FEBRUARY 2017
HONG KONG
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編者的話
EDS LETTER
TRYING TO LEAVE OUR IMPRINT BEHIND
Editorial Carlos Bruinsma, Editor carlosb@marketing-interactive.com
憕㻐军ᾙ
Inti Tam, Deputy Editor intit@marketing-interactive.com Angel Tang, Senior Reporter angelt@marketing-interactive.com Tracy Chan, Bilingual Sub Editor tracyc@marketing-interactive.com Advertising Sales - Hong Kong Sara Wan, Sales Director saraw@marketing-interactive.com Sherman Ho, Account Manager shermanh@marketing-interactive.com Ruby Lee, Account Manager rubyl@marketing-interactive.com Advertising Sales - International Søren Beaulieu, Publisher (Singapore) sorenb@marketing-interactive.com Production and Design Shahrom Kamarulzaman, Regional Art Director shahrom@lighthousemedia.com.sg Evisu Yip, Associate Art Director evisuy@lighthousemedia.com.sg Samson Lam, Graphic Designer samsonl@lighthousemedia.com.sg Events Yeo Wei Qi, Regional Head of Events Services weiqi@lighthousemedia.com.sg Cathy Luk, Manager - Events Services cathyl@marketing-interactive.com Finance Evelyn Wong, Regional Finance Director evelynw@lighthousemedia.com.sg Management Tony Kelly, Managing Director tk@marketing-interactive.com Justin Randles, Group Managing Director jr@marketing-interactive.com
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Chances are, you’re reading this note in print – mostly because we don’t usually publish these online, save for a digital edition of the print version. However, given the recent state of affairs, I can’t help but wonder how long it will be before even this column will be solely confined to the (sar-)chasm of the internet. As a trade publication, we have a bit of leeway – a lot of senior professionals still prefer to sit down and read a magazine, rather than scour the web for a glimpse at long-form journalism. But for how long? Some of Hong Kong’s most prominent English-language publications have either gone online only or simply shut their doors completely. Print bookshops are still losing money, and are closing up shop all around our fair slice of earth, as well as overseas. “It didn’t make business sense,” the explanations read. “Ultimately, we realised that online is the future,” publishers tell us reassuringly. It may be tempting to point the finger at the advertising industry; after all, they’re the ones deciding where the money goes. If they say print, we print. If they say digital, we go digital. Except, advertisers go where the customers are; and the cold hard facts indicate these customers consume their media online. In all honesty, I can barely remember the last time I bought a new book instead of the Kindle version, and the times I read physical papers are getting further and further in between. I’m also part of the problem, but that doesn’t mean I don’t lament the seemingly dying breaths of something so instrumental in shaping the modern world. You, the reader, can take comfort from the fact that you’re guilt-free by virtue of this page in your (hopefully) physical hands. Taking the liberty of speaking for all sentimental fools everywhere, thank you for that. It’s a joy to put these together and it’s nice to know it’s still appreciated. Enjoy the read.
ᓇᡒᗭ᱑≫፲ᱹᅗ᎐ᢢ៦ᑆᠥᔾᣞ᱓ᬈጰỒᑋጆ 䠋⾒憨⋶ⵈҸ䋅军虇冒㋽⎿㢏慠䠓㉔㹐虇㎠ᾜ䬐䒫 ㊂虇㢻㲓⃤㟑㢒㾈㸡㝋佁ᾙ⋶ⵈ䠓㺹㻐ῚᾼҸ ⃫䉉ᾏ₌⛕㫼桫尛虇㎠↠⁜㢘ᾏ灭䱚彂Ὶ⢿虇 ㄗ⪩㫼⁉⩺⁜≍■⣟ᾚℕ亿杀桫尛虇军ᾜ㞾ᾙ佁 䆞孌朆䵖㜿凭Ҹ⃕憨╾⁴似㒐⪩虚 欨㾾ᾏ㢏嗦▜䠓咀㜖㢇⎙嬐ᾜ廿■㜇䩋⒥虇 嬐ᾜ杫朏⪶▘Ҹ㢇〦ᾜ㝆⢷埶㖜虇㳲杫朘⢷㢻⢿╙ 㼆⪥䠓⎕〦Ҹ ⌅孲捚㞾處Ӂ憨ᾜ䲵▗⛕㫼┮⏖Ҹӂ⎉䏗⛕■㎠ ↠姷䫉處Ӂ㢏仑㎠↠㊞峧⎿虇佁仰㏜㞾㢹ℕҸӂ ⶖ 憨↚䥪榼㒖■ひ ◙姛㫼╾劌㞾 㢏ⵈ 㞢虇䛱 䱮虇↠㞾㸉ⶖ撱㐤幖⢷䚩灋⢿㝈䠓⁉Ҹ⬑㤫 ↠尹⓿⏆⎙䏸虇㎠↠⓿⏆⎙䏸虖⬑㤫↠尹惘㛊㜇 䩋。╿虇㎠↠廿■㜇䩋Ҹ⃕㢘ᾏ灭ᾜ嬐ㅧ宧虇ひ◙⛕ 㞾彮样槶ⴱ䠓㳴虇军㛨⁉戉㍍䠓㞾虇槶ⴱ䩉㞾 ✫㳰䆞孌佁ᾙⰡ汣Ҹ 冐尹虇㎠」῝宧ᾜ弆ᾙᾏ㲰幆⋴㜿㢇䠓㟑 朢虇军ᾣ㎠杀崏汣㜖䱯䢇栣䠓㟑朢㊗ℕ㊗朆Ҹ㎠ ㄦ㐎尜㎠΅㢘₌憯㎟憨↚⛞槛虇⃕ᾜ姷㎠ᾜ㢒䉉 憨↚䖍巰军㊮⎿⯘㉫Ҹ ㏚㒐憨㢻虃⾛㢪㞾虄汣桫尛杀崏憨䵖㜖䱯䠓 崏冔↠╾⁴㛍ㅒ虇⃯↠㞾䊰價䠓虇峈姷▓埤⪩㊐ ✓㊮䠓≊䙫■⃯↠懢岬Ҹ劌⪯個倛⎉䏗憨㢻桫尛㞾 ᾏ₅㊘ㅺ䠓‚虇ㄗ汧厗ⴒ⁜䋅ㄦ⎿幭峧Ҹ 屚亿杀⁙㢮桫尛Ҹ
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Carlos Bruinsma Editor WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
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CASE STUDY FTLife rebranding advertising campaign.
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CASE STUDY Digital campaign content management system for Vodafone.
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CASE STUDY 7-Eleven and Le Creuset redemption programme.
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Sitting pretty: the market pioneer from India to China.
䲻ᾏ㐙″㪔
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Why you need to work in Asia to advance your marketing career.
㻁䉉⃤㞾䠋ⷤ⾑⧃㔷ひ‚㫼䠓䖕㊂Ὶ⢿
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Is working in-house now less attractive than working in an agency?
⢷䖕⋻▇⽴⃫㵣ₐ㫼⋶扷㢃◇イ虚
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60 seconds with
What’s on? Mob-Ex Awards 2017 What: The Mob-Ex Awards 2017 is Hong Kong’s premier event celebrating mobile marketing excellence. Where: Hotel ICON, Hong Kong. When: 3 March 2017. MARKies Awards 2017 What: The MARKies Awards recognise the most innovative, creative and effective campaigns or projects spanning Hong Kong’s entire marketing services industry. Where: JW Marriott Hong Kong. When: 20 April 2017.
Stefan Streit General manager, global marketing TCL
What was your first job? My first job was as a marketing head for Ericsson mobile phones in Switzerland – that was more than two decades ago. I have always had an interest in mobile technology and consumer electronics, and this passion later brought me to starting product marketing roles at various gadget manufacturers, including Ericsson, Sony Mobile and HTC. What do you love about your current role? I love that my role at TCL Communication allows me to get my hands on three very different brands – TCL, Alcatel and BlackBerry. These product lines offer an array of diverse products targeting different segments of consumers. That said the direction in developing branding and marketing programmes varies greatly. What is the most challenging part of your job? The mobile device manufacturing sector is a highly competitive and dynamic industry, with dozens of markets and players around the world creating new technologies and products every day. It has been a challenging mission, but a rewarding one.
ᯧዯᐡጤᓆ៦ᅞ㎠䠓䲻ᾏ₌⽴⃫㞾‛ⓐ⪩〃⏜㙣₊ 䗭⩺㊪䱚ⅰ㏚㯮⾑⧃㔷ひ帯帻⁉Ҹ㎠ᾏ䢃㻐⑤㐏 姢╙㼗幊梊ⳟ䚱♐ㄗ㢘厗弲虇憨₌厗弲比ℎ㎠朚⭚ ⢷▓ⵅ㻐⑤䚱♐媌憯⛕虃⒔㑻㊪䱚ⅰҷ亱ⷋ䮊⑤╙ HTC虄㙣₊䚱♐⾑⧃㔷ひ䠓孡吁Ҹ ᯀᐞጤᓆᑗᛵᑊ፵៦ᅞ㎠✫㳰䖍㟑⢷TCL憩宙䠓 孡吁虇崢㎠劌⪯䴰䖕ᾘ↚ᾜ▛䠓♐䏛ʟʟTCLҷ柎䏍 ⓰䐈╙灠唢Ҹ憨䚱♐佩㕟K―ᾏ亊⎦捬ᾜ▛㼗幊 冔儳汣䠓⪩⋒⒥䚱♐虇⡯㳳♐䏛㔷ひ╙⾑⧃㔷ひ宗 ␒䠓㝈■㢘ㄗ⪶䠓⽽⎴Ҹ ᯀᐞጤᓆᛵጙ៛⍓៦ᅩ㻐⑤䚱♐媌憯㫼㞾ᾏ↚䲅 䎼䅏䉗军╗⋔䂎㻊䠓姛㫼虇⋷䖒㢘㜇ⓐⵅ⾑⧃╒ 厖冔虇㵞⪸抌⢷␄憯㜿䠓㐏姢╙䚱♐Ҹ憨㞾ᾏ↚⌆ 㒠㎿ㆶ䠓₊⑨虇⃕ㄭᾼ䔁䡙叾⪩Ҹ
Fabian Garcia, CEO of Revlon, on the company’s new structure. Revlon姛㛎俌婐Fabian Garcia⁚仈⋻▇䠓 㜿㥅㭚Ҹ
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Challenge: To show the company’s strategic business development and global perspective, FTLife looked to reshape its brand image and achieve its mission to drive rapid development for the corporation. C Media Advertising Group was appointed to handle the brand renovation project, helping FTLife to seek a new position and amplify its differentiation advantages to take the brand to a new level. Objective: • To deliver the brand’s motto “Your Future Our Promise” and news releases. • To promote the role the brand plays in the market – fulfilling customers’ goals at each stage of their lives. • To show brand attributes – manoeuvrability, adaptability and vitality. WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
Strategy and execution: The core strategy of the brand renovation was based on an integrated long-term market analysis to discover the differentiation advantages of FTLife and identify a favourable new position. While the brand image of other competitors is often related to “in the moment” or a specifi c context, FTLife launched an energetic and forward-looking campaign to deliver a unique brand message. New name: The new English name of FTLife was designed to convey vitality and the brand’s modern and distinctive image. New logo and slogan: The hummingbird was chosen as the new logo because of its amazing manoeuvrability, extraordinary adaptability and incomparable vitality which symbolise FTLife’s core attributes.
挑戰： 2016〃ⵛ憩Ⅼ根成⋴㜿捛䮚虇䉉ⷤ䖍⋻▇䳥䛴ㆶ㫼 ⑨䠋ⷤ╙䘿䖒嬥捝虇ⵛ憩Ⅼ根厃捜⧠♐䏛ヱ巰虇 㔷⑤ₐ㫼汧憮䠋ⷤ䠓ℎ☌ҸC Media Advertising Group 娺⭣₊䳥␒㞾㲰♐䏛棸㜿榔䡽虇厃䉉ⵛ憩 Ⅼ根㷑㜿䠓⃜虇ⶖₐ㫼䠓⽽䛿⒥⊹⑱㛍⪶虇 ♐䏛㢹ℕ㢃ᾙᾏⷳ㮢Ҹ ! 目標： • !♐䏛㐎岍╙宙ㇾ䠋⃗͑Ӂ㈷䠓㢹ℕ!㎠䠓㐎岍ӂ • !㔷ひ♐䏛⢷⾑⧃㏏㏽䂣孡吁͑⁉䚮ᾜ▛栝㵄 䖍⪱㊂ • !ⷤ䖍♐䏛ⷻㆶ͑棗㻊␄㜿虇懸㍘テ 策略及執行： 㞾㲰♐䏛棸㜿䠓㧇ㅒ䳥䛴㞾伫▗朆㢮䠓⾑⧃⎕㤟虇 㺭⎉ⵛ憩Ⅼ根䠓Ӂ⽽䛿⒥⊹⑱ӂ虇䩉䱚㢘⎸䠓㜿 ⃜Ҹ䜅䣍⪩㏚♐䏛ヱ巰抌厖Ӂ䜅ᾚӂ㎥䐈㉔㟾 㢘杫虇ⵛ憩Ⅼ根䠓㜿⃜⁴㢃⋷棱ҷ㢃⌆⏜䥊ㆶヱ 巰寽捚⎉厖䣍ᾜ▛䠓♐䏛宙ㇾҸ ! FE B RU ARY 2 017 MARK E TING HO N G KON G 9
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The four colours of the hummingbird represent the company’s “Your Future Our Promise” motto to suit four different stages of customers’ lives.
The new rooftop billboard on Hong Kong Island also showed that FTLife aspires to become a top-notch insurance group in Asia, based in Hong Kong, with roots in China.
ATL media releases: Going through four different stages of life, the ad aimed to show FTLife provides customers with all-rounded products and services to suit their needs at different life stages. Starring spokesperson Dayo Wong Tze-wah, the ad delivered the brand promise in a sincere and memorable manner. It aimed to tell audiences that “achieving dreams is not only about seizing the present opportunity, but also looking to the future” in order to let them understand its “Your Future Our Promise” motto. The TVC and print ads were aligned with widespread media coverage to consistently deliver the brand’s new image and attributes to the general public.
Results: The print ads and the TVC of the new brand were released in the fourth quarter of 2016, covering major TV channels, social media platforms, newspapers, buses, trams, MTR station billboards, concourses and trains, as well as a number of large outdoor billboards. Through an integrated marketing strategy, the brand successfully garnered more than 10 million views for the launch of FTLife’s new brand. It became a hot topic on major social platforms. The video on the brand’s Facebook page broke its highest viewership record of 260,000 views within three months and the number of discussions continues to increase.
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新命名： ⵛ憩Ⅼ根⋷㜿咀㜖▜FTLife ≂懣⎉♐䏛㻊⋔㸪䠓 㢻幹ҷ䖍㊮╙⏜䥊ㆶ䠓洽㞝ヱ巰Ҹ ! 新標誌及標語： ⋷㜿䠓墑湴㮨尛虇⡪䮽 槞吁巰ㅄⵛ憩Ⅼ根⢷ⴱ㏅ ⡪ ↚ Ὴ 嬐 ⁉ 䚮 栝 㵄 ⣖ 㢒 ⅰ ⴗ 㐎 岍虇䠋 㕽 㮨 尭 䠓 槧㟾處Ӂ㈷䠓㢹ℕ!㎠䠓㐎岍ӂ虖军墑湴⡯䉉橪姛䓷䐈 ᾙ䚮☌㞉䡪虇㳲⬌╜㞯⎉♐䏛棗㻊␄㜿ҷ懸㍘ テ虇㢘⎸㝋Ⅼ根㐤幖䠓䐈ㆶҸ ! ATL 媒體發䆋： ひ◙⁴⁉䚮⡪↚ᾜ▛栝㵄帺䰎虇⿅⎉ⵛ憩Ⅼ根䠓䚱 ♐⋷棱⢿䋶槶ⴱ㏅㵞↚栝㵄䠓梏㷑虇ひ◙⁴䢮㗾嬹 ⎖䠓㝈ゞ◗䖍虇拜▗宏⁉灒ⳟ啾⁴⌆汣幋慠⪶ 䣍䠓㝈ゞ䂣峾虇㾀⏊⢿⿅⎉♐䏛㐎岍虇⑨㷑㵞⃜ 孏䣍抌汣㢒Ӂ䖍⪱㊂ᾜ㳱嬐㐙㕰䖍⢷虇㢃嬐㛍䣋 㢹ℕӂ䠓宙ㇾ虇ㄭ军㞝䠌Ӂ㈷䠓㢹ℕ!㎠䠓㐎岍ӂ憨↚ ♐䏛槧㟾Ҹ 梊嬥⁴╙。棱ひ◙拜▗Ⱑ汣䠓⋷⪸↨䠋⃗虇ⶖ ♐䏛䠓⋷㜿ヱ巰☛↚ㆶᾏ厃⢿≂懣厂ひ⪶╦䣍Ҹ⃜ 㝋㾾⺅Ⓩ⋷㜿憯⤚䠓㮢榑ひ◙虇㢃ⷤ䖍⎉♐䏛㢹ℕ 䠓桓ㅒ͑䥱ㅦ㎟䉉Ӂ㪜㧈ᾼ⢚ҷ䱚彂欨㾾ҷ棱■ 㻁ӂῚ⢚株Ⅼ根桕⢧Ҹ 結果： 㢘杫㜿♐䏛䠓。棱ひ◙╙ⴲ≂䥼䏖⾁㝋2016〃䲻⡪ Ⳳ⋷棱懁姛佩ᾙ䠋⃗虇⒔㑻▓⪶梊嬥Ⱑ汣ҷ佩ᾙ䫍 ″。╿ҷ⧀⎙ҷ⾃⩺恙怺ҷ梊恙恙怺ҷ㾾旄䱨⪶⤚䍗 䵀ҷⴳ⋶⪶⦑ҷ㾾旄恙け虇⁴╙⪩↚㏅⪥⪶⤚ひ◙䏛 䳘Ҹ 憞 懝 ⋷ 㝈 ⃜ 䠓 䳥 䛴 ㆶ ⴲ ≂虇㎠ ↠ ㎟ 䉉 ⵛ 憩 Ⅼ 根 䠓 㜿 ♐ 䏛 䠋 ⃗ 榔 䡽 ╥ ㄦ 弔 懝 10 0 0 喻 ⁉ 㲰 䠓 杫 㹷 ╙䛨 ㊞虖イ 䠋 ▓⪶ 䫍 ″ 。 ╿ 䠓 䍀 䉗 宝 履ҸFacebook 榐ᾙ㢘杫䠓ひ◙䥼䏖㢃␄ᾚ㢏汧 䠓䆞孌捞虇ᾘ↚㢗⋶懣 260,000㲰䆞孌虇宝履⁉㜇 ᾜ㝆亾䯜厖⨭朆ᾼҸ
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Websites / Microsites
Email Marke
PII Data captured through forms, e.g. emails, phone numbers, etc
Social Networks Data captured via Facebook, Instagram, Youtube, Twi er, etc.
Marke ng Engagement Pla orm
Mobile Apps
Campaigns and forms hosted on website and social channels
CRM Data
Single Sign-on e.g. Gigya, JanRain, loginRadius,etc
Data Management Pla orm (DMP)
Data captured in-app via forms
Digital Partner Channels
Transac onal Data Third Party Data Website -Observed user behavior
Challenge: Being a multinational corporation with many active markets worldwide, Vodafone faces a myriad of tough challenges. Developing and launching localised campaigns can be a costly effort, and maintaining consistent brand recognition at Vodafone’s locations throughout the world can be a marketing nightmare. Untapped data silos, and thus untapped insights, are also a big concern for the telecom giant. Objective: Vodafone needed a way to conveniently centralise its data, remove data silos, and as a result of this effort, refi ne the accuracy of its insights. This is due to rich user data having the capability to drastically enhance a brand’s understanding of consumer preferences and, as a result, retargeting and re-marketing products effectively. Vodafone also sought a new way to achieve stronger brand recognition with the goal of growing its user base and driving revenue. Strategy: Using Wayin’s campaign automation platform, Vodafone now had the ability to deliver multi-channel marketing campaigns on a larger scale and at a faster rate. Maintaining brand consistency was easier with the ability to clone, localise and launch campaigns from a centralised platform across different regions. Being able to simply choose and re-skin template campaign mechanisms also allowed Vodafone to launch many different types of digital experiences without the need to invest heavily in technical manpower. Together, these things gave Vodafone the power to strategically and simultaneously 1 4 M A R K ET I N G H O N G K O N G FEBR UARY 201 7
e.g. Oracle Marke ng Cloud, Krux, Adobe Audience Manager
Storage Normaliza on Matching Segmenta on Analy s / Decisions
Web Personaliza on AdWords Targe
Third Party Data Buy First Party Ad retarge
挑戰： ⃫䉉ᾏⵅ彷⢚⋻▇虇㫼⑨懜⃗ᾥ䛛▓⢿虇Vodafone 棱卷嗦䊰㜇䠓㒠㎿Ҹ㔷⎉㢻⢿⒥䠓ⴲ≂㻊⑤╾劌 㞾ᾏ榔焟⪶䠓㚾⎉虇军嬐⢷⋷ᾥ䛛Ⅼ㒐ᾏ厃䠓♐䏛 ヱ巰㢃㞾ᾏ⧃䍮摆⟸⪱Ҹ㢹朚䠋䠓㜇㙩ⳳ⺅) Data silos*虇⁴厂娺ㆌ䛴䠓㺭㈘) Insights*虇΅㞾憨↚㙐 㢘焟⪶䚷㏅儳䠓梊宙⽷榼棱䠓ᾏ↚捜⪶⛞槛Ҹ 目標：
Vodafone 梏嬐㷑劌⪯悤沕桕ᾼ㜇㙩虇㾔柳㜇㙩 launch even more campaigns around the world – which in turn, allowed for stronger brand recognition and constant audience engagement through new content. Centralising campaign data on the Wayin platform would also help eliminate the need for data silos, allowing better, more valuable audience insights to surface. Execution: In 21 markets, Vodafone launched more than 330 campaigns in 2015. The telecom rolled out campaign after campaign, giving users fresh reasons to re-engage with the brand, and in turn, giving marketers the chance to capture valuable campaign data. This data was then used to refi ne audience targeting and improve subsequent campaigns. Wayin’s strength lies in its ability to utilise a centralised marketing campaign hub to organise multi-regional campaigns which can be tweaked and changed by individual regional marketing teams to localise marketing content. This meant that using Wayin, Vodafone’s campaigns were able to be launched much more effi ciently on a worldwide scale. Results: The ability to clone and reskin campaigns helped save campaign localisation costs and development time for Vodafone’s offi ces across the world. The more campaigns it ran, the more data it could feed into the data management platform, resulting in not only richer social profi ling for audience re-targeting, but deeper insights for improving all future marketing campaigns as well.
ⳳ⺅䠓㝈㹤虇㕟汧⌅㺭㈘䠓䀥䩉ㆶҸ巟ⵛ䠓䚷㏅㜇 㙩㢘䀥䩉―孲㼗幊冔䠓✫⬌虇㢘㛗⢿䉉䚱♐懁姛 捜㜿⃜虊㔷ひҸVodafone ‵㷑⼓㜿䠓㝈ゞ⁴ 㕟ⓖ♐䏛䥴▜〵虇⑨㷑⨭⌅䚷㏅⁉㜇╙㕟汧㛅⋴Ҹ 策略： 㔰䚷 Wayin 䠓⾑⧃㔷ひ卹⑤⒥。╿虇Vodafone 䖍 㟑劌⪯⁴㢃ㅺ䠓憮〵㔷⎉㢃⪶嬞㮰䠓⪩㾯懢ⴲ≂ 㻊⑤Ҹ⎸䚷ᾼ⪽。╿虇媖媌ҷ屎㜃⁴╙⢷ᾜ▛⢿Ⓩ㔷 ⎉ⴲ≂㻊⑤虇悤㞢Ⅼ㒐♐䏛䠓ᾏ厃ㆶҸ▛㟑虇䶰✽戇 㙖╙屎㜃ⴲ≂㻊⑤㯮⏅崢 Vodafone ⢷䊰梏㐤⋴⪶ 捞㐏姢⁉䠓㉔㹐ᾚ虇㔷⎉ᾜ▛槭⤚䠓㜇䩋汣毦Ҹ 憨ᾏ⎖ℎ Vodafone 劌⪯⢷ᾥ䛛▓⢿▛㟑㔷⎉㢃⪩ ⌆捬ㆶ䠓ⴲ≂㻊⑤虇㕟汧♐䏛䥴▜〵虇ᾜ㝆㕟 K㜿䠓㻊⑤⋶ⵈ⁴Ⅼ㒐╦䣍䠓╒厖〵Ҹ憞懝Wayin 。╿㜃▗㻊⑤㜇㙩‵㢘㼗柳㜇㙩ⳳ⺅䠓梏㷑虇 ㄭ军䠋㔧㢃⌆⊈⇋䠓╦䣍㺭㈘Ҹ 執行：
Vodafone 㝋 2015 〃 ⋸↚ Ⳳ〵 ⢷ 21↚ ⾑⧃ 㔷⎉ ―弔 懝 330 ↚ⴲ≂㻊⑤ҸVodafone 䠓ⴲ≂㻊⑤ ᾏ㻹 㔴 ᾏ㻹虇捜 㜿 ◇イ䚷㏅䛨㊞♐䏛虇崢 ⾑⧃㔷 ひ⁉♰㢘㯮㢒䔁╥㢘⊈⇋䠓ⴲ≂㻊⑤㜇㙩虇䋅ㄛ 懚䚷憨㜇㙩ℕ屎㜃╦䣍⃜虇⊹⒥ㄛ倛䠓ⴲ≂ 㻊⑤ҸWayin 。╿䠓⊹⑱⢷㝋劌⪯懚䚷ᾏ↚桕ᾼ 䠓⾑⧃㔷ひ㻊⑤ᾼㅒℕ仓俣⪩Ⓩ⥮ⴲ≂㻊⑤Ҹ↚ ⎴Ⓩ⥮䠓⾑⧃㔷ひ⢧栙╾屎㜃╙㢃㛈ⴲ≂㻊⑤虇 ℎ䍮摆⋶ⵈ崙ㄦ㢻 ⢿⒥Ҹ憨㊞☂嗦憩 懝 Wayin 。 ╿虇Vodafone 䠓ⴲ≂㻊⑤劌⪯㢃㢘㛗⢿⢷⋷䖒䵓 ⢜⋶㔷姛Ҹ 成效： 劌 ⪯媖媌 ╙ 棗 㻊屎㜃 ⴲ≂㻊⑤虇㢘 Vodafone ⋷ 䖒▓⢿愵 ⋻ⴳ 䵏䢐㢻 ⢿ ⴲ≂㻊⑤䠓㎟ 㢻╙ 朚 䠋 㟑 朢Ҹ ↠ 㵞 㔷 ⎉ 㢃 ⪩ 䠓 ⴲ ≂ 㻊 ⑤ 㟑虇⌅ 㜇 㙩 䴰 䖕。╿ 㛅 桕 ⎿ 䠓亾 䯜 㜇 㙩 ⶖ 㢃 ⪩㢃 ⋷ 棱Ҹ㢃 巟 ⵛ 䠓 幖 㜨 ⎕ 㤟 ᾜ ≔ 㢘 ╦ 䣍 捜 ■ )Audience re-targeting*虇戓╾㾀⋴―孲⬑⃤㛈懁 㢹ℕ䠓㏏㢘㔷ひ㻊⑤Ҹ
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CASE STUDY SPECIAL 2016
Lighthouse Events, the events management division of Lighthouse Independent Media, has been bringing Lighthouse’s conferences, awards shows and internal meetings to life since 2006 - over 40 events annually in multiple formats through numerous markets across Asia. Staffed by a team of experienced and dedicated event professionals, Lighthouse Events is commited to understanding and delivering its clients’ strategic objectives. Lighthouse Events has the expertise and experience to conceptualise and manage any customised event, making sure its clients’goals are met on every occasion. Call us if you need a partner for:• Venue Sourcing • Destination Management • Event Conceptualization • Supplier Management
• Registration Services • Branding & Graphic Design • Event Production/Logistics Support
Contact us with your event brief today.
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CASE STUDY SPECIAL 2017
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CASE STUDY SPECIAL 2017
Challenge: Hong Kong customers are known for their enthusiasm in redeeming things – be that a product or service. Therefore, different retailers run various types of premium redemption programmes, and most of them leverage popular cartoon characters or collectible figurines. However, a number of customers have become immune to these programmes and there are now higher expectations on retailers to launch attractive and impressive redemption products, hence, leading to a premium redemption market that is fast becoming increasingly challenging.
挑戰: 䊰履㞾䚱♐㎥㢜⑨虇欨㾾㼗幊冔ᾏ■䍀娆㝋㕪榧▓ 槭䬽♐Ҹ⡯㳳虇▓梅⚽⛕㔷⎉‣呀⋺朏䠓⊹㉯㕪榧 宗␒虇⌅ᾼ⪶⪩㜇㢒⁴㻐姛⓰憩⁉䏸㎥㛅坞䏗⁉ヱ ⋻⃫㑪ㄯҸ䋅军虇ᾏ㼗幊冔伢⾁憨㕪榧宗 ␒ᾜ㊮厗弲虇㢮㢪梅⚽⛕㔷⎉㢃⌆◇イ╙⁉ 䣋⏜ᾏ‽䠓㕪榧䬽♐虇㢻⢿䬽♐㕪榧⾑⧃崙ㄦ㢃 ⌆㒠㎿ㆶҸ 目標： • !㕟汧摆⚽槜╙庋䏸㜇捞 • !憞懝ⴲ≂╙╲䨠イ弆㕪庋䍀䃽 • !㕟汧♐䏛虊ひ◙ⴲ≂䠓‡⑤䔖 • !椞⢉⾑⧃榧⢿⃜虇ᾜ㝆㕟汧♐䏛䥴▜〵
Objectives: • Boost sales and shopping basket size. • Create a big hit with publicity and positive word of mouth. • Increase brand/campaign engagement rate. • Reinforce market leadership and continue to build brand awareness. Strategy: To create a campaign that shoppers couldn’t resist, 7-Eleven struck an exclusive partnership with the sought-after French cookware brand Le Creuset last April. Le Creuset products have become popular in Hong Kong in recent years, especially among young women and high-income white-collars. The cutlery collection included a set of 10 utensils in its signature pastel colour, including two knives, two forks, two spoons and four pairs of chopsticks. Each utensil came with a miniature Le Creuset casserole, which serves as a little container for protecting the parts with stainless steel or a chopstick rest to inject novelty into the redemption programme. Through this strategic partnership, the convenience store chain not only aimed to grab consumers’ attention, but also encourage them to share and show off their limited Le Creuset collection on social platforms. Execution: To build momentum and drive engagement, it engaged its online fans with a photo contest; a weekly mini-game was created to invite customers to show pictures in a designated colour-tone on how they used the cutlery collection, and triggered them to show how they matched it with their existing cookware at home. The convenience store also WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
策略： 䉉媌⃫◇イ㼗幊冔䣋䖒䠓ⴲ≂㻊⑤虇7-Eleven㝋╊ 〃⡪㢗厖⁉強Ὶ呴漸䠓㹤⢚ど⌆♐䏛Le Creuset ら䱚䓷ⵅ▗⃫⪴杫⅑Ҹ Le Creuset䚱♐慠〃⢷欨㾾㊗強㻐姛虇䐈⎴╦〃 悤⬂ㆶ╙汧㛅⋴䠌榧⁉⩺㳰慝Ҹ 憨㳍柟捞䏗䬽♐⒔㑻ⓐ㳍Ӂ據ӂㅒ檟⌆虇⒔㑻 ⋸㐙⎏ҷ⋸㐙╘ⳟҷ⋸桊先╙⡪桨䴆ⳟ虇Ὶㄛ㢃 㔷⡪㳍Ӂ據ӂㅒ䡡ⳟ虇⋷扷拜⁴丘ⱸ吁ヸҸ㵞₅檟 ⌆⣖染㢘ᾏ↚▛吁 Le Creuset憆⃯據虇䚷⃫檟⌆ᾜ 摈撋扷⎕╙䴆ⳟ㢺䱾䠓Ⅼ崆噚虇䉉㕪榧宗␒㹷⋴㜿 ㊞Ҹ 憩懝㞾㲰䳥䛴▗⃫虇封憲攥ⅎ⎸〦ᾜ⃕嬐◇イ 㼗幊冔䠓㹷㊞虇戓坘㳳炢⒄↠⢷䫍″。╿ᾙ⎕› ╙ⷤ䫉↠䠓柟捞䏗Le Creuset亊⎦Ҹ
tapped influencers to maximise the awareness and create more buzz. Additionally, a series of recipes was provided on 7-Eleven’s Facebook page, so the targeted audiences could explore different cuisine, food types and preparation methods, and make them further attached to the promotion. For offline, print advertisements were placed in newspapers along with posteron-walls in Central MTR station to gain attention from people on the go. Results: After a two-month intensive campaign, 90% of the Hong Kong population was aware of the Le Creuset programme. Within two days of the redemption programme launch, it reached more than 900,000 people on social media, its Facebook post was shared more than 4,000 times and received over 30,000 reactions, including 20,000 likes, and more than 1,300 comments.
執行： 䉉㕟ⓖⴲ≂㛗㤫╙㔷⑤╒厖虇7-Eleven⢷佁ᾙ䉉㙐 怘厘愵ᾏ↚䢇䏖㵣庌Ҹ憨↚㵞◷ᾏ㲰䠓憆⃯懙㏁戏 屚↠ᾙ悘䢇䏖虇ⷤ䫉⬑⃤ℎ䚷㒖槞吁䠓檟⌆㛅 坞♐虇炢⒄↠ⷤ䫉⬑⃤ⶖ檟⌆㛅坞♐㖼拜⌅ⵅ ᾼ䠓䖍㢘ど⌆Ҹ 封ⅎ⎸〦‵厖佁仰五⁉▗⃫虇⁴㕟汧䥴▜〵虇 ␄憯㢃⪩尀槛Ҹ 㳳⪥虇7-Eleven⢷⌅Facebook榐ᾙ㕟Kᾏ亊 ⎦橮峫虇崢䡽㮨╦䣍㔱亱ᾜ▛䠓儝橮ҷ橮䏸槭⤚╙ 䊈屎㝈ゞ虇▛㟑↠懁ᾏ㳴㐤⋴憨↚ⴲ≂㻊⑤Ҹ ⢷佩ᾚ㝈棱虇憞懝⧀亨。棱ひ◙╙ᾼ䘿㾾旄䱨 ⋶䠓㼆⧀ℕ◇イ憣⁉㹷㊞Ҹ 結果： 伢 懝 ⋸ ↚ 㢗䠓 ⵕ 桕 ゞ ⴲ≂虇Ῥ ㎟ 欨 㾾 ⁉ㄦ 䥴 Le Creuset䠓㕪榧宗␒Ҹ㻊⑤㔷⎉⋸⪸⋶虇⢷䫍″Ⱑ汣 ᾙ㔴宇弔懝 90喻⁉虇⌅ Facebook⾥ⳟ⌀⎕›弔懝 ⡪ⓒ㲰虇撓ㄦ弔懝ᾘ喻↚⡭㍘虇⒔㑻‛喻↚崩⬌虇 㛅⎿弔懝1,300↚䛨宏Ҹ FE B RU ARY 2 017 MARK E TING HON G KON G 1 7
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Herman Miller’s Asia Pacific vicepresident Kartik Shethia explains how the brand’s high-priced furniture stays ahead of the price-conscious Asia Pacific consumer pack. Angel Tang writes. Herman Miller⪹Ⓩ⏾俌婐Kartik Shethia⎕›封汧 亩ⵅ⌆♐䏛⬑⃤㎟䉉⪹Ⓩ乍㞝㧋⊈㼗幊冔䠓欥戇Ҹ Angel Tang⧀Ҹ
SITTING PRETTY: THE MARKET PIONEER FROM INDIA TO CHINA
第一把交椅
1 8 M AR K ET I N G H O N G K O N G FEBRUA R Y 201 7
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ART AR RT DI D REC CTIO ION: N EVI N: EV SU S YIP YIP;; PHO PHOTOG TO RAP TOG A P HY: HY EM MIL TSE
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ҿ⡶䛆⪶䎕䉇Ӏ䠓 Sheldon Cooper厖ҿ⓯⩺戵Ӏ 䠓M㢘⃤⌀憩灭虚↠抌⣟⢷ᾏツHerman Miller䠓 Aeron㪔ⳟᾙ㝚惘Ҹ桥䋅↠╹㞾嬥⃫♐ᾼ䠓埪㭚 ⁉䏸虇⃕╹嬐宗䴦ᾏᾚAeron 㪔ⳟㄭ 90 〃㔷⎉⁴ ℕㄦ⎿䠓㡬⋘䔖虇⌅媌憯⛕Herman Miller䠓捜嬐⢿ ⃜ⅎ㢒ᾏ䡽―䋅Ҹ Aeron㌠坘⌅⋗懁䠓宼宗虇⢷亟亓⌆榎䠓䖍 坬姢ⓩ䏸檷⃣ᾏ⾼⃜虇㝋2010〃䔁ㄦ儝⢚㢏㠱 摆㪔ⳟ䠓䯀埮Ҹ ⃕ ⴒ 棭 ⚾ ᾏ ᾏ ↚ ⇋ ㄦ ♐ 䏛 卹 巹 䠓 䚱 ♐Ҹ ✻ ⾒ 㜾╙ 㵣 䏍 噚 咷 㢍⣟ 懝 䠓 Eames Lounge 㪔 ⳟ╙ O t to m a n 㪔 ⳟ虇 欻 懫ҷS a l e s f o r c e. comҷGoogleҷ殿宙ҷ⁴╙⪶抌㢒⁉⪌愵⋻ⴳҷ呀㝦 搏姛ҷⒾ巟搏姛䳘虇抌╾䢚⎿Herman Miller⌅ⵅ ⌆䠓忳Ҹ 封♐䏛䠓ⵅ⌆⢷ᾥ䛛▓⢿娺嬥䉉⪶⾺亩∠⃫Ҹ ⊧䴰⾁㻐姛⪩〃虇⃕ⴒ‛ⓐ〃⏜㏜懁恜㻁⾑⧃虇慠 〃㏜⢷憨⢿Ⓩ㏢榎▜⦑Ҹ ⢷憨↚炢◈乍㞝㼗幊䠓㟑虇呀㜇䠍儝⋒庋幆ᾏ ツ㪔ⳟ╾劌㢒娺嬥䉉⫱℗虇⡯㳳嬐㚃⪶ⴱ㏅ⷳ棱 ᾜⵈ㞢Ҹ
What do The Big Bang Theory’s Sheldon Cooper and James Bond’s M have in common? They both spin around on an Aeron chair. These may be fictional characters that we are talking about, but if you count all the screen time the Aeron has acquired since its launch in the 90s, it gives you an understanding of the iconic status that Herman Miller, Aeron’s manufacturer, has achieved. The Aeron, which has acquired a place at New York’s influential Museum of Modern Art for its progressive design, was declared America’s best-selling chair in 2010. And it is not the only product the brand speaks proudly about. Steve Jobs and Bill Gates have been seen sitting on the Eames Lounge Chair and Ottoman, while other furniture by Herman Miller can be found in the boardrooms of Amazon.com, Salesforce.com, Google, Tencent and offices in Metlife, Citibank and HSBC. Most of their products are considered masterpieces across the globe. While the brand has been popular for many years, it only started gaining a reputation in Asia after finally entering the market two decades ago. In a price-conscious era, where spending hundreds of US dollars for a single chair would be considered extravagant, expanding the client base has not been easy. Around the time of the expansion into India, Kartik Shethia, the current vice-president for Asia Pacific at Herman Miller, joined the company as 2 0 M A R K ET I N G H O N G K O NG FEBRUA R Y 201 7
the national na sales manager in India to head the sales operations. erations. “It was not easy,” he recalled. “Unlike other mature markets in Asia such as Hong Kong, Japan and Singapore, the Indian market focused even more on the price.” Furthermore, the market is very unique in terms of human density, and the scarce space that most offices have – indicating a need to foster a new marketing approach, which made the company’s expansion an uphill battle. Yet, within two years, Shethia, as part of the team, kick-started increasing sales. He was then promoted to head the commercial operations for Herman Miller in the SAARC region for nearly two years, and then appointed to head the strategic business group for the Greater China region as well. In 2015 he was appointed the sales director in the region. Promoted to his current position nine months ago, he is based in Hong Kong to look over the
⢷ ♐ 䏛 㑢 ⷤ ⓿〵 㫼 ⑨ Ὶ 株虇䖍 ₊ H e r m a n Shethia䜅㟑⏪⋴⋻ ▇虇㙣₊⓿〵摆⚽伢䖕虇帯帻摆⚽㫼⑨Ҹ ⡭㍅尹處Ӂ戲㟑ᾜⵈ㞢Ҹӂ Ӂ厖㻁⌅㎟䌮⾑⧃虃⬑欨㾾ҷ㝴㢻╙㜿 ⣰虄ᾜ▛虇⓿〵⾑⧃㢃捜嬥⊈㧋Ҹӂ 㳳⪥虇⓿〵㞾ᾏ↚棭⿇䓷䐈䠓⾑⧃虇⁉╲ⵕ〵 㬄汧虇⪶⪩㜇愵⋻ⴳ䰉朢余仏虇⡯㳳⢧栙梏嬐ら䱚 ᾏ䮽⋷㜿䠓⾑⧃㔷ひ㝈ゞ虇憨䉉♐䏛䠓㫼⑨㑢ⷤ宗 ␒㾊⡿桲Ҹ 䋅军虇Shethia 厖⌅⢧栙⢷⋸〃⋶㕟ⓖ―封⾑ ⧃䠓摆⚽槜Ҹ 样ㄛ虇ⓖ₊Herman MillerⓦⓏ⥮▗⃫凾䡮 虃SAARC虄⢿Ⓩ䠓㫼⑨䍮懚扷朏Ὴ䴰虇⋸〃ㄛ䔁₊ ☌䉉⪶ᾼ啾Ⓩ䳥䛴㫼⑨扷朏帯帻⁉Ҹ⢷2015〃虇 㟘ⓖ䉉封⢿Ⓩ䠓摆⚽俌䡲Ҹ ⢷Ῥ↚㢗⏜ⓖ₊䖍㟑分⃜虇⿇歟欨㾾虇帯帻 䴰䖕⪹⾑⧃䠓㫼⑨Ҹ⪹Ⓩ䖍㟑㵞〃撓ㄦ桨⃜㜇 䠓㛅⋴⨭朆虇⌅㛅⋴⃣⋷䖒摆⚽槜䠓 8虀厂9虀虇 䠓䡽㮨㞾⢷ᾘ〃⋶㜇⳦䰐䧃10虀Ҹ 䠓⌅ᾼᾏ↚䳥䛴㞾ⴱ㏅尯Ҹ
Miller⪹Ⓩ⏾俌婐Kartik
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DIFFERENT NEEDS ACROSS THE REGION INDIA PHILIPPINES 印度
菲律賓
HONG KONG AND SINGAPORE 香港及新加坡
Space is scarce. Flexible workstations are needed.
Local companies want to squeeze many people in their working stations.
The two markets understand and appreciate design.
䰉朢䮏僉虇梏嬐棗㻊䠓愵⋻ⴳ宼㝌
䜅⢿ₐ㫼梏嬐ᾏ↚ⵈ亜⪩⁉䠓愵⋻ⴳҸ
⋸↚⾑⧃䖕孲╙㲲幭宼宗Ҹ
JAPAN
AUSTRALIA
日本
澳洲
Products have to be extremely clean and firm in structure.
Customers are more health conscious.
䚱♐ㅔ榗㬄Ὶ䶰䃣虇仟㭚⦔⢉Ҹ
䜅⢿ⴱ㏅䠓⇴う㊞峧㢃汧Ҹ
Asia Pacific market, a region that is generating double-digit revenue growth per year; its revenue accounting for 8% to 9% of global sales. His target is to hit 10 in three years. One tactic that he identified as crucial was being honest with clients. Eight years ago, the team underwent an education stage in India which focused on explaining the brand value to its clients: the brand ensures a more flexible way to allocate furniture in the office; healthier workers on well-designed chairs; highly durable furniture in the office; and supporting environmentally friendly businesses. It didn’t take too long for him to realise that being honest acted as a catalyst to the business. From the capabilities to the limitations and even non-necessities, he emphasised both sides of the company’s products. “They are not really listening unless they are convinced that your intentions are sincere,” he said. “There were customers who asked why they should buy our company’s products instead of our competitors, but I never speak bad about other brands. Our competitors are able to invest in new products and they have great ones, but we have to show them how and why we are the better choice.” He named two of its global competitors later as Steelcase and Haworth. “When you are honest, clients appreciate WWW.M A R K ET I N G – I N T ER A C T I V E .C O M
that, and believe your words make sense. Then, your life becomes easier. In turn, expanding into other new markets becomes much easier.” There is no other region as diverse as Asia Pacific. From India to New Zealand to China, are as varied as the languages they speak. Shethia walked us through the different needs across the region. In India, space is scarce, so the flexible workstations the brand provides serve as a good approach, he illustrated. Meanwhile, the Philippines is more of an outsourcing kind of a place, so the teams need to help local companies squeeze as many people in their working stations as they can. In Hong Kong and Singapore, the two markets are similar in their understanding and appreciation of design, so Herman Miller’s role in the designing field is an asset. The Japan market is also a very designconscious market and values precision, and products have to be extremely clean and firm in structure. The marketing approach in Australia focuses on healthy working practices that the products bring, because customers there are more health conscious. On the other hand, there is still much work to be done in China – a place that is both big in market volume with a serious counterfeit goods problem.
⋺〃⏜虇封⢧栙⢷⓿〵ⷤ朚ᾏ榔㛨剁ⴱ㏅虇■⌅ 孲捚♐䏛⊈⇋䠓⽴䮚Ҹ㳲⬑⢧栙尹㢜ⴱ㏅㟑㏏ 尹處封♐䏛姷㢃棗㻊䠓愵⋻ⴳⵅ⌆戇㙖ҷ♰⽴㢃 ⇴う䠓乍儝㪔ⳟҷ㢃冟䚷䠓愵⋻ⴳⵅ⌆ҷ⁴╙䘿Ⅼ ₐ㫼䠓㚾㒐Ҹ ㄗㅺⅎ㊞峧⎿虇尯㞾㢘㛗㔷⑤㫼⑨䠋ⷤ䠓 ∻⒥␠Ҹ ㄭ⌅劌⎿柟ㆶҷ䚩厂棭ㅔ梏䠓⢿㝈虇⁚仈 ⋻▇䚱♐䠓㳲╜⋸棱Ҹ 尹處Ӂ柳棭↠䢇ⅰ⃯㞾䢮尯虇▵⏖↠ᾜ㢒 尜䢮凕刌Ҹӂ Ӂ㢘ⴱ㏅㢒⛞虇䉉䚩灋嬐庋幆㎠↠⋻▇䠓䚱 ♐虇军ᾜ㞾䲅䎼㏚䠓䚱♐虇⃕㎠ㄭℕᾜ㢒㐈寤⎴䠓 ♐䏛Ҹ㎠↠䠓䲅䎼㏚╾㐤幖䦣䠋㜿䚱♐虇军ᾣ䢇䜅 ⎉吁虇⃕㎠↠嬐尹㢜㼗幊冔Herman Miller䠓⊹⑬Ὶ 埤Ҹӂ ⎦厘⌅ᾼ⋸↚⋷䖒䲅䎼㏚ʟʟ Steelcase ╙HaworthҸ Ӂ䜅⃯尯虇ⴱ㏅卹䋅㢒㲲幭虇䢇ⅰ⃯䠓尹尀 㞾㢘懢䖕䠓虇䋅ㄛᾏ⎖抌崙ㄦ㢃ⵈ㞢Ҹ㔴ᾚℕ虇㑢ⷤ ⌅㜿⾑⧃ⅎ㢒ⵈ㞢ㄦ⪩Ҹӂ 㸡㢘⌅⢿Ⓩ㵣⪹⢿Ⓩ㢃⪩⋒⒥Ҹㄭ⓿〵⎿ 㜿嬎垼⎿ᾼ⢚虇ᾜ▛⢚ⵅ䠓⁉㢘ᾜ▛䠓匩吁ҷ尭宏╙ 㜖⒥Ҹ Shethia■㎠↠岪孲㜃↚⢿Ⓩ䠓ᾜ▛梏㷑Ҹ 姷䫉虇⓿〵䰉朢䮏僉虇⡯㳳♐䏛㕟K棗㻊䠓愵 ⋻ⴳ宼㝌㞾ᾏ↚⬌䠓㝈■Ҹ ▛㟑虇喁ㄚ幢䠓⪥⎳㫼厗䡪虇⡯㳳⢧栙嬐⿺䜅 ⢿ₐ㫼㏢憯ᾏ↚䡰╾劌ⵈ亜㢏⪩⁉䠓愵⋻ⴳҸ 欨㾾╙㜿⣰⋸↚⾑⧃宼宗䠓䖕孲╙㲲幭䮚 〵䢇虇⡯㳳Herman Miller⢷宼宗榧⥮䠓⊹⑱㞾ᾏ 榔幖䚱Ҹ 㝴㢻΅㞾ᾏ↚棭⿇捜嬥宼宗╙岪㷑乍䀥䠓⾑⧃虇 䚱♐ㅔ榗㬄Ὶ䶰䃣虇仟㭚⦔⢉Ҹ ⢷䅂㻁䠓⾑⧃㔷ひ㝈ゞ∃捜㝋䚱♐⿅ℕ䠓⇴う ⽴⃫劌虇⡯䉉䜅⢿ⴱ㏅䠓⇴う㊞峧㢃汧Ҹ ╵ᾏ㝈棱虇⢷ᾼ⢚⁜㢘寀⪩⽴⪺嬐⇩虇憨↚⢿㝈 䠓⾑⧃嬞㮰焟⪶虇⳧⢷⡃捜䠓⇖⌡⛕♐⛞槛Ҹ ⃕ Shethia 姷䫉虇样 嗦ᾼ⢚ ⴱ㏅朚 ⭚㲲 幭 䚱 ♐ 䠓 ┮ ␄ ㆶ ╙ ⊈ ⇋虇封 ♐ 䏛 㳲 嬚 峘 ᾏ㲰 ⽷ ⪶ 䠓 惘⤚Ҹ 孲捚尹處Ӂ㢏捜嬐㞾虇⢷㔴宇ⴱ㏅Ὶ⏜虇⃯嬐 ⋗―孲↠䠓梏㷑╙㉔㹐Ҹӂ Ӂᾏ⎖抌ᾜⵈ㞢虇⃕⪹ⵈ㞢ⅎ㢒崙ㄦ䊰凙Ҹ㵞↚
FE B RU ARY 2 017 MARK E TING HO N G KON G 2 1
人物專訪
PROFILE
2 2 M A R K ET I N G H O N G K O N G FEBRUA R Y 201 7
WWW. MARK E TING– IN TE RAC TI VE . C OM
人物專訪
PROFILE
But Shethia said the brand was witnessing tn a huge transformation as customers start s to appreciate originality and the products’ value. va “It is very important that you understand de the customers’ needs and situations before efo you speak to them,” he explained. “Nothing is easy. If it’s easy, it getss boring. Each market has its own challenges an and it is an exciting thing to keep tuning into the e market environment.” Typically, the 112-year-old brand would uld focus on market claims before developing a product, pr but Shethia said it had started to spend nd more time with the designers and customers rs in the past three years. Last month, Herman Miller remastered er the ge and Aeron chair globally to feature stronger pa smarter materials, better adjustment capabilities, intuitive controls, enhanced aeration, and a health-positive, more comfortable sit. o Shethia told us to expect more localised products in the future. b “A flexible workplace is one of the biggest es trends in the region, and it will become essential ork for companies to retain the millennial workforce,” he said, pointing it as a new inspiration for future product designs. Furthermore, he is taking a deeper look at the online business. The brand’s online presence was built in Japan and China four and three years ago respectively, and Shethia opened the Hong Kong and Indian markets last year. By jumping onto the bandwagon, he believes the brand is tapping uncharted territories. And figures have proven him right. Sales growth rate in China has increased 30% per year, with online business accounting roughly for about 8% to 10% of the overall sales. The new channel added fuel to the B2C business, its commercial business sales ratio to that of the B2B is 15% to 85%. “I’d like the ratio to change,” he said. “The most ideal ratio would be 3:1 (B2B to B2C). “We had no consumer team before, but we have had to set up a complete consumer team to focus on that,” he said. One of its tasks, he explained, was to utilise social media such as Facebook, Twitter, LinkedIn, Baidu and WeChat to their full potential because customers from the B2C sector are highly exposed to social media. The other task for the team is to make the brand more accessible to clients and customers. To set an example himself, Shethia said he would never sit in a room at work, a practise that most leaders would normally do. “The idea is, if I can be more easily accessible to you, then you should be more accessible on WWW.M A R K ET I N G – I N T ER A C T I V E .C O M
phone calls, emails et cetera to someone else as well,” he said. But there is one more intention behind his practice, a lesson from the first challenge he encountered at Herman Miller eight years ago. “There was a situation when I joined the company that some sales operations weren’t performing very well. When sales didn’t perform, what people usually do is to replace them with somebody else,” he said. Encouraged by the company’s values, he decided to keep the employees, work with his colleagues closely and train them to understand and overcome problems better. Many of them are now “big bosses” in the company, he said. “I had learnt a great lesson. Good leaders are here to help, not to fire them or be angry with them. Not everything goes right all the time. But when they go wrong, I want them to let their boss know it from them before anybody else.” Since then, he has been determined to break the barriers between boss and staff, and set a flat organisation for a conducive working environment. Whether it’s the former president Barack Obama, or the tech giant Gates sitting on the Aeron; whether it’s the client or employees, and regardless of the country they are living in, the ultimate goal for Shethia is just to let everyone sit pretty on a piece of Herman Miller.
⾑⧃抌㢘卹⾀䠓㒠㎿虇嬐ᾜ㝆懸㍘⾑⧃䘿⨒㞾ᾏ₅ 卹 䠓 ӂ ⁉厗⫽䠓‚Ҹ 军 虇憨↚㙐㢘112〃㴆▁䠓♐䏛⢷朚䠋䚱 ᾏ去军宏 ♐Ὶ⏜㢒㹷冒㋽⾑⧃⎸䃳虇⃕ Shethia 姷䫉⢷懝╊ ♐ ᾘ〃虇⌅♐䏛朚⭚呀㢃⪩䠓㟑朢⢷宼宗⾺╙ⴱ㏅怺 ᾙҸ Herman ma Millerᾙ㢗⢷⋷䖒㔷⎉⋷㜿䠓Aeron㪔 ⒔㑻 ⳟ虇干灭⒔㑻㢃テ⪶╙㢃㠉劌䠓䏸㜨 ҷ⌆∨㢃⬌䠓屎 㢃 䵏劌ҷ㢃䶰✽䠓㔶⏅ҷ㢃ℂ䠓憞㶲〵ҷ⁴╙㢃⇴う ⃜Ҹ 厡懸䠓〶⃜ Shethia th ■㎠↠姷䫉虇㢹ℕⶖ㔷⎉㢃⪩㢻⢿⒥䠓 䚱♐Ҹ 憯 Ӂ㏢憯ᾏ↚棗㻊䠓愵⋻ⴳ㞾㻁⢿Ⓩ㢏⪶䠓強 ₐ ⑱Ὶᾏ虇ₐ㫼䛨⃞ⓒ䬶ᾏ♰⽴ⶳ䉉捜嬐Ҹ ӂ㒖 䚱 憨㞾㢹ℕ䚱♐宼宗䠓㜿棗㊮ Ҹ 虇 㳳⪥虇䖍㳲㾀⋴䦣䰅佁ᾙ㫼⑨Ҹ封♐䏛⢷ᾘҷ ⎴ ⡪〃⏜⎕⎴⢷ᾼ⢚╙㝴㢻朚愵佁ᾙ㫼⑨虇军 Shethia 㝋╊〃朚㑢欨㾾╙⓿〵⾑⧃Ҹ 㑢 㐤 憞懝㐤怺佁ᾙ㎿⧃虇尜䉉封♐䏛㳲䠋㔧㢹䥴 䠓榧⥮Ҹ ⳦ 军㜇⳦峘㞝㞾䠓Ҹᾼ⢚䠓摆⚽⨭朆䔖㵞〃 虇军佁ᾙ㫼⑨⃣俌摆⚽槜䠓⪶亓9虀厂21虀 ᾙⓖ30虀虇 䉉B2C 㫼⑨䠋ⷤ⨭㾊―⑤虇⌅摆⚽槜 Ҹ㜿㾯懢䉉 䠓 B2B㫼⑨䠓㵣ℚ䉉 15虀85虀Ҹ ⾛ Ӂ㎠⾛㢪㛈崙憨↚㵣ℚҸ ӂ尹處Ӂ㢏䖕㊂䠓㵣 ℚ㞾3處1虃B B2BB2C虄Ҹӂ 尹處Ӂ㎠↠⁴ㄏ㸡㢘㼗幊冔⢧栙虇⃕㎠↠䖍㟑 ᾜㄦᾜ㎟䱚ᾏ㚾ⴛ㜃䠓㼗幊冔⢧栙朏伢䍮憨榔㫼 ⑨Ҹӂ 孲 捚 㒖虇䛀 㝋 B 2 C ⴱ ㏅ 䠓 䫍 ″ Ⱑ 汣 ℎ 䚷 䔖 䢇 䜅 汧虇⡯ 㳳 ⢧ 栙 䠓 ₊ ⑨ Ὶ ᾏ 㞾 䠋 㕽 FacebookҷTwitterҷLinkedInҷ䠍〵╙ㄽⅰ䳘䫍″ Ⱑ汣䠓⋷扷䃪Ҹ 军⢧栙䠓╵ᾏ↚₊⑨虇䜅䋅㞾崢ⴱ㏅╙槶ⴱ㢃 ⵈ㞢㔴宇♐䏛Ҹ䉉―㯈䱚㬫㮲虇Shethia 姷䫉ㄭᾜ 㢒≞⪶⪩㜇䠓䴰䖕ⷳᾏ㮲⣟⢷㏎朢婰⽴⃫Ҹ 尹處Ӂ憨↚㊂㹤㞾虇⬑㤫⃯╾⁴㢃ⵈ㞢⢿㔴宇 ㎠虇戲灋⌅⁉ᾏ㮲㍘封㢃ⵈ㞢憩懝梊尀ҷ梊抄䳘㔴 宇⃯Ҹӂ 䠓⇩㹤剛ㄛ戓㢘╵ᾏ↚㽄㊞虇憨㞾⋺〃⏜ ⋴Herman Miller㟑懖⎿䠓䲻ᾏ↚㒠㎿ᾼⴇ㢒䠓Ҹ 尹處Ӂ㎠⏪⋴⋻▇㟑懖⎿ᾏ䮽㉔㹐虇ᾏ摆 ⚽⁉♰䠓姷䖍ᾜℂҸ䜅摆⚽姷䖍ᾜ䖕㊂虇ᾏ去䠓⇩㹤 㞾╵凧⁉╥↠Ҹӂ ╦⎿⋻▇䠓⊈⇋孏炢厭虇㸉䛨⃞♰⽴虇厖▛ ‚ⵕ⎖▗⃫虇⦈客↠㢃⬌⢿䖕孲╙⋚㢜⛞槛Ҹ 姷䫉虇↠䜅ᾼ㢘寀⪩⁉䖍㟑㞾⋻▇䠓Ӂ⪶冐 杕ӂҸ Ӂ㎠ᾙ―捜嬐䠓ᾏ屁Ҹ⬌䠓榧娥㢒䉉ᾚⷻ㕟K⿺ 虇军棭孲⊀㎥㒖帻↠Ҹ⍰‚ᾜ㢒㷇懯ᾏ⾕樷榕虇 䜅↠⎉撾㟑虇㎠⾛㢪↠㵣₊⃤⁉㢃㝸■ᾙ▇嬹卹 Ⓘ⧀Ҹӂ ㄭ戲㟑弆虇㸉ㅒ㏢䧃ᾙ▇厖ᾚⷻῚ朢䠓栣朰虇 ら䱚ᾏ↚。䳘䠓仓俣虇␄憯ᾏ↚㢘⎸䠓⽴⃫䘿⨒Ҹ 䊰履㞾儝⢚⏜俌伀⫶⾃欻虇戓㞾⣟⢷Aeron㪔ⳟ ᾙ䠓䭠㐏⽷榼噚咷虇䊰履㞾ⴱ㏅戓㞾♰⽴虇䊰履↠ 怺⢷₊⃤⢚ⵅ虇Shethia㢏仑䡽㮨ⷀ㞾崢㵞↚⁉抌ⴘ ⣟㝋Herman Miller⌅ᾼ䠓ᾏ㳍䚱♐Ҹ FE B RU ARY 2 017 MARK E TING HONG KON G 2 3
觀點
OPINION
Stephen Chung Creative partner Secret Tour Hong Kong
AD WATCH 廣告 點評
HOT: DOCOMO, For ONES
NOT: Redoxon
A good advertisement is like a time capsule to capture the essence of a generation. Japanese mobile phone operator DOCOMO, whose brand image campaign – For ONES, captures how our world looks like today.It shows the composition of the world precisely by telling us that groups no longer exist in this world. Everyone is an individual with independent and diverse lifestyles – reflecting the brand’s belief that DOCOMO doesn’t aim to serve the public, but caters to different needs of every individual. This video reminds us ds are not just a blend of copy writing and visuals; music also deserves our attention.
Many of us in ad land have fallen into the trap of getting “likes”; that every reaction and engagement on social media counts as a quantified outcome for your clients. Gradually, a formula for getting “likes” has developed: parody + celebrity + mockery. A fast and easy way out for both the agency and client, however, this formula seems to undermine the importance of ideas in creativity. Should “likes” be the only criteria to evaluate work? We don’t have the answer yet, but we are all looking for a better judging benchmark.
⟰;DOCOMO, For ONES ⬌ひ◙⬌㵣ᾏ↚㟑朢匯⡙虇㎟䉉㞝㝴䫍㢒䠓⓿宧ҸDOCOMO䠓ₐ㫼ヱ巰ひ◙ⅎ 㞾↚⬌ℚⳟҸ䏖ᾼ䠓ᾥ䛛㸡㢘⪶䣍虇㵞ᾏ⃜抌㞾䓷䱚↚汣虇㙐㢘䓷ᾏ䊰‛䠓梏 嬐☛䚮㻊虇☋㍘♐䏛ᾜ㞾䉉⪶䣍军宼虇军㞾䉉㵞↚⁉䠓䓷䐈梏嬐军㢜⑨Ҹ憨㨬ひ ◙㢃㕟挡␄⃫⁉蘥ひ◙ᾜ╹㞾㜖⳦⢥≞䠓仟▗虇概㮑㢃㞾ᾜ╾ㆌ䛴䠓ᾏ䘿Ҹ
⇜;Redoxon ⢷佁仰ᾥ䛛虇ひ◙⁉抌彛⋴Ӂ◒ Likeӂ㾀㾄Ҹ䢇⁴ㄏ䊰ヱ䠓梊嬥ひ◙㛅嬥虇㵞 ↚Reactions☛Engagement抌㞾ᾏ₌╾捞⒥㕟″‗ⴱ㏅䠓屁Ҹ䖍⢷彠Like㢘 ᾏ㨬⋻ゞ處㉰㖭䏖ᾏ㨬ҷ㞝㞮ᾏ㤩ҷ⪶捞㑌㷃虇ㅺ㔆㝈ⅎ虇│幆│干Ҹ⃕㢘㟑┊ Idea⫀忳Ҹ䰅䱮Like㞾▵⚾ᾏ姰捞㮨䀥虚戓㞾⾁㎟䉉佁㶠じ⊈䠓㢻劌╜㍘虚⪶ⵅ 抌㸡㢘䳣㧗虇⡯䉉㢃⬌䠓姰捞㮨䀥虇戓㢹⎉䖍Ҹ
MOBILE CHOICE 流動熱潮 Presented by
Tomy C.C.Choi Principal consultant cccdi ltd.
Digital freshness The 360-degree panoramic imagery is similar to the visual effect used for the famous scene in The Matrix, which is called the “bullet time” effect. In the past, several digital cameras or webcams inside an interactive installation were usually used to take images. Then the images were compiled to make one continuous shot and shared on social media to serve the marketing purpose. That was a massive production process, not to mention the cost and the time consumed. However, as the digital trend is moving towards mobilefirst and everyone now has their own smartphone, the “bullet time” concept can also be applied to mobile apps. Participants can now connect their smartphones to make a panoramic image and share it via their mobile phones faster and more instantly. This will not only get rid of the limitations of venue, equipment, installation production time and marketing costs, but also integrate coupons and marketing messages. This integrated promotion concept can be found at the Hong Kong’s first outdoor moving images festival - Hong Kong Jockey Club’s ifva Carnival at Central Harbourfront Event Space last year, and we developed an app SNAP Circle 360 for the event. 2 4 M A R K ET I N G H O N G K O NG FEBR UARY 201 7
Regarding the recent innovations of mobile phone hardware, mobile is playing a bigger part in digital marketing and replacing the current interactive installations. This is a trend that cannot be ignored.
∋≜ỉ╖ ㏏岑360〵䘿憃≞虇槭⢷梊The Matrixᾼ戲↚嗦▜䠓⧃棱㛗㤫虇 䯀Ὶ䉉ӁBullet Timeӂ䐈㛗虇⁴ㄏ㍘䚷⎿㔷ひ㻊⑤䠓虇抌㞾⢷‡⑤婬僽 ᾼ⁴⪩扷㜇䩋䢇㯮㎥ Webcam 㑜㚬虇䋅ㄛ╒厖冔ⶖ㢏仑䚱䚮䠓 360〵 䘿憃嬥孉≞虇⎕›⎿佁彾䫍″Ⱑ汣虇懣厂㔷ひ䡽䠓Ҹ憨ᾜ✽㞾↚榦⪶ 䠓媌⃫⽴䮚虇▛㟑㎟㢻╙㟑朢‵ᾜ⢷尀ᾚҸᾜ懝虇样嗦㜇䩋強⑱倛䃇≍■ ㏚㯮䠋ⷤ虇㵞↚⁉㙐㢘卹⾀䠓㠉劌㏚㯮虇ӁBullet Timeӂ㬑ㆄ‵╾⁴⫦ 䚷⎿ Mobile App虇│㟑憲㔴⪩↚⁉䠓㏚㯮数榼⃫㑜㚬虇䚱䚮䘿憃嬥孉 ≞虇㢃ㅺ㢃䢃㔴⢷╒厖冔䠓㏚㯮㔷ひ⎕›虇㾪ⶠ⁴ㄏ㔷ひ⢿灭ҷ⟷㣟ҷ 婬僽媌⃫㟑朢ҷ㔷ひ㎟㢻䳘䠓柟⏅虇䜅䋅ᾜ╾僉䠓㢃㞾⊹㉯⑄╙㔷ひ幖 宙⢷䠓仟▗Ҹ憨↚㔷ひ仟▗䠓㬑ㆄ虇㎠↠╊〃䔖⋗䉉㢻⢿欥↚⢷ᾼ䘿㼆 䆀㻊⑤䰉朢厘姛䠓㏅⪥≞坬姢䵏Ӂ庌欻㢒 ifva ≞➘〃啾ӂ虇㔷⎉― SNAP! Circle 360 Mobile AppҸ⌅虇慠〃样㏚㯮䧻₅䰐䧃虇⁴ㄏ槭 䠓㜇䩋㔷ひҷ‡⑤婬僽虇強⑱弙ℕ弙≍■㏚㯮䠋ⷤ虇䠓䩉ᾜⵈㆌ嬥Ҹ
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Recognising this growth opportunity, marketers have been keen on “ticking” Asia off the checklist of the top places to work in. And why not? With the evolution of the digital, social and e-commerce platforms, the marketing space in Asia is abuzz with different activities. Many marketers we spoke to reiterated the fact that Asia is one of the fastest growing regions globally, and a lot of trends start here. As such, marketers working here have a competitive advantage. Here are some of the other advantages of working in the region. Constant change There are various segmented markets in Asia with evolving sentiments, given the region is developing with time. As such, change is a constant, said Damien Cummings, previously the global head of digital marketing at Standard Chartered. Marketers, are hence, always ready for the curve ball. “Constant learning has to occur in order to keep up with this ever evolving communications ecosystem,” added Piotr Jakubowski, CMO of Go Jek. He said that in this region the evolution of marketing techniques, and the ways consumers respond to message types and channels, constantly keeps marketers on their toes. While acknowledging the fact that change is inevitable, Rod Strother, VP of digital transformation at StarHub, explained the pace of marketing in the industry has picked up tremendously in Asia. This constant change forces marketers to think and act faster. “[Marketing here] is faster – in every sense. Life operates at a completely different pace here and within business, that means turnaround times often border on the ridiculous. And yet, there is always someone who will (although not always) attempt to deliver that.” Cultural influences Asia has a myriad of cultures, and many forward-thinking marketers consider culture as one of the main factors that shape the face of marketing in Asia. Cultural differences and expectation ensures that individuals in the marketing industry have their "A-game", said Cummings. Linda Locke, creative director and CEO of Godmother, added that while the Asian 2 8 M AR K ET I N G H O N G K O N G FEBR UARY 201 7
markets were similar in nature when it comes to the basics, every segment was different because of its cultural context and each market has a unique dynamic. “Every market is at different stages of evolutionary momentum, undergoing different phases of cultural and economic development. While there may exist some commonalities, the degree of evolution is different,” she said. This makes marketers more versatile and sensitive to cultural nuances. Technology Technology forms the propeller by which the industry struts ahead. In fact, recently, globally acclaimed business school INSEAD ranked Singapore as one of the leading markets in global talent competitiveness due to well carved policies in areas such as education and technology. This was in the Global Talent Competitiveness Index 2017. The tiny red dot came second to Switzerland, but was ahead of the United Kingdom (No. 3) and the United States (No. 4). Meanwhile, countries such as Indonesia now have more than 88.1 million active internet users (according to statistics from We Are Social) and 43% of the population carry smartphones. Malaysia also recently brought on board Jack Ma, founder of Alibaba Group and also a prominent global e-commerce leader, to act as a digital economy adviser to the Malaysian government in a bid to push its smart nation agenda. As such, one can easily predict the marketing industry in Asia is going to only be more open to adopting new forms of technology in the near future. To this, Cummings said: “The marketing industry in Asia is leaping in terms of its keenness in adopting new technology. The industry in Asia is unclogged with a new spirit in technology and innovation.” Taking a slightly different stance, Locke added that because marketing in the region was not homogeneous in nature, with some markets more developed than others, the marketing industry here also gives “marketers more room to breathe and juggle with new forms of technology”. As such, marketers can be highly “versatile, vigilant and innovative here”.
Ꮹᑆ᱑ᣥᶋ᤺⍶ῚᅗᏕᲵᭆ⇚ዷᨕᨕᷲᗉᠥᮿ ㊂⽴⃫⢿灭ῚᾏҸ⌅憨灭ᾜ桲䖕孲虇样嗦㜇䩋ҷ 䫍″Ⱑ汣╙梊ⳟ⛕⑨。╿䠓䠋ⷤ虇▓槭䍮摆㻊⑤⢷ 㻁⾑⧃䠍呀烙㛍Ҹ ㎠↠㔴宇䠓寀⪩⾑⧃㔷ひ⁉⩺捜䛂虇㻁㞾⋷ 䖒⨭朆㢏ㅺ䠓⢿ⓏῚᾏ虇ㄗ⪩㜿強⑱‵䛀㳳军弆Ҹ ⡯㳳虇⢷憨婰⽴⃫䠓⾑⧃㔷ひ⁉⩺⌆㢘䲅䎼⊹⑱Ҹ ⁴ᾚ㞾⢷封⢿Ⓩ⽴⃫䠓ᾏ⊹⑱處 ៅᬈ➦ፓ 样嗦㟑朢䠋ⷤ虇㻁⢿Ⓩ亿⎕䉉▓䮽ᾜ▛⾑⧃虇⾑ ⧃㉔佡‵ᾜ㝆惘崙Ҹ⡯㳳虇⏜㾲㏢搏姛⋷䖒㜇䩋䍮 摆帯帻⁉Damien Cummings㒖崙⒥㞾ᾏ↚⿇㋚虇 ⾑⧃㔷ひ⁉⩺嬐样㟑䀥∨⬌慝㔴㜿㒠㎿Ҹ Go Jek⾑⑨俌婐Piotr Jakubowski婫⋔尹處Ӂ 嬐憌ᾙ憨䮽ᾜ㝆䂣崙䠓≂宙䚮㋚亊伀虇ㅔ榗ᾜ㝆⢿ ⴇ兡Ҹӂ婫⋔㒖虇⢷憨↚⢿Ⓩ虇⾑⧃㔷ひ㐏姢䠓䂣 崙虇⁴╙㼗幊冔ᾜ▛幖宙╙㾯懢䠓╜㍘虇ℎ⾑⧃ 㔷ひ⁉⩺ᾜ劌⇫ᾚ匂㳴Ҹ 桥䋅㐎尜惘崙㞾䊰╾戎⋜虇⃕㞮☛㜇䩋惘⤚⏾ 俌婐Rod Strother孲捚㒖虇㻁䠓⾑⧃㔷ひ㳴⾁ 慔憮弤ᾙҸ军憨䮽㇕⿇崙⒥比ℎ⾑⧃㔷ひ⁉⩺嬐㢃 ㅺ⢿ㆬ冒╙姛⑤Ҹ Ӂ虃憨婰䠓⾑⧃㔷ひ㳴虄⢷▓㝈棱抌㢃ㅺҸ憨 婰䠓⽴⃫䵏⫞ⴛ⋷ᾜ▛虇憨㊞☂嗦惘崙憮〵ㄏㄏㅺ ㄦ毩⁉虇⃕俌㞾㢒㢘⁉虃⊧䴰ᾜ俌㞾虄寵⢥弤ᾙҸӂ ፲ፓ⇝❀ 㻁㙐㢘⪩⋒㜖⒥虇寀⪩⌆懯嬚䠓⾑⧃㔷ひ⁉⩺尜 䉉虇㜖⒥㞾㛈崙㻁⾑⧃㔷ひ棱帛䠓Ὴ嬐⡯亯Ὶ ᾏҸCummings 姷䫉虇㜖⒥⽽䛿╙㢮㢪䩉Ⅼ⾑⧃㔷 ひ姛㫼⁉⩺䠋㕽㢏ℂ姷䖍Ҹ Godmother␄㊞ 俌 䡲 ⌋ 姛 㛎 俌 婐 Linda Locke 婫⋔㒖虇桥䋅㻁⾑⧃⢷㢻幹ᾙ䢇虇⃕䛀 㝋⌅㜖⒥剛㟾虇⁴╙㵞↚⾑⧃抌㢘⌅䓷䐈䠓䚮㋚虇 ⡯㳳㵞↚亿⎕⾑⧃抌㢘㏏ᾜ▛Ҹ ⬈尹處Ӂ㵞↚⾑⧃抌埤㝋ᾜ▛䠓䠋ⷤ栝㵄虇伢㴆 ᾜ▛栝㵄䠓㜖⒥╙伢䅮䠋ⷤҸ⊧䴰╾劌⳧⢷ᾏ⌀ 憩灭虇⃕䠋ⷤ䠓䮚〵ᾜ䡰䢇▛Ҹӂ ⡯㳳↠嬐㹷㊞㜖⒥䠓亿ㄽ⽽䛿虇样㯮㍘崙Ҹ ᡡᕂ 䭠㐏㎟䉉㔷⑤姛㫼■⏜成懁䠓奉㝚㮂Ҹ ‚ᾙ虇⋷䖒䥴▜䠓咀⩺⢚株⛕ⴇ柱㢏慠⋻⾒ 2017〃Ӂ⋷䖒⁉㏜䲅䎼㒖㜇ӂ虇寤戇㜿⣰䉉⋷ 䖒㢏⌆⁉㏜䲅䎼䠓⾑⧃Ὶᾏ虇⋷⡯㜿⣰⢷㛨剁 ╙䭠㐏䳘榧⥮⏅―叾⬌䠓㛎䳥Ҹ憨↚⢿⢥ᾙ䠓 五灭余样䗭⩺㔡▜䲻‛虇⩢咀⢚虃䲻ᾘ⃜虄╙儝 ⢚虃䲻⡪⃜虄Ҹ 厖㳳▛㟑虇⓿ⷋ䳘⢚ⵅ䖍㟑㙐㢘弔懝8,810喻㻊 怜‡凾佁䚷㏅虃㧈㙩We Are Social䠓伀宗㜇㙩虄虇 ⌅ᾼ43%䠓⁉╲㙐㢘㠉劌㏚㯮Ҹ 欻ℕ嬎㢏慠‵㑪㚻柎捛⾃⾃桕⢧␄愵⁉⌋⋷ 䖒梊ⳟ⛕⑨榧娥欻梁虇⎉₊欻ℕ嬎㛎〫䠓㜇䩋伢 䅮槶⛞虇⁴㔷⑤⌅㠉㋶⢚ⵅ䠋ⷤ懁䮚Ҹ
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⡯ 㳳 ⢷ ᾜ 䠓 ⶖ ℕ虇 㻁 䠓 ⾑ ⧃ 㔷 ひ 姛 㫼 㝋㔰䚷㜿ゞ 㐏姢䠓㋚ 〵 ⶖ㢒 崙ㄦ㢃 朚 㛍ҸCumming 㳳姷䫉處Ӂ㻁䠓⾑⧃㔷ひ姛㫼䯜 㬄慔憮⢿㔰䚷㜿㐏姢虇ら䱚弆⼓㜿䠓䭠㐏╙␄㜿乍 䫭Ҹӂ 䱚⧃䮜㢘ᾜ▛䠓 Locke 婫⋔虇䛀㝋ᾏ⾑⧃㵣 ⌅⾑⧃䠋懣虇⡯㳳ᾜ▛䠓䍮摆⾑⧃⢷㢻幹ᾙ䛴㢘 ᾜ▛虇憨婰䠓⾑⧃㔷ひ姛㫼‵仵‗⾑⧃㔷ひ⁉⩺㢃 ⪩䠓䰉朢ℕ◇㛅╙懸㍘㜿䠓㐏姢Ҹ ⡯㳳虇憨婰䠓⾑⧃㔷ひ⁉⩺╾⁴Ӂ㢃棗㻊ҷ峵㉤ ╙␄㜿Ҹӂ
Evolving online platforms Connectivity, coming handinhand with technology, is on the rise in Asia. And with places such as India located in this part of the world, where nearly one billion people today live without access to internet, it is only a matter of time before tech players are able to push these folks online. In fact, opportunities such as these provide marketers with a truly exciting challenge to reinvent what we already know, said Jakubowski. Speaking about his home market of Indonesia, he said the platform Path has really picked up in prominence despite not having resonance in the rest of the region. While no doubt the country is big on all things social – boasting one of the highest numbers of Facebook users globally, and a growing number of LinkedIn and Twitter followers. A platform unique to mostly Indonesian users is Path. Path is a social media app created with mobile in mind, and according to reports on Business Insider Australia, just three weeks after launch, the app had been downloaded 1.5 million times. WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
Much like other social platforms, it enables users to connect with their friends and family, but with its own little alternations that set it apart from other social media outlets. Because of the different nuances in the region and different levels of development, a marketer is able to exercise their own creativity to make a platform adapt for a market. Experimentation This leads us to experimentation. French sporting house Decathlon’s SEA marketer in Singapore Clarence Chew said Singapore was a “failure market” for the brand and uses it as a test bed for all things new and shiny in the digital landscape. After all, failure is vital to any great discovery and innovation. In Asia, because of the varied development stages, there is a constant learning curve and marketers are able to constantly try new things to see how the market reacts. Strother added that in Asia, there was more “leeway to experiment” when you were working on a global brand.
ጰ╴ᶋ᤺ᛵጆᏗᏄ 凾俺厖䭠㐏㚫㏚懁䠓強⑱⢷㻁ᾜ㝆ᾙⓖҸ ⢷憨↚⢿Ⓩ䠓⢚ⵅ虇ℚ⬑⓿〵䖍㟑㢘ⶖ慠10 ⊓ ⁉䊰㹤ℎ䚷‡凾佁虇⃕㐏姢⁉♰嬐㏢憩憨⢿Ⓩ䠓 佁仰憲㔴╹㞾㟑朢䠓⛞槛Ҹ ‚ᾙ虇Jakubowski姷䫉虇憨㯮懖䉉⾑⧃㔷 ひ⁉⩺㕟K―ᾏ↚䢇䜅⁉炢厭䠓㒠㎿虇⁴捜㜿儸 ㎠↠⾁㢘䠓尜䥴Ҹ屖⎿⌅ⵅ折⾑⧃⓿ⷋ虇姷䫉Path! 。╿⊧䴰㸡㢘⢷封⢿Ⓩ䠓⌅⢿㝈イ弆憃榎虇⃕⾁ ⢷⓿ⷋ慔憮⺪弆Ҹ 㵺䊰䜠⛞虇封⢚䠓䫍″Ⱑ汣㟽╙䮚〵䢇䜅汧虇㞾 㙐㢘⋷䖒㢏⪩Facebook䚷㏅䠓⢚ⵅῚᾏ虇LinkedIn ╙Twitter丘企⁉㜇‵㊗ℕ㊗⪩虇军Path⾁㪜㧈⢷⓿ ⷋ㢻⢿⁉䠓ㅒᾼҸ Path㞾ᾏ↚⁴㏚㯮䉉Ὴ䠓䫍″㍘䚷䮚ゞ虇㧈㙩 䅂㻁Business Insider䠓⧀◙㒖虇封㍘䚷䮚ゞ㔷⎉ 䥼䥼ᾘ↚㞮㢮虇ᾚ悘䔖⾁汧懣150喻㲰Ҹ 厖⌅䫍″。╿ᾏ㮲虇ⴒ崢䚷㏅劌⪯厖㢚╚╙ ⵅ⁉凾俺虇⃕憨↚。╿㢘⌅䠓䓷䐈Ὶ埤虇ℎῚ厖 ⌅䫍″Ⱑ汣㢘㏏Ⓩ⎴Ҹ 䛀㝋Ⓩ⋶⢚ⵅ䠓亿ㄽ⽽⎴╙ᾜ▛䠓䠋ⷤ㷃。虇⾑ ⧃㔷ひ⁉⩺劌⪯懚䚷卹⾀䠓␄㊞虇ℎ。╿慝▗↚⎴ ⾑⧃Ҹ ᾦ➱ ⡯ 㳳 ㎠ ↠ 梏 嬐 懁 姛 寵 毦Ҹ㹤 ⢚ 汣 剁 䚷 ♐ ⋻ ▇ Decathlon⢷ 㜿 ⣰ 䠓 㤀 ⓦ ⾑ ⧃ 㔷 ひ ⁉ ♰ Clarence Chew姷䫉虇㜿⣰♐䏛ℕ尹㞾ᾏ↚Ӂ ⫀㛦䠓⾑⧃ӂ虇⁴㳳⃫䉉㜇䩋榧⥮ᾏ⎖㜿䯝呀⽶‚ 䏸䠓㾻寵。╿Ҹ䛱䱮虇⫀㛦ῒ₊⃤⇘⪶䠋㞝╙␄㜿䠓 ㎟Ὶ㵜Ҹ ⢷㻁虇䛀㝋▓⢿ᾜ▛䠓䠋ⷤ栝㵄虇梏嬐ᾜ㝆⢿ ⴇ兡虇⡯㳳⾑⧃㔷ひ⁉⩺劌⪯ᾜ㝆➦寵㜿‚䏸ℕ― 孲⾑⧃䠓╜㍘ҸStrother 婫⋔㒖虇⢷䀥∨㔷⎉ᾏ↚⋷ 䖒♐䏛㟑虇㻁㢘㢃⪩䠓䰉朢ℕ懁姛寵毦Ҹ
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JOB SHUFFLE ⁉‚崙⑤ British Airways promoted Noella Ferns to regional general manager for Greater China and the Philippines. Based in Hong Kong, Ferns will be responsible for the airline’s commercial activities in Greater China and the Philippines, leading a region-wide team of more than 27 people and reporting to Richard Tams, executive vice-president for Greater China. 咀⢚厹䰉⋻▇ⴲ⾒₊☌咒嚩坜⎉₊⪶ᾼ啾Ⓩ╙喁ㄚ 幢俌伢䖕Ҹ咒嚩坜⿇歟欨㾾虇⿅榧27⁉彷Ⓩ⥮⢧栙虇 帯帻咀厹⢷⪶ᾼ啾Ⓩ╙喁ㄚ幢㫼⑨虇■咀厹⪶ᾼ 啾Ⓩ⦆姛俌婐峩䤎ㅆⒾ⧀Ҹ
OGILVY & MATHER HONG KONG APPOINTS NEW CEO ⫶儝欨㾾₊☌㜿姛㛎俌婐 Ogilvy & Mather named Katryna Mojica as chief executive offi cer for O&M Hong Kong effective March 2017. Mojica takes the role from Adam O’Conor, who will focus full-time on his global brand management role for the fi rm in Asia Pacifi c. Starting her career with O&M Philippines in 1996, Mojica has held country leadership positions for the network since 2006, her most recent role being CEO for O&M Indonesia.O’Conor, who will remain stationed in Hong Kong, was appointed CEO of the Hong Kong offi ce in 2011. ⫶儝桕⢧ⴲ⾒₊☌ Katr yna Mojica 䉉⫶儝欨 㾾姛㛎俌婐虇ㄭ 2017〃 3㢗朚⭚䚮㛗ҸMojica ⶖ 㔴㢎Adam O’Conor虇ㄛ冔ⶖ㹷㝋⪹⢿Ⓩ䠓 ⋷䖒♐䏛䴰䖕ҸMojica 㝋1996 〃 ⢷喁ㄚ幢ⷤ朚 ⬈⢷⫶儝䠓分㫼䚮㼾虇卹2006 〃弆ᾏ䢃㙣₊封⋻ ▇䠓⢿Ⓩ䴰䖕分 ⑨虇⬈㢏慠㙣₊⫶儝⓿ⷋ姛㛎俌 婐ҸO’Conor 㝋2011〃䔁₊☌䉉欨㾾愵‚埤姛㛎 俌婐虇㝴ㄛⶖ個倛䛨₊欨㾾Ҹ
Cheil Hong Kong has brought Francis Chung on board as group creative director. Before joining Cheil Hong Kong, he was group creative director at DDB Worldwide based in Hong Kong. He has attained more than 30 international and local creative awards, including Cannes Lions, D&AD, One Show, New York Festival, Spikes, AdFest, Longxi and Kam Fan. Cheil Hong Kong₊☌Francis Chung䉉桕⢧␄ ㊞俌䡲Ҹ⋴Cheil Hong KongῚ⏜虇㞾DDB桕 ⢧欨㾾␄㊞俌䡲ҸChung㢍䔁ㄦ弔懝30↚⢚株╙㢻 ⢿␄㊞䓝榔虇⒔㑻う⥝捠䓔䓝ҷD&AD␄㊞䓝ҷOne Show ␄㊞䓝ҷ亟 亓ひ ◙䵏␄㊞䓝ҷSpikes ␄㊞ 䓝ҷAdFest␄㊞䓝ҷ焜䙌␄㊞䓝╙捠⾕䓝Ҹ
Tribal Worldwide Hong Kong appointed Bocys Lam as technical and operations director to boost the agency’s technology expertise. In his new role, he will work with Leo Tsui, head of Tribal, to spearhead the technology and project management team. He joins Tribal after seven years at digital agency Mirum Hong Kong.
Golin hired Carol Yeung as senior manager of the consumer practice and Andy Wong as digital creative director. Yeung (left) joins the PR firm from Edelman where she led several accounts across travel, hospitality, energy, and consumer tech. Wong joins from Isobar where he led a team of creatives, delivering digital solutions, driving social conversations and creating user experiences with UX and tech experts. Wong reports to Jane Morgan, managing director, and Yeung to Anita Chan, consumer director. 汧尯⋻杫ⴲ⾒₊☌Carol Yeung䉉㼗幊冔㫼⑨汧亩 伢䖕虇Andy Wong䉉㜇䩋␄㊞俌䡲Ҹ⋴汧尯⋻杫 ⏜虇Yeung虃⽵虄₊分㝋㊪ㅆ㢋虇帯帻䴰䖕⪩↚㝔懙ҷ 拡〦ҷ劌䀟╙㼗幊㐏姢姛㫼䠓ⴱ㏅㫼⑨ҸWongῚ⏜ ₊分㝋ⴘ亱⾤虇帯帻⿅榧ᾏ㚾␄㊞⢧栙ҷ㕟K㜇䩋孲 㸉㝈㧗ҷ㔷⑤䫍″尀ҷ⁴╙厖UX╙㐏姢ⵅ⌀▛ ␄ら䚷㏅汣毦ҸWong╙Yeungⶖ⎕⎴■嗲‚俌伢䖕 Jane Morgan╙㼗幊冔俌䡲Anita ChanⒾ⧀Ҹ
DigitasLBi appointed Sam Ko as head of media for Hong Kong. He was previously the director of digital investment at Mindshare NYC. Before Mindshare, he worked at MediaVest, UM, OMD and Zenith across major cities in the US. He will be responsible for all media development and execution from the Hong Kong office. DigitasLBi₊☌Sam Ko䉉欨㾾Ⱑ汣帯帻⁉ҸῚ ⏜㞾亟亓≂䱚Ⱑ汣㜇䩋㐤幖俌䡲Ҹ⋴≂䱚Ⱑ汣 ⏜虇Ko㢍₊分㝋儝⢚Ὴ嬐⥝⾑䠓㞮≂Ⱑ汣ҷ⊹䡮ҷ 㻸殿Ⱑ汣╙≂㘼ҸKo ⶖ帯帻欨㾾愵‚埤䠓ᾏ ⎖Ⱑ汣䠋ⷤ╙⦆姛㫼⑨Ҹ
Tribal Worldwide欨㾾₊☌Bocys Lam䉉㐏姢╙ 䍮懚俌䡲虇⁴㕟汧封⋻▇䠓㐏姢㫼劌Ҹ⢷⌅㜿分 ⃜ᾙ虇Lamⶖ厖Tribal䠓帯帻⁉Leo Tsui▗⿅榧㐏 姢╙榔䡽䴰䖕⢧栙Ҹ⢷㜇䩋䖕⋻▇Mirum Hong Kong⽴⃫ᾒ〃ㄛ⋴TribalҸ
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結語
LAST WORD
Are agencies getting better at retaining their staff and stopping them from moving in-house? Or is in-house becoming less attractive to agency folk? With teams being evermore streamlined and stretched, it appears the role of an in-house comms head is a far more difficult job. For years the perception is that you’ve made it in communications when you’ve got the top comms gig with an MNC. This is what many junior PRs dream of becoming – the top dog – the boss of comms. This is when you’ve made it, right? Wrong. Many heads of communications feel they have the toughest job at the moment. Over the past year, research from Prospect’s and Public Affairs Asia’s “State of the Industry” report has shown that in-house communications functions are reducing their headcount despite their company experiencing growth. In-house functions are having to do far more with far less resources. They are having to prove their worth to the business more so than ever before. Because these functions are restructuring and downsizing they find themselves in either a standalone role or with a very small team. Being hands-on, and turning their hand to anything and everything, is the new role of the head of comms. Yes, they still devise the communications strategy, but they also now need to implement it with (maybe) help from an external consultancy if they are lucky. With the in-house teams downsizing, they are having to outsource more work to the
Emma Dale
Co-founder and managing director Prospect Resourcing (Asia) 32 M A R K ET I N G H O N G K O N G FEBRUA R Y 201 7
agencies. Don’t get me wrong, there are many communications teams out there in APAC that have the resources and investment and so the head of communications has a meaty, challenging and rewarding role. They have a seat at the boardroom table and comms plays a key role in hitting business objectives. However, many comms experts admit that moving in-house was not what they thought it would be. Shorter working hours, better pay and benefits, flexible working, job security and the chance to really make a difference are no longer guaranteed. Spending weeks on a plane, working 24/7, turning your hand to everything and constantly having to justify your role are more realistic traits of the in-house gig. Over the past year, in particular, we have noticed that agencies are now managing to retain their staff better and dissuade them from taking an in-house role. Agencies are moving into an integrated model, rather than offering just pure PR, and this has enabled them to give their staff a broader, more varied role where they are learning new skills within digital, social, advertising and marketing. In addition to this breadth of disciplines, agencies are keeping staff with more global transfers, flexible working options, paid sabbaticals, part-time options and fun and creative cultures. So if you are looking for job security, a fun and varied role, surely agency life is now overtaking in-house as the more attractive option.
ᖖᱺ៦ᓥᮿፊᎽᕗᑺᥳᑊ᧒ᒴᗥᤍጤ◓ᕏᐢỔፇ 扷扷朏虇戓㞾ₐ㫼⋶扷↠䠓◇イ㾪⃝虚样嗦 ⁉㏚㊗嬚乍䶰╙嬐㷑㊗汧虇⋶扷≂宙Ὴ䴰䠓孡吁 ῝㢃⌆㒠㎿Ҹ ≂宙姛㫼⪩〃ℕ䠓孏ㆄ㞾虇䜅⃯㎟䉉ᾏⵅ彷⢚ ⋻▇䠓≂宙Ὴ䴰㟑虇ⷀ姷㎟Ҹ⡯㳳虇寀⪩⎬亩⋻ 杫⁉♰䠓⪱㊂㞾㎟䉉≂宙扷朏䠓尀‚⁉Ҹ⃯尜䉉憨 ⷀ㞾㎟虇▶虚 撾Ҹ寀⪩≂宙扷朏Ὴ䴰尜䉉虇↠䖍㟑㙣₊㢏 吀揔䠓₊⑨ҸProspect╙Public Affairs Asia╊〃 䠓姛㫼䑏㹐⧀◙䦣䰅姷㞝虇⊧䴰⌅⋻▇伢㴆⨭朆虇 ⋶扷≂宙扷朏䖍㳲侽㾪⁉㏚Ҹ⋶扷≂宙扷朏ㅔ榗䚷 㢃ⶠ䠓幖䀟⇩㢃⪩䠓‚㉔虇↠ㅔ榗㵣峘⢷⋻▇ ⳧⢷䠓⊈⇋Ҹ䛀㝋憨扷朏懁姛捜仓╙乍䶰⁉㏚虇 ↠ⶖ㢒㞾Ӂᾏ㚾⋻ӂ㎥╹㞾⿅榧嗦ᾏ㚾棭⿇䠓 ⢧栙Ҹ⍰‚嬹嬹䉉虇怺⋗⩺ⓡ虇憨ⷀ㞾≂宙Ὴ䴰䠓 㜿孡吁Ҹ㸡撾虇↠⁜䋅帯帻⏅≂宙䳥䛴虇呴⬌懚 䠓尀虇㎥㢒ㄦ⎿⪥扷槶⛞䠓⿺Ҹ军⋶扷⢧栙⁉㏚ 侽㾪虇↠ᾜㄦᾜⶖ㢃⪩䠓⽴⃫⪥⎳仵䖕⋻▇Ҹ ᾜ懝虇 ⪹⢿Ⓩ 戓㢘 寀⪩㙐 㢘幖 䀟䠓≂宙⢧ 栙虇⡯㳳≂宙扷朏帯帻⁉㙣䜅嗦ᾏ↚巟ⵛҷ㢘㒠㎿ ㆶ☛㢘⊈⇋䠓孡吁Ҹ↠⢷㢒峿ⴳ⃣ᾏ⾼⃜虇军≂ 宙⽴⃫懣㎟㫼⑨䡽㮨䠋㕽杫攄䠓⃫䚷Ҹ䋅军虇寀 ⪩≂宙ⵅ㐎尜虇㎟䉉ₐ㫼⋶扷♰⽴ᾜ㞾⁉↠㏏㿃 㢪䠓虇⡯䉉ᾜ⌜Ⅼ峘㢘悒䥼䠓⽴⃫㟑朢ҷ⊹┩䠓圹 拻╙䬞⎸ҷ棗㻊䠓⽴⃫ҷ⽴⃫Ⅼ栫ҷ⁴╙⪶㢘㏏⃫䉉 䠓㯮㢒Ҹ懝Ӂ䰉ᾼ橪⁉ӂ䠓䚮㻊虇㵞懀⽴⃫ᾒ⪸虇㵞 ⪸⽴⃫ 24㟑虇⍰‚嬹嬹䉉虇ᾣ嬐ᾜ㝆峘㞝⃯ 䠓孡吁ₐ㫼㢘㢃株䠓⊈⇋Ҹ ㎠↠⢷⁙〃ⶳ⌅㹷㊞⎿虇▓䖕⋻▇㳲宼㹤㓌 䛨⁉㏜虇柊㳱↠惘㐤ₐ㫼⋶扷扷朏Ҹ䖕⋻▇ 㳲廿■伫▗㮰ゞ虇军棭✽亣㕟K⋻杫㢜⑨虇ℎ♰⽴ 㙣䜅弆㢃⪩⋒⒥䠓孡吁虇崢↠ⴇ兡㜇䩋ҷ䫍″Ⱑ 汣ҷひ◙╙⾑⧃㔷ひ㝈棱䠓㜿㐏劌Ҹ柳―憨ひ㹪 䠓榧⥮⪥虇䖕⋻▇戓䉉♰⽴㕟K㢃⪩䠓⋷䖒屎㻍 㯮㢒ҷ棗㻊䠓⽴⃫戇㙖ҷ㢘圹⇖ҷ⌋分戇㙖ҷ⁴╙㢘 弲╙⌆␄㊞䠓㜖⒥Ҹ ⡯㳳虇⬑㤫⃯㳲⢷㐍䯸䠓⽴⃫ҷᾏ↚㢘弲 ╙⪩⋒⒥䠓孡吁虇䖍㟑⢷䖕⋻▇⽴⃫刾㵣⢷ₐ 㫼⋶扷㢃◇イҸ
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