)ecember 977January 98
;DN NO: PP 9995/8/97
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BAYARAN POS JELAS POSTAGE PAID KUALA LUMPUR MALAYSIA NO: WP 0071
The difference between the good and the great \
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Neil French - Regional Creative Director Ogilvy & Mather Asia-Pacific I X
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Phew, what a year! The industry grew by leaps and bounds once again. Recorded advertising expenditure is expected to cross the RM2.7 billion mark. And yet, haunting us in the dark corridors is the worry that the recent economic upheavals could spell a slowdown for all in 1998. This may not be painfully obvious to us, as we revel in the year-end holiday season and the coming double festive celebrations. Prophets of doom are already speculating there'll be a desperate rush by agencies to collect overdue payments after the Chinese New Year season. But I believe there's much reason to feel optimistic. We have weathered this sort of uncertainty before and our past experience should hold us in good stead, this time around. The Commonwealth Games will be a great morale-booster and anchor event for the year, attracting a lot of commercial activity. Challenges also have a way of improving our professional edge and keeping us on our toes. The results will be, a more competitive and flourishing industry that will improve standards through self-evaluation and analysis. The catch phrase for 1998 is 'Added Value'. How we can rediscover and nuture relationships with clients and consumers by giving them added value. Relationship marketing will take centre stage. I, for one, am faced by the spiralling costs of paper making this magazine more expensive to produce. But with the support of friends from the industry, I vow to keep this publication running, through thick or thin. So, let's hold our head up high and walk with added spring in our step as we stride into 1998. A very Happy New Year and festive greet ings to all. I wish you and your loved ones the best of health and challenging opportunities for the coming year!
Respectfully, The Editor If you'd like to bring cheer to underprivileged children during this festive mood call the 'Home of Peace' at 03-273 8176. Every bit counts.
The Wise One speaks... Amar's Big Gamble.
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White trash and international direct marketing
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Computers are useless
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How deep is Malaysia's cultural pool?
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Unconventional Spaces
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Brands that create
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The evolving media scene
21 The 10 commandments to building a strong client & consultancy relationship 22
YING-YANG as a creative tool.
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Why Low is going back to his roots
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It's a mall world
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Master Trainer of Presentation Skills
EDITOR Harmandar Singh WRITERS Deane Johns, Hema L. Raj, Gerrick Tan PRINTER Times Offset (M) Sdn Bhd DESIGN & LAYOUT The Minds Agency OFFICIAL PHOTOGRAPHER Jen Siow DESIGNER SY Chang COLOR SEPARATION Courtesy of Citiscan (M) Sdn Bhd ADVERTISING ENQUIRIES Gerrick Tan - 03-7162588 DISTRIBUTION Efficient Lettershop Sdn Bhd ADoi is published bimonthly by Sledgehammer Communications Sdn Bhd (Company No: 289967-W) 22B Jalan Tun Mohd Fuad 1, Taman Tun Dr Ismail, 60000 Kuala Lumpur. Tel: 03-716 2588. F&
ŠAH rights reserved. Sledgehammer Communications Sdn Bhd No part of this magazine may be reproduced in any form without prior permission in writing from the publisher. While every effort hasbeen made to ensure the accuracy of the information in this publication, the publisher and the editor assume no responsibility for errors or omissions or for any consequences of reliance of information in this publication. The opinions expressed in this publication do not necessarily represent the views of the publisher or editor. All advertisements are the sole responsiblity of the advertisers.
Letters and submissions to the Editor regarding topical news and opinions are invited. We also welcome information and pictures on industry news, personnel movements and any company developments of news value. You can send all your correspondence to The Editor, Sledgehammer Communications Sdn Bhd, 22B, Jalan Tan Mohd Fuad Satu, Taman Tan Dr Ismail, 60000 Kuala Lumpur, fax 03-716 2598 or e-mail: ham@pop.jaring.my
Recently, the man Hongkong's Sunday Standard magazine calls 'The most powerful advertising man in Asia', gave a two-hour presentation at a fund-raising event for the IAA (International Advertising Association) in Kuala Lumpur. More than 300 industry professionals turned up to hear him speak. And ADoi met him in an exclusive behind-the-scenes interview, virtually hours before this issue left for the colour separators'
Neil was bom in 1944 and was expelled from public school at the age of 16. Subsequently, he became a rent-collecter, account executive, bouncer, waiter, singer, encyclopedia salesman, interior designer, movie actor, layabout, television station owner, matador, rock band manager, promoter, account executive again and copywriter. Four months ago, through an ABN-MEDIA Advertising Industry Poll, Media magazine announced that Neil French was judged as the expatriate creative direc足 tor who has contributed the most to the Asian advertis足 ing industry. His name already has fame written all over it. From his world-famous body of awardwinning work to his star appearances mm """ on the judging panels of international awards competitions, Neil is not an easy man to catch. He lives the myth of the advertising lifestyle and once said, "Admen tend to be more interesting than bankers, and are aware that today's star copywriter can be tomorrow's burnt-out case, so they tend to spend what money they have as if there's no tomorrow, so they are seen more often and excite some envy." Currently, Neil is Regional Creative Director of Ogilvy & Mather Asia-Pacific hopping from one office to another in the region. He also has his own shop where he does some pet projects.
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on all the time, suddenly paused for a commercial break and the lady who was serving me, paused to look at the Black Cat spot. Only when the commercial ended, she continued with me! The thing about the Thais is that most of them come from the village and they really understand the man in the street; it shows in their work. That's what localisation is all about.
It's called Leifitz Jussa Bollasch Erris (in French, it means 'life is just a bowl of cherries'). Neil calls himself the adopted Asian, "This is my life, my style, and I love being in the growing world, rather than fiddle around in Europe while Rome and the rest of Europe burn." Q. Neil, why the pigtail? A. I've worn it ever since I tried and failed to become a star matador, thirty years ago. It's an amulet, not a fashion statement. Q. You travel a lot, do you actually sit down and do a lot of ads, wherever you go to? A. I wish I did. The only real work I did this year was for the Royal' Angkor Foundation. It shows a statue of Jesus Christ being beheaded by a chainsaw to demonstrate that equally shocking acts of desecration happen to Buddha statues every day. Thieves decapitate the statues and sell heads on the international antiques market. At first, the TV station refused to air the commercial, citing it as 'too shocking and blasphemous'. But eventually, they did. Q. There's much talk here about creating advertisements that have a local flavour or ethnic personality to them, any comments? A. There's more to localising something than consciously doing so. If you do something cen足 tering around the festive seasons; therefore it's local, doesn't follow. To localise something, you really got to understand the character of the consumer, that's why Thai advertising is so good. What makes Thai advertising really great is that they understand their consumer so well and he is unlike anybody else in the world. And that's what is missing from advertising in Indonesia and Malaysia; to an extent Singapore, but it doesn't really have a character, so that's more difficult. When I recently went to a money changer in Bangkok, the TV in the shop which is
Q. What's your star sign? A. I'm a Virgo... very, very Virgo. Very organised, very precise. My pen and the paper on my desk has to be absolutely per足 fectly perpendicular. I know it's pathetic; when I go out, I even automatically rearrange ashtrays into position. Q. What would you love to do in your spare time (if you have any)? A. I don't get any, and the question 'what do I do?' exercises my mind quite a lot. But I suppose I might take up golf. Q. I noticed you have very beautiful handwriting. A. Well, in school, penmanship was actually taught as a subject. Writing became a thing I enjoyed doing beautifully and making it perfect. When I joined advertising, I found out I couldn't handle a slide rule, you know in the old days, in order to figure out type you needed a slide rule, so I did it all by handwriting the words myself. First, I learnt this by tracing out typefaces from books. I grasped the difference in the measure of a sans face and a serif face. Then I learnt about the point sizes of type faces. After a while, I could write the right type face in the right size with no problems. It was great because you could see the whole ad before it went out. That's how I was able to do my ads and give it to the typesetter; the words fitted perfectly into the ad. If he came back and said it couldn't fit I'd say, you've got the wrong type face or point size! Q. Neil, you've done so many different jobs before advertising. How could you fit into advertising after all that? A. When I first got into the ad business, I didn't know that was what I wanted to do. You see, I was a 'suit' first. But when I got into creative, then I really started to like it. And all those years of experience in other jobs was suddenly useful to me. I mean, I'd dealt with so many different people; whether as a bouncer or a singer in a night club, on every level you're dealing with people and finding out where their 'switches' are; what turns them on and what doesn't.
in French So all those previous incarnations actually helped me in understanding people. Advertising is all about understanding the consumer. If you can visualise the person you're talking to, you'll get your ad right all the time. Q. Any Malaysian ads that caught your attention recently? A. Nope except for some press work for Lipton tea bags. It had the tea bags forming var ious parts of a Chinese character. Very nicely done. Very good thinking. That one, I really love. Q. Do you feel people are always on the lookout for what you'll create next and does that apply pressure onto you? A. It used to, Ham. I've been in Asia 15 years now. In the first ten, there was a lot of pressure, you know, 'what are you going to do next?'. But these days, I don't do very much so there's no pressure. If I do, it'll be a surprise to me as it'd be for everybody else! Q. You're chairing the film judging panel at the coming Asia Pacific AdFest in Chiangmai. What do you think of this event, which is being dubbed the Asian 'Cannes'? A. Well, it's a bit like the Asian Games, isn't it? I hate the idea; I must say it's the 'best of the losers'. If you going to compete on a world stage, go ahead and do it on a world stage. It's kind of sad if somebody says, 'we're not winning any thing in the world, so we'll have our own little awards'. I feel there are enough local awards to satisfy that requirement. There are already two perfectly good regional awards; the Media awards, which is still the one to win, and the China Times awards. Do we need yet another one? Q. How do feel about using sex as a marketing tool? A. Awful cop out! It's the last resort of a tired mind. Q. Do you feel like you are a role model for younger creative directors? A. I know I am. But whether I actually feel like one, no. It's a huge responsibility and I'm con scious of it. It's not something that I take light ly. I know it sounds odd, but that's one part of my life and my job that concerns me. Somebody asked me the other day, 'What's the important requirements of a Creative Director?' I replied it is not talent, not leadership. It is both those, but essentially... honesty. And if you have real hon esty, you could get through with a minimal amount of talent and leadership qualities. If everybody knows you're 100% honest, it will shine in your ads and everybody can recognise it. The 'jaga' outside your apartment and the
accountant who does your books, they'll understand that. You can't fool people. I think the sad thing about advertising is, it attempts to fool people and it becomes cynical. It won't work. People are not as stupid as you think they are. That's one thing that carried me through: never treat people like idiots when you write an ad. I hate to see cyni cism in people. If I interview anyone who's trying to kid me or others, I wouldn't want to work with them. Q. What's with this 'cigar' thing? Most of your pictures have you with a cigar in hand. Is it a phallic symbol of sorts? A. It's a prop. It's part of the brand character. People expect that? Give them that. Q. If there's anything in the ad industry you could change, what would it be? A. If I could do one thing, I'll make everybody who carries a 'rules' book to throw it away. Rules are just criminal, they waste money, they waste time, they depress people. If you follow the rules, your ads are going to look like everyone else's. The first thing we do when we do a new campaign, we look at what all our competitors are doing and hang it on the wall. That immediately defines what we don't do. Q. What are your holiday plans for Christmas? A. I'll go to London first, see some friends and all that, then go up North and potter about with the girlfriend. I'll spend Christmas in a really charm ing hotel just south of Stratford-on-Avon... Shakepeare country. It's like living in a Dickens book, it has a quaint church outside, a little river going down the front with ducks and trout. I'll spend three days there and then go visit my God children and fly to Spain for the New Year. Q. Where do you see yourself in five years' time? A. I think it largely depends on Ogilvy & Mather. You know, I joined Ogilvy when they were in a bit of a creative slump. I was very lucky because the Creative Director then had a vote for who they would like as their Regional Creative Director and I got voted the job. Because it meant that wherever I went, I was welcomed. It's a bit like being a Pied Piper, to be honest. You know, there are rats, we've got rats everywhere, we're in trouble, what do we do? Send for the Pied Piper, Pied Piper turns up and pipes, takes away the rats. Now the rats, we got to say, are gone;
there ain't no rats in Ogilvy & Mather anymore. Most of our offices are in the top three in their country, majority are number one, certainly in the region we are number one. The question is, can we keep it up? How long can we keep it up? All that is required is the 'executive will' to keep it up. Because it is not easy. When there are rats everywhere, everybody is very willing to do whatever it takes to get rid of the rats. When the rats aren't there any more, suddenly the rats don't seem such a terrible threat anymore. So if Ogilvy & Mather can keep up the 'executive will' to be number one, then in five years' time, I hope, I'll still be there steering them. And if they lose that, then I won't. Q. Are you married? A. Not now. Q. Do have any such plans? A. Nope. Q. Do you have any advice for the Malaysian ad industry? A. I think one of the exciting things at the moment in Asia is the economic downturn and I believe, that presents us all with the most wonderful opportunities. It is not a downer, it's an upper. And people who take this as a signal to get back in the shell, pull the covers over your head and wait for it to go away are going to wake up at the end of it wondering what the hell happened. Smart clients are going to say, here's a real opportunity; when everyone is taking their foot off the accelerator pedal, we're gonna put our foot all the way down. I remember, that was exactly the case when I got to Singapore 15 years ago. Suddenly they were going through what they thought was a reces sion, everybody was panicking and we ended up doing just the best work anybody had ever seen. While everybody else was hiding under the cov ers, we took the challenges head on and when they woke up, we were ahead of them. Q. Neil, how would you like to be remembered, long after you're gone? A. Alive!
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ADASIA'97 Amar Gambol was the Organising Chairman of the ad-event-of-the-year which was recently held in Manila - ADASIA '97! Jack Sotto, our Man-in Manila, tracks him down to chat on how it all began. This is his story. In his speech at the opening of the event, Philippine President Fidel V. Ramos singled out Amar Gambol, the event's Overall Chairman, and paid tribute to him. He noted that the name Amar means 'to love' in Spanish while Gambol is a homonym for 'gamble'. Indeed, Amar's love for the advertising industry and his gamble to have the Philippines host ADASIA '97 paid off. The conference was a resounding success, attracting 1,200 local and 800 foreign delegates. Amar has been in the business for 35 years, having worked at one time or another in broadcasting, advertising and TV commercial production. At present, he holds several concurrent positions in various companies, including President of Electromedia, one of the country's biggest TV commercial production companies, and Chairman of Imagineers, reportedly the best post-production outfit in the Philippines. Four days after the final event at ADASIA '97, Amar Gambol sat down with us for an interview in his cozy office at Electromedia.
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1 AMAR by J.Sotto He looked relaxed and easygoing, flushed at the raves he has been getting for his triumph at the conference. JS: How did you bid for ADASIA '97? AG: The Philippines had been inactive for years so our local Adboard decided to participate once again in this regional congress. A delegation was sent to the last ADASIA held in Bali. Just before the trip, we found out that China had backed out as the subsequent host. We were asked if the Philippines wanted to bid for it, up against India. A committee was assembled to formulate a strategy on how to lobby for ADASIA. We talked personally to the delegates, even serenaded them in our national costumes. We showed two audio-visual presentations - one on the Philippines and another on Manila. It was a campaign to inform the delegates that the Philippines was on an upswing and that holding ADASIA '97 in Manila would be all the more meaningful since the conference would take place just two months before we start celebrating the centennial year of our independence. JS: What next steps did you take after winning the bid? AG: I was appointed Overall Chairman by the Adboard in February '96. Actually, I had been earlier tasked to chair the Philippine Ad Congress which was slated to take place at the same time. So both events were merged. The people on the team were mostly
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Amar has been in the business for 35 years, having worked at one time or another in broadcasting, advertising and TV commercial production. volunteers. Luckily, we attracted the best and brightest - CEOs, presidents of companies and senior professionals who offered their time. JS: What major obstacles did you encounter? AG: Funding was an immediate problem. Fortunately, we were able to raise seed money from some agencies and companies. PLDT (Philippine Long Distance and Telephone Co.) was the first to sign on as a sponsor. Mr. Tony Samson of that company was appointed Head of the Ways and Means committee and eventually became Co-Chairman. JS: You headed a delegation to the IAA Congress in Seoul of July '96. AG: We didn't only want to make an early pitch for ADASIA but also to learn. The committee members were intent in mastering the ins and outs of running a congress of magnitude.
JS: Did the sudden devaluation of Asian currencies affect the particiption of foreign delegates? AG: Prior to the devaluation, we had projected 1,000 foreign delegates and 1,500 local ones. By August, we adjusted it to 800 foreign and 1,200 local participants. We met our targets, thanks in part to our generous sponsors. JS: What did the Philippines achieve in hosting ADASIA '97? AG: We were able to project the Philippines as back on track in the region. As President Ramos said in his not so serious speech, the Philippine economy is out of the woods. Yes, Tiger Woods is O.K. JS: In what way was the conference successful? AG: ADASIA '97 was successful in that the lineup of speakers was a Who's Who. Very impressive. It covered a wide range of topics - marketing, adver tising, production, research, etc. JS: What were your own biggest moments? AG: One senior vice president of a multinational company went up to me and said, 'Amar, on a scale of 1 to 10, I'd rate this congress a 12!' Another top executive told me that attending ADASIA '97 was better than a course at the Asian Institute of Management, and cheaper too. Norman Vale, the International Executive Director of IAA, declared that it was the best congress he had ever attended. But of course, nothing can beat President Ramos' mentioning me by name.
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On 'The Role of Asia in Our Network Plans' by CHRIS JONES - CEO, J Walter Thompson Worldwide. "Asia it seems to me I is remarkably unfazed by I adversity, clearly what I Thailand is experiencing at the moment will have a pro found effect on companies doing business there, how they cope with the tightening economy and the shrinking consumer dollar, also known as the Baht, will translate into a valuable case study of terrific relevance. Last month I was in Bogota, Colombia and I was struck by the similarity between its current problems and those of Thailand. So our people in Thailand are now coaching our people in Bogota on how best to advise clients in this situation. Relevant solu tions to these problems seem to be found in Asia, than in the so called slower growth world. And in the other end of the spectrum we have China, which continues to boom despite being confronted with huge infrastructure impediments in meeting demands. Finding innovative ways to market in this environment will be relevant not just in Myanmar and Bangladesh but many of those developing countries in Eastern Europe. I do regard the ability to share expertise in this way as a competitive advantage of distinct and growing importance not just to JWT, but to all the global networks. The next few years, with economic turbulence, with the changes in the business, with the difficulty in managing stopand-start, there will certainly be interesting times. Everywhere in the advertising world, not least in Asia, where to live in them feels like a curse is entirely for us to decide." 1
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selves and essentially it's a horizontal versus a vertical structure." On 'The Role of Asia in Our Network Plans' by MARCIO MOREIRA - Regional Director, McCann-Erickson Asia-Pacific. "We know that there is a lot of advertis ing growth, sophistication, and power in Asia. We have seen it close, we have seen it up close, and we respect it. And yet Asian advertising per se has nowhere the visibility in the west that it should have. Our Japanese agency, for exam ple, has been a top ten agency in Japan for a quarter of a century. It competes in a fierce marketplace in which the Japan-based agencies are large, strong and highly professional.
Kong and China, it is only in this year that we achieved majority ownership of our operations in Japan and renamed our agency DMB&B Japan. It starts out as one of the largest Western owned agencies in Japan. 2. Another key principle for a solid Asia capa bility is to have quality partners. We have been doing this by joining in partnerships with wellrun, highly creative shops like Jimenez/ DMB&B here in the Philippines, Madison/DMB&B in India, and Perwanal/DMB&B in Indonesia. Just last month we were delighted to strengthen our presence in Malaysia through our new partner ship with Spider/DMB&B, a superb creative resource. 3. The third principle is a firm commitment to a quality product. Having a presence means far more than owning shares. It requires a commitment to the quality of our most visible product our advertising. Creative standards in Asia have been improving marked ly and DMB&B cannot stand still. That is why we are putting signifi cant emphasis on strengthening our planning and creative resources. And to fully leverage consumer understanding, we are seeking out the best and brightest local talent. 4. Finally, once you produce a quali ty product, make darn sure you are strong in getting that message com municated to your clients' target markets. We have a strategic plan to evolve our media resources into free standing media networks, which will be branded MediaVest. We already have an impressive track record in China, India and Indonesia working with such highly demanding clients as Proctor & Gamble and Coca-Cola, and our goal is to bring world-class MediaVest quality to all of Asia's major media markets."
Famous words from famous speakers at
AdAsia '97!
On 'Growing Similarities and Eternal Differences' by MARTIN SORRELL Group CEO, WPP Group. "The first key issue for us to think about is how we organize ourselves. Our business is really the man agement of time. If you think about it, we are in the business of selling marketing knowledge and the basic unit that we deal in is time and frankly we don't think about our busi ness as the more successful professional service companies do. And I would name McKenzie, Arthur Anderson, from different industries as being the sorts of businesses we should emulate in the way that we organize ourselves. I'd like to mention is that some of the most revolutionary forms of organizations that are taking place in the industry emanate from here in Manila with an agency or two that restructured themselves and organized themselves very effectively. In Hong Kong, there are other examples. And in Bangkok, there are even more. And the inter esting thing is that, in the slower growth economies, the enthusiasm with which such changes in organization are being greeted is, to say the least, quite lacking in any significant way. So the first issue is how we organize our-
Yet I doubt that too many people in Europe or the U.S. could name any of the top ten agencies in Japan. Maybe Dentsu or Hakuhodo, perhaps McCann. If we ask about the advertising scene in Indonesia, Korea or the Philippines, we'd probably not get much of an answer either. For us Asia is a source of ideas on how to work better and smarter. We recently took a research method which was developed in this region for this region and made it one of our worldwide practices. This consumer dialogue approach was developed in Thailand, and was used in Singapore, Malaysia, Vietnam, India and Pakistan before we decided to make it one of the cornerstones of a new strategy development process we have for making advertising more effective. The diversity of cultures, from country to country, makes Asia an important laboratory for idea development relatively in the world. Asia is the necessary link in our global chain, the core of McCann-Erickson's advertising business are more than 2,000 global clients that want to be able to reached consumers anywhere in the world. Asia is part of their long term plans and so is part of ours. We're in for the long haul, we continue to seek growth and opportunity as Asia further develops as a consumer market. Given the trend towards globalization of media and markets, I think this trend will continue." On 'The Role of Asia in Our Network Plans' by ARTHUR SELKOWITZ - Chairman & CEO, DMB & B. "Our Asia strategy was built on four principles: 1. The first principle is to control our own des tiny. It has been a cornerstone of our strategy to control our own destiny in Japan and China. While we achieved this several years ago in Hong
On 'The Role of Asia in Our Network Plans' by KEITH REINHARD - Chairman & CEO DDB Needham Worldwide, Inc. "With our sister agency BBDO and our parent Omnicom, we plan to develop a media planning and buying company called OMD throughout the region and achieve top 3 ranking among media companies in Asia by the year 2000. We also plan to double our market share by 2000, bringing our share more into line with the percentage of worldwide advertising expen ditures represented by Asia. We will do that by helping our clients build brands and sell stuff in the Multimedia markets of Asia" On 'The Role of Asia in Our Network Plans' MAURICE LEVY - Chairman & CEO, Publicis S.A. "We strongly believe in the efficiency of advertising. We think that there always is, at some point in time, one single judge of that: sales figures. And whenever we are, in Asia, in the United States and in Europe, we serve this purpose. But we should not have a "macrovision" of populations. We must never forget that in each message, even through the mass media, we do not try to persuade masses, but individu als, and to find the way of touching each one's heart and mind. The aim of creative advertising is then to find in the soul of the Asian people the motives for desire. This means creating an
(Continued on page 31)
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ASIA'S answer to Cannes?
JIMMY LAM Chairman - Print Judging Panel Editor of the Longyin Review and TV Commercial Director, Hong Kong.
The Asia Pacific Advertising Festival is launching the first of what is to become an annual competition of advertising creativity from throughout Asia and including Australia/New Zealand. Essentially, once a year, for two intensive days, all participants can view hundreds of the best TV and print ads submitted for competition from across the region, culminating in an awards' night gala. There will be well-known speakers and judges from the industry's creative patheon. Also invited will be exhibitions from the media, computer companies and production houses. It is about a chance to win awards for some, but more importantly, it will be a unique learning experience for many.
Graduating in Communications, Jimmy Lam started his advertising career as a copy足 writer. He has worked at Doyle Dane Bernbach, McCann-Erickson and Euro RSCG Ball in Hong Kong. Jimmy joined Lintas in 1989 as Executive Creative Director, becoming Chairman & CEO of the Hong Kong office in 1991. In 1994, he assumed the role of Area Creative Director & Vice Chairman of the Lintas Greater China Region. He has won many awards worldwide, including a Bronze Lion at the 1993 Cannes Press & Poster Festival. Author of two books, Pet Phrases in Advertising and No Truth in Advertising, Jimmy is former Chairman of the Hong Kong Art Directors Club and Hong Kong 4As Creative Awards. Jimmy was a juror at the London International Advertising Festival, the Singapore Creative Circle Awards, the International Chinese Advertising Awards as well as the Cannes International Advertising Festival in 1994. For more information on the Asia-Pacific AdFest '98 and travel packages, contact: Vigil Management No 17, Jalan 2/71, Off Jalan Tun Mohd Fuad, Taman Tun Dr Ismail, 60000 Kuala Lumpur. Tel: 03-719 8195 Fax: 03-719 7394 Internet website: http://www.ap-adfest.com Deadline for Entries: 31 January 1998
The Stars at Asia-Pacific AdFest '98 JOHN HEGARTY Chairman & Creative Director Bartle Bogle Hegarty Ltd., (BBH), UK. John started his career in advertis足 ing as a junior Art Director at Benton and Bowles in 1965. He was almost finished in advertising 18 months later, when they fired him. He joined a small Soho agency, John Collings & Partners, going places. They did - Camden Town! In 1967, he joined the Cramer Saatchi consultancy which became Saatchi & Saatchi in 1970, where he was a founding shareholder. One year later he was appointed Deputy Creative Director. Realising that Saatchi's was going to grow into the largest agency group in the world and actually fall foul of the City, John left in 1973 Asia-Pacific AdFest'98 to co-found TBWA as Creative Director. 4-6 March 1998 The agency was the first to be voted Campaign magazine's Agency of the Chiangmai, Thailand Year in 1980. He left in 1982, to start Bartle Bogle Hegarty. Four years later, in 1986, BBH was also voted Campaign magazine's Agency of the Year and won the title once again for 1993. In addition, Bartle Bogle Hegarty became the Cannes Advertising Festival's very first Agency of the Year in 1993 by winning more awards than any other agency. John's credits include "Vorsprung Durch Technik" for Audi, and Levi's "Bath" and "Laundrette". His awards include two D&AD Golds and six Silvers, Campaign Golds and Silvers for press, and British Television Gold and Silvers. More recently, he won the 1994 D&AD President's Award for out足 standing achievement in the advertising industry. NEIL FRENCH Chairman - TV Judging Panel Regional Creative Director Ogilvy & Mather Asia-Pacific Rent-collector, singer, bouncer, account executive, matador, pornographer, encyclopaedia salesman, club owner, copywriter, art direc足 tor, concert promoter, cavity-wall-insulation salesman, band manager, interiordesigner, movie actor, layabout, television station owner... He's sorry about having been an account executive in his youth, but his excuse is that when times are hard, you'll do anything for money.
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SPIDV.R
MAY THEY LIVE HAPPILY EVER AFTER The agency that everyone knew as Spider Network is now officially DMB&B SPIDER. And this union signifies an increased vitality to serve existing and new clients more professionally and creatively through a common commitment: to make clients brand leaders. With DMB&B's global experience and Spider's passion, this is highly possible!
We can place your ad Just about anywhere. Sure, we can place your ad in the press or on the air. But then, so can any other media buyer. So we offer fresh ideas about where, when and how to run your ads. To find out more please call us at: 03-423 3722. Or fax: 03-423 2304. mediapartners
VHQ wins recent
international awards in style!
Last month, Video Headquarters (Malaysia) Sdn Bhd (VHQ) bagged three gold awards at the 27th Creativity Annual Awards in the U.S.A. These awards were for the following productions: •
•
•
Gold for TV/Film Corporate Video - Malaysia Airlines 50th Anniversary Gold for TV/Film Demo/Presentation Video - VHQ Malaysia Showreel Gold for TV/Film Show Openings/IDs/Titles 4As Kancil Awards '96 - Advertising at its Best
NOT SO CREATIVE ONE LAH
According to an ad industry poll by Asia Business News and the regional MEDIA magazine, 44% of respondents rated Vietnam as the least creative environment in Asia, followed by China (17%), South Korea (7%) and tagging on is....Malaysia (7%)! Australia is ranked the most creative environ ment followed by Thailand, Japan and Hong Kong.
YET ANOTHER SEPARATOR? BRAVING AN UNSURE 1998, young upstart colour separation shop - The Colour-Sep Center - is facing the 'worst' with the best. Check them out. Call for Jake (not the fat man) at 016-2206095.
MOVING HIGHER ANIMATION PRODUCTION HOUSE Keyframes Sdn Bhd has also moved from Damansara Heights to Robson Heights at No. 11, Lorong Permai, Robson Heights, 50460 Kuala Lumpur. Their new contact details are 03-273 9897 (tel) and 03-273 0836 (fax).
ADOf 10
These accolades, when added to VHQ's sweep of awards for television commercials at the 1997 4As Kancil Awards, is another
example of the company's dedication to high quality and creativity. VHQ's General Manager Mr Moon Chan said, "We have a young team of local professionals who have been nurtured to serve the industry with the right attitude towards their craft. It is these young that was responsible for winning the awards." Together with two new members who just arrived from the
United States - Robert H.Luce (ex-Click 3H, New York) and Demetri Kitsopoulos (ex-Digital Magic, California) - the team will continue to lead the company and industry to greater heights. The recent expansion in VHQ with the addition of a Flame Onyx IR Suite, Sony Digital Suite and the setting up of a 3D animation department, will enable VHQ to continue to offer state-ofthe-art post production and special effects services to the ad industry.
Defending your CORPORATE IMAGE By Britton Manasco
In a recent online discussion at
But if you build Learning Relationships with your customers, interacting with them to find out what each one needs individually, you certainly can expect fewer "flames." Excellent complaint discovery processes will also help you resolve problems quickly and encourage loyalty. But even a 'perfect' compa ny will encounter an occasional wild-eyed enemy. Wouldn't it be a good idea to know which of your customers are so loyal that they would come instantly to your defense? Enlist them. They can help you win hearts and minds.
Companies no longer have as much power over how they are perceived http://www.m1to1.com, one person took the liber and discussed as they once did. ty of trashing the reputa The dictum used to be that a 'delighted' tion of a company - in this case, a large telecom customer would tell two or three friends munication services firm - about your company, while an unhappy that had treated him customer would tell five to ten. poorly. He noted his plans to post the flame on multiple web sites in order to achieve maximum impact. As this incident suggests, companies no longer have as much power over how they are perceived and discussed as they once did. The dictum used to be that a "delighted" customer would tell two or three friends or acquain tances about your company, while an unhappy customer would tell five to ten. In the Web era, howev er, an angry customer can share dissatisfaction with hundreds or even thousands of people!
While several high profile companies have taken legal action to suppress unfavorable Web sites, it's unlikely such approaches will ultimately do anything more than, shall we say, fan the flames. "In the networked world, you cannot - and cannot expect to control your company's image; the best you can do is influence it," explains Esther Dyson in a recent issue of _Harvard Business Review_."On the Internet, they'll say anything they like, which may be a mixture of fact, fiction, and opinion."
INSIDE1to1 is a free weekly electronic newsletter of marketing ltol/Peppers & Rogers Group 700 Canal Street, Stamford, Connecticut 06902, USA. To subscribe, just e-mail to felicia@marketingltol.com. Copyright 1997 by marketing ltol/Peppers & Rogers Group.
NEXT OPTION - 7184063
A MESSAGE FROM IAIN BELL, MD OF SOFRES FSA Today SOFRES FSA offers clients a range of additional MR services Âťsuch as household panels and state of the art multi-media audience measurement systems. Even visitors to the world-wide web come under our scrutiny. Barry Merrett, CEO of SOFRES FSA spoke about the new corporate identity, "The Frank
FSA The new look for Frank Small <& Associates:
Small brand is well known in the Asia Pacific region and we want to assure our clients that neither we nor they are losing something but rather, we both gain. The new branding reflects our ability to offer world best pratice anywhere in the SOFRES FSA Network". Mr Henri Wallard, Managing Director of the
A Global Perpective, A Global identity
SOFRES Group, recently moved to Hong Kong to be closer to tke Asian operations. According
The SOFRES Group is currently one oftke
to Mr Wallard, "There has been a rapid growth
world s largest market research networks and
in market research in tke region as multinational
growing. The acquisition of Frank Small &
companies try to tap into the huge potential
Associates in 1995 marked a new international
of the Asian market."
era for SOFRES, an expansion from their former European focus. Subsequent acquisitions in the
"As the Asian Pacific consumer becomes more
USA, India, Japan, Vietnam and Malaysia have
sophisticated, they are looking for higher quality
consolidated SOFRES' position as a worldwide
goods and services and are turning increasingly
market leader. In recognition of SOFRES FSA
to Western products. However, there are still
as part of this dynamic global network from
differences in consumer preferences by country
October 199?, Frank Small & Associates will
and even within countries. This is where
begin integration of a new corporate identity as
SOFRES FSA has the advantage. As a global
SOFRES FSA and adopt the distinctive red and
company we have access to a vast bank of market
grey logo traditionally associated with SOFRES.
intelligence and the latest technology but we can also rely on tke pragmatic advice of our local
Between now and April 1998 all elements
experts in 12 countires in the Asia Pacific region."
of SOFRES FSA's visual identity will be replaced by that of SOFRES FSA. The branding
Mr Pierre Weill, Chairman of tke SOFRES
changeover is taking place throughout
Group said the corporate identity change to
the SOFRES Group.
SOFRES FSA is indicative of the reorganisation of the company after tke merger so as to shift to
The new look* is indicative of the many changes
a more international focus. "Tke SOFRES Group
that have happened in SOFRES FSA since
is now offering a one-stop skop for our global
joining the innovative SOFRES Group.
clients, as well as tke kigkest quality local service."
SOFRES FSA MALAYSIA 32nd Floor, UBN Tower, 10, Jalan P. Ramlee, 50250 Kuala Lumpur, Malaysia. Tel: (60) 3.232.3611 Fax: (60) 3.232.271 9 E-mail: fsakl@po.jaring.my
White trash and
Kurt Crocker is a Partner- and Creative Director at Drayton Bird, Crocker' & Mario (DBC&M) Sdn Bhd
direct marketing International a lesson from Clem's mom
White trash. An ugly term that refers to poor Caucasian Americans who come from dubious stock. Some are thought to have become a little too familiar with their first cousins and thereafter spawned ...as did their parents before them. Most hail from America's deep south (re: Deliverance the film). We can learn a lot from 'white trash'. Or at least a few things about transporting marketing ideas and strategies from country to country. Really. So I'll share with you a copy of a letter I received in my e-mail the other day. It's from a white trash mom to her son Clem: (below right hand coner) Now I was raised in the WASPish middle class comforts of Minnesota, a few U.S. states away from the likely residence of Clem's mom. Neatly painted homes all in a row, white picket fences, Roy Rogers lunch buckets and not the slightest romantic interest in our first cousins. If I was to market, say, toothpaste to my midwestern neighbours, chances are I would consider a whole different set of strategies than those I'd employ for Clem's mom. With Clem's mom, for example, I might choose a mission ary route, and tell her a few things about the benefits of oral hygiene. The cultures of America's upper midwest and the deep south are notably different. As notably different as the cultures of America and Malaysia. Still, it's important to remember that while cultures change from place to place, human beings - their needs, hopes and fears - really don't vary much. Even Clem's mom has a need for tooth paste, assuming she still has teeth. It's my honour to have been a guest in this country for nearly a decade. Before here, I lived in Hong Kong. I've seen a lot of expats come and go. Expats in advertising agencies. Expats who are clients. I've noticed that when peo ple in advertising and marketing expatriate themselves to a foreign assignment, they usually fall into one of two traps. Either they assume that Orleans, France is just like New Orleans, Louisiana.
ADO/ 12
Or they go to the other extreme and act as though the two places and their inhabitants have nothing in common. To be fair, local hosts also hold their share of misperceptions. I've heard countless clients over the years say, "Malaysians don't read Direct Mail." If what's being sold in Direct Mail appeals to their human needs, hopes or fears, they'll read it all right. In fact, a Times Direct survey indicates most Malaysians would like to receive more adver tising packages in their post than they're currently being mailed. The truth is people are very similar even though they live in different countries and have differ ent values. Which means that to be a successful international direct marketer, you must profit from these similarities as you take account of differences. As Confucius said, "Men's natures are alike; it is their differ ences that drive them apart." My partner Drayton Bird is forever telling good stories (remind me to tell you the one about David Ogilvy's wine cellar). Here's a reallife story from Drayton, that leads to a few morals about international direct marketing. An American company and their Direct Marketing agency were out to rid the world of rat infestation. The creative strategy was that this poison would make rats "bite the bullet." They meant this euphemism to mean the rats would die. I've always thought "bite the bullet" meant that one is pre pared to endure hardship. But that's another story. The creative execution was any guesses? A box with a bullet in it. The bullet didn't have any gunpowder in it, but it was very realistic. This mail pack was intend ed for households in Venezuela. Now, if you are up on your foreign affairs, you may have noticed there has been a certain amount of political instability in South America during the last 30 years. This detail was overlooked by the agency. When the shipments of these direct mail packs arrived in Venezuela, complete with bullets, the Customs officers were very impressed. They dumped the whole lot into the sea. None of the fish responded. Can you imagine any
one trying this approach in Malaysia? Which brings us to the Morals of this story and interna tional direct marketing in general: Moral #1: Check out what's going on in your target market. The people there may have sensitivities you never expected. Moral #2: Research your foreigninspired packs before you send them to a local market. Moral #3: When moving into areas of sex and religion, make sure you are not treading on delicate ground. (I'd say this is a darn good moral for marketing anything in Malaysia.) Moral #4: People abroad don't always run their business the way you do. For business-to-business direct marketing, be sure you know how decisions are made.
Moral #5: List availability and quality vary wildly: Beware. Moral #6: Check out and deal with linguistic problems.
Moral #7: International approaches can be transplanted from country to country. If it worked elsewhere, it could very well work here. Moral #8: People may be very similar under the skin but God they lead different lives. Never forget it. Moral #9: You may not have the big budgets here as you might in mar kets where the benefits of Direct Marketing have been known for years. (On the other hand, with the cheaper cost of production, you might have more financial leverage to create dimensional mailings or ambitious die-cuts and formats.) Moral #10: Time spent in recon naissance is seldom wasted. Constantly develop your local knowledge and wisdom. And if you don't want your kids to end up like Clem's mom ...maintain a platonic relationship with your first cousin.
Dear Clem, I'm writing this slow 'cause I know you can't read fast. We don't live where we did when you left. Your dad read in the paper that the most accidents happened within twenty miles of home... so we moved. I won't be able to send you the address as the last family that lived here took the numbers with them for the next house so they wouldn't have to change their address. Wish I would have thought of that. This palce has a washing machine. The first day I put four shirts in it, pulled the chain and haven't seem'em since. About your sister. She had a baby this morning. I haven't found out whether it is a boy or a girl, so I don't know if you are an aunt or uncle yet. Your Uncle John fell in the whiskey vat. Some of the men tried to pull him out, but he fought them off and drowned. We cremated him, and he burned for about 3 days. Mot much news this time. Nothing much happened.
Love,
MoM P.S. I was going to send you money... but the envelope was already sealed.
John Machado runs his own ad agency, JM Creative, and authored the bestseller,'Creating Desire\
Computers are useless ..they can only give you answers
Above, not being a computer buff
myself, is one of my favorite quotes. Attributed to none other than Picasso himself, one of my all time, favourite artists. This, incidentally, was his answer to an art critic's question: "How do you come up with your visual ideas?" "Ideas," Picasso began his answer, "are nothing more than solutions to problems that face you every day." Then wham! the computers quote snaked forth like slow motion lighting. If I were to fill in the gap, Picasso was saying something like seeing as all problems have solutions, it's important that you define the problem correctly. If you don't you may come up with a brilliant idea, but it's the wrong one.
In advertising, the statement of the problem demands answers to questions like: What are we trying to say and how are we trying to say it? Whom are we trying to say it to and why? What can we say that our competitor can't? And, what's our product's or service's reason for being? "To raise the right questions," Einstein once said, "to regard old problems from a new angle requires creative imagination and makes for real advances. Sponsor programmes, with monthly prizes, that extol the health benefits of stair-climbing. These ideas aren't bad even if some of them could be a mite expensive to execute. But when the manager of an office building in Chicago was faced with this identical problem, she did none of these things.
What she did was to install wall-to-wall, floor-to-ceiling mirrors in every lift lobby. She figured (correctly as it turned out) that people wouldn't mind waiting if they could spend that time looking at themselves. What she did was to solve another prob lem. Instead of trying to figure out how to add lifts or reduce the number of people using them she changed the problem and asked, "How do I make waiting less frustrating? So if you're stuck, try asking a different question. If you've been asking, why aren't people buying my product? Try asking instead, "Why aren't people who do buy my product buying it more often or buying more of it? What else can I sell that will boost the sales of my product? Where else can I sell my product?" So the next time you're having a problem coming up with an idea or finding a solution to a problem, try defining the problem differently. Chances are your breakthrough idea is just waiting in the wings ... waiting for you to ask the right question.
fUBST IMPRESSIONS by David Perryman, Executive Creative Director, Bozell Worldwide Sdn Bhd.
My previous trips to KL had all
some unemployment in the industry I've seen across the board 25%-30% been of the 'hotel room, conference staff reductions in times like these. room, meeting room, a bar and a restau The good news is, some clients will be rant somewhere, back to the hotel room so desperate for increased sales that and off to the airport' variety. This time they stop a lot of this 'paid publicity' I I'm here to stay a lot longer. So here's an see. You know the kind, where the article on my first impressions here. Or client tells the agency everything at least some of them. they want in the ad, and the job of the Right time I feel like I've come writer and art director is to make it fit to KL at the right time (interesting - they might just as well do a 'con comment seeing as I arrived with the haze - hey, I know I've taken up smok Some clients gratulations' ad because they're ing again, but don't blame me). While will be so patting themselves so hard on the back. the infrastructure programmes are desperate for Who know, some may even learn that starts with the consumer's causing no end of problems right now, sales that advertising point of view (not the manufacturer's) KL feels like a city that's maturing into an international metropolis. Modern they will stop and then, knowing this and the product shops, buildings and roads -1 look for a lot of this advantages, sets to persuade them to buy. ward to the day when I can confidently Wow LB, give us a break. 37 interchange from one expressway to 'paid publicity' awards! I'd heard about you guys the next, knowing which exit to take, which before I got here so one of the first things I did clover leaf roundabout flyover to whizz around was get a reel of your stuff together. Very nice all the time secure in the knowledge that my work and deserves to be rewarded - but fortu pockets will be emptied of troublesome change at nately, not so far out in front that the rest of us the myriad toll plazas. Rock on Commonwealth can't catch up. Once again, the controversy over Games! no Gold awards. Recession ahead? I'm not an economist, I'm a bit of a skeptic when it comes to the but I do come from the land of recessions. theory of awards stimulating national creative Australia has experienced more of them that I standards - I think that is done more at an care to remember during my advertising career agency level. Agencies will continue to submit and chances are we in Malaysia will be moving their best work for the year and take their into some tough times in the not too distant chances with the vagaries of jury committees. future. There's good and bad in that (says the I doubt they'll check last year's winners and ask non-economist). The bad news is there will be themselves, "Is our ad better than this?"
Client: Silk Road Art Director: Sharil Tan Sri Hamzah Writer: Barrie Seppings Photographer: Amanda Lisson Agency: Shahril Associates
13 ADO/
JUST HOW DEEP IS
Look at the UK for example where humour plays such a huge part in ads because this is the char acter of the place; grown, devel oped and refined from music halls to 'Carry On' films, to Benny Hill to Mr. Bean. The trait of humour is central to the ad culture and most often it is based in playing with the English language; puns, double entendres, etc. This produces a very wide and deep pool to fish in, without having to feature Mr. Bean or Benny Hill in the ads. Japan where the nature of A lot is being said lately the media itself has dictated an ad about the culture of a country culture, the fact that TV spots are being the central theme of ads, in almost exclusively 15" and a break Asia and particularly here in can go on for 5 minutes means that Malaysia. standing out is the It's a popular One supposes prime objective and so topic, not surprisingly sensual assault becomes that any since so many awards are given to festive ads that development of the order of the day. Lots of room for have very clear cultural an ad culture expression there and skews. And this is not never having to use new. Festive ads have in Malaysia geishas or Samurai or been winning awards for based on Kabuki. years. During the Late Thailand seems 70's and early 80's F&N, character and the soft drink manufac behavior may to be very perverse. Weirdness seems to be turer, were at the fore depend on their claim to a local ad front with their festive spots, which contrived to how much one culture. Actually, very tell stories of people of all actually wishes little of traditional Thai festivals or traditions races celebrating Hari to show. find their way into their Raya or Chinese New ads, just half naked, Year or Deepavali in very blue painted men draped over cars, close harmony. A Malay Family, a blond Thai vampires or spoofs Chinese Family and an Indian of martial arts movies. family meeting and celebrating The US which, while having together. These spots indeed won its share of humour, goes for a all of the then current local much more visual approach. The advertising awards. polyglot nature of the country Trouble is that it's kind of probably needed to take non-lin tough to spot the real Malaysian gual communication as the great culture in ads at other times of the leveler and the basis for a national year. It's probably because, as style. This of course, is best usual, people take the issue of evidenced in the early examples of culture far too literally. silent movies where everything Sure there have been 'old was visual. And more recently, newspaper men' and Punjabi wed it's the advent of special visual dings but just how many street effect movies that dominate their vendors and local holidays are movie output. there before one starts straining So perhaps a national ad and the work starts to look con identity goes deeper than the trived? Or indeed the creatives obvious and limited depictions of start to get bored with the subject festivals, etc. It manifests itself in matter? How much more mileage the character of the country. is there in either the portrayal of Delving deep and discovering the unique and very fine Malaysian Malaysia's character should be on multi-racial mix in action or the our minds a lot more than hunting festival celebrations (which are up more Malaysian traditions or invariably for corporate use alone) trades-people to exploit. as the principal 'local' subject One supposes that any matter for Malaysian ads. development of an ad culture in But if one looks around, on Malaysia based on character and closer inspection, you might find behavior may depend on how much that national content is less linear. one actually wishes to show. After Direct depictions of uniquely local all some of the most amusing and cultural stuff becomes less impor interesting characteristics are not tant than the development of a always the most flattering. The national vocabulary, a national feel, haggling woman in a Goodyear a national attitude.
MALAYSIA'S CULTURAL POOL?
ADOf 14
Why is a PACKAGING DESIGNER special? As one area in the wide field of graphic
ra7CI
In the packaging designer's efforts to create a great looking and desir design, Packaging able pack, he or Design is a very 1 (3 N | she will most defi D E specialised field. ASIA s D N B H D nitely need to take It requires an the printing and able combination material technicalities into of creative and technical skills. account. What looks good on paper When designing a pack, a packag ing designer must have the creative at the concept development stage may not turn out the way it was skills and technical knowledge to anticipated when printed. When achieve the desired results when a that happens, a lot of precious time label or pack is produced. is wasted in trying to put it right. Print Methodology is impor And may result in product launch tant and a packaging designer has dates being postponed or in some the best mix of technical knowl extreme cases, having to make do edge and experience to skillfully with what they have. fashion and combine the design Putting all the creative and elements and deliver pack designs that create sales, time and time technicalities aside, a packaging again. A sound knowledge of the designer has to also be a master in behaviour of inks when it comes communication. Packaging design into contact with the different is a very powerful communication printing materials like paper, tin tool at the point-of-purchase. plate, plastics, fabric, glass, etc. is A good pack design will make the required. There are also the differ product desirable and thus ent printing techniques that he or buyable. It also strengthens the she will have to be familiar with brand's image on the shelf that Litho, Flexo, Gravure, Offset, works 24 hours a day. Through the pack design, the packaging design Silkscreen, etc. These are just er must be able to tell consumers some of the complexities that a packaging designer will have to what the brand and product is, deal with, when working through a and the benefits it offers. This has packaging design project. to be done in an attractive and memorable way with the benefits communicated clearly. commercial of a few years ago, who Great pack designs stand felt that free service was too out from the shelf and translate expensive, was typical of Malaysian consumer interest into a purchase character because it was based on decision. It must be able to sell the acute observation of our some itself off the shelves. times silly and quite unique behav Yes, from what has been iour when faced with paying for said here, a packaging designer's things. This was probably a much life is full of challenges. He or she more inspired depiction of pays great attention to detail and is Malaysian culture than any of the involved in concept creation at the festive spots. initial stage right down to the And therein lies the great execution of the concept into its paradox; the one thing that finished form - i.e. printing. He or separates real-life Malaysians from she has to understand the market their neighbours is the ability to place and how the product or observe their natural human frail service will be produced and sold. ties or difficulties and just smile. And keep abreast with all new (Something Lat seems to have printing and material technologies, done well with strangely isolated which are continuously being success). Malaysians actually developed. display a very well developed sense of self-parody. But it would take a lot of confidence and perhaps a Aaron Cowie is the Managing little deeper thinking to put more Director of CGS Design Asia,, an of that into advertising. But it international design group with would certainly come closer to offices in Petaling Jaya, Sydney, developing a distinct Malaysian Melbourne and Auckland. character in ads and definitely a much deeper creative pool. Sink or swim.
s
JNCONVENTI The arrival of new CEO Jennifer Chan
"He immediately understood that we
and her former JWT colleague,
needed an office that would bring our
Executive Creative Director Soon
people together and which would
Cheng Sun, signalled the beginning of
indicate that we have the commitment
a whole new world for the staff and
to succeed, but that we aren't going
clients of BBDO Malaysia.
to be doing it the conventional way."
it
It's fair to say that BBDO had an image problem. And for an advertising
******
agency, that was a serious problem. While other BBDO offices are
Brian's interpretation of that brief is an
mm
considered among the world's most
THE PURITY AND SELF-CONTAINMENT OF
creative, sadly, BBDO Malaysia - and
THE CIRCULAR RECEPTION AREA INVITES REFLECTION ON THE BUSINESS AT HAND. THE SOFTLY-LIT BBDO SIGN MAKES A SUBDUED REFERENCE TO TRADITIONAL SHOPHOUSE SCREENS.
the other Asia-Pacific offices - were lagging behind. Jennifer and Soon's charter was clear - get creative! Get BBDO noticed!
unpretentious, practical and open space. The traditional elements of office design are broken down to their key concepts and reinterpreted in a straightforward, yet creative manner. The effect is a subliminal reinforcement of the BBDO philosophy.
bono stuff, festive ads, or the local
"Jennifer, Soon and I discussed the
corner cobbler. And there has to be
importance of interaction, that people
content, not just form - the ads have
should be aware of what others were
"We were in Empire Tower, on Jalan
to have real ideas that drive the
doing, that each of the departments
Tun Razak," explains Jennifer. "Getting
client's business."
was open and receptive to the
Their first priority was to do something about the office.
there was a two-hour journey. And the premises themselves were dreadful - it looked like a trading company, not an ad agency. We could not get any clients to come in - let alone new business prospects." Soon continues, "The new office had to reflect the new era for BBDO Asia-Pacific. We are challenging the status quo. We want to create
That rigorous philosophy had to apply
with no risk involved, for example, with pro
department was designed as a large
others," he says.
^111
_
to the new office design as well. Not only did it have to provide an efficient work space, it had to personify the BBDO ethic. "Our Regional Creative Director, David Alberts, refers to it as the purity of the idea. A concept can be executed in many
ifj»H i: M fl
M H
This is our guiding principle," says Soon.
*•
open space, with a minimum of private offices. "There's no lone hero at BBDO and the open space emphasizes the fact that we are a team," says Soon.
-
All that space could be a little daunting were it not for the dynamic
i iii v ...... y-iMit
ways, but the idea must remain pure.
Sill : i
colour scheme and choice of fittings. Each department has its own distinctive aura, partly dictated by fung shui, partly as a design device to add
THE CONFERENCE ROOM IS A BIG
interest to the large space.
That's a big challenge. But one to
HIT WITH CLIENTS. BBDO WANTED
To link the departments, Brian devised a
which architect and interior designer
TO KEEP IT AS INFORMAL AS POSSIBLE, TO
novel solution. "I wanted something with
Brian Quirk proved equal. "Brian spoke the same language as
"WORK SESSION" PRESENTATIONS.
award-winning work, but we don't want to do it
ENCOURAGING CLIENTS TO STAY FOR LUNCH OR A DRINK AFTER MEETINGS ISN'T HARD WHEN YOU CAN TEMPT THEM WITH A CAFE THAT LOOKS AS GOOD AS THIS. To foster a sense of community, each
ENCOURAGE
A
CO-OPERATIVE, FEEL
DURING
relevance to the office," he explains. "I
we did," says Jennifer.
ect and interior designer, Brian Quirk immediately understood that BBDO Malays!
ONALSPAC workspaces by perforated metal
its centre, a series of interconnecting
palette of neutrals. The leather is
texture, but wanted it to mean
screens that double up as magnetic
rooms - conference room, ad gallery
found on the walls, instead of on the
something." In collaboration with the
pin boards. The walls are lined with
and cafe - are linked by sliding panels
sofas: quilted beige leather acts as a
creative department, quotes from
simple, raw particle board cupboards,
that open or close to create a variety
sound-proofer and adds detail and
liked the idea of using text as a
famous advertising people were
the exposed finger holes lending
of spaces. Together they form a hub -
texture. "Meetings in the conference
selected, then silk-screened in
texture and interest. "We made a
a meeting place which minimizes the
room are more like work sessions
various sizes onto wall paper: acid
feature of the shelving. It's there, why
distance between the departments
than formal presentations, and
yellow for finance, account
not be honest about it?"
and more importantly, encourages
afterwards, clients are keen to stay for
interaction and communication.
lunch or a drink in the cafe," says
management and media, blue-green for creative.
In his approach to space planning,
The gallery is also the main traffic
architecture. It is a subject he knows
area, sweeping from one end of the
Has the new office met expectations?
well: six years ago, after finishing
office to the other. Hundreds of light-
So far, the answer is yes. "It has
architecture school in America, he
bulbs, encased in glass panels, cast
travelled to Southeast Asia on a
dramatic oval drops of light onto the
scholarship to study indigenous
wall opposite. Passing through is an
architecture - and never returned
event, and the space is intended to
home.
highlight the agency's work in an
"If you look at the traditional house, its rooms do not have one specific use. They are multifunctional, open to one
THE
GALLERY
-
DESIGNED
TO
another and are adapted to different
SHOWCASE BBDO'S WORK - IS A WORK OF ART IN ITSELF. HUNDREDS OF LIGHT-BULBS CAST PATTERNS ON THE OPPOSITE WALL AND ILLUMINATE BBDO CAMPAIGNS IN AN ATTENTIONGRABBING MANNER.
furniture, yet had the same functionality." Giant beechwood desks on metal legs are divided into individual
and hanging them on the wall is boring," says Brian, "so we made glass walls into light boxes and hung
definitely improved inter-office communication and interaction," Jennifer confirms. And it appears to
transparencies over them to create
be working its magic on clients and
the images."
prospects too. "Now they want to
The conference room contains all the
heard about the office. When they
come to us for meetings. They've all
designed by Brian and again, reflects something that didn't look like office
unconventional manner. "Framing ads
THE CAFE, LOCATED AT THE CENTRE OF THE OFFICE, IS A GREAT PLACE FOR THE STAFF TO HOLD MEETINGS AND HAS IMPROVED INTER-OFFICE COMMUNICATION.
The furniture too, was customthe BBDO ideology. "We wanted
Jennifer,
Brian was partly inspired by traditional
uses at various times throughout
elements of a traditional, wall-panelled
the day."
see it, they are impressed. Not
Chesterfield-filled boardroom - but the
because it's lavish, but because it's
His design for the BBDO office shares
effect is luxurious and playful rather
kind of cool and they feel relaxed.
this grace of economy and form. At
than imposing. An impressive
That brings us so much closer to our
beechwood table dominates the
clients - we're establishing a rapport
space, but is softened by the simple
that just wasn't there before." Certainly one way to build a business!
a needed an office that would bring people (clients & agency) together. But not in the conventional way
By Sharif ah Lara Hussein Group Strategic Planner, DYR.
The 1980's saw the rise of the advertising-literate consumer. Not only were people educating themselves to understand messages in ads, but they progressively learned to under stand the how's and why's of our business. The 1990's have been and still is witness ing the development of the brand-literate consumer. The importance of brands to consumers is becoming more and more evident nowadays. I wonder where the market will be going as we move into the next century. It appears from several research studies I have come across in the last year or so that the market environment will become more complex and more frenetic with pressures of hyper competition amongst brands fighting for the same share of consumer attention. Consumers on the other hand are prob ably going to become more demanding, wanting and needing not just any brand but those that are clearly differentiated by their product and unconvention al positioning. Clearly, as we move into this new era where more and more brands are breaking rules in order to stay ahead, the more we find ourselves - as consumers - attracted by their radical and non-tradi tional powers of persuasion. This I believe will be an exceptionally interesting time to witness conventional players versus the unconventional, the 'creators' or 'persuaders'; what we term CREATION BRANDS. It is time for us to take a fresh look at what brands today should stand for. In a new era where brands have to become 'creators' in order to stand out amongst other brands in a complex and chaotic market environment, we as brand custodians' have to find new ways to build CREATION BRANDS. We need to establish new and challenging ways of brand building; ways that are non-conforming, non-traditional yet powerful and relevant. We must move away from what we have grown so familiar with for so long: the antiquated view that brands are just 'prod ucts with distinguishing names or symbols'. We must recognise that brands are a series of dynamic relationships built over time, as Dan Wieden of Weiden and Kenedy said, "A brand is a verb, not just a noun." By looking at brands in a more evolving and dynamic way, our brand building efforts must also become more evolutionary. In other words, we can no longer just find a brand's heart and play it over and over again in advertising. Instead, we should create a whole new future for the brand by continuously reinventing a fresh relationship between it and the consumer. Like people, a brand must evolve and grow over time. We must always ask ourselves what is relevantly differentiating about this brand and what fresh new dynamics can we draw from its evolving
relationship with the consumer. By this, we are always assured of refreshing new ways of brand building, making the approach livelier, more continuous and more evolutionary. This then brings me to the subject of CREATION BRANDS I mentioned earlier, brands that were created and built with a vision for the future, always rep resenting something new and different. CREATION BRANDS is a term first used by strategists in Young & Rubicam, New York, to identify a cluster of brands that rated extremely well against a set of dynamic image ratings in a massive global study that was surveyed earlier. They discovered that there were certain similar ities in a selection of brands when measured against a set criteria. Brands that differed strongly were those that broke away from the crowd through their unique distinctiveness, innovation and momentum. And upon further analysis, they found that these brands also did away with those traditional marketing and common rules. They transcended limits, defied market rules and redefined the category by allowing themselves to exist alone. These brands live and breathe on the unexpected, always being unpredictable, yet are relevant and real. In the survey, there was a selection of brands that clearly measured very well on the differentiation criteria. The first of these CREATION BRANDS was Nike undisputed for its uniqueness, individualism, and continuous evolution in product and personality. Nike is constantly renewing itself by radically changing the basis of competition in their industries. It is a strategy of continuos reinven tion. Says CEO Phil Knight, "We are constantly reviewing how the world has changed and how we are reacting to it." It is based on Four Passions: • The shoes. • The athlete's - Michael Jordan's - passion for sports. • Apparel marketing. • Not just athletes, but event marketing of sports and team endorsements.
The success of CREATION BRANDS lies in their unique vision They stand for something and have succeeded in making that relevant and meaningful in consumers' lives.
ADOf 18
Other examples of CREATION BRANDS include Harley-Davidson. The CEO, Richard Teerlink, commented recently that he was running far more than just a motorcycle company. He turned his operation into a business that sells American nostalgia. It is true because Harley has become one strong CREATION BRAND. Harley-Davidson symbolizes the feelings of independence that people want in this stressful world. In order to maintain the "freedom" proposition, the brand needed to establish closer ties with its consumers. As a result a Harley Owners group was created with members worldwide.
What about Disney It is rated highest in diffrentiation as a great brand that is continuous ly evolving, changing and coming up with new products all the time. Known as the world's best innovator, CEO Michael Eisner says, "We create a book, a movie; something every five minutes and each one has to be superb." Disney relies heavy on ground visibility to market its products and merchandising. Its focused and targetted savvy marketing style at ground level has given Disney real power of dif ferentiation and relevance unmatched by any other competing network or brand. Similarly, brands like GE and Coke are also revolutionizing their strategies through hard non-traditional tactics. For example, Coke has dramatically reconfigured its global bottling oper ation to give the company substantially more distribution and marketing strength. Let's look at Microsoft as a good example of a brand that defied tradition to set new stan dards within its own category. The marketing of Windows 95 is reputed to be the world's biggest marketing extravaganza of all time. It was the most integrated worldwide marketing campaign ever to be staged by one single consumer prod uct, outstripping the 'new' Coke or the First Super Bowl. Microsoft went non-traditional, broke all rules and marketing conventions by implementing 'canning' events: painted fields in the UK, The Times in London was given away free, a four-storey box was towed along the Sydney Harbour Bridge, a 500-foot banner was unfurled in Toronto, and in New York, the Empire State building was bathed in the logo's colours. Supporting this media frenzy was Microsoft's above-the-line campaign using the Rolling Stones "Start Me Up" song, revolutionary, stylish yet so relevant and real. Microsoft is one true visionary brand with a mission to change the world. The success of CREATION BRANDS lies in their unique vision. They stand for something (usually completely different than the standard convention) and have succeeded in making that relevant and meaningful in consumers' lives. In this advertising and brand-literate world, there is nothing 'hidden' about these 'creators'. The fact is people embrace CREATION BRANDS because they subscribe and relate to their vision. As planners we must become the archi tects of change with the vision and foresight to innovate and create ideas that can live for the future not just the present. By being visionary thinkers of the future, we are able to truly come up with innovative strategies and envision new opportunities for the brand. A vision for the future is important to ensure that brands always evolve, reinvent, and change. "We should be looking to disturb the sta tus quo and realign our brand against the new dynamism. The world is getting more and more complex and it is up to planners to create a new vision...," Nigel Jones, BMP DDB. Taking risks, breaking the rules and being a maverick have always been important but today, they are more important than ever. Unless corpo rations learn to reinvent themselves, they will not remain creators within their category because much of their position will be usurped by new comers and newcomers will have more guts to change the rules. Change is key to becoming a CREATION BRAND, and in order to change, we must have the foresight and a vision of the future.
GREAT MINDS THINK ALIKE?
Both these ads ran in the same paper, but a day apart, for different products in the financial services category. Personally, I love trains too!
Campus notes from USM by Liza Lee
•Um
An
exhibition
Project Advisor,
On cVWill'tl
Dr.MohdZin ^"""l I
winning advertisements will be held in Urdversati Sains Malaysia
H
JL USM final year mm Communication HRr H students majoring Media & Publicity in Persuasive Director, Communication will Mahalaocmi Dhurairaj be organizing this event. The exhibition, termed ADWAVE '97 (Award Winning Advertisements Exhibition 97) will be held at the foyer of Dewan Kuliah U. Advertisements in both electronic and print media amount ing to 200 will be showcased. The advertisements exhibited had been contested at the Kancil Awards 97. They are obtained through the cooperation between the universi ty and the Association of Accredited Advertising Agencies of Malaysia (4As) and the help of the Mr. SP Lee, director of the Creative Council of Kancil Awards and Mr. Harmandar Singh, director of Institut ILHAM. Two sessions of workshops will be conducted on the 13 December
at Tutorial Room G27. The workshops will be conducted by professionals from advertising agencies. Topics of the workshops will be based on the theme of ADWAVE which is "Creative Advertisements in the changing Media Scene". According to the media and publicity director, Mahalaxmi Dhurairaj, the particu lar theme was chosen to highlight the importance of creativity in advertisements. Mahalaxmi said "The general public nowadays tend to find advertisements which are highly technological and sophisti cated to be better. The aim of this exhibition is to create awareness that the core of advertisements is the creativity and not only the technology although it undeni ably plays an important role in the production of an advertisement. Media being so fragmented now with the virtual media explosion for instance satellite television, internet and CD-ROM, it gets increasingly more difficult to as certain target audience. Therefore, pulling off a creative advertisement to reach audience from all walks of life has become even more chal lenging in this new media scene." The project president, Jamsari Jamaluddin added,
"The idea of advertisements is to sell the clients product and not the hype of the advertisement. We would like the students to be exposed to and appreciate good local advertisements. This exhibi tion will be an avenue for them to do so." The project advisor Dr. Mohd Zin said, "ADWAVE will be opened to the public and we hope it would be of benefit especially to the Communication students of local institutions of higher learning."
CORRECTION As rightfully pointed out by Mr Jeff Orr, we made a mistake in misquoting his press statement on the recent Kancil Awards. His correct statement should read, "I'm glad to say that the quality of advertisements competing in the events has increased." This comment was made in reference to the overall rise in standards of entries over the past five years. We apologise for the slip and would like to take this chance to pay tribute to the fine work that Mr Orr has done with the Creative Council over the years (dontcha think the beauty in the picutre adds a nice touch to this corner of the page).
SORRY S.P. In our previous issue we mistakenly omitted a poignant line from Neil Godfrey's interview which was conducted by Mr SP Lee, Creative Council Chairman and one of the finest contributors to this magazine. So here it is: SP: "Given the crisis they're in, if Buckingham Palace hired you, how would you position the royal family?" Godfrey: "I would position them outside the palace."
Name: Carmen Soo Wai AAeng Age: 20 Height: 5'5" Exposure: Neutrogena, Volvo, RITZ, Tiger Beer.
19 ADO!
THE EVOLVING
recruitment parameters which are already tried and tested in Hong Kong and Singapore, and indeed in the West. This could be an advantage as it prevents local firms from getting into experimentation! There is also the ability to leap frog headlong into the state-of -the art technology and business prac tices without having to repeat the same inefficiencies and mistakes of the original proponents. To the media owners, I have one piece of advice for what it is worth - anticipate and manage the coming change. The delirious days of unlimited power of the media owner are numbered. We are slowly but surely moving into a buyers' market. To the advertisers, who are warming up to the idea of shopping around for specialised media services, it would serve them well to take on board a media savvy personnel, someone who can talk the same language of the media specialist and basically ensure that they get the best bang for their communications buck. Who will staff these independents ? I reckon they will increasingly hire non-traditionalists. Don't be surprised if some of them are run by ex-clients, ex-media owners, and even some with technology backgrounds. Take the case of the recently announced appointment of Ms. Perianne Grignon as the Director for Media and New Technologies for Bates North America. Her last job was that of Media Director Marketing Communications of AT & T Corp. I am sure Bates found her experience with new technology a must have attribute in the new world of communications. Closer to home we have Michael Cooper ex-Executive Director of satellite channel Asia Business News taking over as CEO of Optimum Media Development. Generally speaking, Media Efficacy will be the new mantra for most advertisers and agencies, going into 1998. With overall adspend growth headed for a decline in 1997, the first half of 1998 may prove to be a challenge for most mass media owners. It is my conjecture that mass media options will eventually diminish in value with the ad budgets getting dearer. Under these trying circumstances, brands which come through with cut-through exposure may well be which com bine new media choices in the mix. With the progressive fragmentation of the audience, niche media will certainly get a closer look for its rich and efficient yield. In summary, we are in for an evolving media scene and if not for any other reason, the Commonwealth Games should provide the necessary impetus for some extraordinary budgets from the sponsors as well as the pretenders, which in turn I hope would result in some extraordinary developments in the industry.
media scene
By Abhijeet Dutta Ray As an eventful 1997 hurtles towards a closure, I get the feeling
that the ad industry shuffles with restlessness and discomfort. Wanting to somehow get this year over with the least damage, most people look at 1998 with a level of anxiety which they forgot they were capable of, thanks to a remarkable run of four to five years. Not intending to add to the haze of uncertainty, I cannot help reflect on the factors which will start . | to play a larger role in our In many respects, we tend lives in the days to come. These are, if you like, to emulate new business business trends, which do strategies, innovative not attract the speculations as they once did. Instead, work-flow processes, the focus now shifts to organization structures another realm - that of how and when will they begin to including recruitment make a meaningful impact on our lives. parameters which are Whether the media already tried and tested in owners like them or not, the Hong Kong and Singapore, era of Media Independents is upon us. Some such as Media and indeed in the West. Compete (Grey), Zenith and Media Partners are already in business, while new ones have or are in the process of being announced, such as Carat - who bought into local media boutique Media Base. Some others are in the offing such as the Hong Kong headquartered Optimum Media Development, another fusion of media departments of BBDO, DDB Needham and TBWA International is bound to have an impact on their local chapters here. While I cannot fathom what tactics would be employed by each of the independents here in Malaysia, since each market is a new battlefield, I can certainly predict that within each of these entities a new breed of warriors would be bred. Some of them would be ferocious negotiators, while the others would be avatar of hi-tech new media. In many respects, we tend to emulate new business strategies, innovative work-flow processes, organization structures including
^ L
)USi
ADO/ 20
Photographers today have more options in creating pictures. Knowledge of the traditional craft combined with digital imaging skills provide an endless palette of tools to create images. Photos of puppets were photographed in the studio. Background was created with Kai Power Tools software. Digital composite was created in Photoshop 4.0 Power for a series of postcards by Jen Siow. (Jen Studio, tel 718 6227)
The 10 commandments to buildinq a stronq client & consultancy relationship Developing a partnership with a client is often seen as a sub ject of mystique. But what is the relationship about? It is a hardheaded, results-oriented relation ship intended to produce specific, measurable results. For both par ties, the client and the consultancy. Yet, interestingly enough, little management focus is placed on the human-relationship factor which ultimately draws the line between success and failure. A consultant who has expe rience working on both sides of the dilemma knows that consultancies and their clients are equally vulnerable to error and misman agement. Traditionally, the clients are always right. And a consultan cy is a great scapegoat for when things go wrong. As in any business, there is a vbible', with the requisite list of commandments to be followed. THOU SHALL NOT OVERSELL: It's so easy to commit this in differ ent guises. We have done this, we can do this, we will be doing this ... the list is endless. During a new business pre sentation (and you really want this piece of business) it's so easy to match a client's query with a state ment that has no past and no future. As you get into the working relationship, the client watches your performance and remembers that query and wonders about your past experience. Now, where do you think you stand in your client's credibility barometer? THOU SHALL ALWAYS KEEP PROMISES MADE: Broken promis es have serious repercussions for both parties. Neither the client nor the consultancy is more nor less responsible for keeping promises. Simple: Don't make a promise that cannot be kept. Don't make com mitments on behalf of others who will be called upon to fulfill them; you will have to assume full responsibility for the impact of
broken promises. This is not a matter of pointing fingers, it's all about getting a job done. THOU SHALL REMEMBER THAT STRATEGY LEADS THE CHARGE: It's great, and it's really the sim plest way, to judge a consultancy by how creative they are. But, think about it, what results are you looking for? Will the programme help safeguard a corporation's rep utation? Will it ensure greater sales? Creativity is important, but it must be supported by clear strate gies. THOU SHALL NOT BE ACTIVITY ORIENTED: Presenting results strictly in terms of clippings and activities don't always take into account what really matters: the stated goals and objectives of the communications programme. Everyone involved must stay focussed on clear objectives. Whether they relate to the desired results of the communications programme or the anticipated output of a simple meeting, know where you're going and get there pointedly, step-bystep. Never sacrifice quality for a deadline. THOU SHALL NOT GO OVER BOARD ON CRAZINESS: 'Off-thewall' presentations, from the per spective of the consultancy and individuals can do a lot of damage where the client's first impressions are concerned. Remember percep tion is reality. The client, if he signs you on, will have to entrust his money and the responsibility of building his reputation to the consultancy. Professional behaviour reinforces that trust.
and triple check. The proof of the pudding is in the eating. THOU SHALL TREAT ALL CLIENTS IMPORTANTLY: Each client wants to think that he's the only one. Return phone calls, brief others on every project. Keep senior manage ment involved and informed. Treat minor complaints as events of enormous importance. Remember, small issues when left unaddressed lead to bigger problems.
THOU SHALL NOT INDULGE IN COMPLACENCY: Now that you've won the account, and won the client over, you can sit back and kick your heels. Never relax. Always treat the client as a prospect, because in reality, he is. For every future assignment. Service each account with the same willingness and enthusiasm that was exhibited on the day of the presentation.
THOU SHALT NOT BE IGNORANT ABOUT THE CLIENTS' BUSINESS: I am not sure how consultancies are able to support the statement, 'We know your business better than you do'. Because I would definitely challenge any client who tells me that he knows my business better than I do. However, that does not mean you can go in for a new business presentation totally ignorant. Find out as much as you can and make a serious effort to learn, and keep on learning about the organisation, the industry. Attend orientation programmes, go on field visits with salesmen, keep your eyes and ears open, talk to a variety of people, there are many opportunities to glean information. The client cannot fault you for making an effort to learn. A word of caution though: Do not wait to be spoon fed.
THOU SHALL ALWAYS BE HUMBLE: Humility wins battles and takes you a long way when you are building a long term relationship. You don't have to grovel but courtesy is hard to challenge and it is a saving grace. These are just some of the commandments. As you work in client service, you will develop other commandments. The main thing is to remember that relation ships need to be worked at, con stantly, consistently.
I I I I I I I
Indira Nair is the Managing Director of Edelman Public Relations, Kuala Lumpur with more than 18 year's experience in management positions, consulting for many local and multinational corporations.
YesJn my AO, Not in my office!
THOU SHALL ALWAYS CONDUCT YOURSELF IN A PROFESSIONAL MANNER: Mistakes, inaccuracies, being late for meetings, missed deadlines, incorrect invoices, reports with typographical errors, weak or simplistic planning - all cast doubts on a consultancy's competency. Check, double check
Visit the only website in the world featuring over hundreds of companies in the Malaysian advertising industry, their contact details and much, much more... Free access now at http://www.mad.com.my
21 ADO/
by Peter Lo
as a creative tool Years ago, the ad agency I worked for had won a multi-million ringgit account. In that hour of triumph, I felt an incredible sadness for the many who would lose their jobs at the other agency. Our creative presentation earned a stand ing ovation. Agency personnel congratu lated each other and everyone in both agency and client camps were absolutely confi dent. The work produced went on to win many cre ative awards. However, thebrand got wal loped as the com petition preempt ed the launch with a copycat. When the brand rolled out, the competit dropped his price by half, and our brand expired with its pants down. Years before that, I was a
Besides the game of chess, advertising is said to be tops for wastage of time. Often we hear of creative people becom ing frustrated as their creations end up as trash. Time gets wasted, ego gets bruised, and there is gnashing of teeth. Life is not worth living. It's not surprising then that many creatives suffer disillusionment and become cynical. In times of despair, getting the right advice is crucial. Another time, another place, a great creative director had recognised those demons and he told me just in the nick of time, 'Do not be angry with those who have got you by the balls. They will only squeeze harder'. When creative people fail to focus, they can't manoeuvre and lead through the creative process. As writers, we were taught that if we have failed to apply our talent, we would have failed the creative director, the agency, the client, the brand. In our world of make-believe, grey which is neither black nor white, can be either black or white. There is also comfort in the fact that whilst speculation is easily uttered at the bar, the truth always prevails. Awakening to the fact that we're in the wrong business often takes a second or third person to point that out. There are people who have left the business and become hugely
stars often become tomorrow's untouchables. Every dog has its day, so surely mine will come one day. With loyalty being bought and sold over the counter, it boils down to a matter of rele vance and the need for use at the right place, at the right time. That too is the manner in which advertisements are bought and sold. The basic law of economics works on the formula of supply and demand. Much so, the concept of applying creativity as we balance push and pull, sell and emotion. Life was sweet when the client played art dealer and the agency, the ego massager. Free Love ended when the 80s' money-men bought in. Today, marketers are programmed as passionate business people whose career paths are not going to be hindered by a bad decision, least of all, by the choice of ad agency. Creativity without logic or relevance will always appear murky and inflict fear, which marketers will want to distance from. Yet, fear will continue to stimulate change. Those who fear new methods, new technology, new people, will stagnate, 'it's so difficult, life is not worth living'. Those who overcome shall inherit the future. Ad people who understand and apply YING-YANG will continue to maintain a positive mental attitude, reposition weaknesses as strengths. They will also find room to operate on a higher intellect, and apply expertise with an open mind. They will survive this business fraught with negative stress, constant changes, and a world spinning too fast for its own good. YING-YANG bridges the narrow divide of Success and Failure. Day after day, YING-YANG washes ashore rich pickings for those who comb the shoreline first, and debris for others who saunter behind. To the latter, debris smells
Agency proprietary tools are made for creative people who can't think and feel deep enough. When these tools are of no help, try applying YING-YANG, and the thought process will start to shift from your head to your heart. young art director who could write. Once you possessed the creden tials of an art person, creative directors in those days could not see you as anything else. Being young and cocky, I was sure YING-YANG I could write just as well as the best writ rules over ers around. I offered to write for an inter all the national ad agency for free, but the creconcepts ative director at that RHH time thought I was in UI|B the too risky for his comfort. "What if you can't
universe
Realising the dream more than a decade later, I finally found work at that ad agency. Awakening to the reality, W it was perhaps the most W unfulfilling experience J of my entire career. However, it did show me that it was time to take my destiny in my own hands start my own ad agency.
ADO! 22
successful elsewhere. I would never have enjoyed two decades creating adverts if Terry Gilliam had not told me to forget film animation. Another gentleman called John Salmon at CDP convinced me that I must get into advertising. Through the years I have found it easy to find my niche and writing style by applying the simple principle of YING-YANG. It is about contrasts and comparisons, harmony and conflict, and has given birth to some of the greatest advertising propositions I have known. You can judge whether they are world famous: THE PINK PINK FIZZ. IT'S THE REAL THING. ROLL UP, AND DOWN A PINT. A HARD MAN IS GOOD TO FIND. ARE YOU MAN ENOUGH FOR A WOMAN'S JOB? LIFE IS NOT A SPECTATOR SPORT. FROM THE FOLKS WHO GAVE YOU PEARL HARBOUR. You could think of more. Agency proprietary tools are made for creative people who can't think and feel deep enough. When these tools are of no help, try applying YING-YANG, and the thought process will start to shift from your head to your heart. You could probably never write about child-birth if you have never felt the pain and the subsequent pleasure. Or write about death before you have sniffed it from close up. YINGYANG rules over all the concepts in the universe. In your darkest hour, there is light. In your brightest moment, beware of darkness. With vic tory, expect failure. Give a man some money and chances are he'll become obnoxious. Today's
better than rich pickings. Peter V. Y Lo currently writes and manages Magicmakers Sdn. Bhd, a fully accredited ad agency servicing a select portfolio of local and international clientele.
Name: Felix Davie
sure
Barrie Seppings picks his way through the pieces of the recent 'economic readjustment' and finds 'good stuff'. The worldwide secret society of delinquent currency speculators recently raided the piggy banks of close to a dozen Asian economies, reducing curren cies to jelly and taking stock markets out at the kneecaps. Every analyst in the free (and the not-so-free) world came up with a theory to explain what had happened and a forecast to explain what might. Brokers and housewives wept shoulder to shoulder, projecting a compelling mix of indignation and bewilder ment. Entertaining stuff. But, in the immortal words of the prince of pop, 'what about us?' What about the average man and woman slaving away at the coal face of capitalism? The unsung heroes, labouring tirelessly in the modular veal-fattening pens of today's open-plan agencies? The handphone-totin' cavaliers of the agency boardrooms? The steelynerved spreadsheet pilots wringing yet another decimal place out of the monthlies? The fearlessly individualistic art director stum bling into the office at 11 in the face of yet another harshly-worded memo regarding punctuality? Where, apart from lunch, does the new economy leave Malaysian advertising? Here are some clues... 1. Waiting Pretty much everyone has become immobilised by fear, delaying their traditional postbonus job-hop, putting off that holiday, hesitating to update the car, faltering in their bid to push
Crunchtime? the button in a crowded elevator. The bold go straight to the front of the queue and take whatever they want, if they can afford it. 2. Thinking It's what we're famous for, apparently, but in the rush to keep up with insatiable consumer demand, we've plastered our screens and billboards with emptyheaded eye-candy and logos as big as houses. Unfortunately, it's worked so far. As consumers stop to deliberate a bit more (see num ber 1), our advertising will have to work harder, utilising better ideas and taking bigger creative risks, to keep consumers from hesitating. 3. Focusing If your client sells a physical good or service, it is unlikely that marketing has been the weak link in their operational chain. Clients have been concentrating on production and distribution, safe in the knowledge that if they can get the product to market, it will sell. As inventory starts building up, competition increases and con sumers become more choosy, and expect to see the smart clients focus more attention on marketing. 4. Learning I have a business associate who is convinced that the Asian economic correction was engi neered by advanced countries and companies to: a) keep a lid on production costs in this part of the world while,
b) ripping the roof of an evertightening Asian trading circle. If he's correct, the only way Asian economies will be let back into the game is, if they open up their markets to competition. Therefore, expect to see not only more foreign products and compa nies, but also a lot of imported ideas, methods and techniques related to selling. Even if my friend is wrong, bet on some subtle, but far-reaching technological changes that will call the role of the sales man (yes, that's you, advertising people) into question. The Net proves consumers also learn. 5. Laughing Agency employers may find themselves more able to do this when faced with salary demands. This may be wishful thinking on my part, but consider this: With local currencies worth approximately 2 flat rocks and a piece of string, a number of mums and dads are buying plane tickets to retrieve their sons and daughters from suddenly expensive overseas universities and colleges. We may start seeing a lot of recent and almost graduates returning from overseas and put to work to help pay off tuition fees. Experience is valuable, but nothing generates ideas like undiluted enthusiasm. I may not see a reduction in the salaries I have to pay to hire good creatives, but I'll see more 'fire in the belly' from those who land a position in a quality agency. Ha ha!
What's wHA THE 8 i u
WHAT'S THE BIG IDEA? How to win with out
rageous ideas that sell! George Lois has been DEA? described as many things including 'arrogant maverick' and 'genius' but the best reference made to 'The Bad Boy of Madison Avenue' was perhaps by Wall Street Journal in saying, "He has kicked up a creative storm in the ad world and made a > major impact on the buying habits of the nation." George describes the Big Idea as, "One that picks up force and speed, because its elements of surprise changes a habit or a point of view. When you come through with such an idea it has the force of poison gas. The right idea in advertising attacks the mind and body. It can floor you!"
CD
m O
o n
Where does the new economy leave Malaysian advertising? 6. Sweating And not just because we're working in the tropics. The for tunes of an agency will be tied more closely to the fortunes of the client. Good (effective) advertising will become more measurable and distinguishable from bad (ineffec tive) advertising. Throwing blind Ringgit at a media schedule won't reach an increasingly elusive audi ence. Failing to include a message in your ads won't get people to recall your brand. Copying your competitors will cause you both to lose, as confused customers hesi tate. Regional and global align ments won't save you. Hard work will. Get some deodorant. Working in a lean, almost niche agency (we specialise in creativity and outsource the rest to experts), we're looking forward to an era of survival of the fittest. Some of our competitors will fall by the wayside, but many more will become revitalised and a lot more effective, keeping us on our toes and motivated to produce better work. So when next you hear of a nose-diving economic indicator, take comfort in the fact that it's not the fall that kills you it's the sudden stop at the bottom! Barrie Seppings is Creative Director of Shahril Associates who can occasionally complete a conversation without reference to surfing. (nomad@pop.jaring.my)
by Hema L. Raj Chapter Two should come as a surprise to many disbelievers of advertising where George proclaims "Advertising is an art, because it springs from intuition, from instinct and above all, from talent." George's many phrases in this book are nothing short of explosive in extolling the virtues of great advertising. He continues, "Advertising has no rules - what it always needs more than rules is unconstipated thinking." He does however admit, "..there is one rule in advertising that should never be broken: before you shoot from the hip (or the lip), do your homework." and this includes "sleuthing and snooping so that you get to know the loves, hates, biases and predilections of the ultimate decision maker - the boss and client - the guy who pays the bills."
In his typical fiery fashion, George adds, "for too many agencies, the wooing of a client is all flattery, entertaining and the kissing of ass. But once the prospect becomes a client, he suddenly becomes the enemy - too demanding, too critical, too cost conscious. These relation ships are corrosive and destructive, but that's what agency business is like, which has nothing to do with creating great advertising." George Lois has this to say about great advertising and this should be of interest to everyone, "The Big Idea should be reserved for clients of imagination - who recognize talent and are determined to milk that talent to its limit." 'What's the Big Idea" was first printed in January 1993 and published by the Penguin Group.
23 ADOf
WHY LOW IS GOING BACK TO HIS ROOTS One of Kuala Lumpur's leading creative sons has returned from Singapore to his home town to from his own agency, after eight years developing a reputation as one Asia's most awarded art director. Here, Thomas Low talks about his new venture, OT, and some of the differences he has noticed since between c o o
the Singapore
E
and KL markets.
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ADOf 24
A self confessed worka holic, Thomas Low has worked in the Asian advertising industry for more than 15 years, including working postings in London and New York. This year, Low has made the big step to leave Singapore and return to Kuala Lumpur to open his own agency, with his long-term friend and ex colleague, Omar Shaari. Low joined Ogilvy & Mather Singapore as a senior art director in 1989 and a year later was pro moted to Creative Partner. At O&M, and working with copy writers the likes of Graham Kelly, Steve Elrick, Jackie Hatharamani and his ultimate boss, Neil French, his work won awards at the Clios, London International, AWARD, New York Festivals, plus all of the regional Asian creative shows. Last year alone, Low picked up fifteen international awards for work on Singapore Airlines, Royal Brunei Airlines, the Wildlife Conservation Society, the Casa De Goa cam paign, Sugar Huts, Pattaya Paintball Park and Brooklyn Bagles. More recently, his work for Foot Reflexology, Royal Angkor Foundation and Takashimaya Square has been picking up awards in international competitions.
What is your reason for return ing to KL after working in Singapore so long? Low: Homesick. And to fulfill a long-held ambition to start my own advertising agency together with my business partner Omar - hence the name OT. Plus, Malaysia is booming, there's a lot opportunity and potential for great advertising. Has the KL industry matured and grown in the time you were away? Low: Yes, KL agencies are winning more awards - regionally and inter nationally. Also, the number of good directors, photographers and illustrators working in KL has increased, which has helped the industry as a whole mature.
are improving steadily. KL is definitely stronger in television. The concepts seem stronger and production values are generally higher, due to budgets, usually being higher. What are your objectives in forming OT and what can you add to the market? Low: Our objective is to be a different kind of ad agency; one that offers clients the creative standards of a multi-national agency minus the bureaucracy, and with a personal touch. We also believe we can add a bit of colour and variety to the local creative scene.
What type of clients are you interested in working with and why? Low: We want clients who value strategic creative thinking and who will allow us to produce awardwinning campaigns that will build their brands.
Why team up with Omar Shaari? Low: Omar believes that behind all successful advertising campaigns lie well thought out strategies. The sad part, according to him, is that this hasn't always worked the other way round in his recent experiences. That is where creativ ity comes in, and that is why we teamed up.
What is the difference between the Singapore and Kuala Lumpur markets? Low: It's difficult to generalise, but Singapore's strength will always be print. Though I think KL is catching up and overall standards
Which ads are you most proud of? Low: To be honest, there are too many to name. I have had the privilege of working with some of the best talent in the region. My profession is my passion hence it's my pleasure!
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25 ADO/
It's a mall world!
Ever since they started mushrooming around the metropolis in the early 90s...
Every year, Christmas seems to creep in more
prematurely in the Philippines. As early as August this year, some radio stations were already blaring Christmas carols. The Halloween decor hadn't come down yet when Christmas lanterns were already being put up. Christmas is indeed the busiest season, and nowhere is its frantic pulse felt most than in Manila's malls. The roads that lead to these humongous shopping complexes become congested, causing apocalyptic traffic jams. Thousands of people BII stream in and out like ants; to accommodate them stores open early and close late. Ever since they started mushrooming around 1 the metropolis in the early 90s, malls have become the foci of today's Filipinos. Not only do we go to these places to shop, watch movies and eat but also patronize them for special events, fitness exercises, health services and art exhibits. We even attend church services in them! The mall is the ultimate mecca for Filipino consumers. Coming in from abroad, returnees troop to the airport duty-free mall whose most popular outlet is probably the supermarket where they load up on every thing from European chocolates to Argentinian canned corned beef to American toilet soap. The city malls are getting more cavernous
I hate art directors because at school
they were the illiterate rowdy scruffs at the bottom of the English class. Suddenly, they are on my level again. And because they are called directors. ("Son, we know you're doing well....but why is that gormless scruff you're working with a director already and you're not?") And because they can write and I can't draw. And because they can say things in a very few words. (Mind you that's because they only know a very few words...) And because most of the ads I've won awards for were the ones they wrote. And because I am deeply suspicious that they had more fun at art school than I had at university. And because female art students are more liberated than their stitched-up straitlaced sisters at university. And because the only time they want to do coupons is on 64-sheet posters. And because they hate logos. (If they can't sign their artistic masterpiece of an ad with their own name, they're damned if anyone else will - particularly the client.) And because, if they don't like the idea, they won't do a layout. And because they'll tell you you're being pretentious when you slip a quotation from E.M. Forster into a direct mailshot for plumbers. ("Only connect", as it happens. From Howard's End.) And because they argue unreasonably with jolly nice men in suits who'd buy you lunch at Fanny's if only you'd make the logo bigger. And because even the few words they do know take on different meanings. ("Moody" means "too dark". "Sarah Moon" means "out-offocus", etc.)
ADO/ 26
and more interminable, catering to a wider spectrum of consumers. A rich lady might visit the mall to have her hair done at a salon, lunch with friends and pick out an outfit or two at an uppity dress shop. Her housemaid might go to the mall on her day-off, taking in a local movie and having a snack. Cynics point out that there are about as many malls as there are golf courses in this country. Where are the much needed industries to fuel the economy that will stuff the pockets of Filipino conB(|B sumers in order to sustain this mall culture? The more optimistic among us counter the phenomenon is a sign of investor confidence and of consumer demand. .• It's still too early to find out if the .•* recent devaluation of the peso will impact on . - • •" -**-• holiday consumer spending. The media is beginning to get clogged with Christmas-themed commercials. The most must-have merchandise is being displayed in store windows embellished with lights, tinsel, Santa's ruddy face and aerosol snowflakes. In general, Filipinos spend generously, what with cash bonuses and gifts and relatives and friends and a fiesta mentality. But even if they will have less money in their pockets this Christmas, you'll know where to find them.
WHY I HATE ART DIRECTORS Rather than write another article for ADoi, Steve Elrick who's Executive Creative Director of O & M Malaysia decided to send us something much funnier, more accurately observed and something people may just rip out and keep. In other words, somebody else's work. Someone passed me a photocopy of this years ago and since, I've copied, faxed and passed it on to more than a few others. It's written by the now sadly departed John Turnbull. And because they'll make you write 1,500 words just to make an ad look nice. When you proudly read it to them, their eyes glaze over...("Look, mate...no one's ever going to read all that.") And because some idiot once said a picture's worth a thousand words. It took words to say that, didn't it? How would you say it with a picture? And because they leave the tops off Pentels. Even if you put them on profit share. I bet they leave the top off the toothpaste, too. And cut their toenails in bed. And because they're just a primitive mechanism for turning trees into waste-paper. And because they tell you that the soundtrack you've brought back from the studio isn't funny anymore. And they can't hear the words. And because they're often right. And because their roughs always look better than their finished ads. And because you can lie awake all night wrestling with an idea. You go in at 7 am to fine-tune it. No sign of you-know-who by 10.30, so you bounce it
off the Creative Director. ("Here's an idea we had..." of course.) He loves it, so you tell the account director. He hates it so you bully and cajole until he accepts it - on condition the quote's cheap. You ring a director and beg for mates' rates. At 12.50, you-know-who turns up.to go to lunch with a production company he'll never use. The quote comes in, the commercial is sold and guess what? The quote is so tight, it can only cope with one agency personnel going on the shoot...which is in Fiji. Who goes? ("Well, it is a very visual commercial...") And because if they're so bloody visual, how come they have to set everything seven times "just to see what it looks like"? The late John Turnbull Copywriter, The Campaign Palace, Melbourne.
Steve Elrick Executive Creative Director Ogilvy & Mather Malaysia
David PerrSive Director Executive Creative unÂť
Bozell Worldwide
Bhd Malaysia Tel 03-7192332 Fax:03-7171841
looking for a creative team who would rather work at Burnett. There are some changes
going on here at Bozell.
And we're looking for a new
senior team to be part of the change.
Ideally, you're already
working together producing ads that are exciting, insightful and selling lots of product
(the latter will be of interest to
you or we won't be interested
in you).
We would also like to
see individual writers and
art directors - we just might prove to be very good marriage
brokers of the creative kind.
Call us. Let us show you
the kind of work we're doing
now, and who knows, with
your help we'll give Burnett
a run for their money.
AWHFY? Are we having fun yet? Agencies have become costly and ineffective. The quality of the creative product and the people running the clients' business are handcuffed by financial agendas. Usually at this time of be booked immediately to ensure smooth cash flow. year after an awards hangover, Agencies have become morale in the industry tends to fall. costly and ineffective. The quality of The challenge of creativity in our the creative product and the industry is underpinned by whin ing, snivelling, finger-pointing and people running the clients' business backstabbing in many cases: are handcuffed by financial agendas. Burdened by costs, Creatives in Malaysia can advertising agencies are compelled do great work. Look at the calibre to delegate responsibilities down of strong thinking presented in the line to inexperienced errorpitches. In pro bonos. In agency prone junior staff who spend most self-promotion. Any agency I have of their time lurching from crisis worked in, platforms these as areas to crisis. as ones of exceptional creative. Global media alignments So we understand the are also reducing agency income creative department can do great drastically. Deals work. Then why is struck in London or Meanwhile, the advertising New York rarely we see everyday, in all this, what's benefit any client so... pedestrian? happened to the ad? in smaller Asian So expected? So Getting back to markets. They exert boring? Because the enormous external advertising agency, basics, the only pressure, command in its truest form, is reason an agency the highest support the least likely envi exists is for its from agency resources ronment for superi creative product. and generally, or creative to occur. provide the least advertising The income for the agency on a per industry needs to reinvent itself to centage basis. (But agencies aren't cope with new agendas and the stupid; they understand the environment it operates within. traditional agency structure is From top to bottom, the Jurassic. That's why many are entire industry is performing from opening independent media hous a position of fear. Fear of weaken es as profit centres. They have lost ing markets. Falling Ringgit. faith in their own systems.) International re-alignments. New Meanwhile, in all this, media options. Media owners what's happened to the ad? Getting dealing directly with clients. back to basics, the only reason an Increasing overheads. Increasing agency exists is for its creative compensation. HQ in NY demand product. It is the only reason a ing more profitability. Local part client walks through the doors. ners likewise. Fear of increasingly They expect and deserve the best. pragmatic brand owners dealing And rarely get it. Because, who in with day-to-day marketing wars. today's agency structure can Fear of the client who signs the deliver a superior product? cheque. Fear of an award-winning Well the poor buggers in creative product which takes client service can't . The Account more time to develop and more Director is running around chasing time to sell. solutions from, albeit, well-meanThe agency simply cannot ing juniors, who are too busy train afford to spend a great amount of ing the trainees. The Account time in developing the strategy or Planner can't; he or she is too busy the creative product. The idea with some turkey in New York here is to get the job done once and talking about international brand by doing it safely, the client accepts it strategies. on first presentation and media can
AD©/ 28
The Director of Client Service can't because he is covering his ass with the Managing Director by chasing the Account Director and the Planner. The MD couldn't care less because he's going home next year; his resume doesn't depend upon creative awards or such nonsense. Besides, he's too busy kissing up to the local partner. The Media Director doesn't fit in this equation because he is probably running the independent media shop in addition to his responsibili ties with the agency. The Finance Director is too busy with the Managing Director's entertainment receipts. Certainly not the creative department. They are treated like suppliers. The job bag is tossed into traffic. 'Here's the brief. We need it tomorrow. Don't go too far on this one - gimme three options. Media insertion is next Monday'. Sound familiar? The result? Everyone plays safe. Advertising doesn't cut through. Nothing stands out from the rest. Sadly, it is this clutter which defeats the entire industry.
Ironically, it is the industry itself which has created this situation. The agency system has forgotten about the ad - the very reason we are in this business. The sheer delight of cracking a razor-sharp strategy wfth brilliance and relevance. To see our clients' faces when their sales go through the roof. To win an award. To feel rewarded and accomplished. To simply have fun. There are many good agencies. Some are adopting a fee system of compensation which automatically negates the nonsense described above. If you are a hungry creative, or involved in any area of an agency - and want to do great work - find a small local agency. Explore the way it works. Look at how they have improved on the agency system, rather than be swallowed in it. Become part of a new advertising protocol where the emphasis is on the ad. The quality. The passion. And the fun. Then we'll see you at the awards in a few years time.
We are in search of
high-calibre individuals for permanent and freelance positions. Copywriters • English & Bahasa Malaysia Senior Art Directors Account Directors Account Managers Senior Media Planners Senior Sales & Marketing Executives Media Sales Reps Call or fax Kathy Wong at:
BT.ABS
(318264-M)
10-3 Jalan SS7/16, Kelana Jaya, 47301 Petaling Jaya
Tel: (03) 777 3713 fax: (03) 777 3727
Being Briefed A job for a soundtrack always begins with a brief, it
almost always is given by thecreative department although there have been times when the agency producer or the film director is the one that han dles this. Regardless who, I like taking briefs because it is the start of some thing new and the chance to be creative and do something different is always there. Most times, the agency has a definite idea of what they want and music references are played for you as to the feel of the music they are looking at. This is a great help because it narrows down the areas in which to look at as music is so wide and almost anything can work with anything depending on how the pictures are cut to it. Therefore you can have a
by Mike Veerapen Scat Productions
of such briefs and therefore proceed to ask my clients some key questions to try to extract more of a brief for me and in so doing help my client to solidify his or her thoughts about the music and not be vague. The genre of the music is important to know. 'Uplifting' can be achieved by various genres of music. Rock achieves it as in 'Top Gun' as does opera in the 'Aria' used for British Airways. Knowing the target group also helps in that the right kind of music helps draw the attention of the desired audience. Recently, I did a baby product commercial where the target audience was average income families in ordinary Malaysian homes but the brief was 'Alanis Morisette' although the editor had done his off-line with the 'Theme From Summer of '42'. Nice thought but
Sometimes we get briefs where there are no references and we now have to pull out the English-Music dictionary. How does one translate terms like 'soar', 'uplifting', 'dynamic', 'big', 'innocent' into music and come up with a piece that does that, bearing in mind that what may sound uplifting to me may sound depressing to you? choral piece of music with heavenly voices to visuals as unlikely as two boxers slugging it out. Sometimes we get briefs where there are no references and we now have to pull out the English-Music dictionary. How does one translate terms like "soar", "uplifting", "dynamic", "big", "innocent" into music and come up with a piece that does that, bearing in mind that what may sound uplifting to me may sound depressing to you? I learned long ago to be wary
unless we have a teenage singl parent situation in this country! Other important bits of information that are really useful to know are what's the pace; fast, medium, slow? What kind of orchestration? How much copy? And basically anything that helps me get the whole picture in my mind. I find that if my clients aren't sure of what they want, they are always sure of what they don't want and knowing what that is really helps narrow things down.
irs TIME YOU BROKE AWAY. Does your current newspaper make you feel heavy? Dizzy perhaps? Fed up of having to carry around a load of clutter? Read the Sun. It's breezier, more interesting and most of all it'll liven up your life. Don't you think it's about time you broke away from the conventional.
READ THE SUN.
Master Trainer of Presentation Skills stars at Institut ILHAM! At first sight, he looks like Riz Khan of CNN (minus the wig and contact lenses). But at first sound, you get the full idea. Md Farooq is more than an articulate profes sional. He brims with enthusiasm, flooding his listener's mind with coherent logic, no matter what the subject he is covering. Is this a trained skill or a God-given talent to speak well? To express your ideas in ways that establish a bond between speaker and listener? "It's really a matter of atti tude," says Farooq in his inimitably fluid style."I have been training people for years, from top-level corporate types to middle management professionals who yearn to excel by presenting themselves better." A professional trainer, Farooq makes sure of one point in his training approach: he doesn't impose his teaching. "When it comes to pre senting an idea or concept to a group of people, everybody has their own unique style. My job is to bring out their full potential by building on their strengths and identifying their weaknesses. This way, everyone is assured of success because they do not have to try and be someone else. The focus has to be absolutley right, the reason for delivering the presentation should be crystal clear, the objectives should be smart, the main body must be logical and easy to follow, but the delivery must be impactful with a memorable finish. Of course, Farooq does it with a lot more verve and finesse than most of his peers. Whether you are account manager, copywriter, art director, media person or company director who has to put on a show to state your case, presentation is all about yourself and learning the
right techniques to refine your natural qualities. "In advertising, it's more the case. You sell ideas or plans and the client pays you for what you propose and present. They commit millions of ringgit even before they actually 'see' the product. Therefore, how you deliver your presentation is critical to your success.The client is buying you and the idea comes naturally as part of that package." muses Farooq. He was born in Pakistan and spent most of his life in training in the pharmaceutical business in the UK. Now he has made Malaysia his home, after he married a Malaysian, herself a grooming consultant. Farooq has trained many multi-national corporations and also home-grown Malaysian enterprises. He has received rave reviews from leading local and international advertising agencies here, for displaying a training style that's both lively and interactive. His programme focusses on individual needs while working in the larger framework of the group, incorporating video recordings and previews. "I love what I do, it's that simple," quips the man who would surely give Riz Khan a run for his money! Farooq is now a Consultant Trainer with Institut ILHAM and will be conducting an Advanced Presentation Skills workshop for ad professionals over two full Saturdays on January 10 & 17, 1998. This is part of ILHAM's Weekend Value Workshops Series but only 16 participants will be admitted at RM 799 per person (including all meals). Those interested are kindly advised to confirm early, because of limited seats, by phoning Institut ILHAM at 03-716 2588 or fax us at 03-716 2598. Registrations will be accepted on a first come, first served basis.
Saatchi & Saatchi Malaysia appoints Zenith
Saatchi & Saatchi Malaysia has entered into an agreement with leading media specialist Zenith Media Services (M) Sdn Bhd assigning to it the media operations of the agency. The agreement, to take effect January 1, 1998, was signed between Mr Guy Whateley, Saatchi & Saatchi Malaysia's Chief Executive Officer, and Mr Gerald Miranda, Chief Executive Officer of Zenith Media, in Kuala Lumpur. Zenith Media Malaysia, which started operations in 1995 as Malaysia's pioneer international
ADO/ 30 •^
media specialist, is already the leading company in its field in the country. The expected total media billings next year from Saatchi & Saatchi, and also other new businesses, will help further strengthen its positions as Malaysia's foremost media com pany with annual billings well in excess of RM 200 million! "Our decision to appoint a media specialist company is an important one that has its roots firmly in securing the very best media value for our clients," said Mr Whateley. "As an ever-increasing and substantial cost to advertisers, media is subject to closer scrutiny and, unsurprisingly, greater expectation of return on invest ment.
Unlike advertising creativi ty, media's contribution to the mar keting mix is directly measurable through the size, composition and quality of the audience it reaches. These two fundamental variables of media cost and audi ence exposure present our clients with considerable opportunity for efficiency gains. I believe this is a great step forward for Saatchi & Saatchi Malaysia and with Zenith as our business partner we can be even more dedicated to delivering these efficiencies by providing our clients with sustainable competi tive advantages which demonstrate a measured, accountable return on their media investments." Zenith Media Malaysia is part of Zenith Media Worldwide, one of the world's leading global media agencies, with 43 offices in 23 countries in the United Kingdom, Europe, the United States and Asia Pacific and with
representative offices in a further 60 over countries. The local company began operations in 1993 as an indepen dent unit handing media functions for Bates Malaysia and was official ly launched as a separate entity under Zenith Media Worldwide in October 1995. Whilst sharing expertise, systems and resources with other Zenith Media Worldwide offices, Zenith Media Malaysia has at the same time forged strong strategic alliances with the principal media in this country. Its annual publication, Media in Malaysia, has come to be accepted as the industry standard. Zenith Media Malaysia has also installed a whole array of media optimisation tools branded under the acronym ZOOM (Zenith Optimisation Of Media) developed by Zenith Media Worldwide under a three-year, multi-million dollar IT development programme.
ADASIA'97 O
MANILA
I M n G I N fl S I fl
advertising language which is in harmony with the new modernity of Asia and its centuries-old achievements." On 'The Role of Asia in Our Network Plans' by ALLEN ROSENSHINE - Chairman & CEO, BBDO Worldwide. "I should warn you that getting older does change things. It's like the old man who was fishing on a pond when a frog jumped into his boat. The frog looked up at him and said, 'Kiss me and I will turn into a beautiful woman.' The old man grabbed the frog and stuffed him in his pocket. From inside the pocket the frog called out, 'Believe me old man, it's true. Kiss me and I will turn into a beautiful woman.' The old man looked into his pocket and replied, 'Listen, at my age I can have much more fun with a talking frog.' And I, too, must face reality. For BBDO, it would be foolish not to admit that in the Asia/Pacific region, with the exception of Australia and New Zealand where Clemenger/BBDO is very strong, we have not had the same level of success that we have enjoyed everywhere else in the world. But that is the only good news our competition are going to get from me today. The bad news for our competitors is that is in the past 18 months, we have put in place new management in BBDO agencies in Hong Kong, Beijing, Kuala Lumpur, Taipei, and Tokyo. And three months ago, new regional management has taken over, including Chris Jaques, our new President of Asia-Pacific and with him, for the first time, both a regional creative director and a regional director of strategic planning. There ought to be no doubt about the importance of Asia and the leader ship role we expect the region to play in the continued growth of our glob al network." On 'Does Creativity Has a Nationality?' by BHANU INKAWAT - Chairman & Executive Creative Director, Leo Burnett Ltd., Bangkok, Thailand "We can't deny that the world is now one big marketplace. More and more, we are forced to use global advertising campaigns because the client wants a uniformity in brand building across the globe. This has been an ongoing issue amongst the agencies in developing countries like in Thailand because we often feel that a western concept is not applicable or does not have the right appeal to Thai consumers. Look at it this way, if those products can have universal appeal and answer to the needs of different people across the continents, then maybe the advertising concept could be able to do the same as well. This can only happens if the particular advertising concept has a big enough idea to answer to the needs of the consumers, whether they are Westerner or Asian. Or that the concept can reach deeper and touch universal human feelings or behaviour. If we establish or find such ideas, then the challenge of the creative in each agency is to find the execution that reaches even deeper into the hearts of their local con sumers based on the big global idea." On 'Does Creativity Have a Nationality?' by SOJI GEORGE TANAKA - Founder & Creative Director, Tanaka Plus, Tokyo, Japan "Since the 80's, I have said that advertising in the 21st century must be GLOCAL. We must Think Globally and Act Locally, which means that a global view of management and marketing should be com bined with capable creative people, who understand the local audience. Without personal identity, you can not simplify and clarify what you want. However, Japanese society tends to suppress personal identity. As the result, Japanese tend to put too much in advertising, and people from different countries find it difficult to understand. I have seen this problem at international advertising competitions many times. To solve
Bloomingdale^ (oops)
The oops is very important to us as it distinguishes us from a famous New York department store. That's one side of the argument. The other side is of course very different. That's because we're an advertising agency that doesn't sound like one, and this is perhaps, our strength. We're neither a cliche nor are we a spin off from something else. As a locally-owned agency we're unique. Why? Because we act and discipline ourselves just like our international cousins yet we remain Malaysian. Which means, we tackle communication tasks with a very local flavour.
And that our clients benefit from a
variety of advertising disciplines, ie design, P.R. and above as well as below the line advertising. Should you be curious enough about the oops, look us up in this book.
this problem and create glocal advertising for international Japanese com panies, I formed a creative network, called "GLOCAL INTERSECT, a net work of creative people around the world. I have completed about 50 projects with foreign designers in the last 15 years. Honestly speaking, it isn't always easy working with foreign designers, but it is rewarding if you have the patience. Just exchanging information is not enough any more. We need to work together more. If we do, the nations of Asia and the Pacific rim will become a true creative centre in the world. The most successful creativity in the 21st century will be achieved by GLOCAL teamwork."
31 AD©/
TOP TVCs
have High Stimulation and High Relevancy
High Stimulation and high Relevancy scores sort out the top
ads from problem ads. Market Insights Sdn Bhd conducted a test of 15 TVCs in October 1997 to present to their 12 November Seminar on Television Advertising Effectiveness. The results of the survey emphasises that the memorability of a TVC is related to its level of stimulation and that the branding power is related to the Relevancy measures of the TVC and the brand clues. 15 TVCs were selected by Market Insights from those aired during September. They were tested on a sample of 100 respondents aged 15 to 39 years in KL/PJ using in-home, face-to-face interviews. Half the respon dents were Malays and half Chinese. 60% were male and 40% female. The fieldwork was undertaken from 10 to 12 October, 1997. To aid recog nition 6 colour stills were shown to represent each TVC. In the Summary below we have selected one of the stills from each TVC. The RIM CHART promotional TVC for Astro had high scores on all four measures. The creativity was evident and it told viewers something new. The clock device worked well to attract attention. Note that on all the measures the scores are higher than the average shown by the centre unbroken circle; anything outside the centre circle is an above average score. Recognition of the TVC was high even though the program is broadcast in Bahasa and only half the respondents were Malays.
15
TVCs
were
selected
by
Market
Insights
from those aired during September. They were tested on a sample of 100 respondents aged 15 to 39 years in KL/PJ using in-home, face-to-face interviews. The Chart below summarises the scores for the 15 TVCs on four measures of Recognition, Branding, Stimulation and Relevancy. The level of Recognition depends on the budget for the current ad and the time in the campaign cycle at which the measure was taken by Market Insights. There is normally a peak in recognition scores soon after the TVC is aired and then there is a decay in recognition scores after the ad has been taken off air. The Stimulation and Relevancy scores are more stable over time and less dependent on the campaign cycle of the ad. The Kodak TVC was rated the best of the 15 TVCs tested based on the four measures listed here. It had a very high level of recognition and a high level of branding. The Stimulation scores were medium to high with the cartoon character providing high scores in terms of entertaining, clever and attractive advertising. The Kodak ad had a medium to high relevancy score overall with very high scores in terms of 'tells me something new' and 'better than other products'. This is a strong brand. The advertising has been very well branded with strong pack shots. The cartoon character has added stimulation and helped in creating a high level of recognition.
Perilly's had a highly visual scene enacted which was entertaining and held viewers' attention. The Alcatel ad for their coloured phones was very noticeable, entertaining and held viewers' attention. It certainly told them something new with the emphasis on colour and the use of batteries. The Volvo ad scored high on both Stimulation and Relevancy. It was said to be a clever ad that made the viewer feel good. It was certainly telling them something new about the new model and told them enough about the product. The Volvo ad was highly branded. A&W scored well for their Coney product which mentioned Kari and Satay types. A&W face strong competition from McDonalds, KFC and Pizza Hut and they need to be aware that they run the risk of not being per ceived as good as the other products. There was high awareness of the Pantene ad and even though only 40% of the sample were female it scored high on 'to do with my needs'. The Mild Seven TVC had high recognition and was seen to be clever but unlike the Perilly's ad it was not strong on attention getting or enter taining. Johnson's Kids shampoo TVC was certainly entertaining and made people feel good but it was poorly branded with a third not able to recall the brand. Among those who recalled the 15 second Renaissance ad for their Udom restaurant it was said to be stimulating and branding was high. However it had a low level of recognition overall, probably due to its low budget and being one of a series. The Anlene TVC had a high level of recognition mainly due to the skeleton device. Respondents said that it told them something new but they did not think that it related to their own needs. The branding was very poor with only half correctly naming the brand. This is probably because of the level of awareness of the brand generally and the generic nature of the message which was taken more as the benefits of drinking milk and not necessarily the benefit of drinking Anlene specifically. The four TVCs for Lipo, John Hancock, Lysol and Mutiara were poor performers overall. The Lipo ad had poor stimulation and this led to poor recognition. The revolving world turning into a can was thought to be boring. Whilst the John Hancock ad was well branded by those who recog nised the ad, the level of recognition was low. The ad was rated low in terms of relevancy. The Lysol ad had low Relevancy, low Recognition and low branding. And finally, one of my favourite ads was the one for Mutiara which had low Recognition, low Branding and low Relevancy. It was unfor tunately confused with being an ad for a Zoo, National Geographic, a doc umentary and even an ad for Kodak. It was not well branded and the TVC lacked Relevancy. The survey was conducted by Market Insights Sdn Bhd. For further information contact Halimah Osman, managing director or Gordon Geraghty on 603 717 8842 Market Insights SUMMARY of TVC Test:
Test Reel Summary Kodak Perilly's RIM Chart Astro Alcatel Volvo A&W Pantene Mild Seven Johnson's Kids Renaissance Anlene Lipo John Hancock Lysol Mutiara
Recognition Very High Very High High Medium Medium Medium High High Medium Low High Low Low Low Low
Branding High Very High High Medium Medium High Medium Medium Low High Low Medium Medium Low Low
Stimulation Medium to High Medium High High High High Medium Medium Medium High Low Low Medium Medium Medium
Relevency Medium to High Medium High High High Medium Medium to High Medium Medium to high Medium Medium Medium Low Low Low
Source: Market Insgihts Sdn Bhd
ADO/ 32
Market Insights Sdn Bhd will help you clients to build your brands.
If you impact the left brain there is a higher chance that your brand will be correctly identified.
The Coca-Cola brand is said to be valued at US$50 billion. How valuable is your brand? Strong brands enjoy a longer life. Familiar brands are more likely to lead to purchase than less familiar names. The more closely consumers can identify with a product as 'my brand' or 'the brand I prefer to buy' the more they will seek it out and buy it. Stronger brands allow and justify higher prices, better margins and better profits.
Your advertising agency should be given a free hand in creating stimulating and relevant advertising that will build your brand. They have the skills and talent, but often the client puts them in chains by restrictions placed on them. The client needs to be supportive of their creative function.
What can you do to build your brand? What can you do to ensure the success of your brand? The first step is to recognise the importance of marketing in building brands. One must consciously move from being at the stage of distribution orientation and/or production orientation to being marketing oriented. There must be sufficient funds allocated to the marketing budget to allow the brand to be advertised and promoted. You cannot build brands without advertising. Consumers need to form a 'perception' of your brand. If you don't create the right perception then the brand image in the market place runs the risk of not being the brand image you desire. Your advertising needs to be stimulating. It needs to be directed to the right brain, the creative side. Consumers need to have advertising that is entertaining, that attracts and holds attention, that is clever and makes one feel good. Your advertising needs to be noticed; to cut through. It needs to be remembered and recognised. There must be creative elements that are immediately recognised and associated with your brand. There should be a theme statement tied to the Brand: 'you can be sure of Shell', a Brand symbol and a Brand identity. Your advertising also needs to be relevant. It should address consumers needs. It should tell them about your product and why it is better than others. Where possible it should tell consumers something new. These informational elements are aimed at the left brain, the side that processes information. Your message must be relevant.
HALIMAH OSMAN Managing Director
The client should take the responsibility for ensuring that their ad agency has the following: • The market segmentation is understood • The primary and secondary target audiences are defined based on psychographic as well as demographic variables • The brand positioning of your brand vis a vis competitors is understood • The importance of each product/service variable in terms of brand choice is measured so that you can prioritise your message to those that matter • The right price-point is chosen for your brand's product/service to maximise profits • Qualitative insights are provided to assist in the creative development. There does need to be accountability for the marketing function. Client's own sales data and syndicated research such as Retail Audits provide a measure of per formance of the marketing function. However, marketing is all about building brands and sometimes short-term sales targets may be met by discounting, price-offers and promotional activity that will diminish the brand longer term. There needs to be a balance. The strength of the brand and its development needs to be tracked on a regular weekly or monthly basis so that the trends can be determined. Dipstick every six to twelve months can provide useful information regard ing brand image, brand positioning and market segmenta tion. For advertising awareness, recognition, branding and message recall these dipstick cannot tell you what has gone on in between; you need monthly data.
NORSITA LIN BT. AHMAD Research Director
GORDON GERAGHTY Research Consultant
Market Insights for You!
Market Insights would be pleased to discuss your tracking requirements and to give advice. You will find us very cost effective. The latest techniques are being used by Market Insights to help their clients in their brand building. Multivariate analysis, choice modeling, regression analysis are some of the techniques used. The techniques are not just for analysis they are also used in reporting. At Market Insights the idea is to present complex information in easy to understand forms such as Brand Webs, Ad Vitality Webs, Ad Reaction Models, Brand Maps, Attitudinal Segment Maps and Webs, and Attribute Importance Graphs. Market Insights will tailor the research to suit your needs and requirements. We are a full service market research company that is interested in you and your growth. We are friendly. We smile a lot. We know that in marketing there needs to be a balance between the creative and the informational. We provide value in both qualitative research such as focus group discussions, in-depth interviews and observational methods, and quantitative research such as door-to-door interviews, mall interviews, telephone interviews and product/pack tests. We have a speciality in self-completion questionnaires that have a high response rate and can provide more accurate results with far less courtesy bias. We want you to use our research. We want you to profit from our research. We will work closely with you. We will give advice and suggestions. 'Do call us on 717 8842. We, Halimah Osman, Norsita Lin Bt. Ahmad and Gordon Geraghty are determined that Market Insights provides the highest level of customer service and international standards of research design, fieldwork, analysis and reporting. You have our personal guarantees.
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Tel: 03-717 8842 Fax: 03-712 2548
Market Insights - Ad Vitality of test reel
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Attracts/hold attention
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OK. When did you ever have to pay for a heating bill? Or when did you last buy an overcoat? Have you ever run from a volcano? When did you ever have to say it was brass monkey weather? When was the last time you needed more vitamin A? When did you ever encounter a twister bther than Chubby Checker? Where are all these places? They're 'Elsewhere'. Places known only to meteorologists who always claim that it's so much better there. -V' :"r*
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