its parts, be it the Japan, India, China or Manila office, that makes the whole a lot stronger. “We believe that the strongest global networks have the

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strongest local agencies. We have the best of both worlds – deep roots in local markets, and an infrastructure that’s set up to support clients, whether their needs are local, regional or global.” It gives our clients the ability to tap into our strength and flexibility.” These days, the agency has its eye on digital and new frontiers, yet untouched by Y&R’s brand of marketing communications. “In the last 18 months we have been focusing on digital acquisitions to expand the VML network in Asia. We have completed these start-ups and acquisitions in Japan, Singapore, Mumbai, Delhi, Sydney, Jakarta and we will continue into other markets in Asia when we find the right partners who share our vision.” In Yangon, where political and business reforms promise to usher in a consumer marketplace, Y&R has followed in the footsteps of WPP siblings Ogilvy and JWT in planting its flag there. But it’s done so with another first: It is the first majority owned international agency in Myanmar in partnership with local group K-Noke.Progress has also been made in Korea, another seemingly difficult market for multinationals to crack, with the signing of a global partnership with Hancomm Advertising, a Top 10 agency, earlier this year. Says Godfrey: “Over the next five years we will see the expansion of the VML network, an establishment of a shopper marketing global offering, plus a continued focus on building Y&R into a powerhouse ‘global boutique’ in every market.”

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L OWE

All in the family Lowe at 35, a toast to the House Francis Trillana, Jr. Built Words Mikhail Lecaros Photos courtesy LOWE INC.

On September 6, 2013, the White Space in Makati was the site of a milestone: The 35th anniversary celebration of Lowe Philippines. Titled ‘Lowe at 35’, it was an evening of black ties, nostalgia and camaraderie dialed up to 11, as laughs, memories, performances and testimonials were put up to honor this venerable name in Philippine advertising. Ok, so maybe the “name” part of that statement bears a bit of explaining, as, in its three-and-a-half decades of existence, the House that Francis Trillana, Jr. Built has been known as CA Lintas, SSCB:Lintas, Lintas: Manila, Ammirati Puris Lintas Manila and Lowe Lintas & Partners, before settling on its current iteration as Lowe, Inc. Regardless

Francis Trillana, Jr, founding chairman (1943-2007)

of name, however, the agency has remained steadfast in its orientation and place in the local industry, consistently putting out solid work for its mainstay clients while, at the same time, setting the standard for consumer engagement. CA Lintas first opened its doors in 1978 with Trillana, Jr. at the helm, a Unilever veteran who soon switched over to the agency side of things, working at McCann Erickson’s offices in Manila, London and New York. When the call to set up Lintas came, FBT (pronounced ‘Fibit’) or Kiko, as his friends knew him, was executive vice president and general manager of McCann Erickson Philippines. An impeccable dresser (it was not unusual to hear the Armani-suited Kiko admonishing his creatives to DRESS UP) blessed with effortless charm and an irreverent sense of humor, Trillana, Jr. was a fiercely private man who was beloved by all who knew him, yet one who was rarely spotted at industry events and gatherings. As an agency chief, however, he was known as an advocate for campaigns that espoused clarity and insight over clutter and embellishment. Under Trillana’s leadership, the initial Lintas team of 12 was able to build up their fledgling agency (for which the only way to go was up), to one with a portfolio packed with more soon-to-be classic campaigns than one could shake a stick at. In their first 10 years, Lintas was able to snag clients like Alaska and SM – coming up with jingles that any Filipino pop culture fan worth their salt knows by heart – to become one of the country’s top 10

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agencies, a position it enjoys to this day. Current president and CCO Leigh Reyes is well aware of the legacy she has taken on. “In all honesty, I haven’t been in that many agencies,” says Reyes, on what makes Lowe unique. “But one thing that I think distinguishes Filipino agencies that began in a certain era is a sense of family. Whether you were in Basic or Ace Compton or Lintas, there is this very strong sense of treating

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Emotions ran high at the successful Lowe at 35 event at White Space.

each other like family, and I feel that has not changed. Here, this may be work, but we still try and make everywhere feel at home, which is something that is very Filipino and whether this office is called Lintas or Lowe or Ammirati Puris Lintas or any one of the million names in the history of this agency, that hasn’t changed.” Appointed president and chief creative officer in 2011 (officially taking the post in

January 2012 following the exit of outgoing president Mariles Gustilo), Reyes is one of the most digitally savvy creatives working today, and the recipient of the Philippines’ first-ever Gold Clio and World Press Gold, as well as her share of metal from Cannes, AdFest, Australian Awards and the New York Festivals. In her short time as agency chief, Reyes has earned the respect and admiration of her peers and those under her with her

September-October 2013

unique sense of wit, whimsy and imagination. Reyes is in good company. After all, if one were to look back at the list of people who held the position before her, one could be forgiven for thinking they’d stumbled onto a list of industry royalty. With the likes of Trillana, Jr., Gustillo (now the Ayala Foundation's senior director for Arts and Culture) and Raul Castro (former ECD, current McCann Worldgroup chairman and CEO) included, who could

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blame them? Everywhere one looks, it isn’t hard to see the influence Lowe has had on Philippine advertising, with alumni like Jos Ortega (Havas Media Ortega chairman and CEO), Vicky L. Ortega (Brandlab CEO) and Ompong Remigio (Campaigns & Grey CCO) continuing to make waves and shape the Filipino creative conversation. For the 35th anniversary, Reyes and her team went all out. Once it had been decided to commemorate the landmark in a big way, the call went out to everyone who’d ever been a part of the family, with the resulting outpouring of goodwill surprising even the party planners. Among the activities was a series of talks held in the Lowe offices, with former staffers and bosses coming back to share their stories of life in the agency. “For Raul Castro’s, he just had everyone laughing for three hours! People were on the floor, gasping for air – he had such great stories,” says Reyes. With the culminating activity being the black tie affair that doubled as a reunion/ homecoming, current Lowe staff went above and beyond the call of duty to plan their outfits, buying gowns and having suits tailored, even going so far as to try out different formal ensembles in the office on the Fridays leading up to the party. Preparation for the event was largely spearheaded by vice president for business operations & development Mike Trillana (son of Francis), who shared that the more research was done on the history of the company, the more amazed the team became of the heritage they were now contributing to. “We were finding campaigns and jingles that we’d all grown up loving and knowing by heart, but none of us had a clue that they were created in this office, so it’s been a learning experience for all of us!” says Trillana, before Reyes helpfully chimes in with a spirited refrain of SM Supermalls’ ‘We’ve Got it all for You’ jingle.

classic campaigns

Surf

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Purefoods

President and CCO Leigh Reyes (second from left) with past presidents (L to R) Nonoy Reyes, Mariles Gustilo and Wally Reyes.

“Learning more about our history is good, especially for the newer members of our team,” says Reyes. “Out of all the agencies in the country, this is one of the few that has never changed ownership. Only the name has changed, so we have the unique distinction of having a continuing story that we can look back on and say, ‘wow’. And it builds camaraderie to know that you’re a part of something that has meant so much to so many people.” Further honoring the history of the agency, Reyes and her team cooked up a special treat in the form of an app for smartphones and tablets, ‘Jingle Quiz’, that tests one’s knowledge of the numerous ditties that have helped shape entire generations of Filipinos’ perceptions of brands, appropriately rendered in retro 1980’s-style pixels. Before ‘Lowe at 35’, Reyes told adobo, “We’re not a party agency, but for the anniversary, we’re trying!” As it turns out, she needn’t have worried. With preparations in place and morale at an all-time high, ‘Lowe at 35’ was an unqualified success, with people

coming as far as the United States to join in the celebrations. Testimonials were heard and speeches given, along with song and dance performances from current Lowe staffers. Between numbers, seven specially created AVP’s – including a video tribute to the man who started it all, Francis Trillana, Jr. – all helping to drive home the notion of legacy and family, with the revelry lasting well into the wee hours and beyond. While it remains to be seen what name or form Lowe Inc. will take on in the next 35 years, it’s a pretty safe bet that, if and when someone sits down to write the definitive volume on advertising in the Philippines, a significant chunk of it will be dedicated, rightfully, to the House that Francis Trillana, Jr. built. With a foundation this strong, what’s in a name, anyway? For galleries, inlcuding celebration photos and videos, along with classic commercials, visit www.facebook.com/LoweTurns35.

Still going strong at 35-years young, there's no shortage to the number of memorable campaigns the agency has been responsible for.

Close Up

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Fita

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inde pe nd ent ag encies

independent agencies

Nimble players Size has long mattered in business, a point underscored by the relentless pursuit of scale by global brands, whether in soft drinks, banking, sportswear or advertising, the staging ground for an upcoming marriage of two already colossal players. While Filipino business taipans are equally obsessed with scale, the local communications sector is driven more by creation than consolidation. Independent agencies continue to pop up, replacing those that have come, gone or been absorbed by multinational shops that today enjoy the lion’s share of the advertising pie. In the last few years alone, the likes of IdeasXMachina (IXM), Seven A.D., WOO Consulting and Hot Air Balloon (HAB) among others have added new diversity to an already varied scene. As it is, indie operators make up the firm majority of 4A’s membership – 46 to 14 multinational agencies. There are assorted reasons fuelling the indie expansion. Entrepreneurial zeal is alive and well among the creative class. “Having been in an agency for several years now, there comes a point in their industry journey that creative and advertising guys want to stretch their muscle and do things on their own,” Aspac’s president and chief operating officer Angel Antonio explains. Indeed, founders behind newcomers such as IXM’s Third Domingo, WOO’s Abby Jimenez or the multiple backers behind HAB and Seven A.D. all cut their teeth in multinational agencies before branching

out on their own. As did Aspac’s new chief creative office Joey Ong, who defected to the two-time Independent Agency of the Year winner at press-time after three years at DDB Philippines following stints at WPP shops. Ong, however, didn’t move to simply fill a creative role. The independent made Ong an irresistible offer – the opportunity to realize his entrepreneurial ambitions in a partnership to launch a new branding and design enterprise, DoJo, under the Aspac umbrella. Market forces also support the expansion of indie ranks. “… there are more marketers out there wanting to now advertise – a restaurant, a fashion brand, even an NGO. They want to have real conversations with their agencies and not to just be heaped with red tape and proprietary processes,” adds Antonio. Entrepreneurial passion aside, the low barriers to entry has been a godsend for

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Smaller players tout size advantage

restless talent. “Advertising agencies are not capital-intensive undertakings. A few people with enough talent can successfully start one because it is talent that clients want. And there are enough clients who do not require multinational accoutrements in their agency,” says Gie Gatchalian, managing director of JRomero. While having a cache of cash can spare start-ups some sleepless nights, agencies point to two crucial ingredients to ease birthing pains: Brain power to deliver creative bang and relationships. “This is one of my realizations in launching the agency – the Filipino client is very relationship-driven,” says Seven A.D.’s CEO Teeny Gonzalez. “If they remember you for the work you have done, they don’t care if you are in a big agency or not. They trust you. That’s why some big clients have had the courage to go with us very early on.”

In interviews with adobo, indie operators showed the kind of spunk pint-sized Davids need going up against the industry’s Goliaths. More so since scale cannot be ignored with brands demanding integration across multiple touchpoints that oftentimes extend to large activation efforts. “I personally do not see the difference between independents such as our agency and the big networks as far as the work is concerned,” says John Amon, co-founder of AMP/Amon Manze & Partners, which set the town talking a year after it launched by “defacing” the front page of the Philippine Daily Inquirer. Large sections were blacked out in a false cover to highlight censorship and oppression. “We love slugging it out and beating the big boys. We have never thought of ourselves as small, so we bring out the big guns each and every time and have had an excellent batting average as far as new business and organic brand growth are concerned,” Amon adds (see Indie DNA). IXM co-founder Third Domingo is equally spirited in footing the indie horn: “Clients need fresh, new ideas. They desire bold perspectives that make sense. They don’t get that anymore from the ‘big, networked, acronymed agencies’ – not my words. As long as there is demand for true creativity, there will always be a supply of independents.” Independents like Aspac – which is adding new disciplines like brand cosultancy design and digital and becoming more of a mid-sized player – see their size as an advantage. “Going

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Indie DNA

by the actual experience I had in my past with (networked) agencies, Aspac has more agility and could be really quick and nimble in responding,” says Antonio. “And we’re relatively freestyle with how we approach each brief; we’re not constrained to follow a strict process. Our approach is haute couture, customized to the client.” Be that as it may, the significantly smaller ranks of branded network agencies still command an outsized share of the advertising pie. But indie operators point to invitations to big brand pitches where they have sometimes walked away with the main prize or been called back and handed another account that the client deems a better fit to as signs that they are making inroads on the business front. “When a client invites both independent and multinational agencies to a pitch, it means they don’t give a hoot whether one is local or multinational,” says Gatchalian. “They want to see good thinking and good work for their brand. Multinationals do not have a monopoly on that.” Domingo adds: “Branded agencies have

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an edge in infrastructure and credibility from the start. You work from a position of disadvantage because clients don’t necessarily lower their expectations for you. You need to surprise when going up against bigger agencies. “I have great respect for the big boys, particularly McCann, TBWA and PJB (PublicisJimenez Basic) because I came from there and I know that when it comes to pitches, they pull out all the stops. They make sure all proposals can be executed well. (Pitches aren’t about) bright ideas that aren’t feasible. Clients don’t just go for flair anymore. Flair is mandatory but business acumen is what will make you win.” For indie operators, every new piece of business won is a building block. “That’s how an independent is built after all – pitch after pitch after pitch,” says AMP’s Amon, offering up war stories involving his three-four-person pitch team facing off against big agencies with contingents of 20 or so people and winning. “We love pitching against the big boys. Small pitches with unknown agencies don’t excite us as much.”

AGENCY

AMP/Amon+Maneze & Partners

Aspac

LAUNCHED March 2007

LAUNCHED 1975

FOUNDERS John Amon, Jade Amon and Jun Maneze

FOUNDER Max Ramos

KEY CLIENTS Ginebra San Miguel (GSM Blue, Ginebra San Miguel Premium, Magnolia Fruit Drink, Magnolia Healthtea, Magnolia Purewater), Kenny Rogers Roasters, Ayala Land (Avida Land, Amaia Land), Philippine Daily Inquirer, Aboitiz Power

TOP CLIENTS Honda, Toshiba, Insular Life, Merck, LBC SERVICE OFFER Through-the-line, end-to-end communications service, including design, digital, activation and PR Market advantage

SERVICE OFFER Creative and strategic brand planning Market advantage

“We think like giants and we work like elves”

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“Our Incitement Philosophy.”

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ind epend ent agenci es

Independents adobo spoke to showed off client rosters built on some of the industry’s big spending brands (see Indie DNA). Seven. A.D., for instance, has taken a big bite out of Jack and Jill’s snack and biscuit accounts and scored business from Coca-Cola, Resorts World and PSBank, either through pitches or with additional projects or brands, based on its performance in initial projects in the three years following its launch. Smaller shops dismissed the notion that a lower cost base made them more competitive against multinational rivals. “Our rates are competitive with the big boys …why should our ideas be cheaper than theirs, when most of the time, ours are better and more effective,” Amon says. JRomero’s Gatchalian believes the big networks more than adequately offset the disadvantage of high international overheads with the global scale efficiencies they enjoy in backroom operations and software and systems development and by sometimes squeezing payroll costs. Which leads to the question of talent recruitment and retention that bedevils all

organizations, big or small. Indies agree they may struggle to match the “glamor and fame factor” of branded rivals but point to advantages that have helped them draw talent away from multinationals. “True high-caliber talent with vision and ambition know better,” Antonio says, pointing to Aspac newcomer Ong as an example. “They know they’ll be able to flourish more with indies and not simply depend on already built images and on regional creative gurus.” Unexpectedly, compensation is another plus point. “There are advantages to being in an independent, local agency. There are no regional or international headquarters to dictate what you can and cannot give employees,” says Gatchalian. “Sometime ago, there was a multinational agency whose Philippine office was ding very well but whose other offices in the region were in dire straits. All sorts of constrictive directives were imposed on the Manila office as to what could be given to local employees. The reason was that the overall regional financial performance needed to be shored up.”

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If life is this good on the indie scene it can only mean one thing: Indies will find themselves facing “hot pandesal syndrome”, better known as the penchant for photocopying that will draw more to the business. Amon likens expansion to a double-edged sword: “It’s good for the industry because really big networks are dinosaurs with too much excess fat. It’s (also) bad because inevitably more ‘posers’ will incorporate, launch and sell cheap creative ideas to clients who don’t really care about quality and big ideas.” As much as the independent scene may appeal from the outside looking in, operators also warned about the hard slog. “There will be false starts. There will be times when you think you have everything figured out, but it’s not,” Domingo adds. “Being independent isn’t about making more money or having no one to report to anymore. It’s about believing there’s a better way of doing things and that you know you have a shot at actually doing it.” * November-December 2013: Advantage, multinationals

AGENCY

Agency

IdeasXMachina

JRomero

Seven A.d.

LAUNCHED 2010

LAUNCHED 1959

LAUNCHED January 2010

FOUNDERS Third Domingo, Evans Sator, Florence Santos and Nathan Javier

FOUNDER Javier ‘Jake’ Romero

FOUNDERS Teeny Gonzales, Tey San Diego, Russ Molina, Argem Vinuya, Maki Maquiling, Wella Tan, Rina de la Calzada

KEY CLIENTS Pepsi Cola Products Philippines, Inc, SM Men’s Fashion, ConceptFoods, PhinmaProperties, BoosterC Corp, Philippine Star SERVICE OFFER Creative, research and strategy, social media management, and final art. Market advantage

“Creative engineering: Devise the ingenious solution in the least possible time, effort and resources”.

KEY CLIENTS Shakey’s, Dunkin Donuts, Ortigas & Co., Foodsphere, Republic Chemicals, MNTC, and Manulife SERVICE OFFER Full service, including digital and, rare for an agency these days, media

KEY CLIENTS PSBank, Resorts World Manila, Jack and Jill Snacks (Piattos, Chippy, Nova, Mang Juan, etc.), Jack 'N Jill Biscuits (Magic, Fun-O, Wafrets), URC All Good Cereals, URC Hunts, Coca Cola (Eight O’Clock, Energy drinks), Convergys, Sunnywood

Market advantage

“Our senior people have very extensive experience... because we are a medium sized agency, these senior people get intimately involved in the day-to-day servicing of clients needs.”

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SERVICE OFFER Above-the-line and design Market advantage

“Our campaigns usually generate high talk value. A buzz-worthy campaign is the stamp of Seven A.D.”

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I N T E L L I G E N CE

Intelligence Young population and rising disposable income will power consumption heavy Philippine economy

6 Breakdown of household final consumption expenditure (private consumption) Others Furnishing, household equipment & maintenance

Philippine retail momentum

11%

45%

4% 13%

Restaurants & Hotel Misc goods & services

Manila Philippine retail sales are tipped to reach 2 trillion pesos by 2017 with this year’s growth expected to come in at 1.5 trillion pesos. A growing economy, more disposable income and rising consumer confidence are expected to provide the growth impetus for modern retail channels in the years ahead. Average disposable income this year was found to have grown by 5% over 2012 to Financial services group Nomura said the country’s rapidly growing young population and appetite for branded goods and preference for modern retail channels were favorable factors for the Philippines’ consumption heavy economy. Private consumption accounts for more than 70% of the country’s annual GDP. Nomura was confident a consumption boom was on the cards, noting that local and foreign companies were looking to ride on the expected consumption expansion. Companies poised to expand their local footprint include: Starbucks has plans to open another 100 stores in the next four years on the nearly 200 currently in operation.

Dunkin’ Brands returns to the Philippines with its premium Baskin-Robbins ice cream brand. There are plans for 50 stores nationwide.

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September-October 2013

Cold Stone Creamery opened the first of 15 stores planned for the country over the next five years earlier this year at the upscale Fort Bonifacio. The company said the time was right, with the economy in good shape, for the launch of a “super premium ice cream brand”. Royal FrieslandCampina took a controlling interest in local dairy giant Alaska Milk Corporation last year, after increasing its stake from 8.1% to 68.9%. Alaska was seen to provide a “high-growth platform… and access to a market of around 100 million consumers”. FamilyMart, the Japanese challenger in the convenience store category, opened its first outlet earlier this year, stocking Japanese food products and ready-to-eat meals. The group has turned to trusted Philippine retail names Ayala Land and Rustan’s group to spearhead local expansion.

The number of new malls set to open in the Philippines in the next 2 years

The number of malls SM Prime Holdings, one of the largest mall operators, would have opened by end 2013, which includes the high-end SM Aura Premier

Hovering around the 40-50% range (%) 46

(%) of food & non alcoholic beverage in household consumption expenditure

42 40 38 Mar 08

Mar 09

Mar 10

Mar 11

Mar 12

Source National Statistical Co-ordination Board, Nomura research

Illustration Clint Catalan

10%

VITAL SIGNS

Housing, water & other fuels

Education

Food & nonalcoholic beverages

Transport

M ARK E T I N G

Illustration Josh Salvosa

118

spending power

Rural tactics Kantar points to higher FMCG spending growth

Kantar Worldpanel Philippines’ new report for the five-year period ending June 2013 found rural spending on fast-moving consumer goods (FMCG) outpacing urban centers (see infographics). Much of this is the result of rural income growth on the back of OFW remittances coupled with infrastructure development projects – roads, hotels and energy – and accelerated growth of industry and service sectors that are driving job creation. Census data also shows entrepreneurial activities and non-wage income contributing greatly to household income in South Luzon and Mindanao, the two regions showing the most impressive annual spending growth. “Both government and private sectors are empowering more rural homes to make their lives better (through) provision of electricity, potable water systems, while more and more industry and service sectors are growing,”

says Kantar Worldpanel account manager Stephanie Tañada. Worldpanel data underlining the growing strength of rural markets will no doubt buoy brand marketers, particularly as the region represents half of the total population – 51% or 49 million people – and is growing. “We see the added attention from briefs from clients, who have asked us to look into initiatives specific to VisMin (Visayas/Mindanao) or how we can introduce a new category in sari-sari (neighborhood) stores when this retail channel was never associated with this product at all,” says Eileen Borromeo, Harrison Communications’ head of intelligence and planning. “(There)

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September-October 2013

is obviously economic potential that can benefit from more marketing activity specific to them.” Harrison has identified rural potential based on gaps in the market in various consumer segments, and across categories from a client and brand perspective. “Looking at the kinds of projects and briefs that we’ve been getting, many are increasingly for rural. I think those are indicators of a healthy interest in rural marketing.” Unlocking this economic potential, however, requires Rural tip some deft handling. The retail sheet infrastructure is limited outside the metro areas, which adds to Go grassroots. Be the challenge of taking brands where the people are. Look at their to mainstream rural markets. way of life. Affordability is another issue: Be part of the Rural wages are 50% lower community. than Metro Manila even when The community is a source of compared to the Calabarzon influence and information. region, South Luzon’s industrial powerhouse. Go back to your product. Your “While both (urban and rural product – and households) would have electricity, the packaging – is your primary prepaid cellular phones and TV, medium to communicate and the gap widens in ownership of influence. DVD players, running water, Eileen Borromeo bathroom and refrigerator among Harrison others, in favor of urban,” says Communications

M AR KE T IN G

Tañada of rural affordability levels. She credits marketers’ response in offering smaller FMCG sachets that require reduced cash outlay for the faster growth rate of rural FMCG spending. For Borromeo, distribution and pricing are less of a stumbling block they are often made out to be. “More often than not, many marketers try to work out a ‘one-size-fits-all’ approach to their consumers to be efficient about their process, and they end up with generic caricatures of who we think our consumers are,” she says. The bigger challenge is “empathy – a willingness to get under people’s skin and understand what their lives are like and what influences their behavior and decision”. To illustrate this, she pointed to an experience she had in Cebu to show that opportunities exist even for brands that are marketed as more premium so long as they can demonstrate the positive change they can bring to people’s lives.

“We were asking (a low-income mother) about the items she traded down when she needed to tighten her belt. So she mentions cooking oil, the household’s bath soap, then I noticed a Pantene shampoo sachet in the bathroom. I asked why she still bought Pantene when there were cheaper brands and she tells me ‘Pangit na nga yung bahay namin, pati ba naman ako, pangit rin?’ (My home is already ugly, why should I be?).” Borromeo recommends marketers ditch the one-size-fits-all mentality and build empathy instead to really understand what drives rural consumers. “For example, more accessible products do not necessarily mean offering them in sachets but perhaps looking at totally new products that work best for this audience.” The same goes for crafting the communications creative. “Universal themes like happiness, love, truth will resonate but the context in which they are presented benefits more from having real, intimate

12-month period ending June 2013 Value Share to FMCG Purchases

The rural sector is a significant part of the Philippine FMCG market and is growing faster than urban areas

Urban 56

knowledge about the consumers the work wishes to connect with. This doesn’t mean that you need to show a provincial lass in some exotic barrio using your product in order to connect with rural markets. I think the disjoint comes in when we start looking at rural audiences as ‘them’ versus ‘us’ and we present ‘solutions’ we think they need rather than the other way around.” Far better, she says, for marketers to study how their brands can make people’s lives better, whether in making them feel good about themselves or making their families healthier for instance. “While this applies to all audiences, I think it’s particularly apt for rural markets because there are fewer brands now competing for their attention. “And the brands who are first to get into people’s ‘heart space’ have the greatest potential of winning them over in the long run – think of it as a first-mover’s advantage.”

GOLDMINE

Rural

246bn

The value potential in pesos of 9.7 million rural households

+4% (5yr CAGR)

+6% (5yr CAGR)

119

–Kantar

What can rural households afford? (Top 3)

1 Electricity

2 Prepaid cellphone

Rural homes SPENDING INCREASE in modern channels outpacES urban sector +3%

20000

+2%

18000 16000

+3%

14000

12 mos ending Jun’09

12000

12 mos ending Jun’13

10000

Source Kantar World panel

Annual Spend per Household (by Rural Area)

+9%

8000 6000

5-yr CAGR

4,000 2,000 Modern Trade (Urban)

Modern Trade (Rural)

Includes Hypermarket, Supermarket, Drugstore, Convenience Store, Department Store, Personal Care, Online Shop

Traditional Trade (Urban)

Traditional Trade (Rural)

Includes Grocery Store, Hypermarket, Supermarket, Sari-sari, Market Stall

September-October 2013

Television

Owned by both Urban and Rural Top 3 items owned by at least 80% of homes

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M ARK E T I N G

a do b o S i d e d i s h

5 6

4 15 9

8 3

Alex Panlilio

Operating Vice President, Consumer Health Division, United Laboratories Inc. What is the one thing that will surprise people about you? I was a member of the first corporate expedition to Antarctica to develop a waste management system and a natural source of energy leveraging the wind. I proposed to my then girlfriend while in Antarctica.

10 11

What’s your guilty pleasure? I am currently into multisports (triathlons, duathlons, running) so gear – shades, apparel, shoes – and gadgets have recently been my guilty pleasures. What are your favorite brands aside from your company’s? BMW, New Balance, Oakley, Apple

in t he b a g

Do you have a secret or hidden talent? I do oil painting when I have time. I find the whole self-expression aspect uplifting. I was inspired years ago by an ex PAC/BBDO ECD, Edwin Wilwayco. He is now an accomplished artist. What entertains you? Watching my kids pursue their passions. My son is into sports so I enjoy watching with him compete and/or teaching him. My daughter competes in swimming so I enjoy watching that too. She also has a creative side. I enjoy a good movie with my wife. When alone, a solid action movie or book themed around Navy Seals, etc keeps me glued.

Nicole Bulatao Head of Digital Marketing Nestlé Philippines

What makes you laugh? My children’s antics. I can’t get enough of them. I take pictures in my mind because we’ll never come back to this age again. Complete the sentence: If I wasn’t in marketing, I would be... a painter.

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September-October 2013

8 Wedding Color Guide 12 Lip balm, Lipstick, The Bag – A navy Goyard tote. Light, – A very fashionable Lipcote – I recently, roomy and really cute. It friend is getting married tragically lost my travel was a birthday gift, which in January. She wants makeup kit, which was a makes me like it even everyone colorbag all its own. In the more. coordinated, guests meantime, these are the included. I carry the only three cosmetic2 Scarf – This gray one is a shade guide around with related things I lug favorite. Big, soft, warm me in case I run into a around. and slouchy. promising dress. 13 Mirror – A souvenir from 3 Umbrella – I’ve been 9 Pen – I just found this Vietnam which a friend caught in downpours lying around the house. I gave me. more than once, so this is liked it, so I adopted it. 14 Guest List – I constantly a necessity. 10 Brush – My hair has a have scraps of paper 4 Wallet – Bright red so I mind of its own, and I’m floating around in my never lose it. constantly trying to keep bag. These days it’s the it in line. guest list for a party I’m 5 Keys – For my front door throwing next weekend. 11 Foldable flats – I wear and my office drawer. 15 USB flash drive – I’m Manila’s roads are safer heels most days, without me driving. but I also find myself always the one person in walking around quite a the meeting with a flash 6 Sunglasses – I like them bit. These are for those drive. big and girly. times when my poor feet 16 iPhone – Used for can’t take it anymore. 7 Shopping Bag – Can’t productivity and do without it these days, distraction in about equal especially in Makati. I measure. kick myself whenever I leave it at home. 1

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M E DI A

ph il ippine r ecma

recma rankings

A star performer Starcom tops the leaderboard for nine straight years

Starcom MediaVest Group 2011 - ranking #1

The agency at the top of the Philippine Recma leaderboard for the past nine years achieved billings of US$480 million in 2012, nearly double that of second-placed MediaCom. Starcom accounted for 28.5% of the local industry share in 2012, when its employee ranks grew from 141 to 162, making it the largest media agency by head count as well. CEO Joanna Mojica credited momentum from the past combined with a perfect pitch batting record in 2012 for the group’s continued dominance. She said the founding team under the leadership of Lizelle Maralag, the agency’s managing director until 2009, had built the agency in a way that set it up well for the future. “Our strength is our business model which evolves around agency-of-record (AOR) clients. That’s how Starcom was built. We now have the most number of AOR clients,” Mojica explained. Its biggest win in 2012 came from the diversified Metrobank Group, which awarded the agency its banking business, including credit card, PS Bank, Toyota distributorship, Federal Land, Manila Doctors Hospital and Metrobank Foundation. Mojica attributed the agency’s perfect pitch batting record in 2012 to two key points it always gets across in reviews: “We don’t buy media for the sake of buying but based on

our belief that human experience enhances life, transforms behavior and therefore helps clients grow their brands. “We have an open door policy for prospective clients to speak to our existing clients, which is important to them – they know we cannot influence what our clients say about the agency. It’s all very transparent.” Despite being the largest agency in the market, Starcom has encountered little difficulties adding to its size. Mojica credits this to the agency perfecting client conflict management protocols through third-party audits, separate falls, biometric access and firewalls, allowing it to expand even in categories where it already has clients. Given its size, the group has active clients in 43 of the top 50 advertising categories monitored by Nielsen. “That’s the kind of breadth and exposure of our experience.” Global clients are also in the minority as Starcom’s portfolio is dominated by Fortune 500-type local businesses such as Metrobank Group, United Laboratories, among others. Mojica also recorded a 100% client retention rate in 2012. “Out of the top 50 clients, 24% have been with Starcom for more than 10 years (11-13 years), 36% for at least five years and 40% for at least one year.This shows the enduring relationship we have with our clients as well as the continuous flow of new business.”

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MediaCom 2011 - ranking #2

The GroupM brand achieved billings of US$290 million in 2012, up 15% year-on-year, while keeping its head count level at 98. Deputy managing director Pico Roberto attributed growth to a combination of large account wins, growth of existing accounts and additional digital assignments. The agency took the sizeable Jollibee Food Corporation media agency of record assignment, one of the market’s largest media prizes, from Universal McCann last year. It was also awarded Asian Carmakers’ BMW business, the Department of Energy and former legislator Sonny Angara’s advocacy projects.

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philippi ne r ecma

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Starcom MediaVest Philippine team: Billings champ

3 “There was also organic growth coming from accounts such as Procter & Gamble, Ramcar Group of Companies, Bayer etc. We also grew our digital business significantly,” said Roberto. Through forward planning, the agency appeared to have kept its head count level. “We invested ahead of the new business wins and digital assignments. We staffed up to be able to pitch for new accounts and anticipate new business.” New staff were in fact added in digital, branded entertainment and activation as the agency diversified its services beyond traditional media planning and buying.

ZenithOptimedia 2011 - ranking #4

The Publicis Media agency delivered a 40% increase in 2012 billings, extending a turnaround that was already evident in the last Recma report. The agency climbed up one spot in the rankings with US$235 million reported in media billings for 2012. It boasted an industry share of 14%. In 2012, the office began servicing AOR assignments for the Ayala Group of Companies, which included Globe Telecom, Ayala Land and BPI. Other key wins came from Sulit.com.ph, Nissan, Henkel Philippines and Mega Life Sciences. Chairman Venus Navalta said the office retained 92% of clients in the review year, which translated to 97% of its billings. The agency grew its head count by 10% in 2012 to a total of 76.

September-October 2013

MEC 2011 - ranking #6

The GroupM agency climbed two places in the rankings on a 40% growth in billings to US$155 million. It kept its staffing level at 39, making it the smallest agency by head count in the Top 5.

Mindshare 2011 - ranking #7

The agency also climbed two places over 2011 to fifth place, giving GroupM three agency brands to Publicis Media’s two in the Top 5. The agency’s billings grew 28% to US$115 million and its head count rose to 48 from 44 in 2011, the result of it winning Unilever assignments and absorbing Masscom, Unilever’s longstanding incumbent agency in the Philippines.

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M E DI A

s ocial med i a t r acker

TV’s social opportunity TV5 leads in engagement MANILA Social media is offering new insights to Philippine broadcasting, a sector which has long provided dueling rating currencies to the market. Analyzing social media chatter of the three biggest broadcasters as the market moves decisively towards multiple screen use, research agency Ci8 found ABS-CBN dominating social media share of voice (SOV) but achieving the lowest positive sentiment score of the three. The broadcast giant led with a 60% SOV on social media so long as Facebook was excluded, according to Ci8 analysis of social media data between June 16 and July 15, 2013. When Facebook data was added into the mix, the picture changed materially: The usually third-ranked contender TV5 jumped into the lead (45% share) followed by GMA (35%) and ABS-CBN (20%) based on the analysis of the total 56,390 mentions in the review period. TV5’s jump is credited to the effort it made in engaging fan comments on its Facebook page. It contributed 26% of mentions on its page, while GMA and ABS-CBN’s share came in at just 2% or under on this score. Fan mentions dominated ABS-CBN and GMA’s Facebook page – at 98% – against 73% for TV5. This level of engagement plus mentions of its programming and artistes led 83% of its audience base, comprising a nearly equal gender split, to deliver an overall positive rating

for TV5, the highest score of the three. “TV show-related mentions captured the bulk of TV5’s samples, which is a good thing for the network,” said Ci8 managing director Mark MacKenzie. “However, a very low turnaround for news-related mentions may suggest the network should improve their presence in the news and current affairs segment to promote their brand.” GMA scored the next highest positive sentiment rating – 77% from its audience, which was male-skewed (56% to 41%). MacKenzie noted that the Kapuso network earned the most artist-related mentions, indicating that its stable of stars were top-ofmind and were engaging in social media. GMA had another ace in its hand: It had the most

Share of Voice

Facebook Mention Type per TV Network

Social Media

Facebook

TV 5 11% GMA 29%

100.00% 90.00% 80.00% 70.00% 60.00% 50.00% 40.00% 30.00% 20.00% 10.00% 0.00%

TV 5 45% GMA 35%

ABS-CBN

GMA

ABS-CBN

abs-cbn 20% abs-cbn 60%

mentions about inquiries and sharing photos and/or videos. “Perhaps, they can leverage this by providing a dedicated team to handle social media inquiries and continue initiating sharing of multimedia files,” MacKenzie added. ABS-CBN trailed with a 73% positive score, which was delivered by its female-skewed audience (59% to 38%). “Even if ABS-CBN is the most talked-about network in social media, there is still room for improvement,” MacKenzie noted, and suggested the broadcaster could manage viewers’ sentiment for starters. “Females dominated mentions, with an almost 60% stake – the question now is: Does the network’s presence, activities, initiatives only trigger the interest of females?”

TV 5

98.49%

1.51% From TV Network

From Fans

100.00% 90.00% 80.00% 70.00% 60.00% 50.00% 40.00% 30.00% 20.00% 10.00% 0.00%

tv5

98%

2.00% From TV Network

From Fans

100.00% 90.00% 80.00% 70.00% 60.00% 50.00% 40.00% 30.00% 20.00% 10.00% 0.00%

73.42%

26.58%

From TV Network

From Fans

GMA www.ci-8.com

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126

M E DI A

h ol a! magazi ne

Say Hola! Favors luxury over the libelous Words amanda lago

A newcomer to the lifestyle magazine space has eschewed ‘Hello’ for ‘Hola’. The local iteration of a global franchise debuted with a simple proposition: Life is beautiful, and everyone should celebrate it, a point made within its celebrity-filled pages. Hola! Philippines is part of a family of celebrity and lifestyle magazines that is a big seller in Spain and the United Kingdom. Originating from countries with glittering monarchies, it’s tone is decidedly more glamorous than other celebrity magazines. But in a country without titled monarchs, the local edition has filled its pages with the Philippines’ own version of royalty –politicians, businessmen, athletes, and artistas. Though that doesn’t mean Prince William or Kate Middleton won’t be putting in regular appearances. Despite – or perhaps because of – the high profile of the magazine’s subjects, the stories are devoid of the salacious gossip that is the lifeblood of celebrity reads. Following the tradition of its international editions, the title favors the luxurious over the libelous – birthdays, weddings, and beach

holidays instead of secret trysts and nightclub altercations. Former Rogue chief Jose Mari Ugarte serves as editor-in-chief, taking the launch issue to market on August 29 with a newsstand price of 160 pesos. Anne Curtis – in what must be her millionth magazine cover – is the cover girl, joined on this occasion by her younger sister, Jasmine Curtis-Smith. The launch line-up includes the wedding of Megaworld heir Kevin Tan and Michelle See, society darling Natalia Zobel’s beach romp with friends on the exclusive Balesin Island, Pedro and Gina Roxas’ Forbes Park mansion, as well as profiles on racer Marlon Stockinger and retailer Joanna Preysler. Hola! Philippines publisher Paolo Manzano speaks to adobo about the newcomer and why it has strenuously avoided gossip.

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September-October 2013

Why ‘Hola’ rather than ‘Hello’? We felt that Hola! was more catchy than Hello!, and given the 300 years of Spanish colonial rule, we felt that this was something that the market would find recognizable and appealing.

Who is the Hola reader? The Hola! readers are primarily A,B, and CI females (70%) who are in their mid-20s to mid-30s, with a strong following in the older female and all-male segments as well. What made you bring Hola! to the Philippines? We felt that it was very timely to bring in the brand into the country given its light-hearted and newsy content. At its core, it is a brand whose motto is ‘Life Is Beautiful’, and its main aim is to simply write and report about celebrities, be they actors or royalty or even a chef or race car driver, who are in the process or act of celebrating life. We are not about gossip or scandal. What makes Hola! different from other celebrity lifestyle magazines? Hola! is a 44-year-old brand whose formula has been copied many times over, but whose spirit has never been duplicated. All the celebrity lifestyle magazines copy our formula, but have all devolved into scandal, gossip and sensationalized content.

thirteen-time audio production house of the year

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M E DI A

nie l s e n ad spend

NIELSEN Media Spend Highlights Top 10 Categories Based on Spend May 2013 vs. May 2012 1. HAIR SHAMPOOS, RINSES,TREATMENTS /HAIRDRESSING PRODUCTS 2013

3,175

2012

3,210

GROWTH RATE

1,929 411

GROWTH RATE

2013

1,322

2012

950

GROWTH RATE

39%

2013

1,088

2012

886

GROWTH RATE

369%

23%

1,810

2013

835

2012

1,338

2012

985

GROWTH RATE

35%

1,448

2013

782

2012

1,337

2012

814

2013

1,323

2012

1,101

GROWTH RATE

779

2012

816

GROWTH RATE

20%

BALANCE ADVERTISER

2013

13,302

2012

14,251

GROWTH RATE

GRAND TOTAL -7%

2013

27,793

2012

26,099

GROWTH RATE

2013

1,663

2012

1,050

1,293

2012

745

-4%

2012

886

GROWTH RATE

-5%

1,049

2012

1,035 1%

2013

894

2012

698 28%

9. PROPRIETARY DRUGS/OTHER THAN VITAMINS & TONICS

BALANCE CATEGORY

850

2012

856 -1%

10. VITAMINS 2013

845

2012

919

GROWTH RATE

36%

2013

GROWTH RATE

5. DENTIFRICES, MOUTHWASH & TOOTHBRUSH 1,207

2013

GROWTH RATE

74%

2013

-22%

8. COUGH & COLD REMEDIES

58%

2013

1,472

GROWTH RATE

50%

GROWTH RATE

10. PROPRIETARY DRUGS/OTHER THAN VITAMINS & TONICS

5. OTHER FOOD PRODUCTS /OTHER THAN BISCUITS & BAKESHOP

1,124

1,141

2012

7. FLOUR, BAKERY PRODUCTS & BAKESHOPS

4. POWDER MILK

GROWTH RATE

1,684

2012

GROWTH RATE

-15%

2013

GROWTH RATE

2013

GROWTH RATE

-8%

GROWTH RATE

9. COFFEE & TEA

4. COMMUNICATION/ TELECOMMUNICATION

3,483

3. DETERGENTS & LAUNDRY PREPARATIONS

2013

GROWTH RATE

3,217

2012

6. COMMUNICATION/ TELECOMMUNICATION

2. OTHER FOOD PRODUCTS OTHER THAN BISCUITS & BAKESHOP

8. SKIN CARE

3. DETERGENTS & LAUNDRY PREPARATIONS

2013

GROWTH RATE

7. DENTIFRICES, MOUTHWASH & TOOTHBRUSH

2. GOVERNMENT AGENCIES & PUBLIC UTILITIES

2012

1. HAIR SHAMPOOS, RINSES,TREATMENTS /HAIRDRESSING PRODUCTS

6. POWDER MILK

-1%

2013

June 2013 vs. June 2012

2013

12,804

2012

12,802

GROWTH RATE

GRAND TOTAL 0%

2013

26,647

2012

25,070

GROWTH RATE

-8%

Top 10 Advertisers Based on Spend June 2013 vs. June 2012

May 2013 vs. May 2012 2013

3,723

2013

2,408

2013

1,780

2013

1,570

2012

3,602

2012

2,885

2012

1,696

2012

891

GROWTH RATE

1. UNILEVER PHILIPPINES, INC.

GROWTH RATE

-17%

2. PROCTER & GAMBLE PHILS., INC.

GROWTH RATE

3. NESTLE' PHILIPPINES, INC.

GROWTH RATE

4. COLGATEPALMOLIVE PHILIPPINES, INC.

2013

900

2013

534

2013

454

2013

356

2012

979

2012

371

2012

343

2012

190

GROWTH RATE

-8%

5. UNITED LABORATORIES, INC.

GROWTH RATE

6. MONDE NISSIN CORPORATION

2013

342

2013

313

2012

233

2012

307

GROWTH RATE

47%

9. WYETH PHILIPPINES, INC.

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44%

GROWTH RATE

10. GOLDEN ARCHES DEVELOPMENT CORPORATION

GROWTH RATE

32%

7. MEAD JOHNSON PHILIPPINES, INC.

BALANCE CATEGORY

GRAND TOTAL

76%

GROWTH RATE

87%

8. TANDUAY DISTILLERS, INC.

2013

15,413

2012

14,602

GROWTH RATE

2013

27,793

2012

26,099

GROWTH RATE

2013

3,352

2013

2,884

2013

1,578

2013

1,392

2012

3,524

2012

2,711

2012

1,33

2012

1,458

GROWTH RATE

1. UNILEVER PHILIPPINES, INC.

September-October 2013

2. PROCTER & GAMBLE PHILS., INC.

GROWTH RATE

18%

3.COLGATEPALMOLIVE PHILIPPINES, INC.

2013

1,368

2013

564

2013

406

2012

1,184

2012

358

2012

276

GROWTH RATE

16%

5. NESTLE' PHILIPPINES, INC.

GROWTH RATE

361

2013

357

2012

367

2012

-2%

9. GLOBE TELECOM, INC.

58%

6. MONDE NISSIN CORPORATION

2013

GROWTH RATE 5%

-5%

GROWTH RATE

17,750%

GROWTH RATE

47%

7. MEAD JOHNSON PHILIPPINES, INC.

BALANCE CATEGORY

10. LA FILIPINA UYGONGCO CORPORATION

GRAND TOTAL

GROWTH RATE

-5%

4. UNITED LABORATORIES, INC.

2013

404

2012

261

GROWTH RATE

55%

8. UNIVERSAL ROBINA CORPORATION

2013

13,981

2012

13,592

GROWTH RATE

2013

26,647

2012

25,070

GROWTH RATE

130

S P E CI AL REPORT

adobomagazine

4as agency o f t he year

September-October 2013

4 as agency o f t he year

ag e n cy o f t h e y e a r

BBDO Guerrero Nabs top accolade and two other awards BBDO Guerrero was the toast of the 4As’ awards night, taking home the show’s biggest prize– the Agency of the Year plate – its fourth win to date in addition to the Best in Market Performance and Digital Excellence honors. The agency had taken the top plate in three previous back-to-back wins, starting in 2007, in addition to capturing other awards through the years. The latest hat-trick of wins caps a year in which BBDO was on a roll on the business and work front, in award shows and with programs to set the agency up for future growth. The Department of Tourism (DOT) account won in late 2011 has been a gift that keeps on giving: DOT expanded the agency’s remit to include digital within months of winning the main brief. Along with the digital assignment, the agency also picked up a slew of multinational and leading local brands such

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as Intel, JP Morgan Chase, Manila Water, SM Supermalls and Omni Lighting. For the former, the agency created the meme-based ‘It’s More Fun in the Philippines’ campaign, which became an internet sensation, taking the local market by storm and charming award jurors from the Tambuli Awards to Kidlat, the Asian Marketing Effectiveness Awards and Boomerang, among others. ‘Persistent Headaches’, the print and TV campaign for Bayer Philippines’ headache management drug Saridon, was another awards magnet, winning from AdFest to Kidlat. DoT and Saridon combined with people awards for the agency’s creative talent saw BBDO best 19 other shops to the coveted Kidlat Most Creative Agency of the Year trophy. The agency also made its mark in digital award shows, winning with work for the DOT, FedEx and Mountain Dew. These wins contributed to BBDO Guerrero becoming the first Philippine agency to enter the Gunn Report’s Top 50 ranking based on 2012 award triumphs, and topping the Won Report’s local agency ranking for the same year. In setting the agency up to succeed into the future, management invested in succession planning. Francine Kahn Gonzalez was promoted to managing director and sent to the BBDO University Agency Leadership Program in Paris, while promising talent were sent to regional Rising Stars Training

in Singapore, with training focused on new business strategies and engagement planning. There were also promotions to beef up its creative bench strength and for the launch of a marketing and new business squad. BBDO also re-engineered its service offering and cost structures to enable strategic consultation services across its subsidiaries and launched Proximity Shop, its shopper marketing offer, and design group DesignWorks. “I cannot thank my team enough, and I cannot thank David (Guerrero) enough… we are actually in a state of shock right now, we certainly weren’t expecting it,” Tony Harris, the agency’s chief executive told adobo at the show. “This is an incredible achievement. This is proof that our main purpose of creating and delivering the best work possible for our clients is paying off. This truly is a celebration of the whole team’s dedication and hard work. I am immensely proud of each and everyone of them.”

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Agency of the Year Awards BBDO Guerrero Ace Saatchi & Saatchi DM9 JaymeSyfu Leo Burnett Manila TBWA\SantiagoMangadaPuno

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Starcom Mediavest Triumphs with trio of media awards

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Starcom MediaVest Group was a shoo-in to take the Media Agency of the Year award after landing two other honors at the show. It had earlier nabbed the Best in Media Creativity and Best in Media Performance plates, critical to winning the night’s top media prize. The Publicis Media brand is no stranger to the show’s top prizes, having scooped back-to-back Best in Media awards while still in its infancy. It also won the Best in Business Performance plate in 2011 after the 4As streamlined awards for media entrants. CEO Joanna Mojica at tributed the agency’s Best in Business Performance award to a perfect pitch batting record and 100% client retention rate in 2012. Metrobank, which the agency won in 2012,demonstrated Starcom’s modus operandi: To go after agency-of-record assignments, the agency’s business model in place since day one. Metrobank’s related companies such as Toyota, Federal Land and the Metrobank Foundation which came as part of the AOR assignment.

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“We now have the most number of AOR clients,” Mojica explained. Starcom also outlined its 100% client retention rate in 2012 in its AOY entries. Noting that a number of clients had been with the 13-year-old agency agency since its launch, Mojica calculated the average client tenure at six years. The agency demonstrated its media creativity with work for Coca-Cola Philippines centennial celebrations anchored around its ‘Teen President for Happiness’ campaign and work for United Laboratories’ Home Products line-up to underscore the products’ efficacy and affordability.

Media Agency of the Year Starcom Mediavest Carat Philippines Mindshare PHD Media Network Zenith Optimedia

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Ace Saatchi & Saatchi Cannes winner enjoy year of new highs

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Ace Saatchi & Saatchi has been on roll, adding the Best in Creative plate to the armful of Cannes Lions it picked up in summer. The agency’s entry was crafted around its mission to “prove that creativity truly sells” with work for some of the country’s biggest, most established and traditional brands ranging from Safeguard, Ariel, Petro and PLDT’s myDSL brand. Its slew of award-winning campaigns didn’t just bring home metal for the agency, but also tangible business results for the clients. For myDSL, Saatchi eschewed the rational product benefit approach common to most internet advertising in the Philippines for a “virtual meets reality love story” creative slant. Played out across television, social media and mall activations, the six-chapter ‘Screen Age Love Story’ blurred the lines between virtual and reality’ to tell the story of a young boy, spurned by his love interest. After a few plot twists and turns, he goes on to find a new crush with his family’s help. ‘Screen Age’ was estimated to have earned 10 million pesos worth of free media from the more than 6 million YouTube views, making it the most viewed and imitated video in the

country. The campaign resulted in a 200% increase in subscriptions for PLDT. Procter & Gamble’s Ariel brand meanwhile booked a 50 million peso sales increase, which the agency attributed to the ‘Ariel Color Olympic Shirt Flag’ campaign, an effort that not only showed how the detergent could left stains but also the spirit of an entire nation. This ambitious activation effort offered Filipinos a chance to be part of their country’s colors at the 2012 London Games. Consumers donated a piece of their shirt in one of the colors of the national flag. The donated material were washed with Ariel Color and sewn to form 12 Olympic-size flags.

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Best in Creative Ace Saatchi & Saatchi BBDO Guerrero DM9JaymeSyfu JWT Manila TBWA\Santiago Mangada Puno Y&R Philippines

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Leo Burnett Manila Reinvented shop builds business

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Leo Burnett Manila has long been guided by the network’s ‘HumanKind’ philosophy of ‘acts not ads’, a belief that has driven to the agency to provide marketing communications solutions that deliver participation and deliver results. At the AOYs, the agency beat a formidable line-up to the Best in Management of Business plate after demonstrating that its evolution from an advertising-centric agency to a marketing solutions company with a diversified palette of services that harnessed talents and developed proprietary tools and platforms had turned the operation into a “future-ready” business partner. On the digital front, for instance, the agency developed a local proprietary tool – The Dip.pr – a customizable online business-to-consumer platform that gathers relevant data in real time. Because the agency puts a premium in understanding people and their behavior, the platform analyzes how targeted people behave through different online channels. Burnett also invested in social media and community management to connect with people where they are having conversations. The agency has, likewise, strengthened its retail/shopper marketing capabilities by bringing in the head of retail marketing of Leo

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Burnett Europe thus enhancing expertise of its retail marketing discipline. Moreover, it has invested in a proprietary research that looks into the wide local landscape of shopping channels with focus on the sari-sari store shopper. By having the disciplines in place and leveraging them – brand consultancy, advertising, digital marketing, CRM/database marketing, retail/shopper marketing, PR and activation – Burnett has been able to achieve business growth. It’s a strategy that the agency says has helped it attract new business even as it maintains congenial collaboration with its business partners, ensuring continuous and lasting growth.

Best in Management of Business

Leo Burnett Manila DM9JaymeSyfu Ogilvy & Mather Publicis JimenezBasic TBWA\SantiagoMangadaPuno

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Independent Agency

Aspac Double indie winner Energized under new leadership, Aspac picked up its second Independent Agency of the Year crown after firing on all cylinders in 2012. Two years shy of hitting the big 4-0, the agency won its first AOYindie prize – the highest local recognition awarded to a fully Filipino-owned shop that is not affiliated or controlled by an international network – in 2011. Setting the agency up for future growth, its chairman Miguel Ramos astutely created the role of president and general manager in 2012, hiring ex-WPP agency veteran, Angel Antonio, to provide dynamic and inspiring leadership to the local player. Through Antonio, Aspac also tapped Third Domingo, founder of IdeasXMachina, to serve as executive creative director to beef up the agency’s product.

Under the pair’s leadership,Aspac added a slew of clients. New business came from Insular Life, which tapped Aspac for its ‘Umpisahan Na’ campaign, bake-shop Goldilocks for the launch its Gtizen Card, retailer SM Kultura for its 2012 campaign, Toshiba for its Power TV campaign ‘Amazing’, starring TV host and actress SolennHeusaff and Honda for its CRV offensive. For another new client, the Philippine International Convention Center, Aspac married print and augmented reality technology created by its digital arm Republika Worldwide to offer a holographic, 3D tour of the complex. Domingo’s role was critical to Aspac boosting the agency’s product and creative bench strength. Client feedback was immediate – long-time client LBC applauded the “striking and challenging”

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work. Honda also noted that the “creatives make us nervous”. Talent management remains high on Aspac’s radar, accounting for the lengthy staff tenures. The agency expanded roles and responsibilities, creating clear career paths to develop and retain its talent. Aspac also enjoys a profile that belies its indie status – in addition to serving as a regular screener for the Advertising Standards Council, Ramos also took on the presidency of the Internet and Mobile Marketing Association of the Philippines last year-end. Independent Agency of the Year

Aspac Advertising Workshop One

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Film Production House of the Year

Straight Shooters Award ‘validates the hard work’ “This win is really a sweet victory for Straight Shooters/Unitel,” says president/ group COO of Straight Shooters/Unitel Madonna Tarrayo, on the AOY win. “It has come during a time when our company is going through transition and changes,” she said, referring to StraightShooters’ recently announced intention to concentrate solely on television commercial production. Funnily enough, Tarrayo was out of the country when Straights Shooters scored its moment of AOY glory. “I was in a different time zone,” she says, laughing. “I was so surprised when I woke up and saw all the

messages on my phone!” “We feel honored that the AOY recognized not only creative work but management of business, technical excellence and human resource as well. After all, commercial production is essentially a business. We are very proud of our people in all departments and grateful to all our industry partners because, without them, we wouldn’t have come this far. So this win means the world to us. It validates the hard work we’ve put into the company and at the same time, it boosts the morale of everyone.”

Of course, stresses Tarrayo, the AOY win is no reason for Straight Shooters – or any other part of Unitel – to rest on its laurels. “I think we are now even more challenged to create better work, to build a stronger company, to forge stronger relationships with our partners and evolve into a production house that’s relevant for the times.” Film Production House of the Year

StraightShooters 88Storey

B e s t i n I n d u s t ry L e a d e r s h i p & C o m m u n i t y S e rv i c e

DM9JaymeSyfu Year of phenomenal success In a phenomenal year that saw the small but credible agency score the Philippines’ first-ever Grand Prix win at Cannes for its Smart TXTBKS initiative for Smart Communications, DM9JaymeSyfu continued their winning streakby scoringAOY metal for Best in Industry Leadership & Community Service, which awards agencies that aim to promote the industry as a whole and to foster better agency-community relations. The win would prove to be doubly meaningful, serving as a send-off ‘bonus’ of sorts for DM9JaymeSyfu chairman and chief creative officer MerleeJayme in her capacity as the outgoing 4As Agency of The Year chair for 2012

“I was so happy that the event turned out to be very successful,” says Jayme, with well-earned delight. “From the program to our hosts to our generous sponsors to the great number of attendees. I particularly loved Mr Boy Javier’s impromptu speech! But the win definitely ended our night as truly unforgettable.” So what’s next for the seemingly indefatigable agency? After all, with all the wins, surely there’s some pressure to do as well, if not better, the next time around. Obviously, Jayme and company must be on to something, as, hot off the heels of AOY, their Smart ‘TXTBKS’ would go on to bag two more Grand Prix wins at Ad Stars and still another two at Spikes.

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“There’s pressure every year – the pressure to do great work, that is” says advertising’s self-proclaimed ‘chairmom’. “It doesn’t really matter what exact metal (we’re trying) to win. What truly matters is that we don’t stop coming up with the next best thing.” Best in Industry Leadership and Community Service

DM9JaymeSyfu BBDO Guerrero Campaigns & Grey Leo Burnett Manila TBWA\Santiago Mangada Puno

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Farewell Industry salutes veteran media star It wasn’t all celebrations and congratulations at this year’s AOY, as everyone in atendance observed a moment of respectful silence for their recently-departed comrade, Manuel ‘Meckoy’ P. Quiogue, accompanied by a video tribute that put into sharp focus the impact the man had on everyone who knew him. Best known by his nickname, “Meckoy” made his mark in both the advertising and broadcast industries, with notable stints at JWT Manila as president and COO and, later on, getting ABS-CBN’s Studio 23 off the ground, to great success. Quiogue would also be responsible for transforming GMA 7 into a billion-peso company during his time as

Photo Meckoy’s widow Ina and sons received by J.J. Calero

GMA Marketing and Productions’ president and chief operating officer. Meckoy would later return to his first love, advertising, as chairman and CEO of GroupM.   Prior to his passing, Meckoy had been due to assume the role of chief entertainment officer at Solar Entertainment. As the heartfelt testimonials from former co-workers and friends played out on the screen, underscoring Quiogue’s accomplishments, generosity, and wit, it was clear that Quiogue had not only

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won the admiration of those he worked with, but their respect. Quiogue’s widow, Ina, along with her and Meckoy’s two sons, ascended to the stage to say a few words. Visibly touched by the outpouring of emotion and obvious love the industry had for her husband, Ina spoke for the family, “I want to thank everyone for this tribute to Meckoy – for the kind words. To those who loved him, thank you for remembering him in a good way.”

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Post Production House of the Year

Underground Logic Solid team leads to fourth win This may have been the fourth consecutive win in a row for Underground Logic as AOY’s Post Production House of the Year, but UGL co-founder Aids Tecson says it wasn’t a victory to be taken for granted. “There were several categories with which we were judged, so I don’t there was one aspect that sealed the deal. It was more of the synergy of all the UGL departments coming into a solid team and giving our best in our respective skill sets, whether it was creative, sales, technical, and most especially, team spirit.”

So what’s next for UGL? “This definitely inspires us to push the envelope further when it comes to realizing our clients’ vision. We know our role, which is to support our clients through servicing and realizing their creative vision, and that’s what we intend to continuously improve on, year after year.”

Post Production House of the Year

Underground Logic Welovepost

au d i o p r o d u c t i o n house of the year

Hit Productions Fifth-in-a-row victory for shop Hit Productions has had a long history of excellence, and with this, their fifth-in-arow win for Audio Production House of the Year (and 13th overall in the 16-year history of the AOYs), it is a trend that looks set to continue. “Since Hit started in 1991, we’ve always tried to keep raising our creative and service standards so that agencies continue to entrust us with their best work” says Hit Productions president and managing partner Vic Icasas. He went on to point out that this year’s win was particularly significant since criteria for judging at this year’s AOY had become more stringent; for the first time, the production categories were judged not only on the strength of their TV and radio work, but also on submitted case studies and supporting documents in the

areas of financial, personnel and technical management. “Prior to this year, the Audio Production House trophy was awarded on the basis of a reel of TV/radio ads as well as quality of service, as judged by agency producers and creatives,” says Icasas. “I’m particularly happy that we’ve been recognized now not just for the quality of our work but for our overall performance as a company,” says Icasas. “It gives us even more motivation to improve, and here’s hoping that we can do this all over again next year!”

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Audio Production House of the Year

Hit Productions Loudbox

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01 Hit Productions wins Sound Production House of the Year for a record 13th time! L-R PMA president Vince Reyes, Vic Icasas, Dennis Cham, Salito Malca and JWT’s Joe Dy 02 Underground Logic’s Aids Tecson holds his Production House of the Year AOY plate proudly with colleagues Paolo Morato and Ryan Jose Ticsay 03 Poignant moment as Meckoy Quiogue’s widow, Ina and 2 sons ascend the stage after a memorable tribute to her late husband. Seen here with J.J. Calero 04 Celebrity hosts Iya Villana with concert king and funnyman Martin Nievera 05 4As Chairman Matec Villanueva welcomes the crowd 06 DDB’s Timmy Jayme and BBDO Guerrero’s Francine Kahn-Gonzales 07 Film Production House of the Year Straight Shooters team led by Ruth Colacion 08 adobo’s Janelle Squires with Aspac’s Joey Ong and Angel Antonio 09 The reins are passed on to Publicis Manila’s JR Ramos, who takes over from Merlee Jayme as the AOY chair 10 AOY 2012 chair Merlee Jayme 11 J.J. Calero and Carat’s Angelito ‘Boy P’ Pangilinan enjoy the AOY

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Agency of the year

01 Aspac Advertising is named Independent Agency of the Year for the second year running. L-R Presenter Matec Villanueva, Rey Leuterio, Boni Santos, Robin Latonio, Angel Antonio, Rissa De Guzman, Jonah Brocka, Ria Tangco and presenter Cecile Velez, McCann Worldgroup 02 BBDO Guerrero is named 2011’s Agency of the Year , taking home the evening’s most coveted trophy 03 Publicis Manila’s Matec Villanueva, DM9’s Alex Syfu and Saatchi’s Mio Chongson 04 The Rigodon Ballroom at the Manila Peninsula Hotel has traditionally been the home of the AOY 05 adobo’s Janelle Squires (third from left) join Leo Burnett in celebrating their win. L-R Raoul Panes, Raymond Arrastia, Kat Limchoc 06 Alex Syfu getting a headstart on the after-party, with Janelle Squires 07 Andrew Petch with Merlee and Timmy Jayme 08 The after-party at Salon de Ning L-R BBDO’s Ombet Traspe, Rey Tiempo, Francine Gonzales (3rd from right) and Gary Amante (far right) with Merlee Jayme, Ace Saatchi’s Mio Chongson and Janelle Squires 09 Ace Saatchi & Saatchi’s Andrew Petch (center) proudly shows off his AOY plate for the Most Creative Agency of 2012 10 Starcom Mediavest is the winningest media team of the evening, sweeping all 3 awards for Media. L-R Liam Capati, Fatima Ferrer, Chris Uy, Faye San Diego, Joanna Mojica, Beng Mallari, Olive Crisostomo, Oyie Pingol, Hope Binay and Veron Agustin

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Mad About Awards adobo and Lakihan Mo Logo toast country’s Creative Rockstars The Philippine advertising industry had a rollicking good time at Live Vibe Centrale in A. Venue Mall Makati City in July when adobo Magazine and Lakihan Mo Logo joined forces to present Mad About Awards: A Salute to Creative Rockstars, shining the spotlight on Philippine creativity. Celebrating Philippine agencies’ historic victories at the 60th Cannes International Festival of Creativity, the event was a tribute to world-class Philippine advertising talent. After the hard work, the anxious moments awaiting Cannes results, the industry let its hair down to bang its collective head to the likes of Itchyworms, Moonstar88, Gracenote,

Billy Gaga, Halik ni Gringo and Shoulder State, to Quepias, Pasok mga Bwitre, Syke, D-Maps and the appropriately-named Advertising Band of the Philippines. In her welcoming remarks, adobo’s vice president and chief operating officer Janelle Squires said: “We join the industry in applauding the creative rock stars who continue to excel in their craft, showing that the Philippines is on its way to becoming a creative powerhouse in the region, if not the world.” adobo editor-in-chief Angel Guerrero shared Squire’s sentiments. As she was out of the country, Guerrero left a video message to

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applaud the Philippines’ stellar performances at this year’s Cannes Lions. Guerrero saw the industry’s triumph as a definite sign that the country “had arrived”. Advertising’s top creatives and suits proceeded to party the night away in true rock star fashion. They stayed, mingled and savored the electric atmosphere which made this a fitting performance for the creative stars of the yea. adobo and Lakihan Mo Logo’s Mad About Awards: A Salute to Creative Rockstars evening would not have been possible without the generous support of the sponsors.

partners and sponsors PLDT MyDSL, Greenwich Pizza, WYD Productions, Executive Decisions, Dacar Corporation and Live Vibe Centrale helped make adobo and Lakihan Mo Logo’s Mad About Awards a success

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01 The party in full swing 02 Moonstar 88 performs to the crowd’s delight, with lead guitarist Herbert Hernandez of Lakihan Mo Logo fame 03 Billy Gaga, a.k.a. the king of pop brings the house down with his Michael Jackson impersonation 04 adobo EIC Angel Guerrero welcomes the crowd through a pre-recorded video “from the palais in Cannes” 05 Event partner PLDT Home’s Dodie Lucas and John Yanez come to celebrate their 2 Cannes gold lions for “Screen Age Love Story” 06 Itchyworms’ drummer Jazz Nicolas 07 adobo’s Charisma Felix with Geiser Maclang’s Katrina Tapang and Erik Dimapilis 08 P&G’s Clint Navales and Deirdre de Padua also celebrate their Cannes lion for Ariel Olympic shirt flag. Here with adobo’s COO Janelle Squires (center) 09 Popular band Itchyworms lead singer Jugs Jugueta 10 Lakihan Mo Logo mainstay hosts, Syke of UGL and Publicis Manila’s Edu Ibazeta kept everyone entertained 11 Ace Saatchi’s dapper CD Greg Martin with adobo’s Mikjail Lecaros 12 Radio guru Tony Hertz

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01 adobo’s Ched Dayot with ever-reliable technical partners, Executive Decisions 02 It’s out! adobo magazine’s creative and accounts team celebrate the official release of the publication’s 46th issue. L-R, Dic Malit, Jona Atienza, Misha Lecaros, Victor Garcia and Janelle Squires 03 All Famous’ Robin Leonard and BBDO’s Tony Harris enjoy Beer Below Zero 04 BBDo’s Fran Gonzales and Carmela Montilla with Ace Saatchi’s Mio Chongson 05 Power couple and multi-award winners in their own rights - Hit Productions’ Vic Icasas and Kraft’s Cynthia Icasas 06 The sound guys - Raul Blay of Soundesign and Salito Malca of Hit Productions 07 Event partner Greenwich Pizza’s Luis Velasco, enjoying being a thorn among the roses 08 Ace Saatchi’s Trixie Diyco and Reg Lota, with former colleague Bogey Bernardo (center) 09 Ace Saatchi’s award-winning accounts tandem April Landicho and Gigi Garcia with Janelle Squires 10 Live Vibe Centrale’s Raymund Recto and Chits Jimenez sample a delicious bite courtesy of Chef Dan of Dacar Corporation 11 Pasok mga Buwitre lead singer and Draftfcb’s ECD James Bernardo belts it out 12 Jaime Garchitorena of Spinweb, Ana Ongpin of DDB PR, Gary Dujali VP and Head of PLDT HOME Broadband

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ad s tar s

ad stars Barely a month after stunning the world at Cannes, Philippine agency DM9JaymeSyfu did the country proud yet again at the sixth annual Ad Stars International Advertising Festival in Busan, Korea, scoring not one, but two Grand Prix wins for their ‘Smart TXTBKS’ initiative, one in Mobile and another for Public Service Announcement. “Nobody told me it would be two!” quipped DM9 chairman and CCO Merlee Jayme, who had been informed of the Mobile win beforehand. The second, however, a Grand Prix of the Year award for PSA – a special prize that included a US$ 10,000 cash prize – came as a complete surprise. The agency was also presented with a Gold in Public Service Advertising (for Human Rights) for their ‘Bury the Past’ work for Gabriela. Ascending the stage to receive the Grand Prix were Jayme and executive creative director Eugene Demata. While Demata’s proud brandishing of the Philippine flag drew cheers, so too did Jayme’s acceptance speech wherein she said that the festival’s theme of “Share Creative Solutions, Change The World” was exactly in line with the thought processes that went into creating ‘Smart TXTBKS’. From August 22-24, Busan Korea welcomed members

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accomplishments of Havas vice-president and chief creative officer Jacques Séguélas, who also served as Ad Stars Jury President. Bedecked in Ad Stars paraphernalia as the inside of the BEXCO was, the outside boasted an “Ad Street”, where funny and quirky ads from around the world were displayed in a series of standalone boards that curved around the perimeter of the building. Of the entries, 1,704 finalists were selected following a round of preliminary selection presided over by 155 judges from around the world. Subsequently, the finalists were judged by an international panel of jury presidents that included Séguéla (Film, Outdoor, Outdoor), Mori Inc. Tokyo creative director Morihiro Harano (Interactive, Mobile, Interactive Craft, Direct), McCann Erickson China executive vice president Tomaz Mok (PSA, Place Brand, Entertainment Promotion, Film Craft), eYeka global business director Rafe Ring (Innovation, Diverse Insights, Effectiveness, Campaign Presentation Video, Media, Branded Content, PR, Promotion,

Design) and BBDO Guerrero chief creative officer David Guerrero (Print, Print Craft, Outdoor Craft, Integrated). The festival Awards Night was held at the BEXCO Auditorium at the end of Ad Stars’ third day. Speaking at the event was Séguéla, who was all smiles as he praised the organizers for spearheading the idea of a festival that was open to the public, calling it a “festival of ideas” as opposed to a “festival of money”. Philippine agencies solidified their winning performance with Leo Burnett scoring Crystal in Public Service Advertising for their ‘Tree’ and ‘Iceberg’ works for WWF, while BBDO Guerrero received a Gold for their ‘The Fun Phenomenon’ for the Department of Tourism and Bronze honors in Radio for their Saridon series of spots. DDB Philippines received a Silver for their Pacquiao Positive campaign for Pepsico. TBWA\Santiago Mangada Puno was the recipient of a Bronze in Film for ‘Nativity’. Under Innovation, Y&R Philippines, Inc. was recognized with Crystal wins in Innovation and Outdoor for their Dengue Bottle initiative. Cheil Worldwide was the recipient of the other Grand Prix of the Year award (in the Product and Services category) for their “Bridge of Life” for Samsung Insurance. Agency of the Year went to Innocean Worldwide, while Publicis received a nod for Network of the Year. Brazil’s Leo Burnett Tailor Made’s ‘My Blood is Red and Black’ scored multiple Grand Prix wins for its innovative approach to blood donation, taking top honors in Innovation, Integrated, PR and Public Service Advertising. Following the awarding ceremonies, delegates, judges and invited guests celebrated the completion of another successful Ad Stars with a closing party at the Novotel Ambassador Hotel.

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01 DM9JaymeSyfu is all smiles on the Ad Stars stage, with a Grand Prix in Mobile and a Grand Prix of the Year in PSA. L to R: Associate creative director Allan Montayre, account director Fin Neric, ECD Eugene Demata, chairman and CCO Merlee Jayme, copywriter Biba Cabuquit and creative director Jerry Hizon 02 Cheil Worldwide celebrates their Grand Prix of the Year award for ‘Bridge of Life’ for Samsung Insurance

of the international advertising community, as a record 12,079 local and international entries vied for metal glory. The notion of changing the world with creative works was reflected in many of the eventual winners’ public servicebased origins, which would see an eventual 16 Grand Prix awards handed out. On the first day of the festival, delegates were welcomed with a ribbon-cutting ceremony at the Busan Exhibition and Convention Center (BEXCO), presided over by the Ad Stars organizing committee, headed up by the Mayor of Busan, Nam Sik Hur. Aside from Ad Stars’ being promoted as an event designed to inspire creativity on a global level, the festival is for being an industry event that is open to the general public. Over the three days of the festival, upwards of six thousand visitors visited the BEXCO to view entries, watch case studies, patronize sponsor booths and generally get a feel for what the world of advertising had to offer. A highlight of the Festival exhibitions was a section devoted exclusively to the works and

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Ad Stars

PSA (Human Rights) Title ‘One Photo a Day in the Worst Year of my Life’ Brand Fond B92 Agency Saatchi & Saatchi, Belgrade, Serbia Executive creative director Veljko Golubovic Creative director Zarko Veljkovic Associate creative director Dragana Petkovic Managing director Sonja Milovic Account manager Zorica Marjanovic Agency producer Ivan Zornic Designer Ana Cvetkovic Planner Tatjana Milnovic

Innovation, Integrated, PR, PSA (others) Title ‘My Blood is Red and Black’ Brand Hemoba/Esporte Clube Vitoria Agency Leo Burnett Tailor Made Production company Vetor Zero / Brasileira Filmes Music company AudioBoutique Photography studio Vetor Zero / Brasileira Filmes Chief creative officer Marcelo Reis Creative director Marcelo Reis Creative director Guilherme Jahara, Rodrigo Jatene, Rodolfo Fernandes Art director Alexandre Pagano, Guilherme Jahara Copywriter Erick Mendonça, João Caetano Brasil Account VP Pablo Arteaga Account manager Junior Bottura Account assistant Anelene Putini Media Fernando Sales, André Massuda Planning Marcello Magalhães, Tiago Lara, Manuela Gambargote Agency producers Celso Groba, Maria Fernanda Moura, Rafael Messias, Camila Aquino Director Bia Flecha, Fernando Sanches Photographer: Gabriel Teixeira

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September-October 2013

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SP EC IAL R E PO R T

Promotion

PSA (Others)

Title ‘Beijing Duck’ Brand T.C. Pharmaceutical Industries Co., Ltd Agency Leo Burnett Group Thailand Chief creative officer Sompat Trisadikun Executive creative director Keeratie Chaimoungkalo, Chanyutt Boonyagate, Art director Nuttayut Sankla, Chanyutt Boonyagate, Sompat Trisadikun Copywriter Chayamon Bunnag Agency producer Rungrudee Chinpratan Account service Jirapun Chaipatamanont, Pimolporn Leosirikul, Marisa Shaw Producer Penpark Pattanavichaikul Director Ratakorn Apichatyothin Cinematographer Kritchai Mongkolsapphaya Editor Songsak Visitpakdeekul Sound design/Arrangement Sakchai Kungwanprasert Sound Studio Cinesound Co./Ltd.

Title ‘Dumb Ways to Die’ Brand Metro Trains Agency McCann Melbourne Executive creative director John Mescall Art director Pat Baron Copywriter John Mescall Client team director Chloe Alsop Account director Adrian Mills Agency producer Mark Bradley, Cinnamon Darvall Illustrator Julian Frost Music + Sound production Ollie McGill

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Print Title ‘Pig’ Brand Unilever Agency Lowe Thailand Chief creative officer Eric Yeo, Dominic Stallard Creative director Ricardo Turcios, Ruchi Sharma Copywriter Ej Galang, Sarah Ko, Gabriele Espaldon Art director Katrina Encanto Photographer Surachai Puthikulangkura Illustrator Surachai Puthikulangkura, Supachai U-Rairat Account manager Blair Wang, Yarita Witoelar

September-October 2013

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Mobile, Grand Prix of the Year (2 awards) Title ‘TXTBKS’ Brand Smart Communications Inc. Agency DDB DM9JaymeSyfu/Di9it Chair and CCO Merlee Jayme ECD Eugene Demata ACD/copywriter Aste Gutierrez ACD digital Buboy Paguio Art director Buboy Rayong Account supervisor Alex Syfu Account manager Ina Vargas Producer Carlo Perlas, Tower of Doom Editor Melo Samson, Tower of Doom

Grand Prix of the Year Title ‘Bridge of Life’ Brand Samsung Life Insurance Agency Cheil Worldwide Executive creative director Thomas Hongtack Kim Creative director Joohoon Lee Art directors Jinwoo Ryu, Hyungkyun Oh, Jaeyeon Kim, Minjoo Kim, Jiyeon Choi, Chaehoon Lee Copywriters Youngjun Kim, Yukyung Joo, Yongkyu Choi, Jieun Park Producer Dukwon Jang Designers Chang-hwa Yeo Taejin Kang, Myeongjoon Joo, Jaechul Lee, Yunsung So, Byoung-hee Kang, Dongwook Kim, Jaehyuk Yoo, Dohyun Kim, Seung-goo Kang, Seukho Lee,Heesoo Kim, Jaedeok Kang, Jinho Lee, Jiwon Choi, Joonho An

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Title ‘The Ultimate Pencil: Old Man’ Brand Staedtler Japan K.K. Agency Dentsu Inc. Creative director Sinya Nakajima Copywriter Dai Hirose Art director Hideto Yagi Planner Hideto Yagi Print production company Tohokushinsha Film Corporation, Tokyo Photographer Takaya Sakano Retoucher Yosuke Mochizuki Illustrator Hideto Yagi Designer Hideto Yagi Production Producer Koumei Baba

Title ‘Batting Practice Center 1’ Brand Murata Kampo Chinese Herbal Medicine Agency Dentsu Creative X Inc. Creative director Tomoyuki Ogi Copywriters Tomoyuki Ogi and Makiko Tanimura Account managers Katsuhiko Fukumoto and Yoshiko Tsujimoto Planners Tomoyuki Ogi Production company Dentsu Creative X Inc. Producer Manami Ito Director Nobuaki Hayakawa

Title ‘Uniqlo Storms Pinterest’ Brand UNIQLO Agency firstborn Title The Other Side Project Brand Home Product Center Public Company Limited Agency BBDO Bangkok Chief creative officer Sutthisak Sucharittanonta Creative director Suthisak Sucharittanonta, Chalit Manuyakorn Copywriters Suthisak Sucharittanonta, Chalit Manuyakorn, Thasorn Boonyanate Art directors Suthisak Sucharittanonta, Apichai Inthutsingh, Rook Floro Agency producer Ladawan Vilainart Director Thasorn Boonyanate Account executive Yaowanooch Saknarong, Sakunnapak Chaipracha

September-October 2013

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Jury Comments

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‘One Photo a Day in the Worst Year of My Life’, ‘Bridge of Life’ and ‘Smart TXTBKS’ put you in the shoes of the target audience, whether it’s about education or domestic violence or suicide. The best executions can always teach you something, and even if I have never experienced many of these problems, these campaigns show me why I should sympathize with the women or children who cannot afford education. These campaigns hit our minds and touch our hearts. - Tomaz Mok Evp Director of Professional Services, McCann Erickson China The trend today is making good ads to touch people and make a better world. (This campaign) heightened the artistry and was clear about the emotion and appealed to the heart. If I could, I would invite the people responsible for ‘One Photo a Day in the Worst Year of My Life’ to an expensive French dinner.

‘My Blood is Red and Black’ showed a real understanding of what motivates people; in this case, the realization that people only give blood if it’s someone they know or related to.

- JACQUES SÉGUÉLA VP and CCO, Havas

- FREDRIK SARNBLAD SVP, Group Strategy Director, Mullen Boston

You see this attempted at every award show, but never this fresh. It’s different. - Josy Paul Chairman, CCO, BBDO India, on Lowe Thailand’s ‘Pig’

It was a beautifully simple way to involve the fans of a football club with the cause of raising blood donations for the country. By linking the desire to do good with restoring the colors of the team, it has a very direct link between what matters to fans and what matters to society. - DAVID GUERRERO Chairman, CCO, BBDO Guerrero, on ‘My Blood is Red and Black’, by Leo Burnett Tailor Made

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This was a really tough judging because we were having the most difficult time figuring out what was public service, as opposed to what was CSR, and they were really starting to blend into each other. But the focus of this festival is ‘Creativity for Humanity, so the thing we were talking about was, “what is the one idea that really changes humanity? If you really want to talk about public service, this campaign is what changing humanity’s all about. ‘Smart TXTBKS’ was one that we really debated on, and at the end, one was more about awareness, but Smart TXTBKS delivers. You can take this idea and apply it to the rest of the world, and that makes it a bigger idea. - ERIC CRUZ ECD, Leo Burnett & Arc Worldwide Malaysia

Ultimately, the problem with promotion is, when you turn the promotion off, the selling effect gets turned off as well, and what we found really interesting about this piece of work, really creatively interesting, was that it showed a good understanding of how news media works. Really good advertising is when you stop the promotion, and people are still talking about it – on that basis, this was a clear winner. - ANDREW HOVELLS Board Planner, Jaywing, on ‘Beijing Duck’ by Leo Burnett Thailand

‘Dumb Ways to Die’ is ingenious, an all-around, very tight campaign and, at the end of the day, it saves lives, and it’s also one of those songs that sticks in your head and doesn’t go away once you start humming it!

The best ideas are culturally relevant, and ‘Smart TXTBKS’ is a brilliant idea that can change education forever, from a country that needs these types of ideas. - Hector Fernandez Co-managing director, CCO, Publicis Mexico

- ISRAEL DIAZ EVP, CCO, Y&R Canada

Illustration: Production company Babobabo.com Creative Director Tae-uk Yun Artist Yong-woon Baik, Jin-sun Park

September-October 2013

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Snapshots

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01 The Busan Exposition and Convention Center, home of Ad Stars 2013 02 Team DM9 posing proudly with their two Grand Prix 03 adobo managing editor Mikhail Lecaros with Cheil ECD Thomas Kim 04 DM9’s Merlee Jayme and Eugene Demata 05 The Ad Stars Judges’ panel discussion, with (L-R) McCann Worldgroup chairman Tomaz Mok, Havas VP & CCO Jacques Séguéla and Publicis Mexico co-managing director & CCO Hector Fernandez 06 HS Ad VP & ECD Bo Hwang with TBWA\Hakuhodo copywriter Nato Ichikawa 07 DM9JaymeSyfu account director Fin Neric, ECD Eugene Demata and creative director Jerry Hizon with Leo Burnette Malaysia ECD Eric Cruz 08 The Ad Stars 2013 closing party was held at Busan’s Novotel Ambassador Hotel 09 The Gunn Report’s Donald Gunn, Havas Media Group Global Business Director Martin Dufty and Havas VP & CCO Jacques Séguéla 10 Judges, delegates and invited guests celebrate the end of another successful Ad Stars 11 Ad Stars organizing committee vice chairman Jay Jaehong Kim, eYeka global director for strategic alliances Rafe Ring and Saatchi & Saatchi Hong Kong art director Michael Tam

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September-October 2013

REGU L AR Se c t io n

BONG OSORIO

Logic & Magic

It’s the experience The basic birthday cake presents a complete narrative of economic development. In the rural economy, women made birthday cakes from scratch, mixing farm supplies for a cake that cost a pittance. As the product-based manufacturing economy moved forward, women parted with a few pesos for pre-mixed ingredients. Later, when the service economy took hold, busy parents ordered cakes from stores, even as they shelled out 10 times more than packaged items. These days, birthdays and other celebrations can be “outsourced” to an event organizer or some other business that stages superb happenings, which often includes the cost of the cake as part of the package. The basic premise of the updated book, ‘The Experience Economy: Work Is Theater And Every Business A Stage’ by B. Joseph Pine and James H. Gilmore is that society has gone through a new period where experiences are the economic offerings that are in peak demand, and thus generate the highest value returns. An experience takes place when a company purposely uses services as the stage, and goods as props to

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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.

engage individual customers in a way that creates a memorable event. Economists have characteristically grouped together experiences with services, but in truth, experiences are dissimilar from services, as services are from products. The difference between services and experiences can be better appreciated with an episode from Taxi in which Iggy decided to turn himself into the best taxi driver in the world. Aside from delivering a cab ride, he served sandwiches and sodas, carried out city tours, and even belted Frank Sinatra tunes. He engaged his passengers in a big way, turning an ordinary taxi trip into an unforgettable event, which became a distinctive economic proposition. Back home, Cherry Alejandrino, a simple, hardworking elevator operator turned a rather lackluster elevator ride in a mall in Olongapo City into a totally new experience. Her cheerful personality and enthusiasm to help shoppers made her an instant celebrity when a number of video clips showing her joyful deportment made the rounds

online, creating a halo effect on the mall itself. The metaphor of the theatre takes center stage in the experience economy. It provides a stimulating view on what it takes to earn the equivalent of a standing ovation from today’s discerning clients. Pine and Gilmore have invented a portfolio approach to classifying different forms of theatre: The “Platform Theatre” is what most people think about as a staged performance, where the script doesn’t vary. The “Street Theatre” is traditionally the domain of jugglers, mimes, and clowns, where the script is stable but the audience is dynamic. The “Matching Theater” – film and television – requires the integration of work outcomes from one disconnected time frame to another. The “Improv Theatre” is about ‘winging it’, which demands certain skills in terms of thinking on one’s feet, responding to new and changing demands from the ‘audience’. Today, new technologies encourage whole new genres of experience, such as interactive games, internet chat rooms and multi-player games, motion-based simulators, and virtual reality. Jollibee and McDonald's offer more than a meal. They can host birthday parties for kids, complete with all the trimmings. Other industries have adopted the workings of the experience economy. Andersen Consulting’s Smart Store in Windsor, UK can interact with advanced technology all within the setting of a home, a supermarket, or a distribution center. The company used film set designers to produce visually striking sets that cuddle the executive and, in some cases, ship them into another world. Other industries create the ‘briefcasing’, ‘wastebasketing’ or the ‘masktaping’ experience. In experience economies, even the most mundane product or service can be enhanced. Smart shoeshine operator, for example, augment the smell of polish with crisp snaps of the cloth, scents and sounds that don’t make the shoes any shinier but do make the experience more engaging.

September-October 2013

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RE G UL AR Secti on

Downtime industry odds and ends

It’s Go Time for Van Damme and his amazing bongos Jean Claude Van Damme’s career saw a well-received revival when he portrayed the appropriately-named baddie, Jean Vilain, in last year’s The Expendables 2. While that appearance was powered by nostalgia for the 90s action star, we’re frankly at a loss to explain his presence in the latest ads from GoDaddy, whose campaigns have traditionally featured scantily-clad women. In the spots, the Muscles from Brussels perplexes a baker and a florist with displays of his trademark flexibility as well as his mastery of... bongos?!

F1 great starts WPP chief’s career? F1 legend Sir Jackie Stewart, affectionately known as the “Flying Scot”, brought the house down at Spikes Asia when he recounted the little-known tale of how WPP CEO Sir Martin Sorrell’s first job out of university was as his PA, with duties including – among other things – carrying the threetime Grand Prix winner’s bag for close to two years. “So if anyone asks,” said Stewart, a mischievous twinkle in his eye, “I made Martin Sorrell!”

KIWIS PIPE BEER INTO MATE’S HOUSE; NO ONE COMPLAINS

Far be it from us to argue with a Knight of the Realm.

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September-October 2013

While it’s usually their Australian neighbors who get the rep as the region’s beer champs, New Zealand made a pretty good case for the title recently when a group of buddies entered their friend’s home while he was out, and proceeded to reroute the house’s water supply to be fed from some handy kegs of (obviously sponsored) Tiu beer. With the help of some hidden cameras, the mates then hide in a nearby house and wait for the hilarity to ensue when their friend discovers he now has hot and cold running beer from every tap in the house. The video has already gone viral, and while the owner of the house didn’t look at all upset by what his boys had done, we can’t help but wonder if he’d still be smiling come bath time.

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Events Calendar October 5 Eneri Abillar’s Parts & Process

November 5 - 8 The Graphics and Publishing Seminar 2013 October 15 adobo “Main Course with Tony Hertz” The Mind Museum Philippines www.adobomagazine.com

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www.liaawards.com

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October 6 – 12 2013 Junior Creative Conversations Encore, Wynn Las Vegas www.liaawards.com

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November 16 adobo SEVENS Invitational Inter Ad Agency Football Tournament

www.adobomagazine.com

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Encore, Wynn Las Vegas

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Tribecca Football Field Philippines

Vaporstudio Asia, Makati City Philippines

October 5 – 12 London International Awards 2013 Judging Sessions

AIM Conference Center, Makati City, Philippines

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October 18 – 22 PUP – Student Advertising Congress

November 19 – 22 ANIMAHENASYON 2013

Brentwood Apartelle, Baguio City Philippines

Ilo-ilo City, Philippines

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October 21 21st Cresta International Advertising Awards

November 25 E-Learning EDGE “1st Mobile Festival”

TBA www.cresta-awards.com

Hall 4 of SMX Mall of Asia Philippines

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October 26 BIG FISH – SCREAM Halloween Ball

November 28 UPMG General Membership Meeting

World Trade Center, Pasay City

TBA

www.bigfishmanila.com

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www.animahenasyon.com

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October 8 PMA 33rd Agora Awards Night The Peninsula Manila Philippines ----

October 14 – 20 Design Week Philippines SMX Convention Center, Pasay City Philippines

October 30 - 31 FIERA DE MANILA’s The 7th Search Engine Marketing Conference

November 30 BIG FISH “EXCEPTION”

Hotel Intercontinental, Makati City, Philippines

World Trade Center, Pasay City Philippines

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www.bigfishmanila.com

November 4 London International Awards Announcements of Winner www.liaawards.com

December 11 Campaign Asia-Pacific Agency of the Year Awards

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Singapore www.aoyawards.com

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September-October 2013