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編者的話
EDS LETTER
POLITICS AND CREATIVITY – A RISKY BUSINESS
Editorial Carlos Bruinsma, Editor carlosb@marketing-interactive.com
㛎㹊⛞槛
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 Events Yeo Wei Qi, Regional Head of Events Services weiqi@lighthousemedia.com.sg 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
“Never discuss politics, money or religion at the dinner table”, my mum used to say. Not just mum, actually. In fact, it’s been drilled into me since I was barely old enough to understand politics, money and religion. Granted, my background is in small communities, where grudges are a real thing and pissing someone off could have far-reaching and long-lasting consequences – we tend to be sensitive about these things. As a result, I have watched the recent slew of politically charged ads with a mixture of curiosity and a sense of reservation. It seems incredibly risky to me – especially in divisive times – why you would risk potentially, and perhaps irrevocably, alienating half your customer base. I appreciate that risk is one of the defining features of creativity, but I feel like unless you’re actively contributing to an issue you feel strongly about, you should probably tread very carefully. Even if you do truly feel the need to weigh in, I suspect that a lot of your customers either won’t care or might even disagree with you – or even simply take issue with the execution. Case in point, Starbucks’ conversations about race with baristas, Pepsi’s ad with Kendall Jenner, the list goes on. I can’t imagine these things are good for ROI, unless the whole “any PR is good PR” philosophy holds water. The problem with politics is that we, as humans, find it terribly difficult to agree on things. It’s balancing on a razor’s edge at best, and I think we’ve all realised how easy it is to get cut. Enjoy the read.
ᤲᏪᬈᅝᆋፒᑋᦏጆᩜ⊹៝ᛓᅘᜲ␖ᙬᘶ᭖ᝂ ⁿҸӂ‚ᾙ虇ᾜ╹ⵅ㵜憨㮲尹Ҹ⢷㎠⏪朚⭚㍑ㄦ㛎 㹊ҷ捠撱㎥㛨䠓㟑↨虇憨╴尹尀⾁㾀㾀㪜㧈㝋ㅒ ᾼҸ 尯䋅虇㎟朆㝋䫍Ⓩ虇ㄗⵈ㞢㢒䠋䚮烮烻虇厖⁉ 仟ㆷ╾劌㢒憯㎟朆㾀懯䠓ㄛ㤫虇⡯㳳㎠↠ㄏㄏ 憨‚㉔ㄗ㛞㊮Ҹ ⡯㳳虇㎠㎆嗦⬌⫖╙孏䠓㋚〵䢚ㄔ㢏慠ᾏ ⿅㢘㛎㹊㊞☂䠓ひ◙Ҹ㎠尜䉉憨㞾⌄姛根嗦虇ⶳ⌅ 埤㝋䫍㢒㘤婑㟑㢮虇䉉⃤嬐⌡嗦娺ᾏⓙ槶ⴱ㣾嗪䠓 樷根◱虚 樷根㞾␄㊞䠓ᾏ↚䐈ㅄ虇⃕㎠尜䉉虇柳棭㞾ᾏ ↚㢘ㅔ嬐㓉怺军⎉䠓⛞槛虇▵⏖⃯㍘封棭⿇峈㋝Ҹ │ℎ⃯䢮䠓孉ㄦ㢘ㅔ嬐╒厖⌅ᾼ虇⃕㎠㎆䜠⪶⪩㜇 䠓槶ⴱᾜ㢒⢷῝ҷ䚩厂ᾜ▛㊞⃯䠓孏灭虇䚩厂䢃㔴 ⶖ⛞槛僽Ὶᾜ䖕Ҹ ⷀ⬑虇㞮⾃⋚厖☥⛰⾺㢘杫䮽㝞䠓尀ҷ䠍‚ ╾㮑厖Kendall
Jenner䠓ひ◙䳘䳘虇㎠㊂≞ᾜ⎿憨
䎼峿㐤幖⡭⧀㢘⃤⬌埤虇柳棭⃯㾀ⅰӁ₊⃤⋻ 杫ⴲ≂抌㞾⬌䠓⋻杫ⴲ≂ӂҸ ㎠↠⃫䉉⁉ 槭虇ㄗ桲ⷀ㛎 㹊⛞槛 懣㎟ᾏ厃㊞ 嬚虇㢏⬌⢷⎏ⶥᾙⅬ㒐叾⬌。姰虇⪶ⵅ抌㞝䠌␁≆ 㞾ᾏ₅⪩灋ⵈ㞢䠓‚Ҹ 屚亿杀⁙㢮桫尛Ҹ
Lighthouse Independent Media Ltd. Printed in Hong Kong by Asia One Printing Ltd. For subscriptions, contact circulations at +852 2861 1882 or email subscriptions@marketing-interactive.com. COPYRIGHT & REPRINTS: All material printed in Marketing is protected under the copyright act. All rights reserved. No material may be reproduced in part or in whole without the prior written consent of the publisher and copyright holder. Permission may be requested through the Hong Kong office. Disclaimer: The views and opinions expressed in Marketing are not necessarily the views of the publisher. Hong Kong: Lighthouse Independent Media Ltd, publisher of Marketing magazine 2/F, Connaught Harbourfront House, 35-36 Connaught Road West, Sheung Wan, Hong Kong Tel: +852 2861 1882 Fax: +852 2861 1336 Singapore: Lighthouse Independent Media Pte Ltd 100C Pasir Panjang Road, #05-01 See Hoy Chan Hub, Singapore 118519 Tel: +65 6423 0329 Fax: +65 6423 0117 To subscribe to Marketing magazine, go to: www. marketing-interactive.com
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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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Wyeth’s winning formula.
㉯㶞厃⑬⋻ゞ
12!
The power of audio.
刌孉幖宙䠓捞
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Snapped.
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Out of the jewellery box.
徂⎉欥檍䵀 The great digital divide in the real estate world.
朚棈佁ᾙ䏸㫼䖕㜿㎿⧃
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Why we sometimes need to sacrifice the sacred cows.
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䍮摆㻊⑤呀份
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◙⎴Ӂ捠䭠䔘ㄚӂ A toast to boldness.
冔䊰㎋ The British Airways fiasco: why saying sorry was not enough.
咀厹梊勵㛔栫處⬑⃤㗅ⅽ♐䏛刁崌
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60 seconds with
What’s on? Marketing Events Awards 2017 What: The Marketing Events Awards recognise and honour the very best of Asia’s event marketing, management and planning industry. Where: The Mira. When: 21 July 2017. Spark Awards 2017 What: Spark Awards are back to celebrate Hong Kong’s top media companies and the work across the fields of content, client engagement, new media and programming initiatives. Where: The Mira. When: 10 August 2017.
“Just because you are a chef in Italy, doesn’t mean you don’t believe in style and celebrating in life. You can’t put people in boxes.” Ӂ╹⡯䉉⃯⢷㊞⪶⎸䜅ど! ! !⾺虇ᾜ姷⃯ᾜ捜嬥㟑 !ⶩ╙䚮㻊›╦Ҹ⃯ᾜ劌䚷 !㧕㥅ℕ㮨䷳⁉Ҹӂ
Jenny Hui General manager eBay marketplace Hong Kong and Taiwan
First job? I started my career with Microsoft working in various sales and marketing roles across different teams, including services, enterprise sales, marketing and SMB and partners. What are the most challenging parts of your job? Our business is global and our sellers are focused on servicing global markets. That can mean unexpected changes across different markets from time to time. We always need to react fast, be agile and adjust to cope with business needs and requirements. As a marketplace, we need to create a win-win situation for all parties and maintain strong trust between them. It is especially important to offer a high retail standard to maintain our buyers base, and at the same time, maintain good relationships with our good and trusted sellers. Marketing professionals you admire? Indra Nooyi, CEO of PepsiCo, is a good role model of a successful sales and marketing professional. Not only she is capable of running the core business, she actively listens to customer feedback and always seeks continuous improvement. She just recently announced a new sustainable growth agenda for PepsiCo, including helping to improve health and wellbeing through its products; protecting our planet; and empowering people around the world.
ᯧዯᐡጤᓆ៦ᅞ㎠⢷ㄽ恮ⷤ朚㎠䠓分㫼䚮㼾虇㢍⢷㢜 ⑨ҷₐ㫼摆⚽ҷ⾑⧃㔷ひҷ⁴╙ᾼₐ╙▗⃫⪴䳘 ᾜ▛⢧栙㙣₊▓䮽摆⚽╙⾑⧃㔷ひ分⃜Ҹ ᯀᐞጤᓆᛵጙ៛⍓៦ᅞ㎠↠䠓㫼⑨⋷䖒⒥虇干ⵅ 㹷㝋䉉⋷䖒⾑⧃㕟K㢜⑨虇⡯㳳嬐伢⿇棱ᾜ▛⾑⧃ 䰐⬑⌅ℕ䠓崙⒥Ҹ㎠↠ㅔ榗⃫⎉慔憮䠓╜㍘虇棗㻊屎 ⑤⁴㍘㫼⑨梏㷑Ҹ⃫䉉ᾏ↚″㞢。╿虇㎠↠梏嬐䉉 ▓㝈␄憯桨庞䠓棱虇テ▓㝈䠓‡ⅰҸ宑䱚汧梅 ⚽㮨䀥ℕ似㒐幆ⵅ⦉䪝虇▛㟑厖⇋ㄦⅰ広䠓⬌干ⵅⅬ 㒐叾⬌杫⅑Ҹ ᓇᚶ⋂ᛵᏕᲵᭆ⇚ዷᅩ䠍‚⋻▇姛㛎俌婐Indra Noori虇㞾ᾏ⃜㮰䵓䠓摆⚽╙⾑⧃㔷ひ⁉⩺虇⬈ᾜ≔
Isabella Mann, vice-president of marketing for Asia at Pandora. Pandora㻁Ⓩ⾑⧃扷⏾俌婐Isabella MannҸ 4 M A R K ET I N G H O N G K O N G J UNE 201 7
劌⪯埤䖕⬌㧇ㅒ㫼⑨虇‵㢒䯜㬄凕刌ⴱ㏅䠓㊞嬚虇ᾜ 㝆㷑懁Ҹ⬈⏪⏪ⴲ⾒䠍‚⋻▇㢏㜿䠓╾㒐倛䠋ⷤ宗 ␒虇⌅ᾼ⒔㑻處憩懝䚱♐㕟ⓖ⪶䣍䠓⇴う╙䬞䫘虇Ⅼ 崆⢿䖒虇ⶖ㲙幵‗ᾥ䛛▓⢿䠓⁉Ҹ
WWW. MARK E TING—IN TE RAC TI VE . C OM
人物專訪
PROFILE
Left to right: Yvonne Chau, May Chung and Alexandra Lo. 6 M A R K ET I N G H O N G K O N G J UNE 201 7
WWW. MARK E TING—IN TE RAC TI VE . C OM
人物專訪
PROFILE
WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
JU NE 2 017 MARK E TING HO N G KON G 7
人物專訪
PROFILE
No matter which lens you look through, it’s easy to see the importance of digital and the enormity of transformation taking place in the market today. While most companies are quickly shifting to a “digital first” approach to keep up with their tech-native customers, Wyeth Nutrition Hong Kong stresses the importance of brand and business objectives and what ought to be put at the forefront amid the digital disruption. Milk formula has always been a competitive landscape in Hong Kong because of strong marketing campaigns and the availability in retail channels. In this lucrative baby food playground, it’s not uncommon to see considerable industry players put digital strategy at the forefront. According to admanGo’s ad spend report in November 2016, milk powder for infants and children was the top spender for beverages in video ads in mobile apps; its ad spend increased by 3.4 times against 2015. That might explain why when an in-stream ad pops up in a YouTube video, besides beauty products, it’s prone to be a spot by a milk formula manufacturer. Wyeth Nutrition Hong Kong, which built its in-house digital team seven years ago, is an early adopter of this fad, but believes that aimlessly going after a digital strategy is not the way to go. “Digital is an enabler and a tool that amplifies a marketing campaign effect which delivers to the customers,” says May Chung, business executive officer of the company. She adds the brand itself always comes first and a digital strategy should be aligned with your business objective. 8 M A R K ET I N G H O N G K O N G J UNE 201 7
The nutrition company is known for being eager to embrace new technology to make the parental journey more enjoyable, and has carefully orchestrated its digital advantages over the years. From emotional micro movies on social, big data analysis, child-development song playlists on Spotify to programmatic advertising, Wyeth Nutrition has been a digital frontier in the industry. As social media has upended how consumers engage with brands, Chung says: “In the social era, one-way communication no longer makes sense to the audiences, people don’t just want to be sold a product, they want an interactive platform.” Modern parents have become more
䊰履ㄭ♹↚孡〵ℕ䢚虇抌ᾜ桲䢚⎿㜇䩋⒥䠓捜嬐 ㆶ虇⁴╙ⴒ䉉⾑⧃⿅ℕ䠓捜⪶惘崙Ҹ 桥䋅䣍⪩ₐ㫼亪亪㐤■Ӂ㜇䩋䉉⋗ӂ䠓䳥䛴虇慝 ▗㜇䩋┮⃞㶠槶ⴱ䠓梏㷑虇⃕㉯㶞䍮檙♐欨㾾テ屎 ♐䏛╙伢䍮䡽㮨䠓捜嬐ㆶ虇懢⎉⢷㜇䩋崙棸ᾼ╥ ㄦ㎟䠓嬐宲Ҹ 䛀㝋䣍⪩䠓⾑⧃㔷ひ㻊⑤╙ひ㹪䠓梅⚽㾯懢虇 㢻㾾䠓拜㝈⬅丘⾑⧃䲅䎼ᾏ■䅏䉗Ҹ ⢷憨↚㛅⋴╾孏䠓ⲿ⋡橮♐⾑⧃ᾙ虇䢇䜅⪩䠓 ♐䏛ⶖ㜇䩋⒥䳥䛴嬥⃫欥嬐㨬₅Ҹ㧈㙩 admanGo 㝋2016〃11㢗䠋姷䠓ひ◙㚾⎉⧀◙槾䫉虇⢷檁♐槭 ⎴ᾼ虇ⲿ⋡╙⋡䱴⬅丘䠓嬥槊ひ◙㚾⎉㢏汧虇⌅ひ ◙㚾⎉㵣2015〃⨭朆3.4↜Ҹ ㎥寀㳲㞾憨↚┮⡯虇柳儝ⵈ䚱♐⪥虇YouTube 䏖ᾼ䠓㘼㛍䠓ひ◙⪩㜇㞾⬅丘♐䏛Ҹ ᾒ〃⏜虇㉯㶞䍮檙♐欨㾾㊞峧⎿㜇䩋䍮摆ⶖ⪶ 姛⌅懢虇䔖⋗ら䱚ᾏ㚾⋶扷㜇䩋⢧栙Ҹᾜ懝虇㉯㶞䍮 檙♐尜䉉虇䢁䡽憌㷑㜇䩋⒥䳥䛴ᾜ╾姛虇俌伢䖕 攍儝䕁姷䫉處Ӂ㜇䩋⒥㞾ᾏ↚㔷⑤虇㞾ᾏ䮽㛍⪶ ⾑⧃㔷ひ㻊⑤㛗㤫ℕ◇イ槶ⴱ䠓⽴⌆Ҹӂ ⬈婫⋔姷䫉虇♐䏛㢻怺㷇懯埤㝋䲻ᾏ⃜虇军㜇 䩋⒥⏖㞾拜▗♐䏛䠓㫼⑨䠋ⷤ䠓䳥䛴Ҹ 封䍮檙♐⋻▇⁴䯜㬄懚䚷㜿䭠㐏䉉ひ⪶䏅㵜㕟 ⓖ剁⋡伢㴆军凭▜虇⪩〃ℕᾏ䢃乍ㅒ㏢憯⌅㜇䩋 ⊹⑱Ҹ ㄭ㊮⁉䠓䫍″Ⱑ汣ㄽ梊ҷ⪶㜇㙩⎕㤟ҷ⛮䠋 ⋡䱴⪸幵䠓 Spotify㳛✽ҷ⎿䮚〞⒥ひ◙虇㉯㶞䍮檙 ♐ᾏ䢃㞾㫼䛛䠓㜇䩋⋗比Ҹ 样嗦䫍″Ⱑ汣⾁ㅈ〤㛈崙㼗幊冔厖♐䏛凾俺䠓 㝈ゞ虇攍儝䕁尹處Ӂ⢷䫍″Ⱑ汣㟑虇╦䣍⾁ᾜ⌜㔴 ╦✽■䀬憩虇↠ᾜ≔㊂娺㔷摆䚱♐虇↠㊂嬐䠓 㞾ᾏ↚‡⑤。╿Ҹӂ 㜿ᾥⵅ朆⾁崙ㄦ嬚⪩峧ひ虇ℬ広㠉劌㏚㯮 ℕ㐍幖宙虇ℚ⬑㢒⢷‡凾佁ᾙ㐍㜿䚱♐ҷ䛨㊞ 強⑱ҷ╙杀崏㢃⪩䚱♐寤履Ҹ㉯㶞䍮檙♐欨㾾㗡㩓 惮䉇ゞ䠓⾑⧃㔷ひ㝈ゞ虇朚宼佁ᾙ㾯懢虇⁴↚⁉⒥ 䠓㝈ゞℕ㔴宇⌅䡽㮨╦䣍虇憨ⷀ㞾♐䏛㝋2010〃㎟ 䱚⋶扷㜇䩋⢧栙䠓┮⡯Ҹ
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人物專訪
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Top 5 Categories in Mobile Video Ads (Nov 2016) *HKD in million 五大最高流動視頻廣 告支出類別 (2016年11 月) *以港幣百萬元計 Source: admanGo
knowledgeable and cling to their smartphones to look for information, seek new products, follow trends and read more product reviews on the internet. Rather than aggressive marketing, Wyeth Nutrition Hong Kong started online channels to reach out to their demographic in a personable way, and that’s the reason why the in-house digital team was founded in 2010. The digital marketing arena is evolving drastically. To stay ahead of the game, as a top executive of the nutrition business, Chung says she believes it’s important to “unlearn to learn”. That is to say, if you want to learn new things, you will need to let go of existing knowledge or beliefs. “Very often, we fail to learn because the knowledge we have may limit or impede new learning.” To make sure everyone in the company has the skill sets for digital marketing, Wyeth Nutrition Hong Kong often invites different social platforms to its office to hold digital workshops for its staff members, while people from top management, HR and administration are also invited to attend. Chung says by offering cross-team training sessions, everyone can equip themselves with new knowledge and it’s also good for the digital development across the different departments in the company. Yvonne Chau, marketing director at Wyeth Nutrition Hong Kong, adds that while brands are dedicating more budgets to digital communication, it doesn’t mean they can forget about traditional. She thinks the most effective marketing strategies are those that incorporate both WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
㜇䩋䍮摆榧⥮㝴㜿㢗䛿虇䉉Ⅼ㒐榧⋗⢿⃜虇⃫䉉 封䍮檙♐⋻▇䠓汧亩䴰䖕ⷳ虇攍儝䕁尜䉉Ӂ╜ⴇ兡 ℕⴇ兡ӂ虃Unlearn to learn虄ㄗ捜嬐Ҹ 憨ⷀ㞾尹虇⬑㤫⁉↠㊂ⴇ兡㜿‚䏸虇ⷀ嬐㗡㩓 䖍㢘䠓䥴峧㎥孏ㆄҸӁㄗ⪩㟑↨虇㎠↠╾劌㢒╦⎿ 䖍㢘䠓䥴峧㏏㣮侪虇军柟⏅㎥柊䪨㎠↠ⴇ兡㜿‚ 䏸Ҹӂ 䉉䩉Ⅼ⋻▇㵞↚⁉抌㙐㢘㜇䩋䍮摆䠓㐏劌虇㉯ 㶞䍮檙♐欨㾾伢⿇戏屚ᾜ▛䠓䫍″。╿⎿愵⋻ⴳ虇 䉉⌅♰⽴厘姛㜇䩋䦣宝㢒虇䛀汧亩䴰䖕ⷳҷ⁴厂⁉ 幖䀟╙姛㛎╙㚾㖃⁉♰抌䔁戏╒⦈客Ҹ 攍儝䕁姷䫉虇憞懝㕟K彷⢧栙⦈客虇㵞↚⁉㔛 㕰㢘杫㝈棱䠓㜿䥴峧虇朆懯ℕ尹虇⋻▇ᾜ▛扷朏 䠓㜇䩋⒥䠋ⷤ΅㢘⬌埤Ҹ ㉯㶞䍮檙♐欨㾾⾑⧃扷俌䡲抡⮫婫⋔姷䫉虇 桥䋅▓♐䏛ⶖ㢃⪩䠓榟䴦㐤㛍㜇䩋Ὶᾙ虇⃕ᾜ 姷╾⁴ㅧ宧≂伀䍮摆Ҹ ⬈尜䉉㢏㢘㛗䠓⾑⧃㔷ひ䳥䛴虇㞾ⶖ≂伀╙㜇 䩋⋒亯夜▗䉉ᾏ↚⋷㝈⃜䠓仓▗虇ㄭ军イ㼗幊冔 ⃫⎉䖕㊂䠓姛䉉Ҹ Ӂⓒ䵖ᾏㄚ䠓䀬憩㝈ゞᾜ⌜⫞㛗虇杫攄㞾嬐凕 刌㼗幊冔䠓刁概虇―孲↠䠓䢮㳲梏㷑虇䉉↠〵 怺宑⏅䢇杫䠓ⴲ≂宙ㇾҸӂ ㉯㶞䍮檙♐欨㾾㜇䩋㔷ひῊ䴰儔㛞⊏尜䉉虇封 ⋻▇䠓㎟㢘広汧亩䴰䖕ⷳ䠓╒厖ҸӁ㜇䩋⒥ᾜ≔ 㞾ᾏ↚╲埮虇俌伢䖕虃攍儝䕁虄ㄭℕ㸡㢘僉⾼懝₊⃤ ᾏ㲰⦈客䕼Ҹӂ 儔㛞⊏姷䫉虇汧亩䴰䖕ⷳᾜ⃕㜿㝈㧗姷䫉㚾 㒐虇军ᾣ戓Ⅼ㒐朚㛍䠓㋚〵虇ℎ♰⽴㝋㕟⎉㜿㊂ 㹤Ҹ ⬈⏪⢷⡪㢗₌㟘ⓖ䉉㜇䩋㔷ひῊ䴰虇‵㞾㉯㶞 䍮檙♐㜇䩋⢧栙䠓␄⭚㎟♰Ὶᾏ虇ㄭᾏ朚⭚⾁╒厖 ら䱚╙䠋ⷤ♐䏛䠓㜇䩋劌Ҹ ⃫䉉ᾏ⃜伢毦巟ⵛ䠓姛㫼ⵅ虇儔㛞⊏㙐㢘ⓐ ⪩〃䠓㜇䩋䍮摆伢毦虇⬈㒖⎉⢷⾑⧃ᾙ孏⎿ᾏ ⛞槛Ҹ ℚ⬑虇ᾏ⾑⧃㔷ひ⁉♰㸘憆㝋 CPCҷCPM㎥ CPA䳘俍㛗㒖㮨Ҹ JU NE 2 017 MARK E TING HON G KON G 9
人物專訪
PROFILE
traditional and digital elements into a cohesive and comprehensive package that elicits a desired behaviour from the consumer. “A one-size-fits-all communication doesn’t work anymore, the key is to listen to their voice, understand what they really need and tailor a relevant message for them.” Alexandra Lo, digital lead at Wyeth Nutrition Hong Kong, thinks the success of the company has come about because of top management’s involvement. “Go digital is not just a slogan. And May Chung has never been absent from a single training class.” Lo says top-level executives are not only supportive of new initiatives, but also have an open-minded attitude where its employees are not afraid to propose new ideas. Elevated to the digital lead role in April, Lo was one of the starters of Wyeth Nutrition’s digital team where she built and grew the digital capabilities from scratch. As a seasoned industry professional with more than 10 years of experience in digital marketing, she points out some problems she has observed in the market. For example, some marketers remain obsessed with performance metrics such as CPC, CPM or CPA. 1 0 M AR K ET I N G H O N G K O N G J UNE 201 7
It doesn’t mean the CPC or CPM model is broken; rather, she thinks marketers shouldn’t blindly pursue numbers, but need to discover insights from the data and numbers. “As a digital marketer, we ought to understand the real meaning behind those numbers,” she says. “For example, when we spot a visitor’s time on our site is short or the bounce rate is high, we need to find out the reasons behind that. “Do we need to optimise the content? What can we do to make it more engaging to retain the viewers?” To architect a successful campaign, Lo thinks it’s an art of integration. “Digital marketing is not just about digital; it needs to have a true connection with business,” she says. “So digital or technology should never go before a brand.” She also says it’s vital to understand
憨ᾜ姷䫉 CPC㎥ CPM䳘㒖㮨ᾜ捜嬐虇䢇 ╜虇⬈尜䉉⾑⧃㔷ひ⁉♰ᾜ㍘䢁䡽憌㷑㜇⳦虇军㞾 嬐ㄭ㜇㙩╙㜇⳦Ὶᾼ䠋㔧㺭㈘Ҹ ⬈尹處Ӂ⃫䉉ᾏ⃜㜇䩋䍮摆⁉♰虇㎠↠㍘―孲憨 㜇⳦剛ㄛ䠓䢮㳲►儸Ҹӂ Ӂℚ⬑虇䜅㎠↠䠋䖍容ⴱ⢷佁䱨ᾙ⇫䛨䠓㟑朢 ㄗ䥼㎥徂⎉䔖ㄗ汧㟑虇㎠↠ㅔ榗㐍⎉剛ㄛ䠓┮⡯Ҹ ㎠↠梏嬐⊹⒥⋶ⵈ❝虚㎠↠⬑⃤⋶ⵈ㢃⌆◇イ ㄭ军䛨⃞容ⴱ虚ӂ 嬐㏢憯ᾏ↚㎟䠓㔷ひ㻊⑤虇儔㛞⊏尜䉉憨岪 㷑㜃▗䠓坬姢ҸӁ㜇䩋䍮摆䠓捜灭ᾜ≔⢷㝋㜇䩋⒥虇 军㞾梏嬐厖㫼⑨懣厂䢮㳲䠓凾俺Ҹӂ Ӂ⡯㳳虇♐䏛㷇懯廿⢷㜇䩋㎥㐏姢⏜棱Ҹӂ ⬈戓姷䫉虇㾔㫩―孲㵞↚Ⱑ汣㾯懢䠓䐈ㅄ╙ 劌䢇䜅捜嬐虇ℚ⬑虇㢘䫍″。╿㝷⢷⎕›♐䏛宙 ㇾ虇军㢘⏖䚷㝋■槶ⴱ㔷憐⾑⧃㔷ひ宙ㇾ虇尹⎿ 〤虇♐䏛ᾜ㍘⢷ᾜ▛䠓㾯懢䠋憐䢇▛宙ㇾҸ
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traits and features of each media channel. For example, some social platforms are not meant to share sale-driven posts, while some are used to push direct marketing messages to patrons. The bottom line is: brands can’t create the same message and communicate it in all channels. This June, OMD Hong Kong successfully retained Wyeth Nutrition Hong Kong’s media business which saw the agency continue its long-term partnership with the brand, which has been going since 2011. Lo says Wyeth Nutrition treasures the partnership as the two companies have a mutual goal: to drive innovation in the business. She adds OMD has evolved to be more WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
than just a media agency by contributing creative elements to the work. Moving forward, and to keep ahead of the field, Chung says being nimble is crucial in the digital era. “You might not be able to ace 10 times out of 10 campaigns, but if you’re fast and bold enough to try, learn from the experience, that might help you stay competitive.” As the digital road map cruises into its eighth year, Wyeth Nutrition Hong Kong has just launched a chatbot programme which is available on major messaging platforms, including Facebook messenger, Skype, on SMS or text and via web browsers. “We want to keep this momentum going by rolling out a new digital innovation each year,” Lo says.
⁙〃⋼㢗虇OMD欨㾾⌜㲰ㄦ⎿㉯㶞䍮檙♐欨㾾 䠓Ⱑ汣㫼⑨虇ゅ倛桨㝈卹2009〃朚⭚⾁ら䱚弆䠓朆 㢮▗⃫杫⅑Ҹ 儔㛞⊏姷䫉虇⋸ⵅ⋻▇⣖㙐㢘⌀▛䠓䡽㮨處㔷 ⑤㫼⑨␄㜿虇⡯㳳䢇䜅䕜㉫ㄋ㳳䠓▗⃫杫⅑Ҹ !⬈婫⋔尹虇OMD⾁ᾜ≔㞾ᾏⵅⰡ汣䖕⋻▇虇 ‵㢒䉉䍮摆㝈㧗ᾼ㕟⎉␄㊞⋒亯Ҹ ⷤ㢪㢹ℕ虇䉉Ⅼ㒐榧⋗⢿⃜虇攍儝䕁姷䫉Ⅼ㒐 棗㻊╙ㅺ㔆㞾⢷㜇䩋㟑╥ㄦ㎟䠓杫攄Ҹ Ӂ⃯╾劌䊰㹤⢷㏏㢘⾑⧃㔷ひ㻊⑤䠍䠋䠍ᾼ虇 ⃕⬑㤫彂⪯ㅺ虇㝋➦寵虇ㄭ伢毦ᾼⴇ兡虇ⶖ㢘⃯ Ⅼ㒐䲅䎼Ҹӂ 样嗦⌅從⋴䲻ᾒ〃䠓㜇䩋⒥㝔䮚虇㉯㶞䍮檙♐欨 㾾⏪㝋㢻㢗㔷⎉ᾏ⫦懸䚷㝋Facebook Messenges╙ Skype䳘Ὴ嬐憩宙。╿ҷ㜖⳦䥼宙㎥佁仰䆞孌⟷䠓凙 ⪸㯮㨿⁉虃Chatbot虄䮚ゞҸ儔㛞⊏尹處Ӂ㎠↠⾛㢪憩懝 㵞〃㔷⎉ᾏ↚㜇䩋␄㜿虇ℕⅬ㒐♐䏛䠓榧⋗⑱榼Ҹӂ
JU NE 2 017 MARK E TING HO N G KON G 1 1
BRANDED CONTENT
THE POWER OF AUDIO 聽覺資
的力量
More than ever, consumers are flocking to streaming services, listening to music through connected devices, putting audio front and center in their daily lives. This new habit is creating massive shifts in the consumer journey, spurring a renewed focus on the role of audio in people’s lives. It is important for brands to realise that our lives are shaped by what we hear; and each one of us has a unique soundtrack. Ever since streaming gave us instant, ondemand access to all the world’s music, it’s become easier than ever to personalise that soundtrack. With that in mind, there’s never been a better time to plug audio into your media buy, as it takes your brand places that other media can’t go. According to Nielsen, 79% of audio is consumed while people are engaged in activities where visual media can’t reach them, whether it’s taking a road trip in the car, hitting the treadmill after work, or even channeling your inner rock star in the shower. In addition to that, audio ads are more than 2x as likely to lift purchase intent and information intent than display ads. When most people think about audio ads, they usually think about old radio ads with annoying voices or cheesy jingles. At Spotify, we want to make sure our audio 1 2 M AR K ET I N G H O N G K O N G J UNE 201 7
ad experience is consistent with the music listening experience our users love. We understand the power of audio. In fact, we’ve seen that audio ad recall over traditional display ads by up to 25%. In order to help you take advantage of this powerful format, we’ve analysed some of the best and worst performing audio ads on Spotify to develop a set of creative guidelines designed to help you fine-tune your audio campaigns. Here are some of our top tips: Know your audience • Talk to your listeners: Ads that are personalized to the listener see higher engagement. Hence, why reaching the right audience at the right moment is important. Keep it clear and memorable • Include a call-to-action: And more than one, if you can: ads that had two calls-toaction performed at least 3x better than those with none. Quality matters • Keep a consistent tone and tempo: As a rule of thumb, aim for between 55-59 words for a 30 second ad. For more information, do check out https://brandsnews.spotify.com/
㼗幊冔῁㻐概㮑㢜⑨䠓梏㷑㝴䡙⨭虇ℎ䚷梊 ⳟ婬僽刌概㮑⾁伢崙㎟ᾜⶠ⁉䠓兡㋲虇刌孉›╦ 崙㎟䚮㻊ᾼᾜ╾㎥僉䠓扷⎕Ҹ军憨䮽㜿兡㋲㳲 榎嗦㼗幊冔䠓戇㙖虇΅ℎ刌孉›╦䃇䃇╦⎿捜嬥Ҹ ♐䏛梏嬐䥴懢虇ᾜ▛䠓概㮑⧠憯⎉ᾜ▛䠓䚮 㻊虇军㵞↚⁉΅㢘ⷻ㝋卹⾀✫㊪䠓㳛✽Ҹ卹ㄭ῁㻐 概㮑㢜⑨劌崢㎠↠⁴卹戇㝈ゞ灭㘼ᾥ䛛▓⢿䠓概 㮑虇嬐佷⏅ⷻ㝋↚⁉䠓㳛✽ⷀ㢃ⵈ㞢Ҹ 㑀嗦憨↚㬑ㆄ虇䖍⢷㳲㞾♐䏛⁴刁概ひ◙ら 䱚刌孉ヱ巰䠓㢏ℂ㟑⏊Ҹ㧈㙩ⷋ䏍㩽䠓屎㥴虇䠍⎕ ῚᾒⓐῬ㔴㛅刌孉䠓幖宙虇抌㞾⢷㢹劌㔴㛅嬥孉 幖宙㟑䠋䚮虇⬑㳲⢷此歪ҷ⢷彠㳴㯮ᾙ彠㳴ҷ䚩厂 㞾⢷㼃ⴳ㛍刁汧㳛䠓㟑↨Ҹ 柳㳳⁴⪥虇刁概ひ◙㵣嬥孉ひ◙㢃劌イ弆㼗 幊╙㔴㛅幖宙䠓㊞㳁虇㛗㤫䢇⽽⋸↜⁴ᾙҸ ⪶⪩㜇䠓⁉ㄏㄏ㐙刁概ひ◙凾㊂㎟冐⢮䠓㛅 概㯮ひ◙虇䋸㶲╗Ⅶ⫦Ҹ⃕⢷Spotify。╿㐤㛍刁 概ひ◙虇㎠↠䩉Ⅼ⌅汣毦厖䚷㏅✫㊪䠓灭㘼概㮑 汣毦㞾▛㮲⬌Ҹ ㎠↠㾀㾀㞝䠌刌孉幖宙䠓捞Ҹ‚ᾙ虇㎠↠ 䥴懢刁概ひ◙㵣嬥孉ひ◙劌✩弆宧㍅虇汧懣䠍⎕ Ὶ‛ⓐ‣Ҹ㢘嬚╙㳳虇㎠↠⎕㤟―⢷Spotify。╿ᾙ 姷䖍㢏⬌╙㢏⽽䠓刁概ひ◙虇⏅ᾏ⫦⌆␄㊞ 䠓㒖ⓦ虇㢘⃯宼宗㢏▗懸䠓刁概ひ◙宗␒Ҹ ⁴ᾚ㞾㎠↠䠓ら峿處 了解受䱾 • !!厖 刌䣍尀處↚ㆶ⒥䠓ひ◙ㄏㄏ㢃劌◇イ刌 䣍Ҹ⡯㳳虇䡽㮨巰⢷懸䜅䠓㟑㯮䢚⎿ひ◙ 㞾棭⿇捜嬐䠓Ҹ 息清晰、難忘 • !!姛⑤╻✩處⪩㝋ᾏ㲰㢃㢘㛗虈㢘⋸㲰姛⑤╻✩ 䠓ひ◙㵣㸡㢘憨宙ㇾ䠓ひ◙⬌厂ⶠ3↜Ҹ 質素至上 • !!Ⅼ 㒐䯸䠓尭屎╙䵏⫞處㟑朆 30䭡䠓ひ◙虇 ⒔►⳦㜇亓55厂59⳦Ҹ 㳁―孲㢃⪩幖宙虇屚䆞孌https://brandsnews.
spotify.com/ WWW. MARK E TING—IN TE RAC TI VE . C OM
快拍
SNAPPED
Agency of the Year 2017 DATE: 9 June, 2017 VENUE: InterContinental Hong Kong 1 Happy winners of the night. 2 All tables set for one of the biggest agency parties in town. 3 Lots of mingling went on at Marketing’s Agency of the Year Awards Hong Kong. 4 Over 600 talents in the same ballroom.
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ba&sh Private Party DATE: 8 June, 2017 VENUE: Bowen Road 1 (Left to right): Sharon Krief, founder, ba&sh; Isolde Andouard, Asia CEO, ba&sh; Barbara Boccara, founder, ba&sh; and Pierre-Arnaud, global CEO, ba&sh. 2 The latest collection of the French fashion brand on display at the party. 3 Yen Kuok, founder and CEO of Guiltless. 4 An intimate private party to introduce Hong Kong’s fashionistas to the world of ba&sh.
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專題報告
FEATURE
1 6 M A R K ET I N G H O N G K O N G J UNE 201 7
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ART A AR R DI RT DR REC RE EC E CTIO ION: N EVI N: EV SU U YI YIP P; P PHO HOTO H TOG T OG O GR RA RAP A P HY: H Y EM HY E MIL IL TS TSE SE
專題報告
FEATURE
1 8 M AR K ET I N G H O N G K O N G J UNE 201 7
WWW. MARK E TING—IN TE RAC TI VE . C OM
專題報告
FEATURE
“Marketing is never a soft department,” Isabella Mann, vice-president of marketing for Asia at Pandora, firmly states. Confident and decorous, the gracefully dressed British-born executive weighs every word before she says one. From chit-chat about her career, to her views on the Asian market, she makes sure that solid reflection and deep thought underscore her often profound conclusions; and when it comes to the new role of retail marketers, Mann doesn’t hesitate in telling me the concepts she sees as unfit in the current industry. “Marketing has a reputation of being a little bit in the soft department compared to the financial and legal departments,” she says. “Yet my marketing department is measured on its return on investment – how many people get through the doors, or how have our sales and revenue performed. There’s nothing soft about it.” Since Pandora’s strong landing in Hong Kong in 2009, the Danish brand’s breakneck sales have shown no mercy to its rivals. With 24 stores in the city, the Hong Kong and Macau markets account for 13% of Pandora’s Asia revenue share in 2016, representing a 3% revenue growth in local currency compared with 2015. Together with booming sales in China and Australia, Mann says Asia experienced 48% revenue growth in local currency in 2016, which takes up 25% of the group’s revenue. The jewellery giant recorded DKK 1,268 million in revenue in Asia Pacific in Q1 2017, an increase of 40% in local currency compared with Q1 2016. While Mann keeps her eyes on the hard financial figures of the business, she admits there’s a need to change its strategies in Hong Kong. “It’s no longer about building the brand, but about maintaining the brand. You’re not going to see loads of Pandora stores opening any more, we are about there with our store distribution,” she says. “Keeping customers coming is going to be a main challenge for Pandora in the next few years.” The new focus will require new skill sets and mindsets, driving Mann and her team to look into improving its communication strategies, as well as making greater products and services for better experiences. She says its main work is to “embrace disruption in jewellery marketing”. WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
“It’s no longer about building the brand, but about maintaining the brand. The main work is to embrace disruption in jewellery marketing.” 目前的重點不再是建設品 虇 而是在於維護品 Ҹ我們的 主要工作將是迎接珠寶市場 的推廣變革Ҹ
Drawing a reference from the brand’s unique practice since 2013 – which debuts new jewellery seven times a year with collections spaced less than two months apart – she says the move is one of the examples of how Pandora turned the industry on its head, as a typical jeweller would only release collections quarterly. “One of the reasons why Pandora has been so successful is we don’t behave like a jewellery company, but more like a fashion brand,” she says. The brand’s next disruption wave, therefore, aims to distance itself from being a traditional jeweller even more. Dubbed “DO”, the new brand image which Pandora has endorsed globally since midMarch, changes the looks of its stores and advertisements. The new campaign uses strong bright candy colours to “add personality and energy”, and introduces the new message “DO” with different variations in ads, for example, “DO bold”, so it can inspire women with positive values and link values to product points.
嬚 棱 ᾜ 虇 P a n d o r a 㻁 Ⓩ ⾑ ⧃ 扷 ⏾ 俌 婐 Isabella Mann│⦔姷䫉處Ӂ⾑⧃扷ㄭℕᾜ㞾ᾏ↚ 呀䚅扷朏Ҹӂ 憨⃜⎉䚮㝋咀⢚䠓姛㛎⁉♰卹ⅰҷ⊹桔军䱾唙Ҹ ㄭ⬈䠓分㫼䚮㼾虇⎿⬈㻁⾑⧃䠓䢚㹤虇Mann 㵞尹ᾏ╴尀⏜俌⋗㾀ㆬ䌮㋽虇㾀⋴―孲㉔㹐ㄛ㏜尹 ⎉仟履Ҹ䜅㎠↠屖⎿梅⚽⾑⧃㔷ひ⁉♰䠓㜿孡吁 㟑虇Mann㵺ᾜ䓅巺⢿■㎠尹虇䖍㟑䠓㬑ㆄᾜ䲵▗姛 㫼䠓株㉔㹐Ҹ Ӂ䢇㵣帰⑨╙㹤ㄚ扷朏虇⁉↠≍■ⶖ⾑⧃扷嬥 䉉呀䚅扷朏Ҹӂ⬈孲捚處Ӂ䋅军虇㎠䠓⾑⧃扷㞾㧈㙩⌅ 㐤幖⡭⧀ℕ姰捞俍㛗䠓處㢘⪩ⶠⴱ⁉懁⋴朏〦虇㎥冔 ㎠↠䠓摆⚽槜╙㛅⋴姷䖍⬑⃤虇ᾏ⎖㜇⳦抌⢷ ⢷Ҹӂ 卹Pandora⢷ 2009〃懁歟欨㾾⾑⧃ㄛ虇憨↚ℕ 卹Ὲ瀴䠓♐䏛䠓摆⚽㜇⳦虇ᾏ䢃⌅䲅䎼㏚㢪⨄ 唺╙Ҹ 憨ⵅ䕯ⶅ㫼⽷榼䖍㟑⢷⋷㾾㙐㢘 24ⵅ朏〦虇 欨㾾╙䅂朏⾑⧃⃣ Pandora㻁Ⓩ㛅⋴䠓13虀虖厖 2015〃䢇㵣虇⋸⢿㛅⋴㒘㢻⢿帷⿲宗䴦⨭朆―3虀Ҹ Mann姷䫉虇样嗦ᾼ⢚☛䅂⪶⎸⾑⧃摆⚽噻 䠋ⷤ虇㻁⢿Ⓩ2016〃䠓㛅⋴㒘㢻⢿帷⿲宗䴦⨭朆 ―48虀虇⃣♐䏛㜃汣㫼⑨䠓 25虀Ҹ㙩 2017〃䲻ᾏⳲ 〵㜇⳦虇Pandora⢷⪹⢿Ⓩ䠓㛅⋴懣⎿12.68⊓⋚ 㢦虇㵣2016〃䲻ᾏⳲ〵⨭朆―40虀Ҹ Mann尹卹⾀棭⿇捜嬥幹㫼俍虇⃕⬈㐎尜♐䏛 㢘ㅔ嬐㛈崙⢷欨㾾䠓䳥䛴ҸӁ䡽⏜䠓捜灭ᾜ⌜㞾ら 宼♐䏛虇军㞾⢷㝋似崆♐䏛Ҹ⃯ᾜ㢒⌜䢚⎿Pandora ⪶捞㚃ツ㜿〦虇㎠↠䡽⏜䠓⛕〦㜇捞⦉㢻ᾙ彂⪯Ҹӂ M a n n テ 屎處Ӂᾜ 㝆 ◇ イ 槶 ⴱ ⏜ ℕ ⶖ 㢒 㞾 Pandora㢹ℕ」〃䠓Ὴ嬐㒠㎿Ҹӂ 㜿䠓㫼⑨䊵 灭梏拜▗㜿䠓㐏劌 ╙ㅒ㋚虇比ℎ Mann╙⌅⢧栙昌䦣⬑⃤テ䀬憩䳥䛴虇⁴╙巟ⵛ䚱 ♐☛㢜⑨汣毦ҸMann姷䫉虇↠䠓Ὴ嬐⽴⃫㞾Ӂ慝 㔴䕯ⶅ⾑⧃䠓㔷ひ崙棸ӂҸ ⌇⤚䕯ⶅ⛕㵞Ⳳ㢒䠋姛㜿亊⎦䚱♐ᾏ㲰虇⃕♐ 䏛卹2013〃朚⭚㔰╥䓷䐈䠓⇩㹤虇㵞〃㔷⎉ᾒ⫦㜿 亊⎦欥檍虇㢮朢䢇栣ᾜ⪩㝋⋸↚㢗虇Mann姷䫉憨ᾏ 厘㔹㞾Pandoraㅈ〤㛈崙姛㫼䠓⌅ᾼᾏ↚ℚⳟҸ ⬈尹處ӁPandora⬑㳳㎟䠓┮⡯Ὶᾏ虇㞾㎠↠ ᾜ≞䕯ⶅ⋻▇虇╜军㢃≞㟑ⶩ♐䏛Ҹӂ⡯㳳虇封♐䏛䠓 ᾚᾏ悹棸㜿虇㝷⢷懁ᾏ㳴劺桱≂伀䕯ⶅ⛕䠓ヱ巰Ҹ Pandora卹ᾘ㢗ᾼ弆⢷⋷䖒㔷⎉⋷㜿♐䏛㻊⑤ ӁDOӂ虇ᾏ㛈⌅朏〦╙ひ◙䠓樷㧋Ҹ㔷ひ㻊⑤⁴ 㞝‽䠓吁ヸℕӁ⨭㾊↚ㆶ╙㻊ӂ虇⢷ひ◙ᾼ⁴ ᾜ▛䠓㝈ゞ⁚仈⋷㜿䠓ӁDOӂ♐䏛㬑ㆄ虇⬑ӁDO boldӂ虇㷑⛮䠋⬂⩺ら䱚㳲棱䠓⊈⇋孏Ὶ檧虇⌅厖 䚱♐䚱䚮⌀溃Ҹ ⁴ㄏ♐䏛䠓ひ◙⁴ⷤ䫉䚱♐⢥≞䉉Ὴ虇㜿ひ◙ ┊惘䉉⁴㮰䐈⋡䉉Ὴ孡虇Mann姷䫉♐䏛ㄭ䚱♐Ὴ 惘䉉㟑ⶩῊ虇㷑䉉⌅↚ㆶ⨭㾊Ӂ㻊╙㮑弲ӂҸ Ӂㄭひ◙ᾼ╾嬚虇㏏㢘㮰䐈⋡抌㸡㢘㚉⎉≂伀䠓 ⮎⑱Ҹ㎠↠䠓Ὴ槛㞾崢⬂⩺↠ᾏ▛䔸㮑ҷ‡䢇㚾㒐虇 䢇䜅⎖▗䖍㟑䠓強⑱Ҹӂ 扷₌槶ⴱ㢒尜䉉䕯ⶅ〦抌㞾㤾䍴῞☂ҷ桲⁴㔴 慠虇⡯㳳♐䏛⢷⌅朏〦╙ひ◙ᾙ摂㊞㛈棸虇䚷ᾙ洽㞝
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The new advertisement has shifted from featuring product images to featuring model images. Mann says the variation from productdriven to a style-oriented approach can add “a huge sense of energy and fun” into the brand’s personality. “You can see in all our model shoots that none are posed in the traditional way. It’s all about women having fun with each other, supporting each other, one message that is incredibly relevant right now.” While customers may think of jewellery stores as stodgy and unapproachable, Mann says the stores and advertising look completely different to competitors with their bright character, which will help Pandora stand out from other brands with its more approachable image. She adds the campaign marks an important stage for the brand to “fill the communication gaps”. Unlike its usual campaigns, which associate jewellery with romantic relationships, the brand now places a focus on the customers’ feminine ethics and codes. As part of its campaign, the brand also resonates with opinion leaders around the world. From food, music to art and culture, Mann says it’s important not to limit the opinion leaders’ industry backgrounds in the scope of fashion styling in jewellery. “Just because you are a chef in Italy, doesn’t mean you don’t believe in style and celebrating in life. You can’t put people in boxes,” she says. Similarly, in the company, Mann sees a strong, but diverse team crucial to maintaining the company’s competitive edge. The team consists of colleagues with diverse backgrounds, including beauty, technology, fashion and sportswear, making Mann, the 16year jewellery veteran, the only person who is actually from the jewellery industry. “The mix is very premeditated,” she explains. “It’s really good that people disagree and discuss with each other. While diversity has probably become a buzzword given its political situation globally, the huge wealth of ideas, innovations and different ways of thinking is of paramount importance for a successful business.” 2 0 M A R K ET I N G H O N G K O NG J UNE 201 7
Changing tack: One of Pandora’s new advertisements has shifted from featuring product images to featuring model images. ⁴ㄏ♐䏛䠓ひ◙⁴ⷤ䫉䚱♐⢥≞䉉Ὴ虇㜿ひ◙惘䉉⁴㮰 䐈⋡䉉Ὴ孡Ҹ
She particularly likes hiring from the beauty industry because they “tend to be very commercial”, and are more sensitive to conversions and basket sizes in the market. Compared with two and a half years ago, when she first left England and started marketing for Pandora in Hong Kong, Mann
䠓槞吁虇⌅䢚弆ℕ厖⌅䲅䎼㏚ⴛ⋷ᾜ▛Ҹ♐䏛䠓 ㊮孉㊗。㞢慠⁉虇㊗劌ㄭ呇呇䲅䎼冔Ὶᾼ劺䯝军⎉Ҹ ⬈╗㒖虇憨榔㔷ひ㻊⑤姷♐䏛㳲ゞ從⋴Ӂ⧺ 婫䀬憩䰉䠌ӂ䠓捜嬐栝㵄Ҹ懝╊虇⌅㢒ⶖ䕯ⶅ凾ᾙ 㻹䂺厖㊪㉔虇䖍㟑┊ⶖ捜灭㛍⢷⬂ㆶ懢ㅆ㮨䀥╙嬞 䵓ᾙҸ 捜⧠♐䏛䠓㔷ひ㻊⑤Ὶᾏ虇㞾厖ᾥ䛛▓⢿䠓㊞ 嬚榧娥▗⃫ҸMann㒖♐䏛ᾜ槧ⶖ㊞嬚榧娥䠓姛㫼剛 㟾柟⏅㎟䕯ⶅ㟑ⶩ憯⤚䠓䵓䜖虇⡯㳳䣍⁉ℕ卹儝橮ҷ 概㮑ҷ坬姢ҷ㜖⒥䳘ᾜ▛姛㫼Ҹ ⬈尹處Ӂ╹⡯䉉⃯⢷㊞⪶⎸䜅ど⾺虇ᾜ姷⃯ ᾜ捜嬥㟑ⶩ╙䚮㻊›╦Ҹ⃯ᾜ劌䚷㧕㥅ℕ㮨䷳⁉Ҹӂ Mannⶖ憨↚㊂㹤ゅ厂⬈䠓䴰䖕ⴇ虇尜䉉ᾏ 㚾焟⪶军⪩⋒⒥䠓⢧栙Ⅼ㒐⋻▇䲅䎼⊹⑱厂杫捜 嬐Ҹ⬈䠓⢧栙‵䛀ℕ卹⒔㑻儝ⵈҷ䭠㐏ҷ㟑婬╙懚⑤ 㢜婬䳘䳘虇ᾜ▛剛㟾䠓▛‚仓㎟Ҹ⢷䕯ⶅ姛㫼㏢䂍
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says the brand is now in a stronger position to recruit talent. “In Hong Kong, brand perception matters a lot to people,” she says. “Now that people recognise and notice Pandora’s growth, we’ve got people knocking on our door to work for us, which is such a privileged position to be in. We’ve got a more capable team.” Like recruiting talent, the brand is also in a better position to negotiate with landlords on optimising store locations. Meanwhile, Mann says consumers haven’t changed their media consumption or purchasing patterns that much over the past few years. In Hong Kong, out-of-home and digital tend to be the highest performing media channels, while elsewhere around the world, print remains important. Mann believes out-of-home ad placements retain their significance in Hong Kong from a conversion and awareness standpoint because of the city’s high-density population, but an online presence will become increasingly relevant. “(In terms of conversion,) we tend to see a very long dwell time on our dot-net site. Customers do research on our products, add products to their wish lists, share it with their boyfriends or friends ... then we see most of the transactions made offline in our brick-andmortar stores.” Describing e-commerce in Hong Kong as an interesting concept, Mann says the team runs e-store-specific campaigns and promotions during peak shopping seasons to help with queues. At the same time, she sees digital as one of the key platforms to communicate messages. An online presence plays a critical role in China, a place that Mann is carefully watching this year. The company has launched on T-mall. com and introduced its own e-store in 2016, but Mann says the team still has to optimise and mobilise its online operations to implement in-store experiences online. “Things that perhaps you’ve taken for granted, for example, loading speed, are something you have to be mindful of in China,” she says. “The brand also needs to be highly mobile WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
“Just because you are a chef in Italy, doesn’t mean you don’t believe in style and celebrating in life. You can’t put people in boxes.” 只因為你在意大利當廚師虇 並不代表你不重視時尚 及生活享受Ҹ你不能用框架 來標籤人Ҹ
accessible because a huge proportion of Chinese consumers find the brand on their mobiles.” It’s especially important to get the distribution and branding right in China, as the market is not only growing, but many Chinese consumers will travel around the world and influence all the other markets and regions. “We weren’t sure what the reactions would be for us in tier three cities, but there’s so much potential in China. It’s our fastest growing market in the world,” Mann says, expressing a strong belief that embracing disruption leads to new possibilities. “It’s going to be very challenging in the next few years, but the past two and a half years have seen the company go through so much change and evolution. “Things are getting very exciting in Asia Pacific, and I have personally been given an opportunity as being the only western female in my team.”
―16〃䠓Mann㞾䜅ᾼ⚾ᾏᾏ↚ℕ卹䕯ⶅ䛛䠓㎟♰Ҹ Ӂ憨↚仓▗㞾伢懝亿ㅒ冒㋽䠓ҸӂMann孲捚處Ӂ ⪶ⵅ㒐ᾜ▛䠓㊞嬚虇‡䢇宝履虇憨㞾ᾏ₅棭⿇⬌䠓 ‚Ҹ无㝋⋷䖒㛎㹊⑱虇⪩⋒⒥╾劌⾁㎟䉉㻐姛尭虇 ⃕䀟䀟ᾜ令䠓㊂㹤ҷ␄㜿╙ᾜ▛ㆬ似㝈ゞ㝋㫼⑨ 䠓㎟厂杫捜嬐Ҹӂ⬈ⶳ⌅✫㳰㑪⑮儝ⵈ䛛䠓⁉⩺虇 ⡯䉉↠Ӂ≍■㝋棭⿇⛕㫼⒥ӂ虇ᾣ⾑⧃䠓崙⒥ ╙㼗幊㮰ゞ㢃㛞㊮Ҹ Mann⢷⋸〃ⓙ⏜欥㲰桱朚咀⢚虇㙣弆Pandora ⢷欨㾾䠓⾑⧃㔷ひ⽴⃫虇厖䜅㟑䢇㵣虇⬈尜䉉封♐ 䏛䖍㟑㢃㢘㨬₅㑪凧⁉㏜ҸӁ⢷欨㾾虇⁉↠䢇䜅捜 嬥♐䏛䠓▜㶲Ҹӂ⬈倛尹處Ӂ䖍⢷⁉↠尜峧㹷㊞⎿ Pandora䠓䠋ⷤ虇㢘ㄗ⪩⁉Ὴ⑤╸朏㊂虇憨㞾䢇䜅⊹ 弙䠓⢿⃜Ҹ㎠↠⾁ら䱚―ᾏ㚾㢃⎉吁䠓⢧栙Ҹӂ ᾏ⬑⌅⢷㑪凧⁉㏜㟑㙐㢘⊹⑱虇♐䏛䖍㟑厖㫼 Ὴⷀ㛈✓朏〦⃜僽懁姛屖⎳㟑虇΅埤㝋㢃㢘⎸䠓⃜ 僽Ҹ ᾜ懝虇Mann⏖㢹嬚㼗幊冔⢷懝╊」〃䠓Ⱑ汣㼗 幊╙庋幆㮰ゞ㢘⪹⪶䠓惘崙Ҹ⢷欨㾾虇㏅⪥╙㜇䩋ひ ◙ㄏㄏ㞾㎟㛗㢏汧䠓Ⱑ汣㾯懢虇军⢷ᾥ䛛▓⢿虇⓿⏆ ♐⁜䋅捜嬐Ҹ Mann尜䉉虇䛀㝋欨㾾䠓⥝⾑⁉╲ⵕ〵汧虇㏅⪥ ひ◙⢷㕟ⓖ摆⚽槜╙䥴▜〵㝈棱⁜劌䠋㕽捜嬐䠓⃫ 䚷虇⃕佁ᾙひ◙‵㢒崙ㄦ㊗ℕ㊗捜嬐Ҹ Ӂ虃ⷀ摆⚽惘㕪军宏虇虄槶ⴱㄏㄏ⢷㎠↠䠓佁䱨 ⇫䛨ㄗ朆䠓㟑朢Ҹ↠㢒䦣䰅㎠↠䠓䚱♐ҷⶖ䚱♐㾊 厂槧㢪㾔✽ҷ⎕›仵⬈↠䠓䛆㢚╚㎥㢚╚///䋅ㄛ ⷀ㎠↠㏏䢚虇⪶扷⎕䠓″㞢㞾⢷㎠↠䠓汣〦⋶ⴛ ㎟䠓Ҹӂ Mannⶖ欨㾾䠓梊ⳟ⛕⑨ヱⵈ䉉Ӂᾏ↚㢘弲䠓 㬑ㆄӂҸ䖍㟑虇⌅⢧栙㢒⢷庋䏸汧Ⳳ䵏虇⢷梊ⳟ ⛕〦㔷姛䐈㔷ひ╙⅒摆㻊⑤ҷ㔶⏅汣〦䠓⁉ 㻐ҸMann尜䉉虇佁仰‵㞾≂懣宙ㇾ䠓杫攄。╿Ὶ ᾏҸ 懨㢪䫭⽭虇梊ⳟ⛕⑨䠋ⷤ噻虇㎟䉉Mann⁙〃 亿孏䠓䵓䜖Ҹ⌅⋻▇⢷2016〃㝋⪸帢佁㔷⎉卹 ⾀䠓梊ⳟ⛕〦虇⃕Mann姷䫉虇⌅⢧栙⁜嬐㕟ⓖ╙屎 㜃⌅佁ᾙ䍮懚㝈ゞ虇⁴ⅎ㕟ⓖ佁ᾙ汣毦Ҹ Ӂㄗ⪩⃯⁴䉉䖕㏏䜅䋅䠓‚虇ℚ⬑悘憮〵虇抌 㞾⢷ᾼ⢚伢䍮佁ᾙ㫼⑨㟑ㅔ榗㹷㊞䠓‚榔Ҹӂ⬈岑處 Ӂ♐䏛΅梏嬐⪶⪶㕟汧㏚㯮䏗劌虇⡯䉉⪶扷⎕ᾼ ⢚㼗幊冔抌憩懝㏚㯮㖫♐䏛Ҹӂ ⢷ᾼ⢚懁姛⎕摆╙㔷ひ♐䏛㟑䠓䳥䛴ⶳ⌅捜 嬐虇⡯䉉ᾼ⢚⾑⧃ᾜ≔䃪⪶虇军ᾣ寀⪩ᾼ⢚㼗幊冔 㢒⎿⋷䖒▓⢿㝔姛虇䉉㏏㢘⾑⧃ҷ⢿Ⓩ⿅ℕ榎Ҹ Mann尹處Ӂ㎠↠ᾜ䥴懢ᾘ佩⥝⾑㎠↠䠓╜㍘ ⬑⃤虇⃕ᾼ⢚䠓䃪ㄗ⪶虇憨㞾㎠↠⋷䖒䠋ⷤ㢏ㅺ 䠓⾑⧃Ҹӂ⬈⦔ⅰ虇慝㔴崙棸ⶖ⿅ℕㄗ⪩㜿䠓㯮懖Ҹ Ӂ㢹ℕ」〃ⶖ㢒棭⿇⌆㒠㎿ㆶҸ♐䏛⢷懝╊⋸ 〃ⓙ䠓㟑朢⾁伢㴆䢇䜅⽷⪶䠓惘崙╙懁㳴虇⪹⢿ Ⓩ䠓䠋ⷤ棭⿇⁉厗⫽虇㎠⃫䉉憨↚姛㫼婰棱⚾ᾏ 䠓嬎㝈⬂ㆶ虇ㄗ㬽〇㢘㯮㢒嬹怺╒厖⌅ᾼҸӂ
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THE GREAT DIGITAL DIVIDE IN THE REAL ESTATE WORLD 開霹網上物業代理新戰場
With increased competition in the market, digital has become the new battlefield for online realtors, and iProperty is aggressively using content to sell its properties, Angel Tang writes. 市場競爭加劇虇數碼網絡則成為網上 地產經紀的新戰場Ҹ為求突圍虇其中 一間網上地產平台 iProperty用內容 為物業做營銷Ҹ Angel Tang報導Ҹ
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新聞剖析
NEWS ANALYSIS
As Hong Kong’s home prices continue to rise, the city’s property agents have seen a surge in commission payments per deal for roughly the same amount of work. The rising potential pay-out is attracting more competition in the market, and digital – a field underutilised in the property world – has become the new battlefield for online realtors over the past five years. iProperty Hong Kong, a growing online realtor which owns GoHome.com.hk, squarefoot.com.hk and SMART Expo, said it had seen promising growth on its platforms with over 11 million monthly page views in total by April 2017. Its platforms partner with both individuals and traditional agents to provide property information, and align the sellers with online buyers in the mass housing market. Claiming to account for 70% of Hong Kong’s online property market share, general manager Carrie Law said more than 60% of the company’s revenue now comes from its internet businesses, with the other 40% coming from the traditional services it provides. “Our figures show that 60% of the GoHome. com.hk users who search or buy online have at least one to two properties on hand; and a major amount of the buyers are foreign expats,” she said. “These numbers prove that buyers and sellers from market segments which see limitations or inconveniences in contacting and walking into physical stores every time are now searching for information online.” “Under the trend, the traditional business model of the city’s property brokerage businesses may gradually see some structural changes.” The property industry, however, is less sensitive to online marketing trends, tools and technologies than other industries are, Law admitted. “Overall, agents focus on a physical presence as a contact point for sellers to list their properties, and for buyers to look for homes,” she said. “Three or four out of 10 projects from agencies will establish an online presence, but they might still hesitate in spending on online marketing.” WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
Buyers and sellers from market segments which see limitations or inconveniences in contacting and walking into physical stores every time are now searching for information online. 來自細分市場ҷ認為每次 接觸及走進實體代理公 司有所限制及不便的買家 及賣家虇現正轉到網上 搜索資 Ҹ While information plays a key role in attracting visitors to online realtors, Law said her company established a content team to share details and use a score-based system on the quality of a place and the district around it on its online content platform. It also invested in personalised tools to recommend users to extend their reading, as well as mobile-sensitive features to make sure the customer journey is convenient. This year, the firm started using 360 degree photos to show some of the properties’ interiors to enhance its competitiveness over physical agents. “360-degree photos have proven to be effective,” Law said. “For squarefoot.com.hk, the monthly impression of those that used the technique is 67% more than the average of the same listing tier on Hong Kong Island; their leads are also four times more than the average of the same listing tier on Hong Kong Island. “On GoHome.com.hk, the tool has proven to be even more valid, boosting the page views of apartments by 135% more than the average of those in the same district.” In the long run, Law is looking to attract more users online by all kinds of aggressive marketing efforts, including out-of-home campaigns, to explain the use of its websites. “The challenges are to educate new users, who might not be familiar with online property services,” she said. “But I’m confident there is still room to grow.”
欨㾾㮢⊈㒐倛橙ⓖ虇㢻⢿㏎⢿䚱䖕ㄭ㵞䳕″㞢庉 ╥⎿䠓捠‵㒐倛ᾙ䃁Ҹ 捠䠓ᾙⓖ䃪⾑⧃䲅䎼㢃䍍䍀虇军ⶩㄔ 䠋ⷤ䠓㜇䩋榧⥮虇懝╊‣〃⏖㎟䉉佁ᾙ⢿䚱伢亏䠓 㜿㎿⧃Ҹ iProperty Hong Kong 㞾 㢻 ⢿ 佁 ᾙ ㏎ ⢿ 䚱 䖕 ⋻ ▇ Ὶ ᾏ 虇 㝦 ᾚ 。 ╿ ⒔ 㑻 GoHome.com. hkҷsquarefoot.com.hk╙SMART ExpoҸ封⋻▇ 姷䫉虇⌅。╿撓ㄦ╾孏䠓⨭朆虇㎹卹2017〃4㢗䉉 㳱虇。╿㵞㢗䆞孌捞䉉 1100喻Ҹ⌅。╿厖↚⁉ 䖕╙≂伀䖕⛕▗⃫⁴㕟K䏸㫼幖宙虇䉉⪶䣍㏎ ⷚ⾑⧃䠓干ⵅ厖佁ᾙ幆ⵅ懁姛拜Ҹ ⌅Ⓩ⥮俌伢䖕儔桹㲲刁䯀⢷欨㾾佁ᾙ㏎⢿䚱⾑ ⧃䠓⃣㢘䔖懣 70虀虇姷䫉⋻▇ 60虀⁴ᾙ䠓㛅⋴ ℕ卹⌅‡凾佁㫼⑨虇军⌅檧 40虀⏖ℕ卹⌅㕟K䠓 ≂伀㢜⑨Ҹ Ӂ㎠↠䠓㜇㙩槾䫉虇⢷ GoHome.com.hkᾙ㖫 亱㎥庋幆㏎⢿䚱䠓䚷㏅ᾼ虇㢘 60虀厂ⶠ㙐㢘ᾏ厂 ⋸⫦㏎䚱虖╵⪥╗䠋䖍⪶捞幆ⵅ䉉⪥⢚⁉Ҹㄭ憨 㜇⳦㏏嬚虇⡯䮽䮽柟⏅军ᾜⅎ㝋嬹怺廿⋴汣䖕 ⋻▇虇标倛惘⎿佁ᾙ㖫亱幖宙Ҹӂ ⬈孲捚處Ӂ⢷憨↚強⑱ᾚ虇欨㾾≂伀䠓㏎⢿䚱 䖕㮰ゞ╾劌㢒憟䃇⎉䖍仟㭚ㆶ䠓惘崙Ҹӂ 䋅军虇儔桹㲲㐎尜虇㏎⢿䚱姛㫼佁仰䍮摆強 ⑱ҷ⽴⌆╙㐏姢䠓㛞㊮〵⃝㝋⌅姛㫼ҸӁ俌㑻ℕ 尹虇䖕⛕ⶖ捜灭㛍⢷汣㔴宇灭ᾙ虇干ⵅ⎦⎉䏸 㫼虇幆ⵅㄭᾼ㐍㏎ⷚҸ䖕⛕䠓ⓐ↚榔䡽䜅ᾼ虇 ⪶亓㢘ᾘҷ⡪↚㢒懁姛佁ᾙ㔷ひ虇⃕↠⁜╾劌㢒 佁ᾙ䍮摆㚾⎉㊮⎿䓅巺Ҹӂ 幖宙䠓巟ⵛ〵⏖㎟䉉◇イ容ⴱ䆞孌佁ᾙ⢿䚱伢 亏。╿䠓杫攄Ҹ儔桹㲲㒖⋻▇䉉㷑䰐⢜虇㎟䱚―⋶ ⵈ⢧栙虇⢷⌅佁ᾙ⋶ⵈ。╿ᾙ⎕›専亿幖宙虇☛ 䏸㫼╙⌅◷戙⢿Ⓩ懁姛寤⎕虖。╿╗㐤幖ҷ㔰䚷 ↚⁉⒥䠓⽴⌆虇炢⒄䚷㏅ゅ杀崏虇䚩厂㔷⎉懸䚷 㝋䮊⑤宼∨䠓劌䳘䳘Ҹ ⁙〃虇封⋻▇朚⭚㔰䚷360〵䢇䏖ℕⷤ䫉ᾏ 䏸㫼䠓⋶扷䘿⨒虇⁴㕟ⓖ䲅䎼虇厖汣䖕⛕㐦 姰Ҹ儔桹㲲䢃宏處Ӂ360〵䢇䏖䢇䜅㢘㛗Ҹӂ Ӂ squarefoot.com.hk佁䱨ᾙ㔰䚷憨榔㐏姢䠓 䏸㫼虇⌅㵞㢗䆞孌䔖虃 PV虄悒㾾⺅Ⓩ▛亩⎉⚽䏸 㫼䠓。⣖㷃。汧⎉ 67%虇⌅摆⚽捞‵悒㾾⺅Ⓩ▛ 亩⎉⚽䏸㫼䠓。⣖㷃。汧⡪↜⁴ᾙҸ⢷ GoHome. com.hk虇封⽴⌆ℎ✽⃜䠓㵞㢗䆞孌䔖㕟ⓖ厂▛ᾏ ⢿Ⓩ。⣖㷃。䠓135虀⁴ᾙ虇㎟㛗㢃䉉槾嗦Ҹӂ ㄭ朆懯ℕ䢚虇儔桹㲲⾛㢪憩懝㏅⪥ひ◙䳘▓䮽 䯜㬄䠓㔷ひ⽴⃫ℕ孲捚⌅佁䱨䠓㍘䚷虇⁴◇イ㢃⪩ 佁ᾙ䚷㏅Ҹ ⬈尹處Ӂ㒠㎿⢷㝋㛨剁㜿䚷㏅虇↠╾劌ᾜ 䌮㈘佁ᾙ㏎⢿䚱㢜⑨虇⃕㎠尜䉉⁜㢘䠋ⷤ䠓䰉 朢Ҹӂ
JU NE 2 017 MARK E TING HON G KON G 2 3
BRANDED CONTENT
WHY WE SOMETIMES NEED TO SACRIFICE THE SACRED COWS ◙⎴Ӂ捠䭠䔘ㄚӂ
Epsilon嗲‚俌伢䖕Nigel Howlett㞾ᾏ⃜▜⏾⌅
Nigel Howlett, managing director of Epsilon, is a true veteran of digital marketing – he was at the forefront of IT solutions in marketing and a pioneer of single-customer view marketing. Marketing sat down with him to look at how the industry has changed over the years and where we go from here. Hailing from the UK, Howlett found his way into marketing through a graduate scholarship,
䠓㜇䩋䍮摆冐ⶖ虇䱨⢷⾑⧃㔷ひ幖宙䭠㐏孲㸉 㝈㧗䠓㢏⏜佩虇΅㞾✽ᾏ槶ⴱ⢥峫䍮摆䠓⋗ 比Ҹ ҿMarketingӀ厖容屖虇―孲憨↚姛㫼⪩〃ℕ䠓崙 ⒥虇⁴╙㢹ℕ䠓䠋ⷤҸ ℕ卹咀⢚䠓Howletu╥ㄦ䦣䰅䚮䓝ⴇ捠ㄛ虇伢 㴆懝摆⚽⽴⃫䠓Ӂㅔ伢栝㵄ӂ虇ⷀ朚⭚⢷㔷ひ扷朏ᾼ 㐅㖥䢃ᾙҸ 䜅㟑㛗䠓⋻▇朏ㄭ‚ᾜ▛姛㫼䠓B2B㢜 ⑨Ҹ戲㟑↨虇姛㫼⏪朚⭚尜峧䢃抄䍮摆虇⃕⃜╙㜇 㙩〺㢹⋴Ὴ㻐Ҹ⢷㜇㙩〺╙‡凾佁ⶩ㢹厗弆㟑⇩䍮 摆虇╾岑㒠㎿捜捜Ҹ
2 4 M A R K ET I N G H O N G K O NG J UNE 201 7
and after what he described as “a mandatory stint in sales”, he was fast-tracked to the marketing department. The company he worked for at the time specialised in B2B services across different industries; a tough nut to crack at a time before databases and the internet. The industry had just fully opened its eyes to direct mail marketing, but targeting
WWW. MARK E TING—IN TE RAC TI VE . C OM
BRANDED CONTENT
and databases were still very far from the mainstream. “I started dabbling in information technology around 1986, primarily because the sales force needed to know what different customers were buying (and not buying) across different business units, so we needed a singlecustomer view,” he explained. This quickly led to Howlett joining a young marketing technology firm, which had just become one of the first IBM agents operating in direct marketing. “I switched from a company of more than 100,000 people to a company of just 25. My parents thought I was mad, but I was convinced that marketing was going to become ever more data-driven,” he recalled. Fast-forward a few years, and he found himself headhunted to Ogilvy & Mather, where he spent the next 17 years. In the late 1990s he was at the forefront of the repositioning of O&M Direct to become OgilvyOne Worldwide: preparing the agency for the challenges of the next century with digital at its heart. He then left to run international for IRI Worldwide, a world leader in CPG and retail insights and data analytics, before embarking on a portfolio career as chairman of three fast growing companies in the analytics and customer experience space. Now at Epsilon, he has, in many ways, returned to his roots, focusing on leveraging data, technology, creative and strategy to deliver personalised experiences to customers that drive them to action. Having witnessed the evolution of targeted marketing, and data-driven decision-making, he is very optimistic about the future – especially considering the application of machine learning into marketing. “This is one of the most exciting periods in the history of marketing. Big data analytics still has a lot of mileage, and machine learning and self-adjusting algorithms can ensure you move with the market, or even make the market,” he said. For example, he argues, machine learning can help immensely when it comes to improving scalability, speed to insight and decreasing cycle times. And the best part is, it’s already happening. Naturally, though, there are a few pitfalls. Especially when it comes to strategy, a lot of WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
marketers are still working out the kinks in the cable. “Because the cost of messaging is so low today, you can sometimes detect a lack of strategic thinking around the precision of targeting and the customer journey planning,” he said. “Back in the day, high mailing costs demanded a great deal of rigour. Now, you can execute very rapidly at scale and at low cost, which is good in so many ways, provided you don’t unwittingly damage your brand equity through poor execution. “Because digital marketing enables you to perform so many things simultaneously and in real time, the ability to assimilate so many data and insight points quickly becomes essential, requiring the right tools and dashboards in front of the right people at the right time, enabling you to fly the plane without crashing it so to speak. “As ever, technology only fulfils its true potential when it is combined with great talent and the ability to accrue and manage knowledge.” So how do you develop that talent across companies and in the entire industry? Howlett believes the answer may actually be very simple – codify what constitutes good practice and stop believing things that have no basis in fact; beliefs that can sometimes become “sacred cows” for some businesses. “Making best practice common is critical for success,” he said. “And that means being prepared to sacrifice some sacred cows along the way.”
孲捚處Ӂ㎠⪶亓⢷1986〃朚⭚㼘彂幖宙䭠㐏 榧⥮Ҹ⡯䉉摆⚽⁉♰梏嬐䥴懢ᾜ▛㫼⑨扷朏ᾼ虇㢘 ♹ᾜ▛ⴱ㏅㢒㼗幊虃㎥ᾜ㼗幊虄虇㏏⁴㎠↠梏嬐ᾏ ↚✽ᾏ槶ⴱ⢥峫Ҹӂ 憨比ℎHowlett⋴ᾏⵅ〃悤䠓䍮摆㐏姢⋻▇虇 封⋻▇䜅㟑⏪㎟䉉欥ⵅ伢䍮䢃摆㫼⑨䠓 IBM䖕⛕ ῚᾏҸ ⡭㍅處Ӂ㎠ㄭᾏⵅ㙐㢘弔懝ⓐ喻▜♰⽴䠓⋻ ▇虇惘⎿ᾏⵅ╹㢘 25⁉䠓⋻▇虇㎠䠓䏅㵜孉ㄦ㎠䞚 ―虇⃕㎠㾀ⅰ⾑⧃㔷ひ㢒䂣崙㎟⁴㜇㙩䉉ῊҸӂ 」〃Ὶㄛ虇⫶儝■㑪㏚虇⢷戲婰〵懝17↚〃 榼Ҹ⢷Ῥⓐ〃ㄛ㢮虇䱨⢷⫶儝䢃摆惘⤚䉉⫶儝 ‡⑤姛摆䠓㢏⏜佩虇ⓣ封䖕⋻▇⃫⬌䀥∨虇⁴ ㍘ᾚᾏᾥ亏⁴㜇䩋䉉㫼⑨㧇ㅒ䠓㒠㎿Ҹ HowlettῚㄛ桱朚⫶儝虇惘㐤⋷䖒榧⋗䠓ㅺ憮㼗 幊♐╙梅⚽㺭☛㜇㙩⎕㤟㯮㭚IRI Worldwide虇帯 帻埤䖕⢚株㫼⑨虇Ὶㄛ㎟䉉ᾘⵅㅺ憮䠋ⷤ䠓⎕㤟╙ ⴱ㏅汣毦⋻▇䠓嗲‚朆Ҹ䖍㟑⢷Epsilon虇Howlett⢷ ㄗ⪩㝈棱抌⡭㴇⦉㢻虇㹷㝋懚䚷㜇㙩ҷ㐏姢ҷ␄ ㊞╙䳥䛴虇䉉槶ⴱ㕟K↚⁉⒥䠓汣毦虇ㄭ军⅒ℎ ↠㔰╥姛⑤Ҹ Howlett嬚峘―⃜䍮摆╙㜇㙩Ὴ㸉䳥䠓䂣 崙虇㝋㢹ℕ棭⿇㮑孏虇ⶳ⌅㞾㝋㯮㨿ⴇ兡⢷ ⾑⧃㔷ひᾼ䠓㍘䚷Ҹ 尹處Ӂ憨㞾⾑⧃㔷ひ▁ᾙ㢏䅏⑤⁉ㅒ䠓㟑㢮 ῚᾏҸ⪶㜇㙩⎕㤟⁜䋅㢘ㄗ⪶䠓䠋ⷤ䰉朢虇军㯮㨿 ⴇ兡╙卹⑤屎㜃䴦㹤╾⁴䩉Ⅼ⃯厖⾑⧃懁虇䚩厂 㛈崙⾑⧃Ҹӂ ℚ⬑虇Howlett尜䉉虇㯮㨿ⴇ兡⢷㕟汧嬕噚棱ҷ ㅺ㺭╙侽䥼懀㢮㟑朢㝈棱╾⁴㢘ㄗ⪶䠓⿺虇 军ᾣ憨ᾏ⎖伢⾁⢷䠋䚮Ҹ 䜅ᾼ⢉䋅㢒㢘ᾏ栆柀虇ⶳ⌅㞾⢷䳥䛴㝈棱虇ㄗ ⪩⾑⧃㔷ひ⁉♰⁜⢷㩂䖕䜅ᾼ䠓亍仟Ҹ Ӂ䛀㝋䖍㟑≂憐宙ㇾ䠓㎟㢻䢇䜅⃝虇㢘㟑╾⁴ 䠋䖍⃜╙ⴱ㏅㝔䮚嬞␒䠓乍䩉〵㝈棱僉῞䳥䛴 ㆬ冒ҸӂHowlett孲捚處Ӂ⡭㊂懝╊虇抄ⵓ幊䚷ㄗ汧虇 ⡯㳳嬐棭⿇峈㋝Ҹ䖍⢷虇⃯╾⁴ㄗ⃝䠓㎟ 㢻 㬄 憮 懁姛⪶䵓⢜䠓宙ㇾ䠋⾒虇憨⢷ㄗ⪩㝈棱抌㞾⬌䠓虇 ╹嬐⃯ᾜ㢒⡯䉉⦆姛ᾜ✓军䊰㊞ᾼ㖜ⵂ⃯䠓♐䏛 幖䚱Ҹӂ Ӂ䛀㝋㜇䩋䍮摆崢⃯劌⪯▛㟑╙│㟑⦆姛ㄗ⪩ ‚㉔虇⡯㳳慔憮㼗⒥㜇捞焟⪶䠓㜇㙩╙㺭灭劌 崙ㄦ厂杫捜嬐虇憨梏嬐⢷㳲䩉䠓㟑朢■㳲䩉䠓⁉㕟 K㳲䩉䠓⽴⌆╙⊏姷㤎虇憨㮲㏜ᾜ㢒㘭㤎Ҹ厖⁴ㄏᾏ 㮲虇╹㢘仟▗⊹䭏䠓⁉㏜厖亾䯜╙䴰䖕䥴峧䠓劌虇 䭠㐏㏜劌䠋㕽⌅䢮㳲䃪Ҹӂ ⬑⃤⢷ᾜ▛ₐ㫼╙㜃↚姛㫼⦈剁憨⁉ ㏜虚Howlett尜䉉䳣㧗╾劌棭⿇䶰✽處ⶖ⬌䠓⇩㹤佷 們㎟㹤嬞虇ᾜ嬐䢇ⅰ㸡㢘‚ℬ㙩䠓‚㉔虇⡯䉉ⅰ ㆄ㢘㟑ㄏㄏ㢒㎟䉉ᾏₐ㫼䠓Ӂ捠䭠䔘ㄚӂҸ Ӂⶖ㢏⬌䠓⇩㹤崙㎟㋲⿇⇩㹤㞾㎟䠓杫攄Ҹӂ 尹虇Ӂ憨㊞☂嗦嬐䀥∨⬌⢷ᾏ彾ᾙ䐶䐁Ӄ捠䭠䔘 ㄚӄҸӂ
JU NE 2 017 MARK E TING HON G KON G 2 5
人物專訪
PROFILE
2 6 M A R K ET I N G H O N G K O NG J UNE 201 7
WWW. MARK E TING—IN TE RAC TI VE . C OM
人物專訪
PROFILE
If there is just one way to describe Venus Teoh, the head of marketing at Asia Pacific Breweries (APB) Singapore, it would be bold. “I am bold,” she laughs, as we sit down for a chat. “That’s how I’ve been since I started marketing.” Teoh is a big believer that without pushing the boundaries, great work cannot emerge. A risk-taker by nature, she prides herself on not playing it safe. And if a backlash is to happen, “leverage on it”, she says. “Here in Singapore, we tend to be safe. People tend to do things within the boundaries,” she says. But today, “typical” marketing stunts are no longer enough, especially as the media landscape becomes more fragmented, and consumers become selective with the information they absorb. A backlash, as such, can be an advantage as well. “But we have to make sure we take calculated risks. So, in whatever we do, we always have contingency plans. We always think ahead,” she explains. One such example was for a provocative Desperados campaign she recently worked on called “Paint the unpaintable city”. The campaign saw artists such as the infamous Samantha Lo (better known as the Sticker Lady) create branded graffiti-style artwork on the walls of the National Gallery, National Stadium and People’s Park Complex. With vandalism outlawed in Singapore, the artists used a spray can to graffiti the walls with light in real-time. A bike loaded with all the required equipment roamed the streets of Singapore between locations, and the artwork itself was created using a specially adapted spray can equipped with an infrared LED light. “In Singapore, you see, you’re not supposed to do graffiti on the walls, so we thought perhaps Desperados can find a way to make graffiti cool and possibly legal in Singapore,” she says. “But obviously we were asked by a few rangers what we were doing and if we had permits.” As such, the team took extra precautions to make sure everything was legal and done with the knowledge of the building owners. “The National Gallery was very open to the idea. This was one way for us to promote art without breaking the law,” she says. Nonetheless, before launching the campaign, a lot of thought went into creating 2 8 M AR K ET I N G H O N G K O N G J UNE 201 7
a plan B – should there have been a backlash from the government. “We had to think of how we could leverage negative publicity. I mean, at one point, we actually wanted a police car to stop us because if we broke the rules, we’d make the front cover (of newspapers) and the Desperados brand awareness would have jumped 100%,” she admits. Another campaign she describes as “nervewrecking”, also for the Desperados brand, was the 2015 Zouk Out stunt. Since the brand was only launched a year before, Teoh needed to work with her team to ramp up awareness of the tequila-flavoured beer, targeting the young and adventurous 18-24-year-olds. As such, the brand recruited 20 elderly folks and got them to hold banners to protest Desperados at the entrance of Zouk Out. They were holding Desperados banners shouting and chanting “No Desperados”. “We had three rangers’ police cars checking if we had licence to do this unexpected stunt. My colleague Mitchell Leow (head of corporate relations at Asia Pacific Breweries Singapore), and I were there prepared to be interviewed by the rangers. But it was great.” She adds that because the Desperados brand is for the young and adventurous, she wanted the marketing stunts to “walk the talk”.
⬑ 㤫 ╹╾䚷 ᾏ ↚ ヱ ⵈ 寭 ℕ ヱ ⵈ ⪹ 捏 拡 桕 ⢧ 虃APB虄⾑⧃扷帯帻⁉Venus Teoh 䠓尀虇戲ⷀ㞾 ⪶卌Ҹ ㎠↠⣟ᾚℕ容屖㟑虇⬈䲠尹處Ӂ㎠ㄗ⪶卌虇ㄭ㎠ 朚⭚ㄭ‚⾑⧃㔷ひ⽴⃫⁴ℕᾏ䢃㞾憨㮲Ҹӂ Teoh㾀ⅰ虇ᾜ㝋䰐䧃䛛柟虇ⅎ䊰㹤㎟ⷀ␄厘Ҹ ⬈⪸䚮ⷀ㞾ᾏ⃜⌡根冔虇ㄭᾜⴘ㝋䖍䑏Ҹ呴䋅⎉ 䖍ᾜ䖕㊂䠓䑏㹐虇⬈姷䫉嬐㍑ㄦӁ✓䚷⑱ӂҸ ⬈尹處Ӂ⢷㜿⣰虇㎠↠⇩‚ㄏㄏ㢒ㄹ嬞志䥸虇 ᾜ㢒弙䛛Ҹӂ ⃕⢷䖍⁙ᾥ虇Ӂ⌇⤚ӂ䠓⾑⧃㔷ひ㐏↕⾁ᾜ ⌜彂⪯虇ⶳ⌅棱⪩⋒⒥䠓Ⱑ汣㾯懢虇㼗幊冔㝋 㔴㛅 幖宙㢃䉉㕏㙖Ҹ⃕ 憨㮲䠓㒠 ㎿虇΅╾⁴⿅ℕ 㯮懖Ҹ ⬈孲捚尹處Ӂ⃕㎠↠ㅔ榗䩉Ⅼ劌㐎㙣榟宗䠓樷 根虇⡯㳳䊰履㎠↠⇩䚩灋虇抌ᾏ㢒㢹桷伱俕虇⏅ ⬌㍘ㆴ㝈㧗Ҹӂ ⌅ᾼᾏ↚ℚⳟ虇ⷀ㞾⬈㢏慠⢷㜿⣰䉉ㅆ㜾㮑 ⛳拡㔷⎉ᾏ↚∨╦䎼峿䠓㔷ひ㻊⑤虇▜䉉ӁPaint the unpaintable cityӂҸ ⢷封㔷ひ㻊⑤ᾼ虇↠戏屚埮䯀Ӂ幋亨⭟ӂ䠓 ⧦溘坬姢ⵅSamantha Lo虇⢷⢚ⵅ儝姢檷ҷ⢚ⵅ汣 剁⧃╙䕜䕯⣙䠓䏕⩐ᾙ虇⧦ᾙⴲ≂♐䏛䠓⧦溘Ҹ 䧃⩭⋻䏸⢷㜿⣰ⷻ⡃捜價姛虇⡯㳳憨坬姢 ⵅℎ䚷䐈⎴拜∨五⪥佩LED䍗⠃榼䠓⠃僟虇⢷ら䵘 䏸䠓䏕ᾙ⧦溘虇䍮憯⎉│㟑⋘㛗㤫虇军ᾏ悪悘䂎㏏ 㢘婬∨䠓✽恙⢷ᾙ慿⢿灭Ὶ朢䠓姦懢㿇廿Ҹ ⬈尹處Ӂ㜿⣰㞾䬐㳱⢷䏕ᾙ⧦溘䠓虇⡯㳳㎠↠ 尜䉉虇ㅆ㜾㮑╾➦寵⁴╵ᾏ䮽⏜姪军▗㹤䠓㝈ゞ⧦ 溘Ҹӂ Ӂ䜅䋅虇㢘⬌」▜⽰峵㥴⛞㎠↠⢷⇩䚩灋虇╙㞾 ▵㒐㢘寀╾峘Ҹӂ ⡯㳳虇⢧栙㔰╥槜⪥䠓榟柁㔹㝌虇⁴䩉Ⅼᾏ⎖▗ 㹤虇榟⋗憩䥴㫼ῊҸ ⬈尹處Ӂ⢚ⵅ儝姢檷憨↚㊂㹤㒐朚㛍䠓㋚〵虇 憨㞾㎠↠⢷ᾜ懤╜㹤ㄚ䠓㉔㹐ᾚ㔷ひ坬姢䠓ᾏ䮽㝈 ゞҸӂ ⊧䴰⬑㳳虇⢷㔷⎉㻊⑤Ὶ⏜虇↠幊䋭ㆬ捞⢿宗 䛺ㄛ∨㝈㧗虇⁴㍘喻ᾏ懼⎿㛎〫㰱㔶Ҹ ⬈㐎尜尹處Ӂ㎠↠ㅔ榗冒㋽⬑⃤⎸䚷帯棱ⴲ≂虇 ㎠䠓㊞ㆬ㞾尹虇㢘ᾏ⏊㎠↠䢮䠓⾛㢪㢘ᾏ悪峵恙⎉ ℕ柊㳱虇⡯䉉⬑㤫㎠↠懤嬞虇ⅎ㢒㎟䉉虃⧀亨虄榼㨬虇 ㅆ㜾㮑䠓䥴▜〵ⅎ㢒ᾙⓖ100虀Ҹӂ ╵ᾏ↚▛㮲䉉ㅆ㜾㮑㔷⎉䠓ⴲ≂㻊⑤Ӂ2015 Zouk Outӂ虇⬈ヱⵈ䉉Ӂㄗ≆勵䳚ӂҸ䜅㟑♐䏛棱ᾥ ⏪⏪ᾏ〃虇Teoh厖⢧栙嬐▗㕟汧憨㳍焜厛垼樷☂ ⛳拡䠓䥴▜〵虇军䡽㮨╦䣍㞾18厂24㴁ҷ✫㊪⌡根䠓 〃悤⁉Ҹ ♐ 䏛 䉉 㳳 㑪 ⑮― 20 ⃜ 朆 冔虇屚 ↠ ⢷ Zouk Out⋴╲埤汧厘 㯺槜㐦 峿 ㅆ㜾㮑⛳拡虇⪶╺ӁNo Desperadosӂ䠓╲埮Ҹ Ӂ㢘ᾘ悪⽰峵恙⏜ℕ虇㥴⛞憨榔䰐䠋ⴲ≂㻊⑤ 㞾▵╥ㄦ寀╾虇▛‚Mitchell Leow虃⪹捏拡桕⢧ 㜿⣰ₐ㫼杫⅑扷朏帯帻⁉虄☛㎠⢷戲婰䀥∨⬌㔴 ╦⽰峵䠓㥴⛞虇⃕䠓䩉㞾ᾏ㲰⎉吁䠓ⴲ≂Ҹӂ
WWW. MARK E TING—IN TE RAC TI VE . C OM
人物專訪
PROFILE
⬈婫⋔姷䫉虇ㅆ㜾㮑♐䏛捬✫㊪⌡根䠓〃悤 ⁉虇⾛㢪ⴲ≂㐏↕劌⪯Ӂ⣟宏弆姛ӂҸ
Desperados’ provocative campaign “Paint the unpaintable city”. ㅆ㜾㮑⛳拡䠓⪶卌⏜姪㔷ひ㻊⑤ӁPaint the unpaintable cityӂҸ
The Tiger story But, of course, not every brand is as daring as Desperados. Each brand has to carve out its unique positioning. For Teoh, Tiger still takes up a chunk of her time, being the mainstream brand. By definition, this means the brand needs to have broad appeal. The unique challenge Tiger has is there are older generations who are used to a certain image of the brand, but at the same time it is now having to target a younger group of drinkers to make the brand cool again. Teoh says that for the Tiger brand, the past few years have been shaky. Its engagement rate with consumers has not always been the strongest and to turn this around, she and her team took to the streets to change the perceptions Singaporeans had about the brand. “It wasn’t easy to try and speak to everyone,” she says. “When we briefed our creative agency, BBDO, the brief was very clear: whatever we do, the brand must be real, it must be genuine.” And that’s where the agency came back with the hawker stories. With no script in hand, and just raw real stories, Teoh and her team took on the risk the campaign might be digital heavy, and as such, not reach out to older consumers. Also, since the first film was in Teochew, it couldn’t cross into free-to-air channels. To Teoh and her team’s surprise, the campaign not only reached out to the young, but also to the old. “It had a lot of social media talkability. Storytelling based on a real genuine story really connected. We used Teochew because the hawker was more comfortable in Teochew, and we wanted him to be comfortable, just be him, and tell his story in his own words. And it worked,” she says. WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
Her journey into the world of marketing Teoh’s first role in the world of sales and marketing was with a FMCG company, Sara Lee. There, she went through nine months of a rigorous management training programme where she was sent all over Malaysia to learn about sales and marketing. But she believes her first rub with marketing was when she ran for president for a student council team. “I remember one day I had a friend who came to me and said that they were looking for a new president for the student council. And I said, all right then. And I ran for it. It was really like an election where you had to rally your voters to vote for you. That, to me, was really my first experience in marketing,” she says. Fast forward to today, coming back to work on Tiger is almost like coming a full circle. She joined APB in 2003 in a sales role as a channel development manager and she worked her way up, basically pursuing innovations for Tiger. She then left the Tiger brand to manage the entirety of other APB brands. Post the Heineken acquisition, she oversaw the development of the mainstream brands across the Asia Pacific region, then resumed to head the regional innovation and international brands team, before joining APB Singapore as head of marketing in 2015. As such, she is a strong believer that sales enrich marketing knowledge. For her it certainly has. “When I look at marketing strategies, it’s not just about creating an emotion. My philosophy of marketing is that marketing does not stop in advertising. The job ends when a consumer actually picks up the product. It is until the very end,” she said.
埝䏛㛔‚ 䜅䋅虇棭㏏㢘♐䏛抌≞ㅆ㜾㮑ᾏ㮲⪶卌虇㵞↚♐ 抌ㅔ榗㏢憯⌅䓷䐈䠓⃜Ҹ埝䏛⛳拡䠓㫼⑨⁜⃣㙩 Teoh䠓⪶扷⎕⽴⃫㟑朢虇⃫䉉ᾏ↚Ὴ㻐♐䏛虇封♐䏛 ㅔ榗⌆∨ひ㹪䠓◇イҸ 冐ᾏ悸䠓⁉兡㋲―埝䏛䠓⢉㢘ヱ巰虇⃕♐䏛▛㟑 ‵嬐◇イ㜿ᾏ䠓〃悤㼗幊冔虇ℎ⌅崙ㄦ㜿䃽虇憨㳲 㞾♐䏛㏏棱䠓䓷䐈㒠㎿Ҹ Teoh 姷䫉虇埝䏛懝╊」〃䠓⢿⃜ᾏ䢃㖥㖥㳁 ⨫虇㼗幊冔䠓◇イ㟑汧㟑⃝Ҹ䉉㏼惘⑱虇⬈☛ ⢧栙廿⎿姦榼虇⁴㛈崙㜿⣰⁉♐䏛䠓䢚㹤Ҹ ⬈尹處Ӂ嬐➦寵╥㈔㏏㢘⁉ᾜⵈ㞢Ҹӂ Ӂ㎠ ↠ ■ ␄ ㊞ 䖕 ⋻ ▇ B B D O 㕟 ⎉ 䠓 嬐 㷑 ㄗ 㾔㟿處䊰履 ㎠↠⇩䚩灋虇♐䏛 ㅔ 榗Ⅼ㒐䢮䠓 ᾏ棱Ҹӂ ⡯㳳封ひ◙⋻▇媌⃫―ᾏ↚常䠓㛔‚虇㸡㢘␖ 㢻虇╹㞾┮⭚䢮䠓㛔‚ҸTeoh☛⢧栙㸉ⳳ㹷ᾏ 㚁虇憨↚ひ◙Ὴ㔰䚷㜇䩋ⴲ≂㾯懢虇⡯军䊰㹤㔴宇 ⎿〃朆䠓㼗幊冔Ҹ ╵⪥虇䛀㝋䲻ᾏ扷梊㞾㔰䚷䃽⽭尭虇⡯㳳ᾜ劌 ⢷⋜幊槊懢㘼㛍Ҹ⃕Teoh╙⌅⢧栙㊞⪥䠓㞾虇封 ひ◙ᾜ⃕㔴宇⎿〃悤⁉虇㢃◇イ⎿朆冔Ҹ ⬈尹處Ӂ封ひ◙⢷䫍″Ⱑ汣ᾙ㔏弆ㄗ⪩尀槛虇䢮 䠓㛔‚槛㣟劌⪯䢮㳲イ弆⌀溃Ҹひ◙㔰䚷䃽⽭尭虇 㞾⾛㢪╦容䠓常㊮⎿㢃卹⢷虇䚷卹⾀䌮峧䠓尭宏 岪慿卹⾀䠓㛔‚虇憨↚㝈ゞㄗ㢘㛗Ҹӂ ⾑⧃㔷ひ㴆䮚 Teoh㢏⎬⢷ㅺ憮㼗幊♐⋻▇Sara Lee 㙣₊䲻ᾏ₌ 摆⚽╙⾑⧃㔷ひ䠓⽴⃫虇⬈⢷戲婰伢㴆―Ῥ↚㢗䠓⡃ 㧋䴰䖕⦈客虇娺㻍ㄏ欻ℕ嬎▓⢿ⴇ兡摆⚽╙⾑⧃ 㔷ひ䥴峧Ҹ ⃕⬈姷䫉虇⌅欥㲰從彂⾑⧃㔷ひ虇㍘䜅㞾⢷╒戇 ⴇ䚮㢒Ὴ⾼䠓㟑↨Ҹ ⬈尹處Ӂ㎠宧ㄦ㢘ᾏ⪸虇ᾏ⃜㢚╚懝ℕ彮㎠尹虇 ↠㳲䉉ⴇ䚮㢒㐍㜿Ὴ⾼Ҹ㎠尹⬌▶虇憨㮲ⅎ╒戇 ―Ҹ彮䢮䠓戇厘ᾏ㮲虇ㅔ榗埮╻戇㶠㐤䫷仵⃯Ҹ㎠ ℕ尹虇戲㞾㎠䠓欥㲰⾑⧃㔷ひ伢毦Ҹӂ 㟑厂⁙⪸虇⌜㲰䉉埝䏛⽴⃫ⷀ⬌≞俭―ᾏ↚⢗Ҹ ⬈⢷2003〃⋴APB虇㙣₊摆⚽㾯懢朚䠋伢䖕虇ᾏ 䢃厃㔷⑤埝䏛䠓␄㜿䠋ⷤҸ 样ㄛ虇⬈㛍ᾚ埝䏛䠓㫼⑨虇⋷帯帻䴰䖕APB㝦 ᾚ䠓⌅♐䏛Ҹ ✫⋻⾒㛅庋桕⢧到㲙ㄛ虇⬈帯帻䡲䣲Ὴ㻐♐ 䏛⢷⪹⢿Ⓩ䠓䠋ⷤ虇Ὶㄛ捜㜿⡭⎿Ⓩ⥮␄㜿╙⢚ 株♐䏛⢧栙㙣₊Ὴ䴰虇㝋2015〃⋴APB㜿⣰ 㙣₊⾑⧃扷帯帻⁉Ҹ ⡯㳳虇⬈⦔ⅰ摆⚽伢㴆㢘巟ⵛ⾑⧃㔷ひ䥴峧Ҹ ⬈尹處Ӂ㎠尜䉉⾑⧃㔷ひ䳥䛴ᾜ≔⢷㝋イ弆㼗幊 冔⌀溃虇㎠⾑⧃㔷ひ䖕ㆄ㞾虇ⴒᾜ㞾⇫䛨⢷ひ◙ Ὶᾙ虇军㞾䢃⎿㢏ㄛ虇㼗幊冔株庋幆䚱♐㏜䴦ⴛ ㎟Ҹӂ
JU NE 2 017 MARK E TING HON G KON G 2 9
結語
LAST WORD
THE BRITISH AIRWAYS FIASCO: WHY SAYING SORRY WAS NOT ENOUGH 咀厹梊勵㛔栫處 ⬑⃤㗅ⅽ♐䏛刁崌
Angel Tang talks to experts about the recent BA crisis to find out what went wrong, and what it should have done in responding to it. Angel Tang容⛞⪩⃜ⵅ虇㔱宝咀⢚厹䰉⋻▇虃BA虄䠓䈌桲ㆶ亊伀 㛔栫䠓⛞槛㏏⢷虇⁴╙咀⢚厹䰉㢻㍘⬑⃤佸孲─㯮Ҹ
The disastrous IT failure at British Airways (BA) that ruined the travel plans for more than 75,000 has sent the company’s reputation and share value into a sharp dive, and its poor communication is surely not helping. Analysts at Citigroup estimate the IT problems could cost British Airways about EUR 100 million. According to YouGov Brand Index, which measures consumer perceptions of brands, BA’s “index” score – a combination of metrics that includes quality, value and reputation – has also plummeted. It dropped by a statistically significant 9.5 points on a list of the UK’s 28 biggest airline brands a week after the fiasco. The chaos began when the airline’s computer systems went down on 27 May and there was no functioning back up. With no clear explanation from BA, thousands of passengers were stranded in airport terminals. Many waited hours for a response, and 30 M A R K ET I N G H O N G K O N G J UNE 201 7
some passengers were unable to call its customer services centre, or were directed to a phone line that cost at least 50p (HK$5) per minute when called from a mobile phone. In response to the turmoil, Alex Cruz, the chief executive and chairman of British Airways, said sorry a couple of times through three videos BA released on social media as well as its online press room, yet he has refused to be publicly questioned and declined calls to step down. Adding fuel to the fire, he even emailed staff members urging them not to comment on the meltdown as the company “are not in the mode of ‘debriefing what happened’, but rather ‘let’s fix this mode’. “… If you do not want to get involved or cannot get involved, I would kindly ask you to refrain from live commentary, unless it is a message of support to the thousands of colleagues that love BA as much as you do,” Cruz said in his letter.
ᾙ↚㢗咀⢚厹䰉⋻▇虃BA虄䠓䈌桲ㆶ亊伀㛔栫虇ᾜ ⃕ℎ弔懝7.5喻▜㝔ⴱ䠓⪥懙宗␒㹰㿾虇☛厃封 ⋻▇䠓刁崌╙ 到⊈ㆴ䆘虇⌅㑨䠓䀬憩㝈ゞ㢃 㞾䊰婫㝋‚Ҹ 㙩呀㝦桕⢧䠓⎕㤟⾺₿宗虇憨㲰䠓亊伀㛔栫╾ 劌ℎ咀⢚厹䰉㖜⫀亓ᾏ⊓㳟⋒Ҹ YouGov♐䏛㒖㜇‵槾䫉虇BA䠓Ӂ㒖㜇ӂ寤⎕ ㆴ␖ᾚ彛ҸYouGov♐䏛㒖㜇㞾㧈㙩幹捞ҷ⊈⇋╙ 刁崌䳘㒖㮨虇ℕ姰捞㼗幊冔♐䏛䠓孏㊮Ҹ懝╊ᾏ ◷虇BA⢷咀⢚ 28ⵅ㢏⪶⤚厹䰉♐䏛㔡▜㬫ᾙ䠓寤 ⎕槾嗦ᾚ彛―9.5⎕Ҹ ᾏ⎖㞾䛀BA䠓梊勵亊伀㝋 5㢗27㝴䠋䚮㛔栫虇 军厹䰉⋻▇┊㸡㢘∨䚷亊伀朚⭚Ҹ BA►乙䠓仓俣㥅㭚╙孲捚虇㜇ⓒ▜ῧⴱ䁾 䛨⢷㯮⧃⪶㮢Ҹ㢘⁉呵↨⪩㟑虇㊂ㄦ⎿⡭㍘虖╗㢘 ῧⴱ⏖䊰㹤厃梊凾仰ⴱ㏅㢜⑨ᾼㅒ虖㢘⁉䚷㏚㯮 厃梊⋻▇㟑娺惘歐厂╵ᾏ梊尀埮䩋虇仟㤫娺㛅╥㵞 ⎕斧厂ⶠ 50咀攙虃㾾⿲‣⋒虄䠓梊尀幊虇㌳䋅■≂ Ⱑ㐤寃Ҹ 䉉㍘憨⧃㾆‑虇BAῊ⾼⌋姛㛎俌婐⋚泾品 憞懝⋻▇䠓䫍″Ⱑ汣☛佁仰㜿凭ⴳ虇䠋⾒―ᾘ㵄 䏖虇⪩㲰懢㳘虖䋅军虇㑡令⋻朚⡭㍘幹寱虇‵㑡 令イ☝愼分Ҹ 䚩厂䠋梊抄仵♰⽴虇㛵⅒↠ᾜ嬐‚₅⃫ ⎉寤履虇⡯䉉⋻▇Ӂᾜ㞾⢷嬐ӃⒾ⧀䠋䚮―䚩灋 ‚ӄ䠓栝㵄虇军㞾嬐Ӄ䡰ㅺ孲㸉憨↚⛞槛ӄӂҸ抄₅ 㡬⋘虇‚₅│䇺ᾙ㹈Ҹ 憨ⶐ㡬⋘䠓抄₅懢處Ӂ///⬑㤫⃯ᾜ㊂╒厖㎥ ᾜ劌╒厖虃‚₅虄虇㎠屚⃯ᾜ嬐⃫⎉│㟑䠓寤履Ҹ 柳棭虇⃯䠓宙ㇾ㞾嬐■ᾙⓒ▜≞⃯ᾏ㮲䍀㊪咀⢚ 厹䰉䠓▛‚≂懣㚾㒐Ҹӂ Prophet▗⪴⁉Alan Casey䢃宏處Ӂ╾⁴尹封厹 䰉⋻▇㸡㢘⬴✓埤䖕憨⧃─㯮Ҹӂ
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“It’s safe to say the airline hasn’t handled the crisis very well,” said Alan Casey, partner at Prophet. He said BA should have announced a timeline to let customers know “when they could expect” further information on the issue. In the first place, he said the information released by BA was believed by many to be incomplete, yet customers expect full transparency when a problem occurs – how long the problem will last, why it is happening, and the structural changes the brand will make – both operationally and culturally. Casey said users expect the brand to explain how it will be back in control as soon as possible. Although the brand explained the flight cancellations were caused by a worldwide IT systems failure, people familiar with IT will know it’s not usual to experience such chaos in a well-established company such as BA. Such suspicions will destroy trust fundamentally, he explained. “Either people will question if it’s something else, for example, if the system is being hacked, and that BA was forced to shut down the whole IT system; or they will suspect BA had over-cut its IT budget,” he said. “These two suspicions lead to concerns: could BA’s quality and maintenance be affected by the IT meltdown? “Trust is fundamental, especially when it comes to an airline company. Customers do not want to fly on a system they believe is not safe or trusted.” Cruz, as the face of the organisation, should step forward and take action to address any concerns, added Tony Chow, director of creative and content marketing for Asia Pacific at Marriott International. “If you choose to issue any response by social media or videos, the very content you present must address the core of the crisis, and (you must) be prepared to receive further reaction and be publicly questioned,” he said. “I think the CEO should have called a press conference instead of the video messages which failed to pacify the situation.” Vincent Tsui, chief marketing officer at Next Mobile, agreed that BA should publicly come out and respond to any questions as soon as possible to clear up any lingering issues. “It would solve many problems if they could clarify that the chaos has nothing to do with BA, but they have yet to formally respond.” However, Tsui said it was understandable for Cruz to refrain from being publicly questioned, and asking front staff to keep silent. WWW.M A R K ET I N G — I N T ER A C T I V E.C O M
“Trust is fundamental. Customers do not want to fly on a system they believe is not safe or trusted.” Ӂⅰ₊厂杫捜嬐Ҹ槶ⴱ令ᾜ㊂ῧ! !㖼↠尜䉉ᾜⴘ⋷㎥ᾜⅰ₊䠓! !厹䰉亊伀䠓厹䕼Ҹӂ
“The larger the corporate is, the harder it is and the longer it takes for the CEO to understand which part went wrong in a catastrophic event,” he said. “It’s better though if the chief can give a clear and concrete timeline on the steps that BA will take. For instance, he could say they will undergo a deep investigation on the issue and report two weeks later, so concerned customers and investors know what to expect.” Furthermore, Tsui suggested BA quickly explain its compensation through a FAQ on social media, as it would answer most of the passengers’ inquiries and help lift the busy customer service team’s burden. Saying sorry is not enough “Going forward, people will still take British Airways, but it will be harder for the brand to charge a premium, with customers no longer feeling inclined to pay extra for the airline’s claim of quality,” Casey said. “The two remedies they should take now are over-communicating and overcompensating: being especially open on the information they have and the time BA will need to get the problems resolved, and make it up to the people most affected. “Sorry will not be enough – BA will have to invest in showing they are taking the crisis seriously.” Drawing a reference from Toyota’s vehicle recall controversy between 2009-2011, which saw the brand demonstrate a change in both culture and production line, Casey advised BA to show it is revamping its leadership and customer services to prove it’s still a worldclass airline brand.
Casey姷䫉虇ㄗ⪩⁉尜 䉉 BA䠋 㛍䠓宙ㇾᾜⴛ 㜃Ҹ䜅ᾏ朢⋻▇䠋䚮⛞槛㟑虇槶ⴱ㢮㢪⋻▇劌ⷀ⛞ 槛㢒㒐倛⪩ҷ弆⡯㞾䚩灋ҷ⁴╙♐䏛㢒⢷䍮懚╙ 㜖⒥㥅㭚ᾙ⃫⎉䚩灋㛈✓䳘䳘虇Ⅼ㒐⋔⎕䠓憞㞝 〵Ҹ㢏捜嬐㞾虇䚷㏅㢮㢪♐䏛劌䡰ㅺ″ㄔ㉔㹐⃤㟑 劌⪯╦㔶Ҹ 桥䋅封♐䏛孲捚虇厹䕼╥㼗㞾䛀㝋⋷䖒JU亊伀 㛔栫㏏イ厃虇⃕䌮㈘JU㐏姢䠓⁉㢒䥴懢虇⬑ BA去⌆ 嬞㮰䠓⋻▇䠋䚮⬑㳳⪶䠓㛔栫ᾜ⿇ҸCasey孲 捚虇憨㎆䜠ⶖ㢒ㅈ〤䧃⩭ⴱ㏅♐䏛䠓ⅰ₊Ҹ Ӂ↠嬐ᾜ㢒幹䜠‚₅剛ㄛ㢘⌅┮⡯虇ℚ⬑ 亊伀╾劌娺灠ⴱ⋴⅄―虇⡯㳳 BA娺慺杫朘㜃↚JU 亊伀虖嬐ᾜ⏖㎆䜠 BA懝〵⏙㾪JU榟䴦Ҹ憨⋸↚䒫 㾻抌㢒イ弆⋻䣍䠓杫㹷處憨⛞槛㢒▵榎 BA䠓 㢜⑨幹亯╙劌虚ӂ Ӂⅰ₊厂杫捜嬐虇厹䰉⋻▇ℕ尹㢃䉉⬑㳳Ҹ 槶ⴱ令ᾜ㊂ῧ㖼↠尜䉉ᾜⴘ⋷㎥ᾜⅰ₊䠓厹䰉 亊伀䠓厹䕼Ҹӂ 喻巹⢚株拡〦⪹Ⓩ␄㊞☛⋶ⵈ䍮摆俌䡲◷ Ⅼ啾婫⋔虇⋚泾品⃫䉉⋻▇䠓姷虇㍘封䱨⎉ℕ虇 㔰╥姛⑤捚柳₊⃤䜠㋽Ҹ Ӂ⬑㤫戇㙖憩懝䫍″Ⱑ汣㎥䏖䠋⾒₊⃤⡭ ㍘虇㏏㕟K䠓⋶ⵈㅔ榗⡭㍘─㯮䠓㧇ㅒ⛞槛Ҹ ‵㍘䀥∨㔴╦懁ᾏ㳴䠓憃榎╙⋻朚幹寱Ҹӂ尹處 Ӂ㎠尜䉉憨⃜姛㛎俌婐㍘╻朚㜿凭䠋⾒㢒虇军棭䠋 ⾒䊰㹤。ㇾ‚₅䠓䏖宙ㇾҸӂ ⪈≂Ⱑ⪈≂⑤欥⾼䍮摆ⴧㄟ佲‵▛㊞虇BA㍘ 䡰ㅺ䱨⎉ℕ䄓㾔≂凭ҸӁ⬑㤫↠╾⁴䄓㾔㾆‑厖 BA㸡㢘₊⃤杫⅑虇ⷀ劌孲㸉ㄗ⪩⛞槛虇⃕↠厂⁙ ⁜㢹⃫⎉㳲ゞ⡭㍘Ҹӂ ᾜ懝ㄟ佲姷䫉虇⋚泾品ᾜ㔴╦⋻朚幹寱虇嬐 㷑⏜佩⽴⃫⁉♰Ⅼ㒐㸘灧虇㞾╾⁴䖕孲䠓Ҹ Ӂₐ㫼嬞㮰㊗⪶虇姛㛎俌婐ⅎ㊗桲䥴懢䈌桲ㆶ ‚₅䠓⛞槛⎉卹♹婰虇梏嬐㊗朆㟑朢ℕ―孲Ҹӂㄟ 佲孲捚尹處Ӂ⃕⬑㤫憨⃜姛㛎俌婐╾⁴ⷀ BA㔰╥ 䠓㳴毮仵⎉ᾏ↚㞝䩉⌆汣䠓㟑朢姷虇ℚ⬑╾⁴ 尹虇↠㢒憨↚⛞槛懁姛㾀⋴屎㥴虇㝋⋸懀ㄛ 䠋姷⧀◙虇崢槶ⴱ╙㐤幖冔䥴懢╾⁴㢮ㄔ䚩灋虇憨 㮲㢒㢃⬌Ҹӂ 㳳⪥虇ㄟ佲ら峿 BA憞懝䫍″Ⱑ汣䠓⿇嬚⛞槛 慔憮孲捚幯⊮‚虇憨㮲ⅎ╾⁴⡭䳣⪶扷⎕ῧⴱ 䠓㥴寱虇㢘厡佸俐ㅨ䠓ⴱ㏅㢜⑨⢧栙䠓帯㙣Ҹ 懢㳘ᾜ彂⪯ Ӂ⪶䣍ㄏㄛ⁜㢒ῧ⣟咀⢚厹䰉虇⃕♐䏛㢃桲㛅╥ⓖ 亩⊈㧋虇⡯䉉槶ⴱᾜ⌜槧㊞䉉厹䰉⋻▇刁䯀䠓㢜 ⑨幹亯⎉槜⪥䠓幊䚷ҸӂCasey尹處Ӂ↠䖍㟑㍘ 㔰╥䠓⋸↚婫㛠㔹㝌㞾弔槜䀬憩╙弔槜婫⊮處ᾏ虇 ↠嬐⋻朚↠㏏㙐㢘䠓宙ㇾ虇⁴╙ BA梏嬐⪩朆 㟑朢ℕ孲㸉⛞槛虖‛虇↠嬐㢏╦榎䠓⁉⩺⃫ ⎉幯⊮Ҹӂ Ӂ懢㳘ᾜ彂⪯虇BAㅔ榗厃峘㞝↠㳲尜 䢮ㄔ㞾㲰─㯮Ҹӂ Caseyイ䚷巟䚿㸌恙 2009厂2011〃䠓㸌恙⡭ 㛅䎼峿‚₅虇㒖封♐䏛⌅ㄛ⢷㜖⒥╙䚮䚱佩ᾙ抌 ⃫⎉―㛈崙Ҹら峿 BA 嬐ⷤ䫉⎉↠㳲㛈棸⌅䴰 䖕ⷳ╙ⴱ㏅㢜⑨虇⁴峘㞝⌅⁜䋅㞾ᾥ䛛亩䠓厹䰉♐ 䏛Ҹ
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CAREERS
JOB SHUFFLE ⁉‚崙⑤ Caroline Hsu succeeded Cassandra Cheong as the Asia Pacific managing director of The Hoffman Agency, based in Hong Kong. Hsu has more than 20 years of experience in marketing, communications and branding. She previously worked as chief marketing officer for Appier and head of communications for Google Taiwan and Hong Kong. 寀ℂ烰㔴㢎ツ㋶Ⲋ虇⎉₊梜⪺㢋⋻杫⋻▇⪹Ⓩ 嗲‚俌伢䖕虇⿇歟欨㾾Ҹ寀ℂ烰㙐㢘 20⪩〃⾑⧃䍮 摆ҷ憩宙╙♐䏛㔷ひ伢毦Ҹ⬈㢍₊╿䇲⁉⽴㠉劌⎬ ␄⋻▇Appier䠓欥⾼䍮摆ⴧ虇⁴╙Google╿䇲╙欨 㾾䠓憩宙帯帻⁉Ҹ
JEFF HO TAKES ON MD ROLE AT LEO BURNETT HONG KONG 㣝⫶帬亜欨㾾₊☌㜿⾴ Jeff Ho took on the role of managing director of Leo Burnett Hong Kong in May, two months after former CEO Alex Lee left the agency. Born and raised in Hong Kong, he started his first job at Leo Burnett Hong Kong after graduating from university. Today, he is a 20year plus Leo Burnett veteran, having worked in the Hong Kong, Sydney, Tokyo and Guangzhou offices during different phases of his career. He was managing director of Leo Burnett Guangzhou from 2007 to 2014 after which he returned to the Hong Kong office to take on the role of regional director for international business. ⏜₊姛㛎俌婐㣝䪝テ桱分ㄛ⋸↚㢗虇⃤槾⨭㝋‣㢗 ⓖ₊䉉㣝⫶帬亜欨㾾嗲‚俌伢䖕Ҹ ⃤槾⨭㝋欨㾾⢮䚮⢮朆虇⪶ⴇ䛱㫼ㄛ虇⢷㣝⫶帬亜欨 㾾朚⭚⌅䲻ᾏ₌⽴⃫Ҹ㟑厂⁙㝴虇⾁㎟䉉ᾏ▜㛗 㣝⫶帬亜20⪩〃䠓冐ⶖ虇⢷分㫼䚮㼾䠓ᾜ▛栝㵄㢍 ⢷欨㾾ҷ㈘ⷋҷ㤀※╙ひ⽭愵‚埤⽴⃫Ҹ ㄭ2007〃厂2015〃㢮朢㙣₊㣝⫶帬亜ひ⽭嗲‚ 俌伢䖕虇Ὶㄛ 捜慣欨㾾愵‚埤㙣₊Ⓩ⥮⢚株㫼⑨ Ὴ䴰Ҹ
RoadShow hired Carman Ng as senior vice-president of business development and event management. She was formerly the general manager of APAC at LeEco, and oversaw the advertising, sales and marketing teams at LeEco and LeSports Hong Kong. Over the past two decades, she has served as assistant vice-president at now TV and ViuTV where she was responsible for driving advertising revenue. The media veteran also spent some 10 years at PCCW’s media group. 彾宙憩₊☌ Carman Ng䉉㫼⑨䠋ⷤ╙㻊⑤䴰䖕 汧亩⏾俌婐Ҹ⬈Ὶ⏜㙣₊ LeEco ⪹Ⓩ 俌伢䖕虇 帯帻⿅榧 LeEco╙ LeSports欨㾾䠓ひ◙摆⚽╙⾑ ⧃㔷ひ⢧栙Ҹ⢷懝╊‛ⓐ〃虇⬈㢍㙣₊ now TV╙ ViuTV䠓䖕⏾俌婐虇帯帻朚㑢ひ◙㛅⋴Ҹ憨⃜幖 㾀≂Ⱑ⁉‵㢍⢷梊宙䡗䭠Ⱑ汣桕⢧⽴⃫懝ⓐ〃Ҹ
After a long search for an executive to run its operations in China, Airbnb named an existing executive Hong Ge as vice-president in charge of its business. A graduate of Yale University with a master’s degree in computer science, he joined Airbnb China last year as head of product and engineering. He has previously worked in software engineering roles at Facebook and Google. His LinkedIn profile lists Beijing as his current location.
伢懝朆䠓㖫亱虇Airbnbⴲ⾒䖍₊汧䴰嗪ⴞⶖ㙣 ₊⋷䖒⏾俌婐虇⋷㲙帯帻ᾼ⢚⢿Ⓩ䠓‚⑨Ҹ䛱㫼㝋 凅泾⪶ⴇ虇䔁ㄦ梊勵䭠ⴇ䨸⩺ⴇ⃜虇嗪ⴞ㝋╊〃 ⋴Airbnbᾼ⢚虇㙣₊䚱♐╙㐏姢䦣䠋⢧栙Ὴ䴰Ҹ 嗪ⴞ㢍⢷ Facebook╙Google㙣₊恮₅⽴䮚分⑨虇 㙩⌅ LinkedIn䠓䶰⁚㒖䡽⏜⢷⒦※⽴⃫Ҹ
Mindshare named Caroline Chan as leader of the Hong Kong office. She takes over from Paul Gibbins who has led the office for four years and moves on to lead regional business for Mindshare based in Bangkok. Chan had been working in the GroupM network for six years, where she led Maxus Hong Kong for four years and transformed the agency. She then took up a role in GroupM sports and entertainment driving brand integrations across markets in Asia. ≂䱚≂Ⱑ₊☌栂ⵅ䯝䉉≂䱚欨㾾愵⋻ⴳ帯帻⁉虇⁴ 㔴㢎Paul GibbinsҸㄛ冔䴰䖕封愵⋻ⴳ⡪〃虇䖍屎 ₊榧≂䱚⪹Ⓩ䢇杫㫼⑨虇⿇歟㢋巆Ҹ栂ⵅ䯝⾁ ⢷儳戠桕⢧⽴⃫―⋼〃虇㢍₊成⑱欨㾾嗲‚俌伢䖕 ⡪〃虇⿺封⋻▇㎟惘⤚ҸῚㄛ虇⬈㛗㝋儳 戠 ESP⋶ⵈ扷朏虇㔷⑤䣍⪩♐䏛⢷㻁⾑⧃䠓⋶ⵈ 㜃▗Ҹ
JWT Hong Kong’s Ruby Lee joined mcgarrybowen Hong Kong as business director. In her new role, she will be working to strengthen current client partnerships for the agency in Hong Kong. Working closely with Simone Tam, CEO of mcgarrybowen Greater China, she will be tasked with business development to support the agency’s ambitious expansion plan. She has more than 20 years of experience in advertising and has worked with clients such as HSBC, Coca-Cola, P&G, CSL, SONY and adidas. 㠉 ⮐ 㿾 懫 欨 㾾 䠓 Ruby Lee 䡮 欨 㾾 mcgarrybowen虇⎉₊㫼⑨俌䡲Ҹᾙ₊ㄛ虇⬈ⶖ厃 㝋テ封⋻▇厖欨㾾䖍㢘ⴱ㏅䠓▗⃫⪴杫⅑Ҹ 厖瀴⎸ⓩ㜖⪶ᾼ啾Ⓩ姛㛎俌婐Timone Tam余ⵕ▗ ⃫虇⬈ⶖ帯帻㑢ⷤ⋻▇㫼⑨虇⁴㚾㒐封⋻▇䠓㚃ツ⪶ 宗Ҹ⬈㙐㢘弔懝20〃䠓ひ◙伢毦虇㢍㢜⑨䁨巟搏姛ҷ ╾╲╾㮑ҷⶅ䃣ҷCSLҷSONY╙adidas䳘ⴱ㏅Ҹ
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