Financial Mail AdFocus 2018

Get your brand in the Mix.

FOREWORD

Chris Botha

Bridget Von Holdt

Andrew Mackenzie

Deborah Schepers

Cecil Lyons

Tanya Schreuder

Memoria Masilela

Koo Govender

Tara Turkington

Sbu Sitole

Pete Case

Nola Lourens

Phumi Mashigo

Sharon Piehl

2018 — The year of content The industry is surfing the content wave successfully, on the cusp of great things and ready for the ‘big bang’

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o let’s start with the bad news. To say the advertising industry in SA, and for that matter around the world, is in a state of change and even confusion is an understatement.

Rapid change in the digital space is forcing agencies and their clients to come up with different ways to engage with consumers. That imperative became more urgent in 2018 as more traditional forms of marketing were eschewed in favour of online solutions. And the hard numbers tell the story. The latest PwC Entertainment & Media Outlook: 2018-2022 — An African Perspective, notes that digital revenue will add R41.3bn and nondigital revenue R6.7bn to the media mix through until 2022.

The question then that consumed ad agencies this year was how to respond to the paradigm change. And one of the tools in its armoury was content creation. Towards the end of last year we started keeping note of how many times that phrase was used when we did our regular rounds of agencies and their clients. We gave up soon afterwards when we realised it wasn’t only a tool of necessity but also one of survival. Unless brands were giving consumers a real reason to watch and engage actively with their output they’d go out of business. It was all that brands and agencies were talking about so it wasn’t a difficult leap to craft our theme for this year’s edition of AdFocus as “The Year of Content”.

So then we set about interrogating how well local agencies were doing and if they were up to the task. And here’s the good news.

As you’ll see from an extensive range of interviews on the topic, bespoke research and insightful opinion pieces, the ad industry is not only surfing the content wave successfully but in many respects it is garnering accolades from around the world.

Notable success stories this year included a clever video campaign that tapped into Cape Town’s drought crisis that urged citizens to take no more than a two-minute shower and a second artfully shot series of videos trying to extend the reach of ballet to a broader citizenry. Both were extensively awarded.

Being a fly on the wall at one agency planning meeting, it was notable to witness how compelling content creation was the longest talking point. We suspect that conversation was, and is, happening in many agencies right now.

We hope the front of the book this year gives brands a real primer on how to get content right and create seamless material that will move product but more importantly seed valuable conversations.

Once again the awards side of AdFocus 2018 was a robust process under the excellent jury leadership of Phumi Mashigo from the Ignitive agency. A note of thanks as well to the jury members who gave of their time and expertise.

Claims of success were interrogated fiercely and we’re confident category winners are worthy of one of the ad industry’s most coveted accolades. The competition not only looks at the output of agencies but how well they have run as a business and most importantly what value they are adding to their

client’s bottom line.

We were struck by one marketing executive’s comment during the judging when he asked whether brand communication agencies had become a luxury, given the fiscal squeeze many companies are facing and will continue to face in 2019. We like to think given the quality of submissions this year and the intellectual firepower that many agencies have, he was dead wrong. But make no mistake, it’s a question that will be asked with increasing intensity in the coming months.

The AdFocus project is the result of hard work from just a few dedicated team members but two need singling out this year — awards project manager Danette Breitenbach and writer and publication co-ordinator Lynette Dicey. It’s a game of keeping many balls in the air over several months.

The integrity and transparency of the project is also critical to its success and once again our thanks to Deloitte for its valuable oversight role. The eye-catching cover is again the work of the Switch design agency. Our only difficulty this year was making a choice between three concepts that were all thought-provoking and powerful.

So, onwards to 2019 and what’s in store.

That is best summed up by a leading ad luminary who remarked: “This is an industry on the cusp of great things and make no mistake, we’re up for it, but I sense it will be like walking across hot coals without the benefit of shoes.”

Jeremy Maggs Editor AdFocus 2018 - 3

CONTENTS Foreword ................................................................................... 3

COVER STORY In the ad world, content is king ........................................... 6

ADFOCUS AWARDS

Consumers need connection to brands ....... 4

Large advertising agency of the year and AdFocus agency of the year ............................................... 12 Medium advertising agency of the year ........................... 13 Small advertising agency of the year ................................ 14 Independent media agency of the year ............................ 15 Network media agency of the year .................................... 16 Specialist agency of the year.............................................. 17 Industry leader of the year................................................... 18 Partnership of the year ......................................................... 19 Shapeshifter .......................................................................... 20 African impact award ............................................................ 21 Lifetime achievement award .............................................. 22 Student of the year ............................................................... 24 Transformation award .......................................................... 25

Lifetime achievement award .......................... 22

COMMENTARY & INSIGHT

Today’s ad is not just about a brand, but what it stands for.............................................. 10

The speed of culture ........................................................... 26 The power of storytelling .................................................... 28 Evolution of the ad ............................................................... 29 Delivering phenomenal branded content on a budget . 30 Why your next creative hire should be a journalist ......... 31 Blurred reality ......................................................................... 32 Branded content .................................................................. 33 Against the ropes ................................................................. 34 The media landscape .......................................................... 36 The year that was ................................................................. 38

The year that was .............................................. 38

OMD MEDIA FACTS........................................................... 44 CORPORATE PROFILES .................................................... 72 BEEN THERE, DONE THAT, AND I’LL BE BACK ........ 114

The increasingly fickle world of advertising..................................................... 114

A year of highlights........................................... 12

Financial Mail editor: Rob Rose AdFocus editor: Jeremy Maggs Project co-ordinator: Lynette Dicey

Contributors: : Lynette Dicey, Samantha du Chenne, David Furlonger, Jeremy Maggs, Deon Wiggett, Kristen Lowe, Patrick Conroy, Makosha Maja-Rasethaba, Sir Martin BovrilPenstone, Sir Martin Bovril

Layout: John Tsatsi, Colleen Wilson IT: Jaco Coetzee Sales manager: Kay Naidoo Cover: Switch Branding & Design Sales: Cortney Hoyland, Debbie Montanari, Nigel Twidale Photographers: Freddie Mavunda, Hetty Zantman, 123rf Photo Sub-editing: Maseipati Tsotsotso Proofreading: Dave Landau

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CEO, Dentsu Aegis Network SA; Ruth Kolevsohn, chief operating officer, Burson-Marsteller Africa; Cecil Lyons, head of marketing, eNCA; Andrew MacKenzie, MD, Boomtown;, MD, Ignitive; Luisa Mazinter, chief innovation officer, Mortimer Harvey; Gau Narayanan, MD, Net#work BBDO; Sharon Piehl, MD, FleishmanHillard; Dale Tomlinson, CEO, The Hardy Boys.

Student award panel: Phumi Mashigo, MD, Ignitive, Grant Sithole, chief creative officer, Avatar; Martin Schlumpf, creative director, Joe Public; Nic Kostouros, creative director, The Promise Group; Claudi Potter, creative director, Joe Public; Sibusiso Mkhwanazi, digital creative group head, Joe Public Deloitte auditors: Nola De Klerk

AdFocus Awards project managers: Danette Breitenbach AdFocus jury: Phumi Mashigo (chairman), MD, d-cifr; Chris Botha, group MD, The MediaShop; Pete Case, chief creative officer, Ogilvy & Mather SA; Karabo Denalane, CEO, TBWA\Hunt Lascaris; Koo Govender,

Media awards panel: Phumi Mashigo, MD, Ignitive; Koo Govender, CEO, Dentsu Aegis; Cecil Lyons; Kgaugelo Maphai, MD, The MediaShop Sandton; Memoria Masilele, account manager, United Stations; Deborah Schepers, chief strategy officer, PHD; Tanya Schreuder, director, Vizeum.

Printing: Hirt & Carter

When culture calls, call us: gridworldwide.com | 011 502 4600 | info@gridworldwide.com AdFocus 2018 - 5

COVER STORY

In the ad world, content is king Consumers need connection to brands Good content that speaks to consumers is what engages them with a brand, in an industry reinventing itself amid new ‘disruptors’

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f you spent more than five minutes with any advertising or marketing executive this year you could bet a gold Loerie the words “content-marketing” would come into the conversation.

Once upon a time the narrative was about pay-off lines, body copy and art direction.

These days though, in a desperate attempt to retain consumer attention, brands need to engage, tell a story and stop boredom setting in. And so a new, or at least re-worked, currency has been born in ad land — content.

The trouble is, much like bitcoin, there is much confusion over value and efficacy. So the big question agencies and their clients were battling with in 2018 was: is content marketing all that it’s hyped up to be?

It might be useful to start with a definition.

The US-based Content Marketing Institute offers this: “A strategic marketing approach focused on creating and distributing valuable, relevant and consistent content to attract and retain a clearly defined audience and ultimately drive profitable customer action.”

Kelly-Paige Howell, head of digital integration at Mortimer Harvey, says: “It would be crazy to not see the value in content marketing. Some brands are not meant to get personal with their customers, but most provide a wealth of opportunity. With content marketing, long after a customer has passed your billboard, your brand is still in touch, on-topic and increasing brand equity.”

Joanna Oosthuizen, Ogilvy’s COO, says there isn’t much new about the concept. “The world of marketing hasn’t changed that much.

We have always been storytellers. The use of content, though, is a way to create relevant conversations and influence in places where brands and people meet. Content is less about hype and more about being relevant. Effective content marketing allows us to customise

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information for smaller groups and in this way be relevant, credible and most importantly shareable.”

Alistair King, chief creative officer at the King James Group SA believes content marketing is liberating the advertising industry, “which was starting to bore itself to death”.

Content, he says, has brought back the essential ingredients of entertainment, engagement and creative flair.

“And content has also enabled us to finally bring all the marketing disciplines together in a single marketing purpose. The disruption and anxiety our industry is experiencing right now are simply the pains of an industry reinventing itself, for the better,” says King.

Kgaugelo Maphai, MD of The MediaShop Johannesburg, is blunter in his assessment.

“Content marketing is a hyped-up term for what advertising should be. It is the fundamentals of what we do every day. The very first TV ads in the 1930s were content pieces created by brands. Nearly 90 years later, not much has changed,” says Maphai.

“We have realised consumers are more likely to engage with a piece of communication if it is relevant, whether that be long form or short form. What we do every day should be to create relevant content. Whether that be in a 30-second format or a long-form drama series.”

Spero Patricios, MD of The Launch Factory and a member of the local Content Marketing Association, says: “Brands are losing the battle when it comes to engaging consumers on the traditional platforms. For the tech-literate and increasingly discerning customer, content marketing provides the knowledge and insight necessary to inform buying decisions, and to assess trends and conditions in the market.

With access to the right kinds of content, it’s possible for consumers to discover products and services of which they were previously

unaware — and build relationships with those organisations whose content resonates with them.” Patricios believes a well-crafted content marketing strategy has the potential to increase your customer base, brand recognition, and global presence.

So while brands may be sold on the concept, or believe they have little choice but to climb on the bandwagon, the question remains what makes good workable content.

Public relations practitioner Michelle Cave believes effective content is “an amalgamation of relevant information that works for the

123rf Photos/ Weerapat Wattanapichayakul

COVER STORY

business and drives profitable customer action”.

Simone Lipshitz, owner and MD of Headlines PR agency, says: “For any content play to be successful, brands must ensure they first become a valued source of information.

Where many fall short is by using content marketing as a hard-sell direct marketing channel from the outset. Spamming your audience with company and product info will drive significant attrition rates because modern digitally empowered consumers do not respond well to this approach.”

And that view is echoed by Preetesh Sewraj, CEO and chief innovation analyst at Product of the Year: “Content that taps into the consumer’s desire for a mind-opening or heart-opening experience will always win in a cluttered playing field. Great content serves to inform consumers about their interests and further entices them to go on a journey that proves that the responsible brand is best able to fulfil these new-found interests.”

So if the case has been made for content in the marketing mix, how should brands and agencies be approaching the issue both from a

development and strategic perspective?

Bonnke Shipalana from The Communications Firm says simplicity is the key: “At the heart of content marketing is storytelling. The purpose of a great story is to draw in the audience, allow them to get immersed, and get them to want more. Whether it’s a 140-character quote, a 1,000-word blog post or even a soapie — all that matters is the power of the message.”

But brands should also be aware of subtlety, says Nigel Hollis, chief global analyst at Kantar Millward Brown: “Short view times and ad blockers are people’s response to irrelevant, AdFocus 2018 - 7

COVER STORY

Kgaugelo Maphai

Joanna Oosthuizen Alistair King

interruptive and repetitive digital marketing.

Marketers must respond to this challenge not by creating better content but by dropping explicit brand promotion.”

King believes brands are overcomplicating the issue of content. “Great content has the same ingredients as a great ad. It grabs your attention, it makes you think, feel and want to know more about the client responsible. Many companies talk about content creation, but most of it is just content capturing. Unless it packs creative punch, it’s just digital editorial that fills space. It’s just wallpaper of a different form. We should still value a big idea ahead of all else.”

And that view is shared by Brett Morris, group CEO of FCB Africa. “As potential customers are increasingly able to avoid advertising, content and media becomes more proliferated, it becomes even more important to be relevant and entertaining. Great content, whether you call it advertising or brand content or branded entertainment or experiential content is the only way to create a competitive advantage. If you are not highly relevant and engaging you will not get your share of attention and you will not stop people hitting the skip button.”

Artifact Advertising’s social media strategist Kevin McLennan says authenticity is key to the 8 - AdFocus 2018

success of content marketing. “When brands are true to themselves and have fun with their content, they begin to make great content. In a time that’s difficult for many people, relatable content makes it the most successful.”

But as brands embark on this new journey it’s critical that they and their agencies have an immersive strategic understanding, which some experts believe exists only in patches.

Says Brand Fundi’s Cave: “While the concept is understood, the challenge may be in truly ‘nailing’ what great content is, and knowing how best to integrate it into an overall strategy and as engaging material.

Engagement is what connects brands to consumers and good content is the tool that enables that.”

Morris says in his experience not all agencies are gearing up fast enough to facilitate the changes needed to be competitive in this space. This, he says, means recalibrating agency and client relationships so agencies become more brand partners than executional suppliers. It also, he says, requires new approval processes and production processes but with the caveat that none of that counts for anything if the content is not highly relevant and engaging.

Maphai says the playing field is patchy when it comes to understanding the power of content. “Ad agencies have worked out how to

create content for top-end, largely white consumers. I don’t think as many have cracked how to create content that is relevant, engaging, and a breakthrough to the majority of SA’s population in their own language. We see it in the performance of TV shows like Uzalo and The River. Local content rules, and not enough brands are capitalising on this and creating similar advertising content.”

Marketing in the modern era has become about precision measurement, and brands are unlikely to dip their toes into the water unless there is a guaranteed return on investment (ROI). So, have agencies worked out the formula, or is there still too much thumb-sucking? The Launch Factory’s Patricios says measurement is critical.

“There is a simple content-marketing formula to weigh the cost of content against the revenue you earn. First, how much you spent to produce the content even if it is produced in-house, there’s still a cost attached.

The cost of production will also include any external content assets you had to pay for, such as images, video, audio or any outsourced work.

“Then you have to work out what it costs you to distribute the content, which should include any paid promotions and be sure to include the cost of any special tools or software required for either content creation or content distribution. Then work out the ‘what you got’ in return, and if your content is working well, it’ll generate leads that turn into sales. Sometimes, there’s a clear link between

COVER STORY

Brett Morris

Nigel Hollis

content and revenue, such as when people read a piece of content, click on your call to action, then buy something. At other times, that process takes a bit longer; the relationship between content and sales isn’t as direct. If you add up all the sales that resulted from a piece of content, you’ll know how much you earned, which is your return.”

Mortimer Harvey’s Howell believes measurement is an ongoing debate. “Many brands are unable to see a direct ROI in a content marketing strategy and dub it as ineffective. However, a combination of metrics is recommended to judge the performance of your content marketing campaign. Can you track sentiment? Is your content shareable? Does it rack up high engagement rates? And, most importantly, when the time comes, does it drive the consumer to take action? The goal of all content should be purchase or conversion.”

King cautions brands not to be overly obsessed with measurement.

“Digital platforms allow our customer to be

one click away from a sale, and that must surely be the ultimate measure. But, as always, there are many layers to advertising effectiveness, and none of them has diminished with the rise of content. We still want our customers to love, or even consider, the brands we work on. Sometimes that love and consideration is immediate, sometimes that love and consideration shows up a little later.”

One key question marketers should ask is what the relationship is between a content strategy and more traditional advertising approaches. Says Ogilvy’s Oosthuizen: “The world’s brands are way more integrated than ever before and content is just one of the key fundamental pillars. The traditional approach needs to consider the needs of content at the point of creation, requiring brands and organisations to consider the needs of content in advance.”

And the last word to FCB’s Morris: “At the end of the day it’s all advertising, regardless of the name we give it. But if by ‘traditional’ we mean transactional and passive, then that model will fail. Modern marketing integration is a strategic process that happens at the highest level of an organisation, not an afterthought.”

Jeremy Maggs AdFocus 2018 - 9

RESEARCH

Messaging is key Content needs to be able to pull at the heartstrings Today’s ad is not just about a brand, but what it stands for. Its human element, values and goals need to resonate with consumers

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n the modern media environment consumers face a barrage of content on a daily basis, with brands all desperately vying for attention. In this cluttered environment the only way for them to stand out, say the experts, is to create compelling and consistent brand messaging across all touchpoints.

Consumers today want to be reminded of the humanity behind a business; they want to understand its unique goals and values and the reasons they do what they do. There is a school of thought that the best way to make valuable and authentic connections with consumers is for brands to tailor content to directly address their needs, desires and values.

How exactly do local marketers and advertisers find a voice amid a sea of competition for their brand? According to research conducted on behalf of AdFocus by Tiso Blackstar, it’s by remaining relevant. If everything we do is based on an insight and fulfils a genuine need, it will work, said one respondent. The delivery channel may have changed, but relevance remains universal. But, critically, ideas must be based on a genuine insight in order to resonate and find traction in the noise.

Along with relevance, credibility is key. In other words, relevant, valuable information on platforms that are credible is a powerful tool.

It’s all about adding value for the consumer by making their lives better, more convenient and more enjoyable.

The danger in a constrained economy characterised by reduced budgets is that too many brands are governed by research, ultimately producing safe, wallpaper communications. But to find a voice, brands need to trust their gut, be smart and be brave.

Unless they can find a way to be disruptive, their communication will be lost.

In the same vein they need to find a way to be locally relevant while adopting an aggressively differentiated strategy. Finding a

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voice and being heard requires that brands are authentic and tell their story in an interesting, clear and concise way. As one respondent put it, to stand out brands have to be consistently authentic, relevant and in touch. Anything that rings false will cause the trust to be broken — often irreparably.

It’s not about talking or shouting at consumers but rather about engaging them through effective storytelling that reaches the heart of the target audience in order to build a relationship. Brands that have a clear message and communicate this in a simple and distinct way do manage to find a voice.

“It’s becoming increasingly difficult [to find a voice],” says one respondent. “Traditional advertising spaces are slowly becoming less effective. Brands need to be clear regarding what they stand for and their purpose.

Advertising needs to align and create affiliation with that purpose.”

Another maintained that finding a voice requires “staying focused on the key elements of a brand story told well. Focus consistently on those things that differentiate the brand.

Even if you do only one thing, do it better than everyone else. You get lost when you shift too much and you are not brave”.

Most respondents agreed that branded content, including multichannel content, is an effective way of finding a voice.

But how exactly do local marketers and advertisers define branded content? The majority of respondents (90%) believe that the concept of branded content is perceived differently by different client groups.

Definitions varied from “anything with a logo” to infomercials, sponsored promotions or sponsored product placement. “When a piece of content is tagged as ‘sponsored’ or ‘partner’ it is automatically recognised as paid for. But if it’s good and engaging and offers value, then I don’t think it matters. If a brand is very apparent in the piece of content, it will be seen as branded content.”

Another definition was: “Any content that mentions the brand, refers to the brand in a subtle way, or where the focus is on the brand instead of the benefit for the client,” or “TV shows where the brand is integrated into

RESEARCH

storylines and appears within programming”.

It appears there is still some confusion regarding what branded content is and how to use it effectively. As one respondent pointed out: “Clients still have a need to place their product’s or logos on content generated and shy away from creating brave content that takes their consumers on a journey.

“They see it as another touchpoint to manage instead of seeing it as a connection, building on relationships with the audience.”

Another said there is a positive move away from just sponsoring content towards more relevant and supportive content that benefits the brand and the consumer. “Opportunity exists in this space with agencies that know the value of relevant content well placed to lead the way.”

A little alarmingly, many local clients consider branded content as anything done by their digital agency in a social media context, including longer-form video.

Blog posts are also considered branded content with one respondent pointing out that: “People trust articles written by influencers based on their own experiences.”

There appears to be a general acceptance of the fact that branded content is a valuable way of building brands and that as it’s not a sales pitch it creates trust between the brand and the consumer and more meaningful interactions. As a result, dedicated budgets should be given to branded content. The challenge, however, is to find the balance between promotion and entertainment.

Most respondents agreed that to do branded content you need to know how to tell a story but added that it only works in conjunction with other ways of marketing.

The main qualities of good branded content, the research revealed, include being relevant, having resonance with and an ability to engage and entertain audiences with a good storyline. The brand presence needs to be subtle and should not be the central focus of the content. Rather it should be seen as an enabler of valuable content instead of a hard-sell promotion. The content needs to be authentic, honest and make an emotive connection with the audience. Critically, it needs to be derived from a true insight.

Successful branded content has a “shareability” factor and includes sufficient

fresh content that is both human and customer-centric. From a media planning point of view it utilises the correct channels at the right times.

All clients are looking at branded content in some form as consumers become more brand aware, says one respondent. Those brands looking at utilising branded content include banks; large FMCG clients; clothing and apparel brands; telecommunications; automotive brands; retailers and supermarkets; as well as multinational clients.

Most respondents agreed that branded content is not merely another passing fad, agreeing that consumers have better recall of brands that use branded content. Not everybody agreed that a brand can be built purely on a branded content strategy. It’s part of a good communications strategy, not a standalone channel, according to more than one respondent.

Hampering the adoption of branded content in SA is the fact that senior management at a client level don’t understand the concept, worsened by the fact that client departments work in silos and that results are hard to measure. A lack of skills and agencies’ inability to do successful branded content were also cited as issues hampering the adoption of branded content.

Lack of budget is another factor slowing the adoption of branded content, with one respondent explaining that there is a misperception that producing branded content is much cheaper than producing traditional advertising, with the result that budgets for branded content are a fraction of what they should be.

The risk, said another respondent, is that everyone claims to be an expert. “Properly curated and crafted branded content — often with an editorialised approach to the content — can and does lead to proven ROI, deeper brand engagement and sales uplift.

It can offer a deeper level of engagement than classic above-the-line advertising. The reality is that both can work beautifully as part of a holistic, integrated content ecosystem and as part of a broader marketing strategy.

Lynette Dicey AdFocus 2018 - 11

AWARDS

LARGE ADVERTISING AGENCY OF THE YEAR and AGENCY OF THE YEAR: Ogilvy Johannesburg A year of highlights The agency has ticked all the boxes when it comes to growth, management and empowerment

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olid ratings across all aspects of its business make Ogilvy a double winner. Strong business growth, seamless management succession, empowerment progress and top awards all over the world. To say it’s been a decent year for Ogilvy Johannesburg would be an understatement — which is why it is not only the 2018 AdFocus Large Advertising Agency of the Year but also the overall Agency of the Year, drawn from all categories.

This was no runaway success, however.

Joe Public fell only fractionally short of Ogilvy on the judges’ large agency scorecard. TBWA\Hunt\Lascaris Johannesburg completed the shortlist.

But first to Ogilvy. Revenue grew 10.4% last year, with the addition of R65m between July 2017 and June 2018. The biggest success was in retaining the MultiChoice account, which went out to a formal pitch. At the end of June, Ogilvy was handling 68 accounts.

The agency’s awards haul during the period included two golds at The One Show in New York; a grand prix and four Elouise Kelly: MD, Ogilvy Joburg golds at the local 2017 Loeries; and three black pixels and three golds at the Bookmarks. It was named agency of the year turnover, from a worrying 30.5% the previous by the Creative Circle, was best performing year, to a more manageable 15%. agency at the Loeries, best performing digital The agency’s empowerment rating also effectiveness agency at the Bookmarks, and took a step in the right direction — down from top effectiveness agency at the Assegais. level 3 to level 2.

There was also individual recognition.

Training and development has always been Mariana O’Kelly was ranked among the an important feature at Ogilvy. Kelly says last world’s top 12 executive creative directors in year the agency spent R3.6m running 72 the Gunn Report’s Global Agency Review, courses, which were attended by 2,439 people. while Pete Case made the top 10 chief creative Joe Public just keeps going from strength to officers. New MD Elouise Kelly took charge strength. Last year it grew revenue 30% and during the year, and there was a number of profit by 32.5%. There was new business from other management shifts. Overall, though, Altron and Edcon, while the agency also there was a sharp reduction in employee retained Nedbank, Jet and Chicken Licken. In

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all, it won six of seven pitches.

It helps that Joe Public has developed a reputation for the market effectiveness of its advertising. It was the most awarded agency at the 2017 Apex show for effective advertising. Research by the Scopen international communications industry consultancy found that Joe Public was ranked by clients as SA’s top agency for integrated services.

CEO Gareth Leck says there has been a marked industry shift over the past two years, away from traditional paid advertising media towards digitally focused earned media.

He says: “At the start of 2018, we entered a period of reinvention towards delivering an integrated, above-the-line and digital solution to clients who are finally seeking a seamless solution that increases efficiencies and decreases costs without neglecting quality.”

Joe Public is a level 1 empowerment contributor and spends heavily on social investment, most notably its inhouse One School at a Time education project, on which it spent nearly R1m last year.

TBWA\Hunt\Lascaris Johannesburg grew revenue by 85% last year, thanks mainly to its acquisition of the MTN account. But there was also significant input from winning Liberty. In addition, retainer revenue grew by 117%. The agency impressed at awards shows, both home and abroad. At the 2017 Loeries, it won 15 awards, including five golds. It was the top-ranked SA agency at both The One Show and the D&AD awards, held in London. At the Cannes Lions in June this year, TBWA\Hunt\Lascaris won its first entertainment gold lion for work on behalf of Joburg Ballet. There was also radio gold for the “Youth and Adventure” campaign for Flight Centre, and two silver lions.

David Furlonger

AWARDS

MEDIUM ADVERTISING AGENCY OF THE YEAR: King James Still King of the castle Not much gets in the way of our winner’s admirable progress

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here is a pleasing predictability about the King James agency. You know it will be innovative, that it will grow, that it will make excellent advertising. You also know it will win awards. Awards like this one. King James is the 2018 AdFocus Medium Advertising Agency of the Year.

One should never underestimate awards. Last year King James won big at the Loeries, Midas and Bookmarks — a total of six golds and 12 silvers.

Its shortlisted AdFocus competitor, Avatar, won ... well, not very much at all.

That means that under the AdFocus judging system, which Alistair King and James Barty includes awards and industry recognition among the four criteria, Avatar immediately lost a chunk of King was elected to the SA Creative Circle Hall potential points. The agency has signalled its of Fame, while Barty was appointed chair of intention to become a creative advertising the Association for Communication & presence, with the appointments since Advertising and a member of the Loerie mid-2017 of Brett Wild and Grant Sithole. But Awards board. For Avatar, there will be these things take time. obvious disappointment at not regaining the However, back to King James, a five-times award it won in 2016. If co-founder and group AdFocus winner over the past 10 years, CEO Zibusiso Mkhwanazi had his way, including individual accolades for founders however, the agency would be competing in James Barty and Alistair King. another category.

The July 2017-June 2018 judging period was “We agonised over this entry,” he says in his another solid period for the agency. Revenue motivation. “We wanted so badly to be entering grew 8.7%, partly from existing clients but also large agency of the year. Our relentless pursuit from the addition of Netflix and drinks of improving, growing, trailblazing, getting up, company AB InBev. In the other direction, the trying harder, felt like we should be larger.” agency lost Parmalat after a 13-year The agency grew revenue 87% last year. relationship, as well as Vital Health Foods.

There was new business from H&M, Skyy Staff turnover was surprisingly high — 30 Vodka and Chevron, but the agency parted people left during the year — but the agency ways with Fox Africa and AB InBev — the latter did well on training and development. because of a conflict of interest with other Empowerment couldn’t have gone much clients. Mkhwanazi says of the H&M account: better, either: the agency is a level 1 BBBEE “What started as a conversation to help this performer. Besides creative awards, there was Swedish brand navigate the local space other significant recognition for the agency.

became a world first: a TV commercial conceptualised and shot on African soil. Our team was flown to Sweden to share insights and learnings at executive level.”

Avatar had been Chevron’s digital agency for two years but to win the above-the-line account “was a real coup”.

Avatar’s early pace out of the creative starting blocks is not uncommon. As with many new agencies, the immediate priority was revenue. Mkhwanazi says: “In six years, we have gone from disruptor to leader and can still claim to be the largest black-owned and managed through-the-line agency in SA.” But while it was tempting to grow quickly to 120 employees (the threshhold for AdFocus’s large agency), “our growth has been conscious”, he says. “We know we are leading the way for many other black-owned agencies and we carry that responsibility seriously.”

Creativity, though, is growing, he says. The impact of Sithole, particularly, has been “phenomenal” and he is charged with creating award-winning, world-class work.

Despite its positioning as a black agency, Mkhwanazi says Avatar prides itself on diversity, and its growing reputation has allowed it to poach/hire senior talent from across the spectrum. The agency has also been keen to diversify away from public sector clients — who are perhaps less concerned about creativity than the rest of the market.

Mkhwanazi says: “We wanted to increase our private-sector clients to balance our client base and also up the creative work. We have very strategically set about what type of business we need and where we could perform and deliver best.”

David Furlonger AdFocus 2018 - 13

AWARDS

SMALL ADVERTISING AGENCY OF THE YEAR: Collective ID The comeback kid Some agencies would have given up in the face of such endless, negative odds. Not this one

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ife can be unfair. Not long after Ireland/Davenport (ID) management won the AdFocus leadership award in 2014 for their agency’s phenomenal growth, the sky fell on their heads.

BMW, SA Tourism and Vodacom all moved their accounts elsewhere. Not long after, MD Susan Napier and founding partner Philip Ireland left. Then the agency was punished for breaching industry pitching guidelines.

Some agencies would have thrown up their hands and surrendered. But ID was made of sterner stuff. It saw the crisis as an opportunity to restructure. In April 2017, Brenda Khumalo and Qingqile Mdlulwa were appointed managing partners and the agency became majority black-owned. A more collaborative management model was introduced and the agency was renamed Collective ID. Critically, established clients like Avis and Isuzu stayed loyal. The agency began to grow again. Khumalo admits there has been market “curiosity” about the agency’s rebrand. But it’s been positive curiosity.

Standard Bank made Collective ID lead agency for its personal and business banking activities. The Development Bank of Southern Africa also came on board, along with the MAQ laundry detergent brand.

During the AdFocus judging period, from July 2017 to June 2018, revenue grew 78% — a huge turnaround after declines of more than 50% in each of the two previous years.

The result of all this is that Collective ID is the 2018 AdFocus Small Advertising Agency of the Year. In a close vote, it beat out last year’s winner, The Odd Number, and Duke, the agency founded by former Lowe MD Wayne Naidoo. All three are level 1 BBBEE contributors.

To underline its renaissance, Collective ID is also winner of this year’s AdFocus edition.

Transformation Award. A report on that award appears elsewhere in this AdFocus.

Transformation, however, also plays a part in agency award categories and one of Collective 14 - AdFocus 2018

Qingqile Mdlulwa: executive creative director; Sharon Bergman, financial director; and Brenda Khumalo, MD

ID’s stand-out activities is its inhouse nurturing of black-owned brand communications enterprises, including provision of clients.

Once a venture is ready to go it alone, it’s set free and Collective ID takes on a new candidate.

Khumalo hopes the agency’s bad days are behind it — though the agency needs more clients to reduce its income reliance on Standard Bank. She says: “This agency has survived against overwhelming odds. Now we’re looking for clients to partner with — those who see diversity, transformation and representation as an imperative.”

Its revenue grew 345%, thanks to new business from Nedbank, Wimpy and AB InBev. The agency was ranked SA’s most creative 100% black-owned agency. Accolades included a gold statuette at the 2017 Loerie Awards.

Co-founder Xola Nouse says: “The agency’s growth may be viewed as rapid and we are well aware that accelerated growth isn’t necessarily good growth. The next two years for the agency are about stability and breakthrough.”

Duke grew revenue 123% last year.

Beverages company AB InBev, which has been doling out business to lots of agencies, was a

contributor, but so were Pioneer Foods, Woolworths, Riscura, Quality Beverages and the Heart & Stroke Foundation.

Naidoo, who has always been forthright on trends within the industry, warns that the brand communications industry risks undermining itself through short-term thinking.

“We’ve lost the basic marketing disciplines of developing enduring positioning, sound and targeted proposition development, a unifying creative concept and a comprehensive and understandable plan,” he says.

“Everything has been around speed rather than impact. Clients seem to think the money saved on media expenditure can be simply banked. We believe this bubble is bursting.

Many ‘influencers’ will be found out as ‘attention whores’. And we’ll relearn the hard fact that great brands are built over time, through consistently great work. We’ll realise frenetic brand activity is no substitute for strategy and careful planning.

“Clients will soon realise they need to invest more in the training of their marketing teams and the building of their brands.”

David Furlonger

AWARDS

INDEPENDENT MEDIA AGENCY OF THE YEAR: TMI Media A devil of a year for Jones Our winner is enjoying phenomenal growth. But that will eventually bring its own challenges

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f you’re reading this and suffer from hexakosioihexekontahexaphobia, read no further. The word means a fear of the number 666, sometimes referred to as the “number of the beast”, or the devil. A few years ago, the US state of New Mexico changed the name of national Route 666 to Route 491, with the explanation: “The devil’s out of here.”

It’s fair to say TMI Media has no such fears.

In the year May 2017-April 2018, it increased client billings by a ridiculous 666%. The growth ensures it is winner for the second successive time of the AdFocus award for independent media agency of the year.

The 666% is slightly misleading. The agency was launched in October 2016, so its first “year” of results was actually seven months.

But the agency’s development in the next 12 was impossible to ignore. Judging of this year’s award reignited the old debate about which is more impressive: a media agency that boasts steady growth over many years, and enjoys long-term relationships with loyal clients; or one that shoots the light out with spectacular, short-term results?

On one side were RMS Media and Alphabet Soup, established agencies run by respected industry veterans. On the other was TMI, run by former Carat agency boss Quinton Jones.

RMS Media was founded by Rob Smuts in 1993. It’s a no-nonsense agency that delivers consistently solid results for more than 30 clients that include Metropolitan Group, Austell Laboratories and Bliss Chemicals, which owns the MAQ range of laundry and cleaning products. Some clients have been with RMS from the start.

Smuts, an active participant in industry affairs, has no pretensions of turning RMS into a giant. Still, a 44% increase in billings during our review period is not a bad return. New business came from the likes of Glencore, StanGen Insurance and the city of Ekurhuleni.

In April this year, RMS partnered with the privately owned Lonely Planet international network to form a new company to compete

TMI Media Team: Back row — Jenny Barenbrug, Libo Ndwayana, Quinton Jones, Andy Plaatjies, Antoinette Labuscagne, Front row — Lerato Molele

for international accounts. In August — outside our judging period — Smuts also set up a majority black female-owned RMS sister company.

Alphabet Soup, run by Nikki Lewin, has been around for 18 years. Last year it grew billings by 18%. Its main accounts are Bidvest Bank, motor company Mahindra and the SA Gold Coin Exchange. Lewin says the growth was very creditable in an environment of “tough trading conditions, a changing political landscape and depreciation of the rand”.

TMI, which has a buying arrangement with local industry giant OMD, has enjoyed phenomenal growth since its launch at the end of 2016. In its first year, it snared Dunkin’ Donuts, Baskin-Robbins, Kraft Heinz and sports better Sportpesa. This time around, its prizes included Woolworths, Pam Golding, Sygnia, DIY brand Duram and the Havaianas shoes brand.

The Woolworths win was particularly significant because TMI won in a six-way pitch

that included international network agencies.

“The agency now boasts a significant portfolio of blue-chip, global and local clients.

We have won awards and pitched and won against the best in the industry. We are being included in big pitches ahead of well-established agencies. We are competing against the big network agency brands,” says Jones.

AdFocus jurors say much of TMI’s success is directly attributable to Jones. “He knows the game. He’s hungry. He consistently surprises.

He’s always conscious of his profile. He aggressively looks for big business. As a former head of a big agency, he also knows how major players operate,” they say.

The challenge, say jurors, will come when TMI is no longer a “challenger” agency but an established presence. As agencies acquire new clients, it’s harder for senior executives to take direct charge of accounts.

David Furlonger AdFocus 2018 - 15

AWARDS

NETWORK MEDIA AGENCY OF THE YEAR: Vizeum SA Spurred on to success After a five-way tussle, there is no question — again — that this agency deserves its success

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n the previous occasion Vizeum SA won at AdFocus, the head of another shortlisted media agency sent us an e-mail asking why the hell his crowd hadn’t won, after what he considered another stellar year. No offence was taken. The writer has never made a secret of his hatred of losing in any endeavour. It’s what makes his agency so successful. Plus, the individual is one of the nicest people in the industry.

Why do I record this? Because I’m expecting another e-mail before the end of the year. The writer’s agency was shortlisted again but Vizeum is the 2018 AdFocus Network Media Agency of the Year. It’s the agency’s second win in four years, though the first time it’s won the network category. In 2015, when it last won, there was one award for all media agencies.

This was a tightly contested award. Vizeum, The MediaShop, OMD and PHD, all previous AdFocus winners, were closely grouped in the final reckoning, along with Carat — Vizeum’s sibling in the Dentsu Aegis group.

Vizeum added over R400m — a 15.8% increase — to its annual billings during our judging period, May 2017-June 2018. The Telkom account was actually won in April last year but billings of R334m flowed through during the following months. The agency also won the ABI drinks account in January 2018.

Of the annualised R490m, R75m came through

by April.

Vizeum admits the Dentsu Aegis web is an important part of its success. It has access to specialist skills across the group, as well as to “integrated solutions across pan-Africa”. Senior management additions in both Cape Town and Johannesburg have added depth to inhouse expertise as well.

Further down the local chain, a programme, Route 500, is designed to provide staff with accelerated personal career paths.

Entries in the AdFocus media categories must include a case study with proof of campaign success. Vizeum used the example of the 50th birthday of the Spur restaurant

16 - AdFocus 2018

Anne Van Rensburg — MD: Vizeum CT and Tanya Schreuder — Group MD: Media Brands (DAN)

chain, when Spur took over five radio stations for the whole day. “It was daring, it was bold and it allowed Spur to own the day.”

As part of the event, underprivileged children and their teachers from 12 charities were taken to Spur restaurants for meals.

While they were eating, volunteer teams refurbished the interiors of their buildings with new furniture and equipment. “You can imagine the excitement when the kids returned from their Spur party to see a transformed space,” says Vizeum.

The MediaShop, last year’s winner of this award, enjoyed another good year, though not as stellar as some in the past. Famous Brands, Old Mutual, SA Airways and l’Oréal Digital all brought new business to the agency, which turns 30 in 2018, while Toyota extended its 20-year relationship after a mandatory pitch.

Despite all this, the industry’s Adex measuring tool decreed that MediaShop billings declined slightly last year. Agency group MD Chris Botha, however, says the “flawed” measuring system does not count digital media and that billings actually grew 4%. He adds that the group delivered a record profit to shareholders during the period.

OMD, SA’s biggest agency with more than 200 accounts, says it added R475m in billings last year. Some came from new accounts such

as Cambridge Foods, Woolworths and Australian national airline Qantas.

Of the year as a whole, the agency says: “OMD came off an extremely successful fiscal 2017, which has continued its momentum in our business so far. OMD is still on a high.”

OMD sister agency PHD, the last winner of the single media agency award in 2017 and the first winner of the cross-category, an overall AdFocus agency crown, attracted a series of new clients in the most recent period, including Oceana, Bic and Incolabs. None of the billings was of monster status but, allied to generic growth, the agency increased overall billings by 3%. The agency won some prestigious content and tactical awards last year. It was also considerably ahead of most agencies in its shift to digital and away from traditional media channels. Where most agencies were in the 13%-16% range, PHD recorded a 25% digital share of client spend.

The only contender to outdo it was Carat, with 26.5%. The agency collected some significant new business last year, from the likes of Engen, Absa, Heineken and African Explosive. But it lost business from Woolworths, Old Mutual and the disinvesting General Motors.

David Furlonger

AWARDS

SPECIALIST AGENCY OF THE YEAR: Grid Worldwide Same again, please Winning has become a habit for Grid – on all kinds of platforms

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ow there’s something you don’t see very often: Grid winning an AdFocus award. That hasn’t happened since, oh, 2017.

Before that, it was 2016, 2015, 2013, 2011 … you get the picture. In all, the agency has won seven times in the 12 years of its existence.

Actually, there was a moment this year when Grid nearly didn’t make it. It was the only agency in the specialist category to make it through to the shortlist round (none of the others was considered a likely winner) and jurors asked whether an award should be made. After all, what was Grid being measured against?

Answer: AdFocus benchmarks. Jurors are asked not to score agencies against each other, but against very specific criteria measuring growth, business sustainability, industry recognition and transformation.

Weigh Grid against those, jurors were told, and we’ll see how its scores stack up against winners in more competitive categories. The result: Grid had one of the highest averages in this year’s AdFocus awards. End of argument.

Grid’s core business is branding and design, though it’s expanded its horizons down the years. It’s also a project-based business.

Clients come along with requests for specific brand-based interventions, not with multiyear contracts. Thus, during the AdFocus assessment period from July 2017 to June 2018, clients for whom Grid produced magic included Absa Bank, Alexander Forbes, the Qatar Tourism Authority, Carling Black Label, Chubb, Discovery, Mara Delta, Artscape, OpenServe, the Financial Services Board, FNB, First Rand, KFC, Liberty Louvre Abu Dhabi, MTN, Michelin, Rand Refinery, Sasol, Stanlib, Yellow Pages, Krugerrand, Omnia, Telkom and Woolworths.

According to founder Nathan Reddy, the agency had “an almost flawless pitch-hit ratio”.

Grid says revenue increased 36% during the period. That’s after improvements of 13% and 92% in the two previous years.

Grid’s senior management team

AdFocus apart, Grid maintained its reputation as a serial award winner last year.

Shows and events where it succeeded included the Creative Circle, D&AD and Loeries. At the last of these, in August 2017, it was the most awarded brand design agency, winning 25% of all design communication awards after 20 of its 22 entries were shortlisted. Awards included a fifth grand prix and three golds.

At the same show, Reddy was inducted into the Loeries Hall of Fame, becoming the youngest person and only designer ever to be elected. He continues to sit on the SA Creative Council as the only branding and design representative, and serves on the global TBWA executive creative council as one of only six creative leads across 308 offices.

Others to make their industry mark included creative director Jineil Kandasamy, who was appointed to the Loeries communication design judging panel, while financial director Isayvani Lungoomiah and MD Masego Motsogi were appointed to the board of Brand Council SA. As the agency seeks ways to expand business and redefine itself, it must do so without undermining the progress that has been made before. The agency has no doubt it

has achieved this. “This has been one of our most successful years on all fronts as we have seen all our hard work on future-fitting the business pay off,” it says.

“We embarked on an international growth strategy in 2014, aligned to our partnership with TBWA Worldwide. Since then, we’ve worked in over 10 countries on iconic brands like Michelin and Louvre Abu Dhabi.”

The Qatar win will enable the agency to contribute to creating awareness of the Middle East nation’s hosting of the 2022 Fifa World Cup. Grid is setting up an international office there, with a permanent CEO. “This builds on the back of our presence in London, where one of our executive creative directors was placed to service the UK and European markets,” it says.

Grid remains a level 2 BBBEE business. In line with its empowerment credentials, last year it ran a pro bono campaign for the Paleontological Trust, to highlight the fact that there is only a 0.1% difference in the genes of the entire human race. The agency says: “We share DNA, a 99.9% similarity with each other.

Yet we focus on our differences, the other 0.1%.”

David Furlonger AdFocus 2018 - 17

AWARDS

INDUSTRY LEADER OF THE YEAR: Mariana O’Kelly Her strategic leadership style became a winning formula She displayed an ability to adapt to the industry’s evolution, nurturing talent and focusing on diversity

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gilvy Johannesburg has been the Creative Circle’s top ranked agency for the past two years. Heading the agency’s creative prowess is executive creative director (ECD) Mariana O’Kelly, a fitting winner of this year’s AdFocus Industry Leader of the Year Award.

O’Kelly, who has been Ogilvy’s ECD for the past seven years, has led her teams to five Loeries grand prix and three Cannes grands prix awards in the past year, and has been recognised as the 12th best performing ECD globally, across all advertising agencies, disciplines and countries, by the Gunn Report. She’s also been appointed to Ogilvy’s Global Creative Council, consisting of just 10 members from over 500 offices, to steer Ogilvy’s creative product.

“Perhaps my biggest achievement is having realised that it’s not about the first place, the winner title, and the Mariana O’Kelly: executive creative director, Ogilvy Johannesburg fancy Facebook update but rather about who you choose to be every fall into the trap of the typical successful day and to believe in everyone’s ability to cliché.” To ensure their own sustainability, create something truly beautiful,” she says. advertising agencies do need diversity, she Locally, female creative leadership remains says. However, diversity is bigger than merely something of a challenge. Is it harder for embracing different cultures, races and women to succeed in this industry than men? genders. “So often we judge others, even those In SA there is a great deal of pressure on from our own algorithm pool. We judge their women to be promoted, have a big title and to hair, their clothes, their accents, their cars, run their own agency, says O’Kelly. “But that’s their titles and label them with just one look. not the only path, and it’s not for everyone. The Daily we strip people from their stories. We challenge is to define your own success and need to start embracing humanity rather than understand what you are best at. And then to just diversity.” do that.”

She believes it’s important for industry This could be to grow a team; build the leaders to help grow and nurture talent. In most trusting client relationships; learn how to addition to being an active member of the code; or helping to design an amazing product.

Creative Circle, O’Kelly regularly spends time “I think that if you align your career path at schools and colleges to promote advertising with your own best self, getting there won’t be as a positive career choice. She is also involved so hard. The challenge for me, as an individual in Ogilvy’s postgraduate intern programme rather than a woman, has always been to not

18 - AdFocus 2018

which has 25 individuals across all disciplines spending a year at the agency working on all aspects of the business. “If we don’t nurture the next generation of talent we won’t have people to help build the brands we have been entrusted with,” she says.

A graduate of the University of Pretoria, where she completed a BA information design, her first job was with FCB as an art director. One of her earliest lessons was not to impose her own opinion or tastes onto her creative work but to rather allow the brand to take centre stage.

Operating in such a performance driven industry where value is measured in data points and quarterly reports, the advertising industry is increasingly being forced to work harder with less people, less resources, and to give away its ideas for less than their worth, says O’Kelly.

It is possible, she says, to deliver big ideas on small budgets, but ad agencies cannot be run like a charity if they hope to be sustainable. In the quest for faster and cheaper, something has to give in the end.

The industry, she says, needs to start protecting what it has built. “We have to protect our product and our people. We have to learn how to say ‘no’ or ‘not now’. It’s time to get our boldness back and our belief in our value. Advertising agencies have to be run as businesses of creativity rather than just businesses.”

Her response to accusations that the ad industry is dying, that it’s irrelevant, a commodity, it’s being replaced and that it’s too old fashioned is that they need to be ignored.

“Rather than fearing the future we need to ignore all the negativity, take a deep breath and put our heads down and focus on our people and our work. There are millions of challenges facing every industry. Our job is to navigate our challenges, adapt daily, try new things and retain a culture of learning and fun,” she says.

David Furlonger

AWARDS

PARTNERSHIP OF THE YEAR: Toyota SA and FCB AFRICA Renewing vows They’ve been together forever, but the motor company’s decision to put its account out to pitch brought new challenges to the relationship

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nly one advertising agency has previously shared this award twice, but that was with different clients. For the same agency and client to win twice takes something very special — and Toyota SA and FCB Africa have provided just that.

Actually, when they won in 2011, the agency was DraftFCB Johannesburg. But let’s not quibble over names. Agency and client have been together for 57 years, and in the past 38 Toyota has outsold all its rivals.

This award, however, is about how you use a relationship to improve sales and brand image. The partners must show that they did something special during the AdFocus review period. This is, after all, an award of the year.

So what did Toyota and FCB do in 2017-2018? They co-developed a chatbot that fields 2,000 consumer questions each month.

They redesigned the Toyota Automark used-car website. They found a way to slash production budgets. For example, a through-the-line Toyota Aygo campaign cost R700,000.

The Fortuner 4x4 Challenge received over 1-million entries. A new campaign for the Yaris revitalised interest among young people. An advertising campaign for the Prado had to be suspended when vehicle stocks sold out.

Then there were successful introductions of the Hilux Dakar and Toyota Rush, among others. All these interventions served to keep Toyota well ahead of the pack. The Hilux bakkie was once again SA’s best-selling vehicle of any description. For 2017 as a whole, Toyota’s share of the total SA new-vehicle market was 22.9% — 1.5 percentage points better than a year earlier. Halfway through 2018, the share was even higher.

Nothing outrageous about any of this. After all, agency and client have been doing this for ever. But this was no ordinary year. Towards the end of 2017, the Toyota SA account went out to pitch, as part of a procurement process by the Japanese company to review all its

This award is sponsored by:

and

suppliers, both from a business perspctive and to meet black economic empowerment goals.

FCB Africa CEO Brett Morris says: “For as long as both parties have worked together, results have always been at the centre of what made the relationship strong. So when it came time to pitch while still working on the account, the partnership would truly be put to the test.”

Given FCB’s record with Toyota, and its radical empowerment transformation in recent years, few thought the agency would lose the account. As part of the re-evaluation, FCB changed its structures to provide its client with a more efficient partner. It created a single team working across all channels. Says Toyota SA sales & marketing head Calvyn Hamman: “Our relationship with FCB Africa has always been exceptionally good, and one that has been regularly measured.”

Says Johanna McDowell, founder and CEO of Independent Agency Search & Selection and partner at Scopen Africa, the sponsors of this award: “Toyota and FCB have had a long relationship which could have become stale, and yet the partnership has managed to create a level of freshness and innovation within the campaigns that have clearly delivered the desired results.”

Two other partnerships made the shortlist

for this award. TBWA and MTN worked together to activate the cellular brand across 22 markets. In SA, the partnership helped send consumer engagement and sentiment “through the roof”. TBWA helped introduce new technology to the business. Artificial intelligence and machine learning through bespoke dashboards offer MTN real-time customer data. And then there were Hello Computer and Pernod Ricard, who have worked together for eight years. When they first got together, Pernod declared it wanted an agency that could “think into the future and revolutionise consumer engagement”.

Marketing head Melanie Campbell says: “Hello Computer are true partners. For as long as I’ve worked at Pernod Ricard, we have had an open, trusting relationship that has led to contextual creativity that has lived in the hearts and minds of our consumers. We can all share a drink at the end of the day, too.”

David Furlonger AdFocus 2018 - 19

AWARDS

SHAPESHIFTER: Karabo Poppy Moletsane Shifting the poles in a male-dominated arena Visual artist of note, she has brought a dash of colour to the industry

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he ShapeShifter Award recognises innovative young talent breaking new ground and literally shifting the traditional status quo. This year’s winner, Karabo Poppy Moletsane, is a deserving recipient. Just four years ago she was a student at the Open Window School of Visual Communication, where she completed a BA in visual communication. Since graduating, this talented illustrator, graphic designer and street artist has gone on to create work that has been exhibited on a global stage – all on her own and without the support of an agency.

Her signature Afro-Futuristic visuals illustrate what she calls the unrepresented and frequently confronted issues around identity and equality and everyday SA culture.

Her most significant accomplishments include being one of 12 women globally to be invited to take over Google’s home page in celebration of International Women’s Day in March 2018. Moletsane was one of a group of women artists Google invited to examine important themes through a sequential Google doodle campaign.

The theme for Moletsane’s Google was “audacity”. Called “Ntsoaki’s Victory”, Moletsane’s gif told the story of Ntsoaki, a woman destined to live counter-culturally, who asks to join the male coming of age ritual of lion wrestling. She joins and successfully performs the ritual, culminating in a dance which sees the lion ultimately surrendering to her. It’s a beautifully drawn gif which highlights how audacity and confidence can be more powerful than brute force, and which celebrates women making history in industries traditionally dominated by men.

Last year Moletsane was invited to paint a mural in the Berkeley Art Museum & Pacific Film Archive, a visual arts centre of the University of California in the US. She spent a month at the museum completing an Afro-Futurist mural consisting of hugely scaled-up portraits of people she met on the streets of Johannesburg and Pretoria.

20 - AdFocus 2018

Visual communication artist Karabo Poppy Moletsane

No stranger to big brands, she worked with Woolworths on its Valentine’s Day campaign earlier this year where she created an artwork using roses in unexpected ways in the front

window of its Sandton City branch. Her work can also be seen at the Nike Football Training Centre in Soweto in a giant mural inspired by local football culture and identities. The mural includes Ndebele art, pentagon-shaped soccer balls, a joint triangular infused football pitch and the jersey numbers of well-known local soccer stars.

She’s also worked with local Soweto lager brand Soweto Gold, turning the iconic Orlando Cooling Towers in Soweto into a monument of the beer brand with a mural celebrating the heritage and culture of Soweto.

Renowned for showcasing her art in unconventional spaces, Moletsane’s work also features on community basketball courts at Zoo Lake. Her work also appeared in the Grammy-nominated music video for Makeba

by French singer and songwriter, Jain.

Moletsane has been quoted as saying she is committed to preserving the African aesthetic.

Her work is largely representative of and inspired by everyday SA culture. Her inspiration, she says, comes from soaking up the culture as she walks through central business districts. Career highlights, she reveals, are a toss-up between having her illustrations tweeted by Bill Gates and having her mural featured in Jain’s music video which went on to be nominated for Music Video of the Year at the Grammys.

Despite her enormous success, she says it hasn’t all been easy. The biggest challenge she’s found as a black female freelance artist is that for a long time she couldn’t find anyone who shared her narrative in the industry.

“When I was studying there weren’t many people who fitted the description of black female illustrator, street artist and graphic designer that I could look up to and hopefully learn from,” she says. It’s for this reason that she aims to be that person for the next generation of young women in this industry.

The Vereeniging-born artist is undoubtedly a ShapeShifter to watch in the future.

Lynette Dicey

AWARDS

The Dentsu Aegis team

AFRICAN IMPACT AWARD: Dentsu Aegis Network Sub-Saharan Africa Time for a new name Dentsu’s success is built on solid foundations and innovative thinking

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irst it was Ogilvy Africa that dominated for years. Then Burson-Marsteller took on the mantle. Now, in the 10th year of AdFocus African awards, there’s a third name on the honours board.

Step forward, the Sub-Saharan team at Dentsu Aegis Network. Four years ago, the group had 272 people in three offices, generating $171m in billings. Today, there are over 1,500 people in 49 centres, controlling $250m. They work across four time zones and in 35 languages. Ten of the offices are fully owned by Dentsu.

Dentsu says: “Though we are part of a global network, we are committed to setting up owned offices that are run locally, as this drives the diversity of the work produced across the region and fosters innovative thinking that makes a difference to brands.”

Size, though, isn’t everything. This award, as the name implies, is about impact. What are agencies and networks doing on the ground?

In the case of Dentsu, plenty. The network’s activities are based on solid foundations, based on a single profit and loss entity across all group components. It says: “With the acquisition of ad agency FoxP2, we’re now able to offer clients a holistic creative service.

This closes the gap within our operating model and strengthens our creative capability.”

The global group’s Consumer Connection System, which is a consumer, lifestyle and product survey, has been rolled out in SA, Nigeria, Ghana and Kenya and has been successfully used by several clients to drive more effective communication strategies.

There’s also Velocity, a regional client management platform introduced in response to multiple-market account wins for the likes of Absa and AB Inbev. It offers insights into market data, agency insights, contracts and even local marketing regulations.

One of Dentsu’s training innovations is the Dan Academy, offering free access to a Seta-accredited media course across all Sub-Saharan markets. A more formal internship programme has achieved remarkable success. The group says 80% of interns in Nigeria and Kenya have become permanent employees after completing the programme. In SA, the figure is 98%.

The impact on business has been profound.

Absa became a client across 10 markets and AB Inbev across 11. Absa marketing & corporate relations executive Bobby Malabie says: “We were looking for a partner that is data-driven and insights-led, with strong digital and strategic skill sets.”

Coca-Cola signed up with Dentsu across 21 African countries last year. Other brands to join included Estée Lauder, Red Bull, Airtel

Tigo, Kenchic, Huawei, Gillette and Nestlé.

Dentsu was a major winner at the African Cristal Awards, Sub-Saharan Africa’s only regional show. Dentsu was media network of the year and its Vizeum Ghana component was media agency of the year. Altogether, the network won two grands prix awards, two golds, two silvers and a bronze.

Business for the various group components has grown exponentially, with Amnet, iProspect and Posterscope leading the way.

Despite all these achievements, three-time Africa winner Burson-Marsteller was not about to surrender its crown without a fight.

Following a recent merger with Cohn & Wolfe, the new entity has been renamed Burson Cohn & Wolfe, or BCW. On this continent, it’s become BCW Africa. Its network operates in over 50 countries, supporting more than 500 public relations and communications specialists. In Nigeria, a BCW-driven campaign helped dissuade government from interfering in the activities of a free-trade zone.

In SA and Kenya, the network led publicity for a youth-focused, pan-African anti-bullying campaign on behalf of Turner Broadcasting’s Cartoon Network. The campaign reached over 9-million people through social media and boasted a return on investment of 17,167%.

David Furlonger AdFocus 2018 - 21

AWARDS

LIFETIME ACHIEVEMENT AWARD: Ludi Koekemoer True industry legend and all-rounder More than 40 years of working with brands in a rapidly evolving industry

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eacher, author and marketing & advertising guru Ludi Koekemoer has a history of more than 40 years in the advertising and marketing industry. The author of numerous marketing and advertising textbooks, including Marketing Communication: An Integrated Approach, his experience includes advertising, brand management, strategic planning and new product development expertise as both a researcher, consultant and business leader.

His academic accomplishments include a BCom Hons, MBA, a postgraduate diploma in market research & advertising, and a PhD specialising in financial & investment management.

After spending a year as an economic researcher at the department of commerce Koekemoer joined Market Research Africa (MRA) as personal assistant to owner and chairman Wally Langschmidt.

It was at MRA — where quantitative research was mostly conducted — that he discovered the value of facts. “Throughout my career I continued to rely on facts to support all my strategies and proposals. I’ve always maintained that somebody without facts to back up their beliefs is just another person with an opinion.”

His first job in the ad industry was as research manager for Van Zijl & Schultz, Lund & Tredoux (VZ), the largest agency in SA in the early 1970s. “I had no previous experience, so the first few months were frightening as I learnt the culture and intricacies of the ad world and how to deal with indifferent and difficult clients,” he says.

For an Afrikaans speaker with little prior exposure to English, he recalls his first presentation to the Unilever top brass as particularly daunting. “My throat was so dry I could hardly speak. It was a total disaster.”

It was also an opportunity to learn from the best, including MD John Lund, creative director Paul Cockburn, copywriter Nic Tredoux, account directors Graham Langmead, Max 22 - AdFocus 2018

Teacher, author and marketing & advertising guru Ludi Koekemoer

Schultz and Oubaas Hannes van Zijl, the latter who was well connected in the Afrikaans business community. Van Zijl was given the choice of accounts by government between the SA Railways (SAR) and SAA. He chose, recalls Koekemoer, SAR because he believed that in the long term railway travel would prove to be more important than air travel.

It was Graham Langmead who took the young Koekemoer under his wing and taught him the politics and subtleties of the ad world.

“He was a true gentleman, seasoned and wise.”

The highlights of his stint at VZ included the research conducted to help with the relaunch of Omo as “cold water Omo with powerfoam plus”; the launch of Shield for sportsmen; SA’s first deodorant for men, and the launch of Gillette’s dual blade system.

It was after VZ had successfully pitched against De Villiers & Schonfeldt (De V & S) for the Wool Board account that Koekemoer was approached by Hume Schonfeldt, co-owner of De V & S, to join the agency as research manager and account director. “He told me that if I was good enough to beat him then he

wanted me to join him,” says Koekemoer.

At De V & S, Koekemoer worked with ad agency luminaries such as MD Bob Rightford, creative gurus Allan Raath, Brian Searle-Tripp, Roger Makin and media director John Galley as well as well-known clients including Anton Rupert and Clicks founder Jack Goldin.

“Bob Rightford and I played golf on Wednesdays and Saturdays with our clients, one of the ‘conditions of my employment’,” he says. “Bob, a very keen golfer, believed a lonely client is an unhappy client and as most of our clients were golfers we did a lot of business on the golf course — and at the 19th hole. Our clients became our friends.”

Looking back on the 1970s, he recalls a period when clients respected ad agencies and their opinions. A number of new products were the result of ad agency research and proposals.

In late 1978 a team of individuals from various agencies were approached by Roy Mortimer and Alan Tiley, who were on a quest to revitalise Mortimer Tiley. The new team, which included Koekemoer as deputy MD in

AWARDS

charge of new business, strategic planning and accounts, were sold 50% of the business. From a base of R1m billings, the new management team set an ambitious target of R20m within their first three years.

“We identified the clients we wanted and pinpointed OK Bazaars, the largest retail account at the time, IBM, 3M, Clover NCD and Santambank. Mortimer Tiley positioned itself as their ‘second agency’ and fed them with valuable information on a weekly or monthly basis, made presentations to them, especially around promotions, and just never let up.”

The agency acquired all the clients it had targeted, including the game changer, the OK Bazaars account, in the process winning numerous gold Loeries as well as some grands prix and even some Clio awards. By 1983 Mortimer Tiley had grown its billings to almost R40m and acquired a number of smaller agencies.

Mortimer Tiley was ultimately acquired by BBDO International in 1986 and because Koekemoer had to sign a three-year restraint of trade he joined the University of Pretoria as professor of marketing.

“I’ve always had a passion for teaching, especially at an MBA level, and I spent four wonderful years in that position,” he says.

At the same time he launched Checklist Marketing Consultants as a part-time marketing consultant. Among others, his clients included Unilever and Sasol.

In 1990 he joined the Rand Afrikaans University (now the University of Johannesburg) as professor of marketing, chair of the department of business management and director for the development of business leaders, where his main focus was MCom business management and executive training.

When the Council on Higher Education (CHE) and the SA Qualifications Authority (Saqa) kicked in, they required that all academic institutions had to become registered with the CHE and their qualifications accredited by Saqa. Nina de Klerck, then CEO

of the Association of Advertising Associations (AAA), asked Koekemoer to take the AAA School through these processes.

His most significant accomplishments at the AAA included getting the school re-accredited twice with the International Advertising Association. Under his leadership the AAA School won numerous local and international advertising awards including 27 gold, 50 silver and 58 bronze Loerie awards, 11 gold and three silver Pendoring awards. “Most years the AAA School got more Loerie birds than all the other academic institutions combined,” he says.

Until his retirement in 2015 more than 2,800 students, 40% of them black, graduated from the school with the majority immediately employed in the related industries.

Commenting on the sale of the AAA School to Richfield Holdings earlier this year, Koekemoer says what made the school so successful was the fact that all aspects of advertising were taught via class contact by full-time seasoned lecturers and part-time industry experts with real-life campaigns challenging students and ensuring they were career ready. The challenge for Richfield, a successful online IT and business private higher education institution, will be to

incorporate their technology expertise into the different curricula and whether to keep the AAA School as a contact institution or migrate it to an online distance learning institution.

“Disciplines like art direction and graphic design will be difficult to teach online,” he says, adding that the same applies to campaigns where marketing and creative students have to meet and work in teams.

After retiring from the AAA School in 2015, Koekemoer developed and launched an MBA programme for Monash SA. He currently lectures at Monash part-time and is writing a book on successful marketing practices.

During the course of his career Koekemoer has been involved in a number of industry bodies, including the Advertising Standards Authority (ASA) for several years where he served on the appeal committee and on the Advertising Industry Tribunal until 2015.

He also served on the SA Consumer Council as a council member representing the marketing and advertising industries for six years and was the only South African to become a member of the American Academy of Advertising.

In 2015 he was selected to represent the African continent to work with five other global representatives to come up with a new definition of advertising that would be accepted by advertising professionals around the world and used in academia.

Much has changed in advertising in the past 46 years, he says. It’s a very different landscape today with most agencies struggling to remain profitable.

Advertising, he adds, is no longer a sought-after career and pays poorly. Marketers no longer see agencies as their partners but rather as suppliers. They want to pay them less but expect more.

Worsening the situation is the fact that advertising graduates are migrating to clients who offer less hours, more perks and better prospects.

Lynette Dicey AdFocus 2018 - 23

AWARDS

STUDENT OF THE YEAR Felicity Davies SA’s loss, England’s gain She arrived here to fight human trafficking. Our winner leaves as a top design talent

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id you hear the one about the Zimbabwean, the South African and the Brit? No, it’s not the start of a bad joke, but the shortlist for the 2018 AdFocus Student of the Year Award.

There’s Thamsanqa Gwafa, a fourth-year communication design honours student at the University of Johannesburg’s (UJ) department of graphic design.

Next, there’s Faith Shields, a third-year student at the Red & Yellow School in Cape Town, completing her degree in visual communications. And finally, there’s her classmate Felicity Davies, finishing the same degree. Both are specialising in graphic design.

Here’s a clue to the winner. The R35,000 prize that accompanies the award will be spent in England. Davies’s student visa expires at the end of November, so the cash will follow her back to Scarborough, a coastal resort in the northeast county of Yorkshire.

Davies, 27, has been in SA for nine years, since she joined an NGO working against human trafficking. In the course of her work, she discovered a talent for design. She taught herself the basic skills, before deciding to pursue it as a career. Her main strength is in brand identity. Red & Yellow lecturer Clayton Sutherland says: “She thinks very strategically.

Her target marketing is very defined. She’s always asking herself how she can improve something — not just the visual design but also the public perception of the subject.”

Davies’s talent has already been noticed.

She won a 2017 bronze Loerie, and this year her work has been recognised at the New York One Show and UK-based D&AD design awards. She hopes to work for a small branding studio. In the UK or back in SA? For now, all she’s looking forward to is spending time with her family in Scarborough.

“They will be glad to have me back. They were very worried when I first came to SA to fight human trafficking, so now they are happy I am doing something they consider sensible.”

Shields, born and raised in Cape Town, is 24 - AdFocus 2018

Felicity Davies

Thamsanqa Gwafa

also undecided about her plans after 2018.

She’s been offered a job by a local agency but may instead further her visual communications studies in Germany or Switzerland, where she has identified appropriate master’s degrees. “I’m weighing up my options,” she says.

Sutherland describes Shields’s approach to design as almost academic. “She’s a critical thinker who does lots of research before committing pen to paper. She’s intensive and well read.”

Shields, 21, says: “That’s probably right. If I have a month to do something, I’ll spend the first two-and-a-half weeks researching the subject.”

Gwafa, 21, came to SA from Zimbabwe in 2009. His lecturer, Christa van Zyl, describes him as an amazing illustrator.

She says: “When he arrived, his portraiture was outstanding, so we had to move him a little out of his comfort zone, towards more general design. A number of people have asked him to intern for them next year. There’s no limit to what he could achieve.”

Gwafa says: “Illustration comes naturally to me. I have been drawing since I was very little.

Faith Shields

It’s what I love.”

All three finalists wowed the AdFocus jury: each had at least one juror arguing for them as the overall winner. Besides the quality of their work, they were well served by their portfolios. Some other entries seemed to contain every bit of work that the students have done in the past year. Students need to prepare their portfolios more carefully. One submitted arguably the best single campaign idea (it was also splendidly illustrated) of all the entries. Along with a secondary idea, it could well have propelled her on to the shortlist, but the excellence was submerged by a mass of other, humdrum work.

The finalists’ entries, on the other hand, were shorter, sharper and concentrated on the students’ strengths.

“We’re looking for excellence, not volume,” says AdFocus jury chair Phumi Mashigo.

“Students and their lecturers are actually doing themselves a disservice by putting too much work into the portfolios. Win us over with the quality of your work, not by trying to wear us down.”

David Furlonger

AWARDS

TRANSFORMATION AWARD: Collective ID It’s not about the scorecard Our winner has changed beyond recognition in recent years

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ransformation scorecard targets aren’t difficult. You get in the necessary number of black shareholders, promote a couple of employees to responsible (but not too responsible) positions, throw a few thousands rands at training and development, then source goods and services from companies whose genuine empowerment credentials will reflect positively on your own performance. That’s the easy way.

Or you can do it properly. You can be black-led. You can involve everyone in running the company. You can put people through school and college. You can be an activist in empowering women. And you can mentor up-and-coming black entrepreneurs until they are ready to step out on their own.

That’s the Collective ID way. And it’s why the agency, part of the multinational WPP fold, is winner of the 2018 AdFocus Empowerment Award.

It’s not that long ago that Collective ID was a typically untransformed SA advertising agency. The good news was that its leadership recognised a need for change. In April 2017, black ownership more than doubled from 25.1% to 52.6%. Brenda Khumalo and Quingile Mdlulwa were appointed joint managing partners, increasing black management from 0% to 50%. Between 2016 and 2018, the black staff complement grew from 29% to 63%.

That was just the start for an agency that now boasts a Level 1 BBBEE rating. A CSI and training programme includes an accelerated learning programme for four young women, plus bursaries for final-year students at the Red & Yellow advertising school.

One of Collective ID’s priorities is gender diversity. There is a shortage of female role models in the SA brand communications industry, as across other industrial sectors. The agency says: “It is important for young women outside and inside the industry to see that there are women who are leading very effectively.”

Khumalo is proof of this initiative. The

Brenda Khumalo — MD, Qingqile Mdlulwa — executive creative director and Sharon Bergman — financial director

agency hired a business coach and life coach to mentor her, and registered her this year on the “Leading Women” programme at the Gordon Institute of Business Science (Gibs). She has since volunteered to sit on a gender quality council being set up by WPP. The agency is playing an important role in enterprise development through its incubator programme, ID Labs. Promising young black entrepreneurs are offered office space, infrastructure, training and clients for up to three years. The current beneficiary, Book of Swag, is about to graduate and go out on its own, so the search is on for the next group of entrepreneurs.

When Book of Swag entered the programme, its three owners were still making up their mind on what they could contribute to the industry. Today, it is a specialised youth culture creative agency that operates across multiple media platforms. It is a social media partner to the Loerie Awards.

Three other agencies were in the running for this award. Joe Public has a long history of doing the right thing, dating back to long before it became compulsory or fashionable.

CEO Gareth Leck says: “Our purpose is

to be the fertile soil that grows our people, our clients and our country. We exist as a purpose-led organisation, which is why sustainable transformation is the heartbeat that powers every aspect of our business. We see it as the fuel that will feed exponential growth that truly reflects, nurtures and develops our country.”

FCB Africa has become a poster boy (girl?) of transformation in the past three years. It has 55% black ownership, of which more than 32% is held by black females. However, it’s not transformation that the agency pursues, says CEO Brett Morris, but social justice. “Equitable access to opportunities is one of our greatest challenges as a country,” he says. “This challenge requires a great deal of empathy, sacrifice and patience. After 24 years of democracy, we are now short of patience, unwilling to give up what we have in the face of endemic corruption and a desensitised society.”

As an associate agency of FCB Africa, Hello Computer shares the same ownership profile but has worked hard to change its own management and staff profile.

David Furlonger AdFocus 2018 - 25

COMMENTARY & INSIGHT

THE SPEED OF CULTURE Brands now focus on relationships, not just transactions Today’s content has to be aligned with audience value if it has any chance of being seen and loved by its target

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dvertising is in the midst of a revolution — where old models of consumer engagement are less effective — requiring a complete paradigm shift. Part of this shift has required brands to start using content to build customer relationships rather than merely for marketing purposes.

Huge leaps forward with technology have empowered consumers and confused brands, with the result that many of the old rules of marketing no longer apply, says content marketing specialist and Rogerwilco CEO Charlie Stewart: “Because content rushes through social media timelines so quickly, it has to be hyper targeted and hyper topical or inextricably aligned with audience values if it’s to be seen and acted upon.”

But most marketing departments are not led by millennials or generation Zs, with the result that many brands and their agencies battle to remain relevant to the zeitgeist. “A couple of years ago Unilever’s Keith Weed raised the issue of the ‘lost generation’ that’s currently heading the marketing function — they neither grew up with technology nor are their children old enough for them to be immersed in it, with the result that content continues to miss more often than it hits,” says Stewart.

During the 1970s the average consumer was exposed to about 500 marketing messages a day. Fast forward three decades later and that figure has jumped to more than 4,000 daily marketing messages. Doug Kessler, of Velocity Partners, famously overlayed the current state of content marketing onto Gartner’s hype circle, indicating that we’ve moved beyond the peak of inflated expectations and are now in the trough of disillusionment.

Put simply, says Stewart, there’s too much content to grab people’s attention unless it’s deeply relevant and personal. For content to resonate, it must be topical, it mustn’t focus on the brand and it should either be humorous or be aligned with people’s values — something 26 - AdFocus 2018

Steve Miller: head of strategy at Duke

Gareth Murphy: GM of Online Channels at MTN SA

KFC did well with the Neymar rolling campaign and Nike did well with the Colin Kaepernick ad.

Not only are brands beginning to participate in evolving stories beyond the transactional relationship, but to actually provide platforms for these stories, says Gareth Murphy, general manager of Online Channels at MTN SA. However, these stories are often short-lived — a hot topic today but forgotten tomorrow — which requires that brands get involved in these conversations from the outset or “at the speed of culture”.

Culture, says Stewart, is defined by the speed with which stories and messages change human behaviour. “For centuries cultural change was incremental. Today it’s lightning-fast,” he says.

When Apple released the iPhone 6 four years ago, it ran a supporting campaign claiming that the only thing that had changed was everything. For good or bad, the smartphone has been a culture change agent of note. He alludes to the speed with which consumers were either burning shoes or praise-singing after Nike debuted its Kaepernick ad, adding that the speed and breadth with which the message was

communicated was astounding.

There is a school of thought that relevance trumps differentiation as it is the former that creates an emotional connection. To respond relevantly at the speed of culture, says Murphy, requires the right combination of people, skills and agility and critically, from a marketing department’s point of view, the right level of trust between client and agency.

“In order to get people involved in the conversation it can’t be a one-way interaction,” says Murphy. “Not only do consumers need to be part of the conversation, they should be driving it, while the brand takes a lesser role as a conductor or provider of the platform, rather than the driver.”

Most brands, says Stewart, recognise that the intersection of technology and marketing has brought about the need for speed, but too many are paralysed by this change and simply don’t know what to do. Speed of response, instant interaction and fresh strategies to build brand-consumer communities have taken centre stage, says head of strategy at Duke, Steve Miller.

“Brands are expected to respond immediately, to co-create culture and to create and leverage campaigns whose lifespans are

COMMENTARY & INSIGHT

BCMA: An invaluable tool for marketers

Charlie Stewart

sometimes measured in mere days.”

At its core, says Miller, this is all good for brands, consumers and society at large. “As an antidote to previous brand indifference and a riposte to old fashioned brand monologues, the new paradigm offered by social media has allowed brands to really listen to their consumers, analyse the conversations and respond personally and uniquely,” he says.

For a special few, it’s allowed them to shape new cultures, not just in the spaces in which brands typically play, but in broader societies too. “Great brand activism is, arguably, directly attributable to social media interaction that has allowed not just ‘speed’ but real ‘culture’ change,” says Miller.

This is all good and well, until brands become so caught up in mindless activity that the “speed of culture” mutates into “cult of the moment” and things start to go horribly wrong.

This, says Miller, is that “horrid nowhere place where everything revolves around speed rather than impact; where the golden art of saying nothing is replaced by an almost Pavlovian desire to respond with anything, however inane.”

It is in this Twittersphere where, along with the media and response revolution, we’ve lost

the basic marketing disciplines of developing an enduring position, sweating out a sound and targeted proposition, creating and polishing a unifying creative concept, and crafting and communicating a comprehensive and understandable plan, he says. “This is a space where clients seem to think that the money ‘saved’ on media expenditure can be ploughed into ‘content jockeys’ that simply respond to the memes of others.”

Some clients, says Miller, have begun to understand that they need to invest more in the training of their marketing teams and the building of their brands in order to earn the right to create at the speed of culture, intelligently, and sensitively. “Some even realise that these activities do not move ‘at the speed of culture’ but more like the speed of molasses on a frosty Gauteng morning,” he says. So, which brands are getting it right?

Locally, Nando’s is almost always on point, and Sanlam is doing really well, says Stewart, adding that the latter’s 2 Minute Shower songs resonated in Cape Town while its Uk’shona Kwelanga WhatsApp drama demonstrated a really solid use of new media.

Other local examples of brands that have got it are TBWA’s Breaking Ballet campaign which, says Murphy, is an excellent example of storytelling using popular themes and topics.

Ironically, the campaign emanated from TBWA\SA’s data practice, which identified social triggers after measuring social media interactions. Earlier this year MTN embarked on a strategy to generate content at the speed of culture through the Boza campaign, which selected a member of the public to spend 18 months with the Springbok rugby team and deliver behind-the-scenes footage and insight in real time.

Internationally, says Murphy, Red Bull gets it right by authentically aligning itself with extreme sports and pushing the limits.

The last word goes to Miller, who says however it plays out, work which earns its own media, with a heavier punch than the budget, is essential. “Big, simple ideas with tendrils and resonance is the way we should all be doing business — at whatever pace is required.”

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he BCMA (Branded Content Marketing Association) is the global industry body for branded content practitioners, run by practitioners, which promotes best practice, shares knowledge and grows the branded content industry in partnership with other relevant trade associations and industry groups.

It creates the opportunity to connect with leading experts in the branded content industry. It is predicted to be at the heart of every marketing strategy, and there is growing evidence that there will be a significant shift in budgets to support it.

However, there is still some confusion as to how to do it, who should do it and how it is measured. The BCMA defines what branded content “is” and what “it isn’t” and measure the effectiveness through research and proprietary tools.

Definition Branded content is any output fully/partly funded or at least endorsed by the legal owner of the brand which promotes the owner’s brand values, and makes audiences choose to engage with the brand based on a pull logic due to its entertainment, information and/or education value.

The role of the BCMA is to engage and educate agencies; brands; broadcasters; clients; bloggers and YouTubers. To create valuable, compelling, relevant, interesting information for the industry; help marketers generate their own bespoke branded content; and create effective, knowledgeable and creative marketers around the concept of branded content. http://www.thebcma.info/

Lynette Dicey AdFocus 2018 - 27

COMMENTARY & INSIGHT

THE POWER OF STORYTELLING Becoming popular with consumers As the digital age ushers in a renewed focus on content, brands need to be more creative in delivering the message

Lynn Joffe

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s the age of traditional advertising comes to a close, it’s perhaps appropriate that the golden age of storytelling has its time to shine. To be fair, storytelling in advertising is nothing new — with the tradition going far back in our evolutionary history. What’s changed in recent years, however, is the growing realisation that brands need to be more authentic and sincere than ever before, with the digital age ushering in a renewed focus on storytelling content.

“Man is the storytelling animal,” said author Salmon Rushdie. Lynn Joffe, founder of branded storytelling agency Creatrix, says our brains are wired for storytelling, releasing a cocktail of feel-good hormones in the process, making the universal archetype of storytelling perfect for branded content.

As consumers, we yearn for content that engages our emotions: content that makes us smile, laugh, cry or feel nostalgic. It needs to entertain, educate or inspire in some way. We don’t want to be forced to sit through a hard-sell message when we can be uplifted by great content. As consumers become increasingly indifferent to brands and advertising, storytelling is one way of ensuring 28 - AdFocus 2018

audiences engage meaningfully with brands.

“Storytelling is all about the ‘what, if … and then’ process,” says Joffe, adding that the aim is to keep audiences suspended in the process.

Given SA’s appalling literacy levels, radio, she says, offers a particularly powerful vehicle for branded storytelling, utilising the listener’s imagination and employing the theatre of the mind. Personal and intimate, it lends itself to storytelling.

The holy grail of advertising is when branded storytelling becomes a destination for listeners and is perceived as programming rather than advertising. Anglo American’s bespoke edutainment radio soapie, Makarapa City, conceived and created by Creatrix in collaboration with Ogilvy SA, is just one example of successful storytelling. The mining house wanted to communicate effectively the difference the company makes in the lives of its employees and their communities.

The radio soapie fused believable characters and an intriguing plot through vivid theatre-of-the-mind storytelling with each programme embedding key messages into the storyline. The series, which first hit the airwaves via selected African language and community stations, entertained listeners with the trials and tribulations of a cast of vibrant and diverse characters and opened up conversations about issues around transformation and female empowerment.

“Think Romeo and Juliet meets Cain and Abel in a high drama, soapie format,” says Joffe.

By creating conflict and suspense, Makarapa City has resonated and engaged with listeners.

The series has flighted since 2014.

Other successful radio dramas the agency has created include When Death Calls to position the benefits of Old Mutual’s funeral plans, and Absaville, a multilingual storytelling campaign which positions a number of Absa Bank offerings, communicating to audiences in their mother tongue. Both were designed to be perceived as programming rather than advertising. “The success of these dramas is their ability to adapt and amplify embedded product messages through plot and character development,” she says.

Research into the efficacy of consistent destination-listening radio edutainment has shown it influences cognition, emotion and behaviour, engaging and empowering thoughts and feelings with consumers on their terms, on their turf and in their own language. Stories in the form of soapies and documentaries demonstrate very similar recall of the facts, she points out. The benefit of the storytelling format, however, is that it provokes an emotional response which leads to better recall, engagement and action.

Its other benefit is that it builds greater brand cues and associations than traditional advertising. “Brand love is built when a story is told in a relevant and entertaining way that resonates with the audience and causes the audience to fall in love with the characters,” says Joffe. Mother tongue advertising has long been a neglected area of SA’s mainstream advertising product and for many years long-form branded content has not been recognised at awards events such as the Loeries. This is starting to change, with Makarapa City picking up an award for Best Drama at the Liberty Radio Awards in April.

Lynette Dicey

COMMENTARY & INSIGHT

EVOLUTION OF THE AD The internet has changed the game completely Advertising still needed people, but people needed us much less, because they could now access it all in the palm of their hands

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ike Helen Zille or polony, content will almost certainly be bad for you. The agency will overpromise; the client will underpay; there won’t be the time, the resources or the judgment to create content that captivates and stirs. We all need to change the way we work. Wielded correctly, content is the most welcome advertising development since the 1980s.

Remember how much fun advertising was back then? I don’t. I spent the decade at primary school and it sucked. But oh, the stories one heard from those big white South African days; a place where Mad Men met Agter Elke Man. The copywriters pondered big TV spots; the art directors fiddled with scissors; everyone drank vodka and used landlines to order cocaine.

By the time I was old enough to join, only the clients could still afford cocaine. The golden age of advertising was over, I heard from wizened writers nursing their whiskies and their subprime septums.

Deon Wiggett Over the years, they would dispense more quality advice. Digital show. Take a bow, Peter Stuyvesant advertising? Small, ugly and ineffective.

Spectaculars, which may have inclined us to Facebook? Flash in the pan. Mobile smoke, even as few of us managed to drive advertising? Dead in the water. beach buggies while becoming widely admired Now content is getting a bonanza of buzz — by models. here’s FM doing a supplement — and, like These expansive advertising worlds became someone from a fading era, I suspect I should redundant when the internet landed and hate it, and then compare it to Helen Zille. But, entertainment broadened. (On its year-end unlike colonialism, there are very good things cover, Newsweek declared 1995 the “Year of to say about content. As agencies, we enjoy the internet”, not realising it was announcing thinking we’ve got our fingers on the old pulse. its own demise.) Advertising still needed But we’re not the ones shaping human behaviour; it is humanity that is shaping us. We people, but people needed us much less.

The decades since then should really have don’t invent trends; we try to identify them and been foreseen. User-generated content. Fake then exploit them. We try to sell to people in news. Tiny-handed presidents the way we think they need us to. misunderstanding “fake news”.

In the 1980s, they needed us to put on a

Class-obliteration through globalisation. Nativism, alienation, and ever more incompatible echo chambers. Self-publishing, swipe-dating, 3D printing.

Who can blame people for crying out for something real? And who can blame ad practitioners for trying to help by, say, suggesting a layer of meaning that coincides with our commercial pressures.

The readers of this fine supplement will fall into two categories: those who want a brand with meaning, and those who don’t.

What kind of reader are you? As always, less advanced marketers will ask: “What do I want to tell people about my product?” The smart ones will ask: “What can I say about my product that people want to hear?”

It’s almost 2019 and people want to care. They want to hear more personal, more meaningful things.

They want to see a brand’s heart, hopes and purpose. In parity categories, the only differentiator becomes attitude and authenticity. It is marvellous news for all of us as we leave behind that strange ad universe where people said things like: “Oh Margaret, your teeth are so bright, what is your secret?”

It’s different now. We’re telling stories.

We’re making doccies. We’re advising people and supporting them and being useful.

Do I urge my clients to embrace a content-focused brand universe? Yes, because I want them to survive commercially and meaningfully.

Ad agencies did not invent content; we’re just going where the people went. Let’s learn to do it better. It’s not like we could stop it. Like Helen Zille, it’s entirely out of our hands.

Deon Wiggett is the founder and creative director of Fairly Famous, a progressive advertising agency AdFocus 2018 - 29

COMMENTARY & INSIGHT

DELIVERING PHENOMENAL BRANDED CONTENT ON A BUDGET Capturing an audience with the least effort and expense The best things in life do not have to cost a fortune — if the execution is right on point

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hile the impact and memorability of branded content is widely acknowledged, it’s a common perception that few brands can afford it due to the heavy price tag that comes with it. But is this the case?

The phrase “branded content” brings to mind emotive long-format video content spreading across the web with the help of sizeable media spend. However, there is more to branded content than video. In fact there are probably as many branded content formats as there are marketing objectives, and so you need to pick one that best suits your needs and pocket. While few brands have the luxury of an upcapped content marketing budget, the truth is that you don’t necessarily need it to make an impact.

When striving to create effective branded content for a brand on a tight budget, consider the following: First understand your objectives and how they can be best met. Always keep your brand’s key performance areas in mind — these are the reasons you are creating branded content in the first place.

While awards and accolades are great, the reality is that the only people you need to impress are those you are trying to reach and move to action through your content.

Furthermore, consider the metrics that best measure these objectives. Traffic is not the only measure of success. Think of time spent engaging with the content or number of desired actions taken after being exposed to it.

In the world of branded content, reaching less people in a memorable way trumps superficial, high-reach content that no-one will remember tomorrow.

It’s a good strategy to create a “minimum lovable product”. When trying to launch a product, lean manufacturing principles state that you should build an offering that allows for the maximum learning quickly and at the lowest possible cost. Build, measure, learn.

30 - AdFocus 2018

Kristin Louw

Similarly, creating branded content with budget constraints should result in a “minimum lovable product”. It’s the version that brings the maximum amount of love from your audience with the least effort and expense. Then model that formula for the next content execution. Surprisingly, saving on the production costs in this way can result in a more authentic piece of content: a moving behind-the-scenes video shot on a mobile phone can have as much effect as a beautifully shot piece of content that cost millions, despite lacking the finesse.

This is further reinforced when considering the fleeting nature in which content is consumed — ensure your content will be fit for the way that your audience intends using it and that you are not making something extravagant and expensive for the sake of it.

Format is critical. Think further than the typical

90 second video. Written articles can be a cost-effective way of sharing valuable, engaging information with your audience.

When paired with infographics, striking layouts and clever calls to action, branded content articles can punch well above their weight compared with their more expensive counterparts. Plus, text is searchable and therefore discoverable, giving your content another avenue of being found by users actively looking for this sort of information online.

Try to save on costs by creating one article instead of five and spend the right amount on your distribution and traffic drivers. Brands wishing to play in this space should also consider content distribution methods carefully.

Make sure content is seen by the right people. What you are going for is the highest effective reach your budget can afford. This can be done by partnering with media owners who understand who you are trying to reach and have a large penetration within that market — whether it be an audience defined by their interests, geography or their current purchasing needs.

A small budget forces you to get creative and to do your best work. The challenge when you can only afford to create fewer pieces of content is that you have fewer opportunities with which to connect with your target market, meaning you need to make the most of the moments where you do have their attention. It also forces you to use each creative element with care and purpose – if it ends up as a line item on your budget, it had better deserve to be there.

The saying “think before you speak” rings particularly true when working within the parameters of a small budget. How long do you really need to get your message across? Could it be done in a shorter time frame? Through careful planning and insight into your audience’s passion points, branded content will achieve the impact you are looking for without breaking the bank.

Kristin Louw is head of digital product and client strategy at Spark Media

COMMENTARY & INSIGHT

WHY YOUR NEXT CREATIVE HIRE SHOULD BE A JOURNALIST They have editorial ethics not found in the ad world The advent of self-published content has made the once-shunned writer a popular recruit in a changing industry

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ournalism and advertising did not always mix. 20 years ago I took a break from broadcast journalism and stepped into a prominent SA advertising agency in Cape Town, The Jupiter Drawing Room. Having worked as a reporter for Talk Radio 702 for the past eight years, I was somewhat of a misfit. I was surrounded by creatives who seemed to have the knack of consolidating their ads into Loerie-winning one-liners. But not me …

My ads tended to be stories, at least in my eyes. I tended to favour facts and background over creative fiction. “Where were the ads that told stories?” I wondered, “what could possibly be better than that?”

Back then most of my colleagues viewed my work as unnecessary reams of rambling copy. My advertising career was going nowhere and the awards cabinet was empty. I was not adding value to the business. Within a year I was back in a newsroom, this time with a new upstart, e.tv.

Then something changed.

To be honest the change was slow. After leaving The Jupiter Drawing Room for life as a TV reporter the internet’s impact on consumers’ daily lives started to really take effect. Google suddenly become a thing. By “thing” I mean a multibillion dollar enterprise and a verb.

Social media was born during this period with Facebook, Twitter and then WhatsApp among others. Overnight, businesses had social media handles and were employing staff to post on their behalf and manage their social accounts.

And that is when the trouble started.

The liberation that social media brought brands to communicate directly with consumers was a mixed blessing. Consumers could now talk back. Furthermore, brands had to be careful that their communications did not trigger a wave of outrage because they had offended a section of society. Brands would be scrutinised and held accountable to a different

Patrick Conroy

set of rules. Those rules looked very much like the editorial guidelines found in most news organisations and not in advertising agencies.

Fast forward to the Leories 2018.

One of the best advertising agencies in the country has been forced to return the awards it won for a campaign done for the Apartheid Museum. The campaign juxtaposed quotes from former apartheid prime minister, Hendrik Verwoerd and current US President Donald Trump. The only problem was the quotes were fiction. In an era plagued by the scourge of fake news we can hardly afford to have fake advertising too. It is not that the agency deliberately lied. They were fooled into believing the quotes were true.

Take this quote for example: “Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure,” — Nelson Mandela.

It seems plausible that the wise Madiba may have uttered these words and many others like them. But the quote is actually attributed to the self-help author Marianne Williamson.

A new rule applies now to advertisers and

brands. If you publish content then you must apply rigorous journalistic principles to it. Your reputation will depend on it.

A few years ago an American pizza outlet thought they would capitalise on a hashtag trending on Twitter, namely #WhyIleft. The outlet hastily responded “Because you didn’t bring pizza” before realising the hashtag related to domestic violence against women. It saw an opportunity and rushed in without properly understanding what it was getting itself into. Recently, Nike has taken the bold step of aligning itself with Colin Kaepernick, the American football quarterback who ignited a storm of controversy by kneeling during the national anthem before a match.

Kaepernick was protesting against racial injustice in the US. However, some fans saw the action as disrespecting the country and being unpatriotic. President Trump called on him to be fired. Kaepernick has since been given the cold shoulder by most NFL teams.

Whether or not Nike is being opportunistic remains to be seen. If it is truly standing up for injustice and not increased product sales time will tell. However, a quick visit to the NFL shop reveals I can also buy Nike-branded sportswear for the Washington Redskins. The name of the football team has been widely slammed as racist and offensive to native-Americans. How Nike plans to reconcile these two different public messages is a mystery.

And so 20 years after my failed advertising career I find myself once again working in media and marketing. This time as a consultant to brands and executives. I’m not a creative.

Instead I am a storyteller and strategist.

Ever wonder how so many CEOs suddenly became such excellent opinion piece writers?

That would be us – former journalists. There is no category for the Loeries we can enter. We are still operating from the shadows.

Patrick Conroy CEO and co-founder of Brandscribes AdFocus 2018 - 31

COMMENTARY & INSIGHT

BLURRED REALITY Spoilt for choice when it comes to access to content With so many new platforms, brands need to adapt, but remain true to the brand and its message

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s the narrative around high data costs shifts and access to affordable data is starting to be considered a human right, consumers are being given the opportunity to unlock new forms of content on ever evolving new platforms.

These platforms, says Jade dos Santos, strategic digital planner at King James, change at a rapid pace in order to keep up with the competition and ever evolving media consumption habits of consumers.

Skeem Saam, for example, is one of the most watched shows on SA YouTube, offering consumers a traditional broadcast at their viewing pleasure, rather than a regimented time slot on television.

“The challenge for brands is to continue to offer content that is of value as opposed to the old marketing model of pushed or commercial messaging,” says Dos Santos. “This requires that brands start to think more like publishers rather than advertisers on a digital content platform; and that they play at the intersection between consumer culture and brand culture while trying to avoid commercial culture.”

It’s important, he says, to find a balance between brand appeal and brand intrusion.

“The role of the brand on a digital platform should be to enable culture — not to try to take advantage of it.” In a quest to stop brands from interrupting the consumer’s user journey and instead engage with them, the challenge for brands is to entrench themselves where consumers are playing and consuming content, says Elena Protulis, a content, social media and digital marketing expert.

The secret to success, she says, is creating content that’s created from, and not just for mobile. “With many of the ‘newer’ channels, such as Instagram, Snapchat and even Facebook stories, content can only be created with a mobile. These channels have created mediums which demand that content is real, relevant.”

Artifact Advertising achieved just this aim

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Jade dos Santos

Mfundo Mkhize

with an outdoor billboard campaign positioned on the N1 near the Rivonia offramp in Johannesburg for Telkom. The text – which included just six words a day – took a fresh take on news and was changed daily. The daily billboard “Tweets” included comments like, “This is the route to your destiny”; “What will you change today?”; and “Wathint’ abafazi, wathint’ imbokodo” (Strike a woman and you strike a rock). The positive feedback elicited by the billboard on a daily basis on social media extended the campaign’s reach.

More content, says Dos Santos, provides consumers with more options. Not only does this ensure that the fight for consumer attention is fiercer than ever, but it also requires that brands create relevant, authentic and compelling content.

Branded content, says Mfundo Mkhize, director at Ola Films, needs to work for both the consumer and the brand. For that to happen, all parties involved in creating the content — client, agency and production company — need to believe in and serve the idea. “One of the biggest challenges we face is that many brands view content as a cheap alternative to advertising or CSI projects. The result is that they end up creating quick and

easily digestible content which is slapped together with an appropriate product all with a very short turnaround time. What they forget is that consumers are being flooded with more marketing and advertising messages.”

To be effective, says Mkhize, branded content needs to be aligned with the brand; including elements of the brand, rather than the other way around. Consumers, he adds, are not looking for products, but rather extensions of themselves. “The branded content space is about building community.”

Dos Santos agrees, adding that consumers will always be drawn to the most valuable content irrespective of where it comes from.

Content has to make an emotional connection with the user, says Protulis. “Don’t ask consumers to watch a long video for a few seconds of tugged heart strings at the very end.

Instead drive curiosity and excitement through a content journey. It’s about expanding the content experience and creating digital stories.”

While there is no doubt that it’s an exciting new world, Dos Santos advises brands to adapt, take risks, try new things, but always remain true to the brand and the audience.

Lynette Dicey

COMMENTARY & INSIGHT

Branded content: A new direction for advertising A shift in consumer behaviour and an evolution in how communication works has changed the advertising landscape

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hough branded content is nothing new — with roots in 1950s America when detergent manufacturers sponsored radio and television dramas, hence the name “soap operas” today — fuelled by a shift in consumer behaviour and an evolution in the way that communication works, it has taken advertising in a new direction.

Companies have been branding content for decades.

This has evolved over time to include product placement, advertorials, sponsorship of music videos and more.

Traditionally, the communication was driven by a broadcast message and was one-way.

Now, in the digital era, consumers are demanding engagement from brands and don’t want to be talked at anymore. What’s more, they want to be spoken to on their preferred platforms.

Makosha Maja-Rasethaba For branded content to be done well, it should be socially Branded content has to be entertaining. To relevant, entertaining, participative, authentic bring ZANG caffeinated chocolate’s delicious and effective. It is not enough for brands to sleep-fighting powers to life, in an emotive and release content about themselves, it has to entertaining way, a three-part animated series have a message — preferably one that can was developed, which had viewers hooked affect a conversation. For instance, with and looking forward to each episode.

Nando’s #RightMyName campaign, attention Great content should involve the audience was drawn to the issue of spellcheck telling in some way. An example of how this has been millions of people — and even Nando’s — that effective is Iziko Museums’ Hidden Heritage their names are a mistake. This was done by campaign, which took place in the run-up to having local celebs speak out about it through Heritage Day last year. Special transparent videos on social media and getting the posters were put up around Cape Town and go-ahead from the country’s biggest when people tweeted the hashtags from these, newspaper, the Sunday Times, to underline SA they were told about the hidden heritage of the names in their editorial content. This sparked a area they were in by someone who had lived conversation across the nation.

in it. This enabled Capetonians to reconnect to their city and its heritage.

It might be tempting for brands to jump on cultural bandwagons and create content that is considered “cool” but isn’t credible for the brand to be a part of, or own. For branded content to be successful, it is crucial that the content created remains true to the brand character. With Nando’s also encountering spellcheck’s infamous squiggle under its name, coupled with its reputation for getting folks fired up about pressing issues, the #RightMyName campaign was a perfect fit for the brand.

Great content should be able to shift the dial on how consumers think, how they feel, what they say or what they do. As a result of the viral videos and the Sunday Times stunt, the #RightMyName campaign led to more than 70,000 South Africans adding their names to a database which was then available for download — making computer dictionaries more inclusive.

The success of branded content does not mean the demise of traditional advertising. In fact, I would argue that now, more than ever, the traditional approach to advertising and content advertising should be drawn on both for their strengths and ability to exist side by side.

There are plenty of examples in the market of work being produced that effectively straddles both worlds, with Nike being at the forefront of creating these pieces. Furthermore, the current emphasis on branded content also means that storytelling within traditional advertising needs to be compelling and expanded into other areas of content.

If modern-day branded content has taught the industry anything, it is to be more consumer-focused.

Makosha Maja-Rasethaba is partner and head of strategy at M&C Saatchi Abel AdFocus 2018 - 33

COMMENTARY & INSIGHT

AGAINST THE ROPES The advertising industry has had a bruising year with casualties all over Data-driven platforms have shaken the sector and forced many firms back to the drawing board

Luca Gallarelli

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Sir Martin Sorrell

o say 2108 was a crossroads for the advertising industry is an understatement. Against a backdrop of diminishing relevance, agencies around the world this year were grappling with new data-driven platforms such as Google, Facebook and Instagram as consumers moved away from more traditional methods such as print, radio and television. They still have a place though, particularly in developing economies like SA, where access to technology remains out of the hands of many consumers. But the numbers tell the story.

According to the eMarketer website $266bn was spent this year on digital advertising, and that amount is to reach $376bn — a 41% increase within three years. The Chief Marketing Officer website says budgets in coming years “will shift to more controlled environments with targeting that looks at context versus just demographics”. The website says the future of advertising will be more automated, with over 70% of digital video and over 80% of display ads being bought through automated channels. While the ad delivery paradigm was shifting rapidly, the 2018 advertising year was also driven by account and personnel change.

And the biggest shock was the resignation 34 - AdFocus 2018

Rob McLennan

Zibusiso Mkhwanazi

of WPP CEO Sir Martin Sorrell. This followed the conclusion of an investigation into an allegation of misconduct. Locally there was one high-profile departure that got tongues wagging. Odette van der Haar, CEO of the Association for Communication & Advertising of SA (ACA) quit her position to take over the reins at WPP agency J Walter Thompson.

She told the FM at the time she leaves ACA “future-proofed, stable and financially secure, with increased membership and industry relevance as well as strong stakeholder relationships”. Van der Haar was a driving force behind transformation in the ad sector, which has long been criticised for being slow to change. She says among her accomplishments has been “enabling accelerated transformation by driving the industry’s transformation agenda and goals, which saw the MAC charter for transformation of the sector, written into law”.

After a much publicised marriage in early 2017 the M&C Saatchi Group and Avatar SA parted ways. Zibusiso Mkhwanazi (founder: M&N Brands, the holding company for Avatar) and Jerry Mpufane, chair of M&C (Johannesburg) said the two companies would part amicably and go their separate ways.

There was also another high-profile departure from the M&C group. Matthew Buckland

Odette van der Haar

Bob Rightford

exited Creative Spark, the digital agency he launched and which was acquired by M&C. Another high-profile departure was that of Rob McLennan, founding partner of King James the Second. At the same time Ogilvy SA announced the appointment of Luca Gallarelli, former MD of Ogilvy Cape Town as MD of the Ogilvy Group. The group also introduced a new organisational structure and brand identity.

The newly integrated brand brought together three distinct units of OgilvyOne, Ogilvy & Mather Advertising and Ogilvy Public Relations, along with various company sub-brands and speciality brands, under a single, unified group with a common identity, positioning, client service model and P&L. This year arguably SA’s most successful independent advertising agency group celebrated 20 years of operation. The company has established itself as one of the creative drivers in the SA agency market, with iconic work for brands such as Allan Gray, Santam and Sanlam. The agency has trebled its staff count over the past decade. and revenue hit R220m per annum. According to the MarkLives website, if there’s one point in which King James lags, it would be black ownership. The agency is reportedly “in an advanced stage of concluding an additional

COMMENTARY & INSIGHT

Absa’s new logo that was launched this year and met with mixed reaction from the industry

Luca Gallarelli

BEE shareholding transaction.”

There were a number of notable account moves in 2018, among them Mercedes-Benz SA, which moved its business from Net#work BBDO to Publicis Groupe Africa. Publicis has set up a new agency, named Publicis Emil and headquartered in Berlin, to work on the Mercedes-Benz brand. While that was happening BBDO SA folded its Cape Town agency, 140 BBDO, into its primary agency, Net#work BBDO, in Johannesburg.

Y&R SA wound its Cape Town office and the entire operation was incorporated into VML SA. That happened while the Jupiter Drawing Room Johannesburg closed its doors and from its ashes a new agency, Black

Powder was born. The Dentsu Aegis Network finally acquired a majority stake (52.05%) in FoxP2 Holdings after clearing regulatory hurdles. Key clients include Diageo, Namibia Breweries, Hyundai SA, Stanlib, Budget Insurance and FNB. In January the industry bid farewell to Bob Rightford, one of the founders of Ogilvy and Mather SA. Ad man Matthew Bull described him as a formidable man: “Bob didn’t just lead his agency; he led this country into the world advertising arena. He, together with his partners, created a legendary culture that still resonates and influences around SA and, indeed, the world.”

Perhaps the biggest brand story of 2018 was

Absa’s huge rebrand to mark its move away from Barclays Plc and establish itself as an independent African organisation, with global scalability. The bank revealed its new corporate identity in an African first, through a live drone light show on the Johannesburg skyline. Absa group marketing head David Wingfield said the refreshed expression of the brand “represents Absa as an entrepreneurial, digitally led bank with a deep knowledge of African markets and global scalability”.

The move was not without criticism. Says Phumi Mashigo, MD of Ignitive and this year’s AdFocus chair: “This is what happens when you try to create a new logo by committee.”

Absa defended its new logo, arguing the simplified “button-like” look aligns well with brands that are gaining traction in the digital space.

Jeremy Maggs

Helping agencies win clients for keeps.

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Phone: 010 594 0281 / 082 329 0079 johanna@agencyselection.co.za • www.agencyselection.co.za

AdFocus 2018 - 35

COMMENTARY & INSIGHT

THE MEDIA LANDSCAPE Economy, politics and the tech invasion are key ‘disruptors’

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edia spend is growing in both developed and emerging markets, driven largely by the growth in digital. SA is no exception to this trend, though that growth has slowed down in the past year as a result of a declining economy.

The biggest challenge facing the media industry in the year ahead will be largely out of its control: southbound macroeconomic factors driven by the current uncertainty in SA’s sociopolitical environment, says Rob Smuts, CEO of RMS Isla Prentis Rob Smuts Media.

“Business confidence is lagging and marketers are becoming more cautious about investing,” he says. “Advertising continue to shift audiences given that SA has activity remains one of the early barometers of yet to reach maximum levels of digital activity, changing economic fortunes and negative she predicts. Print titles that are able to build business sentiment and the current paywalls on online services will be an macroeconomic conditions will affect media exception to this general decline, believes spend to an even greater extent than the digital Mark Casey, TMT industry leader for Deloitte revolution.”

SA. “Great content that readers are prepared to Growth of adspend during 2017, according pay for will be key to the success of an online to AdEx, was 4%, down 2% on 2016’s 6% subscription strategy,” says Casey. growth. Broadcast media continues to show positive growth and while digital is not Growth areas reported, there is little doubt that digital media “As far as broadcast media is concerned, value is growing at a rapid rate. is most likely growing ahead of spend,” says Isla Prentis, business unit manager at The Prentis. “In other words, agencies and clients MediaShop, believes, however, that any growth are all pushing additional value in terms of in adspend is growth in value as opposed to effective discounts and this results in growth true growth in spend. “At best we believe the that exceeds true spend growth.” market is flat,” she says.

Both radio and TV, however, are still As it has for several years already, print experiencing healthy levels of spend, she says. remains under pressure as a result of declining “When budgets are reduced, primary media is audiences. Rising hard costs, however, have still maintained.” meant that print publishers have no alternative All businesses are heavily affected by a but to increase their advertising rates, leading, recessionary economy, Prentis says, making it says Prentis, to rapidly decreased value. more important than ever that media planners “The expectation is that the recession and strategists consciously find the optimised coupled with increased pressure on disposable media mix to protect and even grow brands in income will result in print titles losing further a difficult environment. audience,” she says.

Digital, on the other hand, is still in a growth Adding to print’s woes, however, is the phase in SA. Prentis believes this growth is likelihood that the growth of digital will

36 - AdFocus 2018

coming from three areas: online penetration which continues to grow year on year; advertisers still in the process of shifting their focus onto the digital space; and lastly the continued growth of available platforms and related research to show the value that digital can add to the media mix.

“Our estimate is that digital spend is currently around 15% in SA,” she says.

“The US is just over 30%, while the UK is just short of 60%. SA is expected to follow the US market — but this growth will take several years.”

Though the cost of data in SA remains among the highest in the world, data consumption has exploded with consumers second and even third screening, says Casey.

When you consider the number of services consumers subscribe to, they’re spending more on media than ever before, he says.

Casey predicts, however, that the take-up of subscription services such as Netflix will eventually reach a plateau. “Audiences still want local content: live local sport and news — Netflix can’t compete with that.”

Media trends While fragmentation has been a hot topic for years, it’s not going away any time soon, says Prentis. “Fragmentation has affected the top end of the market for years and this is a challenge that keeps on growing; but now it’s also affecting the mass market more and more.

While there are still homogenous media buys available, the ratings for these top programmes are declining year-on-year.”

It comes down to choice whether it be watching downloads through YouTube or access to more TV content, the latter of which is evident through the growth of both DStv compact and e.tv’s Open View.

The fact that audiences are more connected is affecting the media landscape. While data and access remain a limitation, this is becoming less of a problem each year, says

123rf Photos/ rawpixel

With the advent of these and many other entrants, consumers are demanding more authenticity and transparency from their brands

COMMENTARY & INSIGHT

Prentis, as a result of a combination of increased connectivity solutions: fibre for the top end of the market, taxi Wifi for the mass market, or improved data packages for cellular networks, as well as lower data access solutions such as Facebook Lite.

SA has been no exception to the global trend, where the traditional and digital worlds have merged. “Digital formats and applications of TV — or rather video; radio — or rather audio — out of home, print and every other touchpoint have been seen both globally and locally,” says Prentis.

The media habits of South Africans are evolving and while this has resulted in declining circulations of numerous print titles, so too is it reflecting in the significant growth for others on a variety of different platforms.

“Print titles now often have digital followings or TV stations are being viewed on mobile phones in different ways,” says Prentis.

“The lines between media types are blurring as historical classifications start to get in the way of ensuring that an insight leads you to connecting with your audience in the right place.”

There has been much made of the fact that attention spans are declining, while multiscreening has become the new reality.

Control of content no longer resides with the broadcaster or advertiser but rather with the consumer.

This means, says Prentis, that content has to be sufficiently appealing to ensure that the audience’s attention is caught in a short window, and sufficiently engaging to ensure that the audience chooses to listen, watch or

read.

For advertisers to reach consumers they need to understand that their target audiences are being exposed to different media in different ways, says Prentis. “How we travel is changing; whether it’s a new or upgraded form of transport or more time spent on the roads as a result of congestion, we’re being exposed to different media including cellphones, radio or out of home elements.

Cord-cutting — the move away from subscription television to streaming services — will have a growing negative impact on traditional television advertising reach, says Smuts. “In contrast, video watching — including advertising — on digital platforms such as Instagram has increased dramatically.”

The key to success is for brands to tell their own stories on their own platforms, rather than be exclusively dependent on broadcast or subscription television services.

Smuts predicts that traditional television is entering a similar phase to that which print media has experienced, which will negatively affect television advertising revenues.

Netflix continues to pose the biggest threat to traditional television broadcasting with players such as Cell C’s Black yet to become a serious contender in the video on demand sector.

Research The establishment survey is providing media planners with a good base, but, as Prentis says, it was never intended to be a standalone survey and needs to be used in conjunction with other surveys.

“Media owner research, historically, has almost always been biased and flawed,” says Prentis. “However, with a greater need to show evidence to justify spend across the industry, we have seen an increase in the quality of media owner research.”

That said, not all research from media owners is valuable, and a case-by-base review is still required with this kind of research used with caution and its credibility, validity and methodology checked by strategists, marketers and planners.

“There’s a lot of focus on which is the best research,” says Prentis.

“In my opinion, we should rather be focusing on how we can make everything work together. A move in the right direction is the fact that surveys are being fused together to add new layers of information. If we can do more of this — and allocate funding to adding additional research as opposed to looking at the same information in a different way — the industry will be moving in the right direction.”

In the year ahead, winning brands will be those that make sure that each medium works harder for them in a tough economy; and that the properties of each are pushed to their maximum, says Prentis. “It’s going to be about finding the connection to the consumer through insight rather than an off-the-shelf approach.

“Consumers are demanding transparency and authenticity from brands and it is those brands that are able to deliver this that will succeed.”

Lynette Dicey

AdFocus 2018 - 37

COMMENTARY & INSIGHT

THE YEAR THAT WAS 2018 was a mix of highs and lows in the ad world Though SA agencies took home the most coveted awards at home and globally, some had to return their past awards due to irregularities

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t wouldn’t be an advertising awards year without controversy, and 2018 was no exception. The TBWA\Hunt\Lascaris agency was forced to apologise and hand back a coveted Loerie after confirming it inadvertently took some of the sources believed to be trustworthy and used them in a campaign for the Apartheid Museum.

The campaign compared the quotes of famous people in history and King James Group took home a grand prix TBWA Breaking Ballet images juxtaposed quotes by SA apartheid leader Hendrik Verwoerd and US It was part of long-standing President Donald Trump. client Carling Black Label’s Later the agency’s internal #NoExcuse campaign. The investigations revealed that seven of campaign generated R31.8m in the 27 quotes it used in the campaign earned media and had a bigger were in question as to their reach than the opening authenticity. Group CEO Sean ceremony of the 2010 soccer Donovan was forced to eat humble World Cup. pie saying: “We apply research and Ogilvy Cape Town executive fact-checking in our work and it was creative director Tseliso Rangaka never our intention to attribute the says: “The combination of a wrong quotes to anyone. For that we brave client, a passionate agency unreservedly apologise. We made a team and a truly worthy cause mistake and should have dug deeper. doesn’t come around often.”

But let this be a lesson for all, that Ogilvy SA, Carling Black Label’s #NoExcuse campaign Vice-president for marketing even trusted sources need to be at AB Inbev Africa Andrea Quaye questioned.” incarnation of the Loeries was Ogilvy SA, says: “When we launched #NoExcuse last year That controversy didn’t ruin SA’s premier which took home 23 statues, including a Grand we vowed to drive positive change and this advertising competition for the independent Prix in the Film Communication category for was a highly creative, powerful, emotive and Joe Public agency, though, which was named multinational Kimberly-Clark and a campaign impactful way to deliver on that promise.” the agency of the year. It received a total of 30 called “The World's First Baby Marathon”.

Another notable winner at Cannes was Loeries, including eight gold, six silver, seven While success on the local stage is crucial, TBWA\Hunt\Lascaris, which won a gold bronze and nine craft certificates including a it’s on the world stage that SA agencies also Entertainment Lion for a campaign called gold in the Tactical Use of Newspaper category need to flourish and the premiership in this “Breaking Ballet”, which was also recognised and a Campaign Craft Gold in the Print Crafts regard is the Cannes Lions Festival of at the Loeries. (illustration) category for food brand Chicken Creativity, which apart from sun-drenched The agency’s Karabo Denelane says: “Our Licken. Another notable winner was the Cape days in the south of France and overpriced main objective with the campaign was to take Town based King James Group, which took rosé wine, is also an opportunity to ballet to a new audience and demonstrate how home a grand prix for Sanlam’s “2-Minute benchmark strategic and creative excellence engaging, beautiful, surprising and Shower Songs” in the digital and interactive against the best in the world. Again Ogilvy SA contemporary this classical art form can be. communication category. The campaign itself came up trumps, winning a grand prix for its Though the initial focus was to attract more received a total of nine awards across “Soccer Song for Change” activation. millennials to see ballet live on stage, it’s categories. Another success at the 40th

38 - AdFocus 2018

COMMENTARY & INSIGHT amazing to see the campaign now resonating with world leaders as well.”

Breaking Ballet was an eight-part series of bite-size ballets inspired by the biggest trending stories on social media.

Each dance was packaged as a short online film and seeded back into the trending conversation on social media within days of the story breaking. The Ogilvy SA’s “The World's First Baby Marathon” agency also won a gold radio Lion for a campaign for travel company Flight Centre. This spot imagines the world of anymore. Another major platform for agencies the near future that is so highly regulated, to succeed is the London based D&AD Awards legislated and politically correct that doing that recognises excellence in advertising and even the simplest things have become design. incredibly complicated and devoid of fun.

SA agencies Grid Worldwide, Joe Public In this execution, a young person on holiday United, Ogilvy Johannesburg, VML SA, Grey SA attempts to go for a swim, but is subjected to a and TBWA\Hunt\Lascaris were among this laborious, overprotective educational process, year’s winners. Grid Worldwide won for its hosed down for lice and only allowed a brief work on the “Meat made luxury” campaign for swim in an embarrassing outfit, under the its client, Marble, in the Illustration for Design watchful eyes of a military sniper. The spot category and Ogilvy Johannesburg won for its concludes with a message reminding young work on the “Suppertime Stories”. campaign people to travel now, before it’s not fun

for KFC in the Community Experience category. The now defunct Huffington Post SA partnered with Native VML to come up with a way to highlight the increased socioeconomic and environmental impact of consumerism, and send a clear message to industries and manufacturers that they need to be held accountable.

Says Ryan McManus from the agency: “We took a simple approach. We tapped into what consumers are attracted to – pretty, glossy ads — and led them through a 360° journey of consumerism through the Facebook 360° ad format. By utilising this technology, the manufacturing cycle of three industry sectors namely fashion, mobile communications and chocolate were highlighted by allowing viewers of the ad to explore what looks to be a regular ad, but which reveals the true journey of a product, which often involves the exploitation of human and environmental rights.”

Jeremy Maggs

THE LOERIES 2018 COMMUNICATION DESIGN

COMMUNICATION DESIGN

Prize

Agency

Brand

Product

Prize

Grand Prix

Tbwa Reklam Hizmetleri AS

Fear and Fantasy Festival

Fear and Fantasy Festival

Campaign M&C Saatchi Abel Bronze

Campaign Gold

Utopia

Explorers Club

Identity

Campaign Gold

Impact BBDO Dubai

Landmark Group

Centrepoint

Campaign Gold

M&C Saatchi Abel

Nando's

Peri-Peri Chicken

Campaign Silver

North VCA

Ultimate X

AR Posters

Campaign Silver

FCB Johannesburg

SA Tourism

Africa's Travel Indaba

Campaign Silver

Woolworths

Silver

M&C Saatchi Abel

Mr D Food

The Mr D Food App

Silver

Sunshinegun

Nando's

Global Crockery System

David Jones Foods Food

Silver

Ogilvy

Unilever

OMO

Silver

Promise

Rand Merchant Bank

Corporate Investment Banking

Mad Giant

Mad Giant beer

Silver Silver

Silver

Haldane Martin Iconic Design Sunshinegun

Wicked Pixels

Nando's

DStv

Nando's Peri-Gin & Moonshine Channel O

Agency

Brand

Product

COMMUNICATION DESIGN Prize

Agency

Brand

Product

Zeitz Museum Zeitz Museum of Contemporary of Contemporary Art Africa Art Africa

Bronze

Impact BBDO Dubai

One Foods

Sadia

Campaign Xfacta Bronze

Miavana

Nosy Ankao Island

Campaign Cra Gold

TBWA\Hunt\Lascaris Tiger Brands Doom Johannesburg

Bronze

Switch Brand SA

Equilibrium

Audiology, Hearing & Balance Practice

Campaign Cra Gold

TBWA\Hunt\Lascaris Distell Johannesburg

Nederburg

Bronze

Grid Worldwide Branding

National

Security & Safety

Cra Gold

Grid Worldwide Branding

MTN

MTN Illustration style

Bronze

Hitchcock Michalski

FNB

Poster

Bronze

M&C Saatchi Abel

M&C Saatchi Abel

Calendar

Cra Certificate

Bi ersuite – Cape Town, SA

Goedgedaght Grow Peace POP centres

Bronze

Sunshinegun

Sunshinegun

Handguns/ Festive season gi

Cra Certificate

Grid Worldwide Branding

MTN

Bronze

34°

Sadag

Mental Health

Bronze

The Hardy Boys

Unilever SA

Robertsons Herbs & Spices

Grand Prix

King James Group

Bronze

Advantage Y&R

Standard Bank Namibia

CSI Initiative

Campaign Gold

Impact BBDO Dubai La Libanaise Loto Libanaise Des Jeux

Bronze

OFYT Marketing & Autograph Communications Distillery

Autograph Gin

Campaign Gold

Ogilvy Johannesburg

Gold Bronze

Duke

Garagista

For Sale Ale

TBWA\Hunt\Lascaris Joburg Ballet Joburg Ballet Johannesburg

Bronze

Bi ersuite – Cape Town, SA

Goedgedaght

Grow Peace POP centres

Campaign Silver

TBWA\Hunt\Lascaris Joburg Ballet Joburg Ballet Johannesburg

Campaign Silver

Impact BBDO Dubai La Libanaise Loto Libanaise Des Jeux

MTN Typography System

DIGITAL & INTERACTIVE COMMUNICATION Sanlam

KimberlyClark

2 Minute Shower Songs

Huggies

AdFocus 2018 - 39

COMMENTARY & INSIGHT THE LOERIES 2018 DIGITAL & INTERACTIVE COMMUNICATION

OUTDOOR & OUT OF HOME

PRINT COMMUNICATION

Prize

Agency

Brand

Product

Prize

Agency

Brand

Product

Prize

Agency

Brand

Product

Campaign Silver

M&C Saatchi Abel

Nando's

Peri-Peri Chicken

Bronze

Comair

kulula.com

Sanlam

2 Minute Shower Songs

Ogilvy Johannesburg

KimberlyClark

Huggies

Campaign Cra Certificate

King James Group

Campaign Silver Silver

McCann Worldgroup SA

Bronze

American Swiss, The Foschini Group Connect

Jewellery

Loxyion Conexyion

Edward Snell

Russian Bear Vodka

Cra Certificate

J Walter Thompson JHB

Devil's Peak Brewing Company

Cra Beer

VML SA

Cra Certificate

Cullinan

Absa

L'Atelier

Silver

TBWA\RAAD

Silver

Scanad

PRINT COMMUNICATION Connect Boundless

Campaign Bronze

Kenya Magical Kenya Tourism Board TBWA\Hunt\Lascaris Tiger Brands Doom Johannesburg

Campaign Bronze

Wunderman SA

Investec

Campaign Bronze

VML SA

American Swiss, The Foschini Group

Jewellery

Campaign Bronze

King James Group

Sanlam

Financial products

Campaign Bronze

VML SA

American Swiss, The Foschini Group Sanlam

Jewellery

Bronze

King James Group

Bronze Bronze

King James Group Ogilvy Cape Town

Bronze Bronze

Wunderman SA Net#work BBDO

Bronze

TBWA\RAAD

Silver

Gold Joe Public United Campaign FoxP2 Silver

POWA National Geographic Kids

POWA National Geographic Kids Magazine

Campaign Tbwa Reklam Silver Hizmetleri AS

UNDP

Social Responsibility Project

Campaign Joe Public United Silver

Chicken Licken

Silver

Unilever

Sustainable Living Plan

Campaign Silver

Discovery

Vitality

Active Rewards

Campaign Silver

PepsiCo

PepsiCo

Simba

Slyders

Campaign Bronze

Ogilvy Cape Town

AB InBev

Carling Black Label

Daily Nation

Newspaper Go Sport Sales

J Walter Thompson Beirut

Corporate

Go Sport

Campaign Bronze

Bou Khalil

Campaign TBWA\RAAD Bronze Campaign FoxP2 Bronze

National Geographic Kids

Magazine

Campaign Ogilvy & Mather Bronze Africa

Airtel

Airtel Internet

Campaign TBWA\Hunt\ Bronze Lascaris Johannesburg

MTN SA

Brand

Campaign TBWA\RAAD Bronze

Nissan

Nissan Desert Lineup

Huggies

Campaign TWO.AM Bronze Agency

Hasbro

Play-doh Kitchen Creations

2 Minute Shower Songs

Campaign Tbwa Reklam Bronze Hizmetleri AS

Land Rover

Borusan Otomotiv

Bronze

The Odd Number

Brand SA

Freedom Day

Bronze

McCann Worldgroup SA

Recki Benckiser

Nurofen Headache Tablets

Bronze

Grey Advertising Africa

Readers' Warehouse

Readers' Warehouse

Bronze

VML SA

Cipla SA

Bronki Booster Comic Book

Campaign Joe Public United Cra Gold

Chicken Licken

Slyders

Cra Gold

Joe Public

GreatStock

Image Library

Horizon FCB Dubai

Citibank

Money transfer

Investec

AMG Institutional

Garagista For Sale Ale GreatStock Image Library Access Israel Easy Parking Access for Handicapped

Scanad

Silver

Joe Public United

POWA

Women's rights

Silver Silver

Horizon FCB Dubai TBWA\RAAD J Walter Thompson KSA King James II

Money transfer Campaign against Islamophobia Organ Donation

Cra Gold

Campaign Bronze Campaign Bronze Bronze Bronze

Citibank Amnesty International NOD

Campaign Joe Public United Cra Certificate

One School at a Time

One School at a Time

Allan Gray

Allan Gray

Shell

Fuel Save

Wrigley Keepit100

Ski les Keepit100

Campaign Scanad Cra Certificate Campaign Ogilvy & Mather Cra Africa Certificate

Airtel

Bronze

DDB Joe Public Ignite

Futura with Faatimah Nike Mohamed-Luke & Karabo Moletsane

40 - AdFocus 2018

SHARED VALUE

Digitas Liquorice

La Libanaise Loto Libanaise Des Jeux Ogilvy Johannesburg KimberlyHuggies Clark TBWA\Hunt\Lascaris Joburg Ballet Joburg Ballet Johannesburg

Duke Joe Public Leo Burne Israel

2 Minute Shower Songs

Campaign Silver

OUTDOOR & OUT OF HOME Gold Gold

Sanlam

Digi Farm PLC

Mercedes Benz Nissan KSA

Impact BBDO Dubai

Campaign King James Group Gold

M-Agriculture

Investec

Cra Certificate Cra Certificate Cra Certificate

Peri-Peri Chicken

Safaricom

Investec

Ogilvy Johannesburg KimberlyClark King James Group Sanlam

Nando's

Campaign Gold

Sanlam Private Wealth Santam Santam Volkswagen Polo

Cra Gold Cra Gold

Grand Prix M&C Saatchi Abel

Basketball Apparel

Airtel Internet

STUDENT Campaign Gold

University of Johannesburg

The Lion Match Lion Safety Company Matches

Gold

North-West University

Glitch

Channel brand

Gold

AAA School of Advertising Cape Town

Femodernist

Femodernist

Gold

AAA School of Advertising Cape Town Vega

Rape Crises Cape Town Trust International Federation of Red Cross and Red Crescent Societies Nat Geo Kids

Awareness Video

Campaign Silver

Homework Diaries

Silver

AAA School of Advertising

Nat Geo Kids

Silver

Stellenbosch Academy of Design & Photography

Fugard Theatre

Theatre

Silver

Vega

De Jager / Kaprey

Personal Branding

Silver

Vega

Montagu Dried Fruit

Dried Fruit Promotional

Silver

Stellenbosch Academy of Design & Photography

Eat Kayamandi Vendor station

Silver

The Open Window

Content

Silver

The Open Window

Content

Silver

AAA School of Advertising Cape Town

Self

Silver

Vega

Kellogg’s

World of Content Collateral Content Informational Booklet Black: A Study of the Darkest Colour Froot Loops

COMMENTARY & INSIGHT THE LOERIES 2018 STUDENT

STUDENT

Prize

Agency

Brand

Product

Prize

Silver

North-West University

Volk & Vaderland

Interactive Installation

Cra Certificate

Campaign Bronze

AAA School of Advertising

Spray & Cook

Non stick cooking spray

Campaign Bronze

AAA School of Advertising Cape Town

Spray & Cook

Campaign Bronze

AAA School of Advertising Cape Town

Cholera Awareness

Campaign Bronze

02 Academy Lagos

Federation of Red Cross and Red Crescent Societies International Federation of Red Cross and Red Crescent Societies Operation Smile Safair

Operation Smile

Skip

Washing Powder

Campaign Bronze Bronze Bronze Bronze Bronze

Bronze Bronze

Vega AAA School of Advertising Cape Town AAA School of Advertising Cape Town AAA School of Advertising Cape Town Stellenbosch Academy of Design & Photography Vega

Non stick cooking spray

Cholera Campaign

Budget airline

Prize

None

Campaign TBWA\RAAD Bronze

Brand

Product

Amnesty International

Campaign against Islamophobia

RADIO

PR & MEDIA COMMUNICATION Campaign Gold Campaign Gold

Agency

M&C Saatchi Abel TBWA\Hunt\ Lascaris Johannesburg Campaign King James Group Silver Campaign TBWA\RAAD Silver Campaign King James Group Bronze Campaign King James Bronze Group

Nando's

Campaign TBWA\RAAD Bronze

Connect

Joburg Ballet Sanlam Nissan KSA Sanlam AB InBev

Grand Prix

TBWA\RAAD

Louvre Abu Dhabi

Louvre Abu Dhabi

Peri-Peri Chicken Joburg Ballet

Campaign Gold

King James Group

Sanlam

2 Minute Shower Songs

Campaign Gold

FCB Johannesburg Toyota

Hilux

2 Minute Shower Songs Institutional

Campaign Silver

TBWA\Hunt\ Lascaris Johannesburg

Flight Centre Youth & Adventure

Youth & Adventure

Campaign Silver

Joe Public United

Chicken Licken Brand

Campaign Silver

M&C Saatchi Abel

Windhoek

Windhoek Beer

Silver

Ogilvy Cape Town

AB InBev

Carling Black Label

Silver

King James Group

Sanlam

Sanlam My Choice funeral plan

Silver

FCB Johannesburg SA Tourism

Domestic

Campaign Bronze

TBWA\RAAD

AWR Arabian Automobiles

Nissan Genuine Parts / Service Centre

My Choice Funeral Plans Newlands Spring Brewery Connect Boundless

LIVE EVENTS, ACTIVATIONS & SPONSORSHIPS

UN Women

Instant Coffee Sachet

Impact BBDO Dubai

Silver

Impact BBDO Dubai

Mars

Snickers

DBV SPCA

Mixed Breed

Silver

Easy Parking Access for Handicapped

Campaign Bronze

Kafa

Reflective Spray

Access Israel

TBWA\RAAD

Arrive Alive

Leo Burne Israel

Campaign against domestic violence

Bronze

WWP Group

Mercedes-Benz

X-Class

Campaign Bronze

Grey Advertising Africa

Duracell

Duracell Ba eries

Ricoffy

Di-ne-wo

Identity System

Vega

Scarfini

Zed.En Fin

Bronze

Vega

Direct Mailer

Bronze

AAA School of Advertising Cape Town AAA School of Advertising Cape Town Red & Yellow Creative School of Business The Open Window

De Jager / Kaprey Self Clover

Fresh Milk

Cra Certificate

Product

Silver

Bronze

Campaign Cra Gold Campaign Cra Certificate Campaign Cra Certificate Cra Certificate Cra Certificate Cra Certificate

None

Carling Black Label Child Marriage

Bronze

Bronze

Brand

Ogilvy Cape Town AB InBev

Self-promotion Self-promotion

Bronze

Stellenbosch Academy of Design & Photography

Gold

Spray & Cook Non stick cooking spray

Stellenbosch Academy of Design & Photography Stellenbosch Academy of Design & Photography The Open Window

Bronze

Agency

MEDIA INNOVATION

CMYK Stories Project

Bronze

Cullinan

Absa

L'Atelier

Insurance driven by the AA

AA insurance

Ogilvy Johannesburg

Castle Lager

House of Brave

Campaign Bronze

AB InBev

Bronze Bronze

M&C Saatchi Abel

DARG Domestic Animal Rescue Group

DARG Domestic Animal Rescue Group

Campaign Bronze Bronze

Joe Public

Voicebank

Joe Public United

M&C Saatchi Abel

Takealot

Takealot

Siemens

Siemens

Bronze

The Odd Number

Brand SA

Play Your Part

Cra Ogilvy Certificate Johannesburg

DStv

DStv

Bronze

Ogilvy Johannesburg

Vodacom

Fibre

Cra Glen21 Certificate Entertainment

AB InBev

Castle Lite

Bronze

The Odd Number

Brand SA

Play Your Part

Cra TBWA\RAAD Certificate

Louvre Abu Dhabi

Louvre Abu Dhabi

Bronze

Joe Public United

Jet

Jet's plus-size range

Joe Public United TBWA\Hunt\ Lascaris Johannesburg

Chicken Licken Rock My Soul 3 Flight Centre Youth & Youth & Adventure Adventure

Bronze

King James II

Hlala

Desk|chair|bag

na

na

Gold

Impact BBDO Dubai

La Libanaise Des Jeux

Loto Libanaise

Bronze Campaign Cra Gold

North-West University

Muurpapier Films

Short film

Gold

M&C Saatchi Abel and The MediaShop

Nando's

Peri-Peri Chicken

Campaign Cra Gold

FCB Johannesburg Toyota

Hilux

The Open Window

na

na

Kimberly-Clark

Huggies

Cra Gold

Ogilvy Cape Town

AB InBev

Campaign Ogilvy Silver Johannesburg

Carling Black Label

The Open Window

na

na

Silver

AB InBev

Flight Centre Youth & Adventure

Youth & Adventure

na

na

Silver

Joe Public United

Chicken Licken Brand

The Open Window

na

na

Campaign VML SA Bronze

Campaign Cra Certificate Campaign Cra Certificate

TBWA\Hunt\ Lascaris Johannesburg

The Open Window

Carling Black Label Magical Kenya

AAA School of Advertising Cape Town

Self

Book

Campaign Cra Certificate

King James Group

Brand SA

MEDIA INNOVATION

Ogilvy Cape Town Scanad

Campaign King James Bronze Group

Kenya Tourism Board American Swiss, The Foschini Group Sanlam

Jewellery 2 Minute Shower Songs

2 Minute Shower Songs

AdFocus 2018 - 41

COMMENTARY & INSIGHT THE LOERIES 2018 RADIO Prize

Agency

FILM COMMUNICATION

FILM COMMUNICATION

Brand

Product

Prize

Agency

Brand

Product

Prize

Bronze

The Odd Number

Brand SA

Constitution Awareness

Cra We Are Batch Certificate TV

Batch

Bronze

Impact BBDO Dubai

Landmark Group

Centrepoint

Animation, motion design and illustration services

Bronze

King James Group

AB InBev

Newlands Spring Brewery

Cra Chocolate Tribe Certificate

Chicken Licken

Feed My Craving 10

Bronze

Up In The Sky NG

9Mobile (Previously Etisalat Nigeria)

Etisalat Prize for Literature

Campaign Cra Certificate

M&C Saatchi Abel

Takealot

Takealot

Campaign Cra Certificate

FCB Johannesburg

Toyota

Hilux

Cra Certificate

Havas Johannesburg

Universal Music SA

SA Jazz Music

Cra Certificate

King James Group

Sanlam

Sanlam My Choice funeral plan

FILM COMMUNICATION Kimberly-Clark Huggies

Bronze

Wicked Pixels

Dubai Municipality

Dubai Frame

Bronze

Patriot Films

WAIF

WAIF Jewellery

Bronze

FCB Johannesburg

SA Tourism

SA Tourism

Bronze

Ola Films

Original Swimming Biggest Curse Party featuring Moonchild Sanelly

Cra Gold

Romance Films

Chicken Licken

Cra Gold

Impact BBDO Dubai

Landmark Group

Centrepoint

Cra Gold

Romance Films

Chicken Licken

Feed My Craving 10

Cra Gold

FCB Durban & Cerebos Tulips & Chimneys & Blackginger

Cerebos Salt

Cra Gold

Bladeworks & Chocolate Tribe

Chicken Licken

Hot Wings

Romance Films

Chicken Licken

Feed My Craving 10

Grand Prix

Ogilvy Johannesburg

Campaign Gold

TBWA\Hunt\Lascaris Joburg Ballet Johannesburg

Joburg Ballet

Gold

Impact BBDO Dubai

Landmark Group

Centrepoint

Gold

Net#work BBDO

MercedesBenz

S-Class

Gold

Meow Meow Woof

H2The

High On You Single song

Campaign Silver

M&C Saatchi Abel

Zang Caffeinated Chocolate

Zang Caffeinated Chocolate

Silver

Ogilvy Cape Town

KFC

cob

Silver

FCB Cape Town

Western Cape Safely Home Government

Silver

Joe Public United

Chicken Licken

Silver

Grid Worldwide Branding

#HopeJoanna #HopeJoanna

Cra Gold

Silver

T+W and SuperSport

SuperSport

SuperSport

Cra Impact BBDO Certificate Dubai

Landmark Group Centrepoint

Silver

TBWA\RAAD

Nissan KSA

Institutional

Landmark Group Centrepoint

Silver

The Bomb Shelter

Nakhane Toure

Single

Cra Impact BBDO Certificate Dubai

Silver

The Bomb Shelter

Kwesta

Single

Cra They Shoot Certificate Films

Chicken Licken

Chicken Boerie Burger

Cra 0307 Films Certificate

Nedbank

CIB

Feed My Craving 10

Silver

King James II

Allan Gray

Campaign Bronze

J Walter Thompson KSA

Saudi Telecom Pre-paid Company

Cra Bioscope Films / Certificate Bain & Bunkell

Indiefin

Life Insurance

Campaign Bronze

Joe Public United

Cell C

Online entertainment

Cra They Shoot Certificate Films

Chicken Licken

Chicken Boerie Burger

Campaign Bronze

King James Group

Sanlam

Sanlam Private Wealth

Cra Impact BBDO Certificate Dubai

Landmark Group Centrepoint

Bronze

Ogilvy Cape Town

Volkswagen for Life

Cra Ogilvy Certificate Johannesburg

Kimberly-Clark

Huggies

Bronze

Impact BBDO Dubai Mars

Snickers

H2The

Bronze

Ogilvy Cape Town

Polo

Cra Meow Meow Certificate Woof

High On You Single song

Bronze

TBWA\Hunt\Lascaris Standard Bank Sponsorship Johannesburg

Cra FoxP2 Certificate

Ster-Kinekor

Ster-Kinekor Theatres

Bronze

Net#work BBDO

Trace

Trace Mobile

Ogilvy Cape Town

AB InBev

Carling Black Label

Cra Plank Film Certificate Productions

Allan Gray

Bronze

Long-Term Investing

King James II Cra Certificate

Econet Media

Kwesé

Bronze

Grid Worldwide Branding

42 - AdFocus 2018

Volkswagen

Volkswagen

FNB

Allan Gray

Feed My Craving 10

FNB Sponsorship

Agency

Brand

Product

Cra Bioscope Films / Indiefin Certificate Bain & Bunkell

Life insurance

Cra Net#work BBDO Trace Certificate

Trace Mobile

Cra Produce Sound Certificate

Chicken Licken

Feed My Craving 10

Cra Certificate Cra Certificate Cra Certificate

Pernod Ricard SA Chicken Licken

Absolut Vodka

VML SA Joe Public They Shoot Films

Cra Plank Film Certificate Productions

Chicken Licken Allan Gray

Feed My Craving 10 Chicken Boerie Burger Long-Term Investing

INTEGRATED CAMPAIGN Grand Impact BBDO Prix Dubai Campaign Ogilvy Johannesburg Gold

La Libanaise Des Jeux KimberlyClark

Loto Libanaise Huggies

Campaign Silver

Ogilvy Cape Town

AB InBev

Carling Black Label

Campaign Silver

King James Group

Sanlam

2 Minute Shower Songs

Campaign Bronze

Impact BBDO Dubai

Mars

Snickers

Campaign Bronze

Black River FC

OLX

OLX App

Campaign Bronze Campaign Bronze

King James II

Allan Gray

Allan Gray

The Jupiter Drawing Room, Cape Town

Webafrica

Fibre Internet

Campaign Gold Campaign Silver

VML SA

Pernod Ricard SA

Joe Public United

Chicken Licken Hotwings

Campaign Silver

Ogilvy & Mather Africa

Ol Pejeta Conservancy

Ol Pejeta Conservancy

Campaign Bronze

King James Group

Sanlam

My Choice Funeral Plans

Campaign Bronze

TBWA\RAAD

Nissan

Desert Lineup

EFFECTIVE CREATIVITY Alcoholic Beverage

SERVICE DESIGN Campaign Gold

Accenture

Nedbank

Nedbank Smart Geyser

Campaign Silver

Momentum Corporate (division of MMI Group)

Momentum

Smart Underwriting

Campaign Bronze

North VCA

Polyco

Packa-Ching Brand

COMMENTARY & INSIGHT THE LOERIES 2018 OVERALL RANKING BY BRAND Rank

Name

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 19

Sanlam Chicken Licken Kimberly-Clark Nando's La Libanaise Des Jeux Joburg Ballet AB InBev Landmark Group Toyota Louvre Abu Dhabi Fear and Fantasy Festival Flight Centre Unilever Pernod Ricard SA GreatStock Nedbank Nissan Tiger Brands Explorers Club M-Agriculture

1st 1st

Ogilvy Johannesburg Grid Worldwide

1st

Joe Public United

5th

FCB Cape Town

1st

Grey

6th

1886 Advertising

7th 8th

Bain & Bunkell Joe Public United

9th

Ogilvy Cape Town

9th 9th

DDB SA FoxP2 Cape Town

1st

1 2 3 4 5 6 7 8 9 10 11 11 13 14 15 16 17 18 19 20

SA United Arab Emirates SA SA SA SA United Arab Emirates SA SA Turkey SA SA SA SA Kenya SA SA SA Kenya United Arab Emirates

Note: The overall ranking includes agencies from across the region — Africa & the Middle East — as well as international agencies that produced work to be flighted within the region

RANKING BY REGIONAL AGENCY GROUP 1 2 3 4 5 6 7 8 9 10

VML Cape Town

2nd 3rd 4th 4th 6th 6th 8th 9th 10th

Country

Name TBWA\ Ogilvy EMEA Joe Public United BBDO MEA King James Group FCB MEA M&C Saatchi VML WPP Scangroup Publicis

Note: The Regional Agency Group ranking is for the group networks across Africa and the Middle East

TBWA\Hunt\Lascaris Johannesburg

TBWA\Hunt\Lascaris Johannesburg

1st

CANNES LIONS 2018

Rank Name

Rank

1st

1st

Note: 6 SA agencies won a wood pencil and came tie first.

No other SA agencies won anything else this year.

OVERALL RANKING BY AGENCY Joe Public United Impact BBDO Dubai King James Group TBWA\Hunt\Lascaris Johannesburg M&C Saatchi Abel Ogilvy Johannesburg TBWA\RAAD Ogilvy Cape Town FCB Johannesburg TBWA\Istanbul VML SA King James II Grid Worldwide Net#work BBDO Scanad Digitas Liquorice Utopia Meow Meow Woof Ogilvy & Mather Africa Horizon FCB Dubai

ONE CLUB SHOW 2018

D&AD 2018

TBWA\Hunt\Lascaris Johannesburg Ogilvy Cape Town King James Ogilvy Johannesburg DDB SA VML Cape Town 1886 Advertising Joe Public United Havas Johannesburg Grey

Silver

Published September 2018

Special Award

Bronze 1

1

Grey SA

1

Joe Public United

1

1

King James

1

Ogilvy & Mather CapeTown

VML Cape Town

INDIVIDUAL AGENCY OF THE YEAR INTERIM RANKINGS 2018

FoxP2 FCB Cape Town

4th

CREATIVE CIRCLE

APEX 2018 Gold

Ogilvy Johannesburg King James

Note: Creative Circle only ranks up to 10th as no points in our system count from 11th place onwards

Note: Creative Circle only ranks up to 10th as no points in our system count from 11th place onwards

Agency

2nd 3rd

1

Ogilvy & Mather Johannesburg

1 2

1st 2nd 3rd 4th 5th 6th 7th 7th 9th 9th 11th 12th 13th 13th 15th 16th 16th

GROUP AGENCY OF THE YEAR INTERIM RANKINGS 2018

CREATIVE CIRCLE Annual Awards 2017

Agency

1st

DDB SA

1

2nd

FCB Cape Town 2

FoxP2

1

Grey

1

TBWA\Hunt\Lascaris Johannesburg Joe Public King James

1

1 1 1

2

Native VML

1

North VCA

1 1 1

1 1

Published September 2018

3rd 1

FCB Johannesburg

Ogilvy Johannesburg Young & Rubicam

TBWA\Hunt\Lascaris Johannesburg Ogilvy Johannesburg Joe Public United VML King James Group Ogilvy Cape Town Grey Grid Worldwide 1886 Advertising DDB SA M&C Saatchi Abel FCB Cape Town FCB Johannesburg Bain & Bunkell FoxP2 Cape Town King James II Havas Johannesburg

3

1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th

TBWA\ Ogilvy Joe Public Group King James Group VML FCB Africa Grey DDB M&C Saatchi Abel Bain & Bunkell FoxP2 Havas

Source: Creative Circle

AdFocus 2018 - 43

ID

EA

You can’t have an idea without ID.

Our diversity of voices, views and backgrounds give us the insights to create ideas that speak to all South Africans.

Brenda Khumalo – MD • Sharon Bergmann – CFO • Qingqile Mdlulwa – ECD Contact: Tshepang Louw – New Business Director • E: tshepangl@collectiveid.co.za • T: 0782698704

44 - AdFocus 2018

AdFocus 2018 - 45

OMD

OMD

CONTENTS 3. Map of SA, provinces & capitals 4. Population profile of SA 5. Media consumption Change in media opportunities Telecommunications summary 6. Adspend: ○ In millions ○ Categories Key indices: 2008-2018 7. Television stations TV performance 8. Daily newspapers Major weekly newspapers 9. Consumer magazines 10. Local newspapers Business to business 11. Radio stations 12. Out of home Cinema

13. Online media Social Mobile advertising E-newsle ers Country specific data Angola Botswana Democratic Republic of Congo (DRC) Malawi Mauritius Mozambique Namibia eSwatini (Swaziland) Lesotho Seychelles 22. Tanzania 23. Zambia 24. Zimbabwe

14.

15.

16.

17.

18.

19.

20.

21.

OMD MEDIA FACTS 2019 INTRODUCTION Here is the 2019 edition of OMD’s SA and SADC Media Facts, now in its 22nd year of publication.

Much has changed over that time but the requirement for accurate data across the African continent is more acute than ever as advertisers continue to push into new territories. All this information is also available as a PDF download at www.omd.co.za, and the data for West Africa from OMD Nigeria at www.mediareachomd.com .

OMD are the market leading media agency in South Africa, Nigeria and Kenya* and, as such, are in an unrivalled position to provide unique strategic insights and volume buying power for our clients.

The growth of the Digital platform continues at rapid pace in all parts of the continent, with a young and urbanising population that quickly adapts to new technology and has a voracious appetite for it.

This provides new challenges for advertisers but also new opportunities.

For 2019 OMD and Omnicom Media Group are rolling out planning tools under the OMNI© banner into all our offices across the region.

This will provide world class analytics from our global networks to assist strategy development and implementation at a local level in Africa. A world first.

Josh Dovey CEO Africa Omnicom Media Group. *Source RECMA September 2018

2 • OMD Media Facts

November 2018

L-R : Marco Santos OMD SA Managing Director, Gary Westwater Omnicom Media Group SA CFO, Josh Dovey Omnicom Media Group SA CEO.

MEDIA MEDIA FACTS FACTS SOUTH AFRICA Background

A er rule by various Boer republics and the British the resulting Union of South Africa (1910) and Republic (1961) operated under a policy of the separation of the races.

The 1990s brought an end to apartheid politically and in 1994 black majority rule via ANC. New president 2018.

Export partners

China (10), USA (8), Germany (7), Japan (5), India (5), Botswana (4), Namibia (4)

Exports

Gold, diamonds, platinum, other metals and minerals, machinery & equip.

Climate

Mostly semiarid; subtropical along east coast; sunny days, cool nights in interior

Imports FOB

US$80.2bn (2017 est.), world rank: 38

Terrain

Vast interior plateau rimmed by rugged hills and narrow coastal plain

Import partners

China (18), Germany (12), USA (7), Saudi Arabia (5), India (5)

Resources

Gold, chromium, antimony, coal, iron, manganese, nickel, phosphates, tin, rare earth elements, uranium, diamonds, platinum, copper, vanadium, salt, natural gas.

Imports

Machinery & equip., chemicals, fuel, scientific instruments, food

Currency

Rand (ZAR)

US$1=

14.23 (17/10/2018); 14.69 (2016)

Land area

1,219,090 km2, world rank: 26

Land use

Agricultural: 79.4% (arable: 9.9%, permanent crops: 0.3%, permanent pasture: 69.2%). Forest: 7.6%, Other: 13%

Population

56.7m (2017), world rank: 25, growth: 1.3% pa.

Urbanisation

66.4% of total population (2018 est)

Age structure

0-14 years: 28.3%, 15-24 years: 17.6%, 25-54 years: 41.7%, 55-64 years: 6.7%, 65+ years: 5.7%

Ethnic groups

Black African: 80.2%; Coloured: 8.8%; White: 8.4%; Indian: 2.5%

Languages

Limpopo Province Polokwane

North Johannesburg Gauteng West

Zulu: 22.7%, Xhosa: 16.0%, Afrikaans: 13.5%; English: 9.6%, Pedi: 9.1%, Tswana: 8.0%, Sotho: 7.6%, Tsonga: 4.5%, other: 9%.

Literacy

15+ read/write: total: 94.4%, male: 95.4%, female: 93.4% (2015 est)

HIV/Aids

18.8% (2017 est.), world rank: 4

Income per capita

US$5,430 (2017 est), world rank: 87

Income share

Highest 20%: 68.2% of income, GNI Index: 63

Upington

Exports FOB

Nelspruit

Mpumalanga

Free State

KwaZulu Natal

Welkom

Kimberley

Pietermaritzburg

Bloemfontein

Northern Cape

Durban

Eastern Cape Bhisho Mthatha Grahamstown Stellenbosch

GDP

Pretoria

Mahikeng

Kruger National Park

US$349.4bn (2017 est.), world rank: 32, growth 1.3% on 2016

Cape Town

Western Cape

East London Port Elizabeth

George

US$78.3bn (2017 est.), world rank: 40

Source: World Bank/CIA World Book

PROVINCES & CAPITALS Province

Capital

Dominant Language (%)

Eastern Cape Free State Gauteng KwaZulu-Natal Limpopo Mpumalanga North West Northern Cape Western Cape Total

Bhisho Bloemfontein Johannesburg Pietermaritzburg Polokwane Nelspruit Mahikeng Kimberley Cape Town

Xhosa S. Sotho Zulu Zulu N. Sotho Swazi Tswana Afrikaans Afrikaans

82.7 71.9 23.0 82.5 56.0 29.1 71.5 56.8 46.6

Area

Population#

GDP+

(Km2)

(%)

(000)

(%)

(%)

168,966 129,825 18,178 94,361 125,755 76,495 140,882 372,889 129,462 1,256,812

13.4 10.3 1.4 7.5 10.0 6.1 11.2 29.7 10.3 100

6,522.7 2,954.3 14,717.0 11,384.7 5,797.3 4,523.9 3,979.0 1,225.6 6,621.1 57,725.6

11.3 5.1 25.5 19.7 10.0 7.8 6.9 2.1 11.5 100

8.0 5.0 35.0 16.0 7.0 7.0 6.0 2.0 14.0 100

This table reads: Eastern Cape's capital is Bhisho, its dominant language is Xhosa (82.7% of the population), it has 13.4% of the area of South Africa, 11.3% of population and 8.0% of GDP. # STATS SA mid 2018 estimates. + Regional estimates of GDP 2016, revised 2017.

Source: South Africa Yearbook 2017, Statistics South Africa.

OMD Media Facts

November 2018 • 3

OMD

OMD

POPULATION PROFILE (ADULTS 15+)

DEMOGRAPHIC TOTAL

‘000 39,473

% 100.0

31,332 3,689 3,431 1,021

79.4 9.3 8.7 2.6

19,025 20,448

48.2 51.8

9,540 10,917 9,898 9,118

24.2 27.7 25.1 23.1

ETHNIC GROUP Black Coloured White Indian or Asian

AGE 15-24 25-34 35-49 50+

‘000 % 39,473 100.0

MAJOR MUNICIPALITY

GENDER Men Woman

DEMOGRAPHIC TOTAL City of Johannesburg (Gauteng) City of Tshwane (Gauteng) Ekurhuleni (Gauteng) eThekwini (KwaZulu Natal) Buffalo City (Eastern Cape) Nelson Mandela Bay (Eastern Cape) City of Cape Town (Western Cape) Mangaung (Free State)

DEMOGRAPHIC TOTAL

3,721 2,556 2,424 2,830 910 675 3,149 629

9.4 6.5 6.1 7.2 2.3 1.7 8.0 1.6

‘000 39,473

% 100.0

HOUSEHOLD INCOME (pm)

Literate - Literacy Partially literate - Literacy Illiterate - Literacy

38,531 514 428

97.6 1.3 1.1

217 None/no formal schooling 816 Some primary school 1,381 Primary school completed 14,163 Some high school 17,199 Matriculated 1,595 University incomplete 1,938 University completed 678 Post-graduate qualification Any other post-matric qualification 1,485

0.5 2.1 3.5 35.9 43.6 4.0 4.9 1.7 3.8

EDUCATION

R0-R4,999 R5,000-R9,999 R10,000-R19,999 R20,000-R39,999 R40,000-R59,999 R60,000+

15,909 11,216 7,433 3,538 868 509

40.3 28.4 18.8 9.0 2.2 1.3

DEMOGRAPHIC TOTAL

‘000 39,473

% 100.0

10,017 7,550 4,764 4,841 3,815 2,935 2,650 2,030 870

25.4 19.1 12.1 12.3 9.7 7.4 6.7 5.1 2.2

‘000 % 39,473 100.0

SOCIO-ECONOMIC MEASURE (SEM) SEM Cluster 1 SEM Cluster 2 SEM Cluster 3 SEM Cluster 4 SEM Cluster 5 SEM Super Group 1 SEM Super Group 2 SEM Super Group 3

8,180 8,446 13,171 6,367 3,308 16,626 13,171 9,676

20.7 21.4 33.4 16.1 8.4 42.1 33.4 24.5

‘000 % 39,473 100.0

LITERACY DEMOGRAPHIC TOTAL

DEMOGRAPHIC TOTAL

DEMOGRAPHIC TOTAL

‘000 % 39,473 100.0

LANGUAGE SPOKEN MOST OFTEN AT HOME Zulu Xhosa Afrikaans English Sepedi Sesotho Setswana Tsonga Venda Swati Ndebele Other

10,210 6,011 4,886 4,126 3,719 3,590 3,293 1,336 908 816 456 142

25.9 15.2 12.3 10.5 9.4 9.1 8.3 3.4 2.3 2.1 1.2 0.3

32,499 12,737 9,317 6,790

82.3 32.2 23.6 17.2

PROVINCE Gauteng KwaZulu-Natal Eastern Cape Western Cape Limpopo Mpumalanga North West Free State Northern Cape

DEMOGRAPHIC TOTAL AREA CLASSIFICATION Metro Urban Rural

This table reads: According to BRC PRC’s Establishment Survey Jul-Dec 2017 the South African adult population is 39,473m.

Of these 31,332m (79.4%) are Black, and 3.689m (9.3%) are Coloured.

Source: BRC PRC’s Establishment Survey 2017 (Jul-Dec 2017)

4 • OMD Media Facts

‘000 % 39,473 100.0

November 2018

16,116 11,212 12,145

40.8 28.4 30.8

READ & UNDERSTAND English Zulu Afrikaans Xhosa

DEMOGRAPHIC TOTAL

‘000 39,473

% 100.0

15,368 4,013 1,575 8,303 1,520 5,325 3,502

38.9 10.2 4.0 21.0 3.9 13.5 8.9

WORKING STATUS* Working full-time Working part-time Housewife/househusband/home executive Not working - looking for work (unemployed) Not working - not looking for work Student Retired

MEDIA FACTS MEDIA CONSUMPTION (ADULTS AGED 15+) Population (000)

All races 39,473 (%)

Black 31,332 (%)

Coloured 3,689 (%)

Indian or Asian 1,021 (%)

White 3,431 (%)

YESTERDAY Television Radio Internet Newspaper (digital or printed) Magazine (digital or printed) Cinema

90.9 74.7 49.0 15.4 5.9 0.2

90.2 76.3 46.9 13.3 5.0 0.2

93.3 63.5 44.0 19.7 5.9 0.0

94.7 66.5 50.3 26.2 11.3 0.0

93.9 74.2 73.2 27.1 12.1 0.3

IN THE LAST WEEK Television Radio Internet Newspaper (digital or printed) Magazine (digital or printed) Cinema

94.6 88.2 55.9 40.0 18.5 0.9

94.0 88.9 53.7 33.9 15.3 0.7

96.9 81.8 51.5 59.6 27.5 0.7

97.6 87.1 58.6 74.1 27.9 3.6

96.7 89.4 80.5 64.7 34.9 2.0

IN THE LAST MONTH Television Radio Internet Newspaper (digital or printed) Magazine (digital or printed) Cinema

95.8 90.6 57.7 48.0 28.2 3.4

95.5 91.2 55.4 42.2 24.6 2.5

97.5 84.5 53.6 67.6 39.6 3.0

98.0 89.5 60.2 80.4 34.1 8.3

97.0 92.1 82.3 70.2 46.6 11.0

96.6 91.7 58.7 52.2 33.5 6.8

96.2 92.1 56.5 46.9 29.7 5.1

98.2 86.5 54.4 70.4 46.6 6.4

98.3 90.7 60.9 80.8 37.6 17.6

97.6 93.5 82.8 72.1 52.9 19.4

IN THE LAST 3 MONTHS Television Radio Internet Newspaper (digital or printed) Magazine (digital or printed) Cinema

This table reads: According to BRC PRC Establishment Survey 90.9% of the adult population of 39.47m viewed TV yesterday. The proportion was highest amongst the Indian/Asian population (94.7%) and lowest amongst the Black (90.2%). Over 3 months TV was viewed by 96.6% of the adult population.

Source: BRC PRC Establishment Survey 2017B (Jul-Dec 2017), population adults aged 15+

CHANGE IN MEDIA OPPORTUNITIES Medium TV stations (linear channel) Radio stations Daily newspapers Major weeklies Consumer magazines & newspapers Business to business periodicals Community/local newspapers & magazines Internet websites#

Dec Mar Mar Oct Oct Oct Sep Oct 1991 2008 2010 2012 2014 2016 2017 2018 7 34 22 25 250 300 N/A 1

85 135 21 29 690 775 475

100 138 21 26 655 700 470

172m 206m

180 215 22 28 600 650 480

300 245 22 27 590 630 495

320 270 22 27 525 550 500

697m 968m

1bn

300 260 22 27 470 525 500

300 260 20 27 420 480 490

1,2bn 1,9bn

This table reads: There were 7 TV channels in 1991. In October 2018 there were 300.

Comment: TV: includes commercial and non-commercial Free-to-air, DStv, local, StarSat & OpenView stations.

Radio: estimated to be actively broadcasting in the month.

Print media: dailies and weekends exclude regional supplements/business editions. Consumer and Business to Business is estimated total opportunities offered. Community/local includes magazines with local content and distribution # According to InternetLiveStats the number of websites has increased from 1 in August 1991 (the founding website) to over 1,9bn in Oct 2019, estimating over 75% being inactive parked domains. According to the same source there were 4,1bn internet users worldwide, meaning an average of 2.1 users per registered domain. IP2Location estimates over 31,3m registered IP addresses of all types in South Africa.

TELECOMMUNICATIONS & ONLINE South Africa Telephone lines per 100 people (2017) Mobile subscribers per 100 people (2017) Population covered by min. 3G mobile Internet users per 100 people (Dec 2017) Fixed broadband per 100 people (2017) Households per 100 with computer Households per 100 with internet access Web traffic share: mobile Web traffic share: desktop Active social media users per 100 people Average daily social media use Country code

6.4 162 98% 53.7 3.0 24.4 53 71% 25% 32 2h48m .za

SOURCE: World Bank, ITU, Internet World Stats, Hootsuite 2018

Source: Media Manager, InternetLiveStats, IP2Location

OMD Media Facts

November 2018 • 5

OMD

OMD

ABOVE-THE-LINE ADSPEND (Rm) Net of agency commission Category

2008

Daily newspapers Weekly newspapers Local newspapers Consumer magazines Trade, technical, financial Total Print TV Radio Cinema+ Out of Home Direct mail (unaddressed) Internet+ Total

2013

2015

2017

Rm

%

Rm

%

Rm

%

2,912 1,299 1,270 1,843 444 7,767 8,321 2,793 298 902 126 314 20,520

14.2 6.3 6.2 9.0 2.2 37.9 40.5 13.6 1.5 4.4 0.6 1.5 100.0

3,176 1,605 1,673 1,716 335 8,504 14,970 4,864 357 1,334 90 853 30,975

10.3 5.2 5.4 5.5 1.1 27.5 48.3 15.7 1.2 4.3 0.3 2.8 100.0

3,069 1,284 1,723 1,548 291 7,916 18,863 5,525 433 1,319 125 1,046 35,229

8.7 3.6 4.9 4.4 0.8 22.5 53.5 15.7 1.2 3.7 0.4 3.0 100.0

Rm 3,095 1,231 2,214 1,283 322 8,144 22,067 6,865 396 1,278 163 95+ 39,009

Aug 2017-Jul 2018 Rm %

% 7.9 3.2 5.7 3.3 0.8 20.9 56.6 17.6 1.0 3.3 0.4 0.2 100.0

3,040 1,186 2,296 1,197 309 8,028 22,967 7,175 359 1,268 163 0+ 39,959

7.6 3.0 5.8 3.0 0.8 20.1 57.6 18.0 0.9 3.2 0.4 0.0 100.0

This table reads: According to Nielsen's Ad Dynamix, TV accounted for R8,321m (40.5%) of the total of R20,520m spend net of agency commission in 2018. TV rose to R22,967m (57.6%) of the R39,959m spend net of agency commission between Aug 2017 and Jul 2018. Rounding off occurs. + Cinema: change of methodology; Internet: not reported wef March 2017 due to deteriorating submission numbers. Source: Nielsen Media Research's Ad Dynamix.

ABOVE-THE-LINE ADSPEND by category Net of agency commission Category

2010 %

2013 %

2015 %

2017 %

Aug 2017-Jul 2018 Rm %

Retail Financial services FMCG - Health & beauty Automotive Multimedia Travel, sport & leisure FMCG - Beverages FMCG - Food Professional services Government, education, health FMCG - Homecare & homeware Social responsibility, welfare Business to business, industrial Media adv., promotions FMCG - Baby care Small display FMCG - Pets & pet care FMCG - Tobacco & related Total

22.4 10.8 8.7 9.2 11.5 6.2 6.9 5.0 2.9 3.1 2.8 3.2 3.3 2.3 0.4 1.0 0.2 0.1 100.0

21.9 14.9 8.3 9.5 9.1 5.1 6.0 4.7 3.1 3.7 3.7 3.1 3.3 2.4 0.4 0.7 0.2 0.0 100.0

22.3 17.3 9.0 9.6 6.1 5.4 6.9 4.9 3.3 3.2 2.9 3.1 2.4 2.1 0.6 0.6 0.2 0.1 100.0

22.7 17.7 10.3 7.8 7.0 6.4 6.2 4.8 3.8 3.1 2.6 2.6 2.0 1.8 0.7 0.3 0.2 0.0 100.0

9,065 6,857 4,179 3,114 2,771 2,619 2,558 1,796 1,517 1,334 1,135 1,087 760 703 287 82 82 14 39,959

22.7 17.2 10.5 7.8 6.9 6.6 6.4 4.5 3.8 3.3 2.8 2.7 1.9 1.8 0.7 0.2 0.2 0.0 100

This table reads: According to Nielsen's Ad Dynamix, above the line advertising expenditure, net of agency commission, on Retail was R9,065m between Aug 2017 and Jul 2018 yielding 22.7% of the total of R39,959m. The percentage was 22.4% in 2010. Note: Different analysis categories prior to 2010. Source: Nielsen Media Research's Ad Dynamix.

KEY INDICES 2008 to 2018 Year 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 forecast

PPI % increase

CPI % increase

GDP % increase

Rand to US$

Prime rate %

Adspend % increase

MIW % increase

14.2 -0.1 6.0 8.4 6.2 6.0 7.5 3.6 7.0 4.8

11.3 7.1 4.3 5.0 5.6 5.8 6.1 4.6 6.4 5.3 4.6

3.2 -1.5 3.0 3.3 2.2 2.5 1.8 1.3 0.6 1.3 1.0

8.26 8.44 7.33 7.27 8.22 9.66 10.86 12.77 14.71 13.26 13.01

15.00 10.50 9.00 9.00 8.50 8.50 9.25 9.75 10.50 10.25 10.00

5.0 -0.1 18.1 11.1 6.9 8.5 3.9 9.5 6.1 4.4

12.0 6.3 7.7 6.0 6.3 6.4 11.0 12.4 3.4 6.2

This table reads: In 2008 the Producer Price Index (PPI) rose by 14.2% over 2007, the Consumer Price Index (CPI) rose by 11.3%, the Gross Domestic Product (GDP) rose by 3.2%, the US$ bought R8..26 ,the Prime lending rate was 15.00%, adspend increased by 5.0% and the Media Inflation Watch Index (MIW) was 12.0%.

Note: CPIX (metro & other urban) 2008. CPI new measure 2009 onwards. GDP updated. Adspend updated to re-include cinema. Prime rate at end of year. PPI average of final manufactured goods. 2018 Economic forecasts by Nedbank Aug 2018 Source: STATS SA via Nedcor Economic Unit/Nielsen Media Research's Ad Dynamix/Media Manager Africa's Inflation Watch MIW Index.

6 • OMD Media Facts

November 2018

MEDIA FACTS MEDIA TELEVISION STATIONS The market: Linear (ie.,channel) TV channel numbers, total viewership and adspend continues to climb but is fragmenting. Digital transition now progressing but still uncertain: ought to provide more local opportunity and cover more niches. Video On Demand (VOD) non-commercial opportunities supplied via internet streaming and installed decoder from international and local sources are rapidly changing historic fundamentals. Naspers’ ShowMax and Netflix are clear leaders.

Average week viewership adults 15+ ex BRC TAMS (Sep 2017 - Aug 2018)

Station Ownership/language

Comment

% of adult population viewing Total ‘000

All adults

Black

Coloured

Indian

White

SABC 1

SABC All official languages

Mainly Free-to-air, also on digital channels

19,682

56.7

65.2

39.8

22.0

13.3

SABC 2

SABC All official languages

Mainly Free-to-air, also on digital channels

17,195

49.5

50.4

57.6

27.2

41.4

SABC 3

SABC All official languages

Mainly Free-to-air, also on digital channels

11,329

32.6

32.2

43.4

28.9

27.4

22,648

65.2

68.3

64.0

40.5

47.9

16,215

46.7

49.1

50.2

32.6

27.7

SABC Group eTV

eTV Mainly English

Mainly Free-to-air, also on digital channels

kykNET

Multichoice Afrikaans

Digital pay TV station. Broadcast on DStv platform.

933

2.7

0.1

5.3

0.2

22.0

Mnet

Mnet Mainly English

Digital (plus some analogue) pay TV station. Broadcast on DStv platform

1,192

3.4

1.0

4.6

8.1

20.8

Mzansi Magic

Multichoice

Digital pay TV station. Broadcast on DStv platform.

3,640

10.5

12.7

4.3

1.3

1.3

Viacom Group

Viacom English

Includes MTV, Comedy Channel, BET. Broadcast on DStv platform.

5,127

14.8

12.3

17.9

19.7

30.5

DStv

Multichoice Mainly English

Digital satellite pay station, over 170 channels plus 100 audio and radio offerings. Over 6.4m SA subscribers.

70 commercial channels sold by DStv Media Sales.

9,964

28.7

26.1

26.7

32.2

50.3

StarSat

On Digital Media Mainly English

Digital pay station, some 125 channels including Chinese, Indian and audio services

Open View

eMedia Mainly English

Free digital service, 17 channels plus 8 radio services.

This table reads: SABC1 is owned by the SABC and broadcasts free-to-air in all official languages. Its average weekly viewership ex BRC TAMS Sep 2017 - Aug - 2018 is 19,7 million adults (rounded).

In this 7 day period it reaches 56.7% of all adults, 65.2% of black adults and 13.3% of all white adults.

TV PERFORMANCE Period: 19:00-22:00 September 2017-August 2018

Station

Ave cost 30”

SABC1

R96,098

SABC2

R57,447

SABC3

R22,297

eTV

All adults ‘000

Language English Afrikaans Nguni

Household income Sotho R1-2,499 R2,500-7,999 +R8,000

Ave. Daily Reach '000 Cost per 1,000 Ave. Daily Reach '000 Cost per 1,000 Ave. Daily Reach '000 Cost per 1,000

5,945.4 R26 2,511.9 R43 1,327.0 R50

81.0 R2,526 101.6 R1,117 137.5 R376

183.7 R1,114 400.5 R242 233.4 R256

3,440.1 R43 866.1 R130 454.7 R159

2,190.8 R75 1,067.1 R100 430.3 R169

2,052.8 R74 759.0 R142 358.4 R193

2,815.5 R56 1,259.5 R84 652.6 R100

1,077.1 R151 493.4 R223 316.0 R207

R62,834

Ave. Daily Reach '000 Cost per 1,000

3,512.6 R34

215.1 R535

395.6 R300

1,360.4 R91

1,425.2 R82

1,059.1 R111

1,729.0 R69

724.4 R171

Mzansi Magic

R42,301

Ave. Daily Reach '000 Cost per 1,000

734.3 R93

6.4 R13,915

5.5 R18,249

85.8 R814

284.3 R237

364.2 R190

kykNET

R19,856

M-Net

R21,196

Ave. Daily Reach '000 Cost per 1,000 Ave. Daily Reach '000 Cost per 1,000

233.8 R129 163.4 R306

13.3 R2,716 69.2 R708

193.9 R154 58.0 R800

241.3 479.1 R287 R141 0.2 0.2 R1,347,134 R819,221 9.6 7.5 R8,962 R7,568

13.0 R2,291 3.0 R60,086

47.2 R698 19.2 R3,119

173.6 R170 141.2 R341

31.6 R664

16.5 R1,325

41.0 R494

63.9 R302

12.8 R2,173

6.2 R5,248

17.2 R1,555

37.4 R580

DStv Commercial

R5,551

Ave. Daily Reach '000 Cost per 1,000

121.4 R164

16.5 R1,388

21.0 R841

Viacom

R6,473

Ave. Daily Reach '000 Cost per 1,000

60.8 R391

9.2 R2,204

12.9 R1,488

44.9 R432 21.2 R1,360

This table reads: The average spot on SABC1 spread 19:00 to 22:00 between September 2017 and August 2018 cost R96.098. In this period the station delivered 5,945,400 adults daily at an average cost per thousand of R26. Its average daily reach of English speakers was 81,000 at a cost per thousand of R2,526. Source: Nielsen's Arianna of Broadcast Research Council's TAMS.

OMD Media Facts

November 2018 • 7

OMD

OMD

DAILY NEWSPAPERS The market: Traditionally each major urban centre has had its own set of competing English and/or Afrikaans dailies. Last 15 years has seen a surge in popular journalism with the launch and massive success of Daily Sun. Revenue is under extreme pressure. Circulation trend: Most dailies display moderate to severe circulation decline.

Readership trend: Larger English dailies exhibit a Black readership in excess of 50%, blurring editorial appeals between traditional Black and White categories.

Area

Title

Group

Language

Appears

ABC circulation Apr-Jun 2018 (000)

2018 Col cm BW 2018 Col cm FC excl Vat & agency comm

Bloemfontein

Volksblad

Media24

Afr

AM

14.3

Per FC

Cape Town

Cape Times Cape Argus Daily Voice Burger Wes Son Wes (Mon-Fri)

INC INC INC Media24 Media24

Eng Eng Eng Afr Afr

AM PM AM AM AM

29.6 27.3 N/A 39.7 59.5

R122.16 R151.50 R109.47 Per FC Per FC

R195.46 R242.40 R175.15 R190.00 R237.00

Durban

The Mercury Daily News Isolezwe+

INC INC INC

Eng Eng Zulu

AM PM AM

25.0 23.1 79.8

R98.20 R115.33 Per FC

R157.11 R184.53 R130.34

East London

Daily Dispatch

Tiso Blackstar

Eng

AM

16.5

R67.23

R128.65

Johannesburg

Business Day Citizen Daily Sun+ Sowetan+ Star Beeld

Tiso Blackstar Caxton Media24 Tiso Blackstar INC Media24

Eng Eng Eng Eng Eng Afr

AM AM AM AM AM/PM AM

20.1 42.6 129.8 70.1 72.4 36.2

R190.90 R122.01 Per FC R205.84 R239.65 Per FC

R257.30 R164.34 R466.00 R341.13 R383.43 R244.00

Kimberley

Diamond Fields Adv

INC

Eng

AM

7.4

R34.28

R54.86

Pietermaritzburg

Witness

Media24

Eng

AM

11.1

Per FC

R112.00

Port Elizabeth

Herald

Tiso Blackstar

Eng

AM

16.2

R78.02

R141.93

Pretoria

Pretoria News

INC

Eng

PM

12.7

R69.84

R111.74

R104.00

+ predominantly black editorial focus. Note: All rates net of agency commission.

This table reads: Bloemfontein's Volksblad is published by Media24 in Afrikaans, mornings Mon-Fri. Its ABC circulation April-June 2018 is 14,300 (rounded) and a single column centimetre FC is R104.00 (2018, exc VAT & agency commission).

MAJOR WEEKLY NEWSPAPERS The market: Most large urban centre have a Saturday/Sunday edition of relevant dailies. Nationals grew from Johannesburg. Revenue is under extreme pressure.

Circulation trend: Most titles are declining, some dramatically. Readership trend: Per dailies.

Area Area/Title Group Language Appears 2018 Col cm BW 2018 Col cm FC ABC circulation excl Vat & Apr-Jun 2018 agency comm (000) National

City Press+ Mail & Guardian Rapport Soccer Laduma+ Sunday Independent Sunday Sun+ Sunday Times Sunday World+

Media24 M&G Media Media24 CT Media (Media24) INC Media24 Tiso Blackstar Tiso Blackstar

Eng Eng Afr Eng Eng Eng Eng Eng

Sun Fri Sun Wed Sun Sun Sun Sun

Bloemfontein

Volksblad Saterdag

Media24

Afr

Cape Town

Burger Son Op Sondag Weekend Cape Argus

Media24 Media24 INC

Durban

Ilanga+ Ilanga Langesonto+ Independent on Saturday Isolezwe ngeSonto+ Post Sunday Tribune

Johannesburg

Port Elizabeth

50.2 23.6 112.3 235.9 N/A 54.9 250.6 45.2

Per FC R337.34 Per FC Per FC R186.92 Per FC R678.11 R141.10

R383.00 R352.37 R633.00 R408.00 R299.08 R215.00 R1,079.83 R192.56

Sat

14.3

Per FC

R104.00

Afr Afr Eng

Sat Sun Sat/Sun

51.1 33.4 51.1

Per FC Per FC R151.50

R183.00 R80.00 R242.40

Mandla-Matla Mandla-Matla INC INC INC INC

Zulu Zulu Eng Zulu Eng Eng

Mon/Thu Sun Sat Sun Wed Sun

57.4 33.7 36.2 65.0 37.5 50.4

R93.52 R48.43 R113.58 Per FC R63.54 R153.91

R164.50 R81.00 R181.72 R101.91 R101.65 R246.25

Beeld Saterdag Saturday Citizen Saturday Star

Media24 Caxton INC

Afr Eng Eng

Sat Sat Sat

36.6 31.4 40.4

Per FC R85.49 R166.71

R202.00 R134.46 R266.73

Weekend Post

Tiso Blackstar

Eng

Sat

15.7

R74.70

R133.63

Includes Mon-Fri editions, + predominantly black editorial focus. Note: All rates net of agency commission.

This table reads: City Press is published by Media24 in English on Sundays. Its ABC circulation Apr-Jun 2018 is 50,200 (rounded) and a single column centimetre FC is R383.00 (2018, exc VAT & agency commission).

8 • OMD Media Facts

November 2018

MEDIA FACTS CONSUMER MAGAZINES The market: SA has over 350 consumer orientated titles, most of which are small circulating and highly niched. Churn of titles is high. The top 4 publishers totally dominate circulation and adspend.

Circulation trend: Depends on the category, but average title is declining. The important Women's sector is under pressure from large number of options allied to consumers reducing range of titles purchased. Readership trend: Like circulation, generally so ening. Most English, seemingly White editorial focus, titles show significant, if not dominant, Black readership.

Interest

Title

Group

Language

Appears

ABC circulation latest (000)

2018 FC FP excl Vat & agency comm

29.6

R32,600

26.1^ 59.6 31.9 186.7 302.8 38.4 96.2

R34,736 R41,900 R45,100 R87,740 R43,935 R34,850 R58,105

20.8

R23,235

Celebrity News

People

Caxton

Eng

Weekly

Current Affairs General Interest/TV

Time Magazine Bona + Drum + Huisgenoot DStv Premium TV Plus You

Time Warner Caxton Media24 Media24 New Media Pub.* For Multichoice Media24 Media24

Eng Eng+3 Eng Afr Eng/Afr edit.

Eng/Afr edit.

Eng

Weekly Monthly Weekly Weekly Monthly Fortnightly Weekly

Health

Lose it!

Media 24

Eng

6xpa

Inflight

Sawubona

New Media Pub.* for SAA

Eng

Monthly

88.5

R55,190

Lifestyle

Country Life, SA

Caxton

Eng

Monthly

29.9

R25,600

Men’s Interest

GQ Mens Health Popular Mechanics

Conde Naste Independent Media24 Ramsay£

Eng Eng Eng

11xpa.

Monthly Monthly

13.6 25.3 26.7

R46,500 R66,324 R35,480

Motoring

Bike SA Car Speed & Sound

Bike SA Ramsay£ OverDrive$

Eng Eng Eng

Monthly Monthly Monthly

17.9 64.6 24.4

R16,421 R58,220 R28,671

Music/Youth

Hype

Panorama

Eng

6xpa

19.1

R28,248

Travel/Adventure

Getaway Weg!/Go!

Ramsay£ Media24

Eng Eng/Afr edit

Monthly Monthly

41.0 58.9

R39,880 R54,035

Retailers’ titles

Edgars Club Mag. Fresh Living/Kook & Kuier Jet Club +

Publishing Part. For Edcon John Brown for Pick 'n Pay Publishing Part. For Edcon

Eng/Afr edit.

Eng/Afr edit.

Eng

Monthly Monthly 10xpa

194.7 439.3 450.6

R38,500 R95,000 R51,310

Sport

SoccerClub Compleat Golfer Kickoff + Runners World

Highbury Safika Media Ramsay£ CT Media* Media24

Eng Eng Eng Eng

Monthly Monthly Monthly Monthly

73.5 10.0 25.3 12.2

R19,950 R24,950 R52,230 R26,285

Technology

Stuff

Stuff

Eng

10xpa

12.4

R35,000

Women’s/Home Interest

Cosmopolitan Destiny + Elle Essentials FairLady Finesse Food & Home Entertaining Garden & Home, SA Glamour Conde Naste House & Garden House & Leisure Living & Loving Move! + Rooi Rose Sarie True Love + Visi Vrouekeur Woman & Home Women's Health Your Baby Your Family

Associated Ndalo* Ndalo* Caxton Media24 Carpe Diem$ Caxton Caxton Conde Naste Independent Conde Naste Independent Associated Caxton Media24 Caxton Media24 Media24 New Media Pub. * Caxton Caxton Media24 Media24 Caxton

Eng Eng Eng Eng Eng Afr Eng Eng Eng Eng Eng Eng Eng Afr Afr Eng Eng Afr Eng Eng Eng Eng

Monthly Monthly Monthly Monthly Monthly Monthly Monthly Monthly Monthly Monthly Monthly Monthly Weekly Monthly Monthly Monthly 6xpa Weekly Monthly Monthly 6xpa Monthly

30.7 26.1 22.4 19.4 31.9 39.9 19.2 41.8 35.1 25.9 15.8 9.2 59.9 58.4 65.4 33.9 17.3 45.7 62.9 29.7 10.6 22.8

R55,000 R44,639 R45,150 R27,800 R49,840 R23,900 R27,500 R46,300 R57,950 R53,200 R41,000 R23,000 R36,980 R38,000 R46,025 R59,210 R34,500 R22,900 R58,000 R51,545 R22,810 R30,900

+ Predominantly Black editorial focus * Part of Media24 (Naspers). $ Part of Caxton. £ part of Highbury Safika. ^ International ABC. Monthly includes 11xpa.

Note: All rates net of agency commission.

This table reads: People is published by Caxton weekly in English. Its latest ABC circulation is 29,600 (rounded) and a full page full colour is R32,600 (2018,exc VAT & agency commission).

OMD Media Facts

November 2018 • 9

OMD

OMD

LOCAL NEWSPAPERS The market: SA has over 450 newspapers and magazines targeted to local communities. Those in urban areas tend to be free distribution and large circulating. Those in country areas tend to be sold and smaller circulating. Circulation trend: Many urban local newspapers have increased circulation in line with increases in population/urbanisation and wealth.

Small “grassroot” publishers are entering the market but churn is high.

Area

Title

Group

Language

Appears

Circulation Col cm BW Col cm FC Apr-Jun 2018 excl Vat & excl Vat & (000) agency comm agency comm

Gauteng: Greater Johannesburg

Alberton Record Boksburg Advertiser Dobsonville Urban News (Soweto) Randburg Sun Roodepoort Record Sandton Chronicle

Caxton Caxton Caxton Urban Caxton Caxton Caxton

Eng(+Afr) Eng(+Afr) Eng Eng(+Afr) Eng/Afr Eng

Weekly Weekly Weekly Weekly Weekly Weekly

37.9 free 43.4 free 32.7 free 59.9 free 51.0 free 49.7 free

R 77.98 R 80.92 R 60.38 R 106.30 R 90.15 R 94.45

R 116.96 R 121.38 R 90.58 R 159.45 R 135.23 R 141.70

Gauteng: Pretoria

Rekord Centurion

Caxton

Afr/Eng

Weekly

60.1 free

R101.33

R152.00

Gauteng: Vaal

Vandebijlpark Ster

Media24

Eng/Afr

Weekly

26.5 free

R71.56

R107.33

North West

Potchefstroom Herald

Media24

Afr(+Eng)

Weekly

5.0 sold

R45.00

R67.00

Mpumalanga

Lowvelder

Caxton

Eng/Afr

Tue & Fri

13.4 sold: Fri

R46.31

R69.46

Free State

Bloem Nuus/News

Media24

Afr(+Eng)

Weekly

44.8 free

R46.00

R70.00

Kwazulu Natal: Durban

Highway Mail Northglen News

Caxton Caxton

Eng Eng

Weekly Weekly

54.6 free 27.6 free

R82.05 R59.13

R123.08 R88.70

Kwazulu Natal: North/ South Coast

South Coast Herald Zululand Observer

Caxton Caxton

Eng Eng/Afr

Weekly Mon & Thu

11.6 sold 8.4 sold: Thu

R50.14 R57.01

R75.21 R85.52

Eastern Cape: Port Elizabeth

P.E.Express

Media24

Eng(Afr)

Weekly

119.9 free

R70.00

R119.00

Western Cape: Cape Town

Southern Suburbs Tatler Tygerburger (14 editions)

INC Media24

Eng Afr(+Eng)

Weekly Weekly

48.7 free 301.1 free

R60.25 R385.00

R96.36 R450.00

Western Cape: Boland

District Mall

Media24

Eng/Afr

Weekly

6.3 sold

R48.00

R73.00

Circulation verification: 'Free: ABC: Free Newspapers; Sold: ABC: Local Newspapers. Rates: 2018. Note: All rates net of agency commission.

This table reads: Alberton Record is published weekly by Caxton in English plus some Afrikaans. Its latest circulation (ABC: Free Newspapers) is 37,900 (rounded).

A column centimetre BW is R77.98 and FC is R116.96 (2018, exc VAT & agency commission).

BUSINESS TO BUSINESS The market: SA has over 430 trade, technical and professional journals & annuals, most of which are small circulating and highly niched. Turnover of titles is high and total number is declining. The financial titles together with Engineering News dominate adspend. Circulation trend: Pressure on printing and distribution (ie, postage) costs forces publishers to continually cut non-core market circulation. Publishing costs and pressure on revenue is driving titles online and to e-ditions.

Interest

Title

Group

Language

Appears

ABC circulation Latest (000)

FP/FC A4/FC excl Vat

Architecture/Building

Farmers Weekly Landbouweekblad SA Builder

Caxton Media24 Malnor

Eng Afr Eng

Weekly Weekly Monthly

11.0 25.0 5.0*

R16,300 R21,010 R9,750

Automotive trade

Automobil

Future (Tiso Blackstar)

Eng(+Afr)

Monthly

10.0*

R15,463

Aviation Business/Management

African Pilot Accountancy SA Financial Mail Forbes Africa

Wavelengths Inst. Chartered Acc. Tiso Blackstar ABN

Eng Eng Eng Eng

Monthly Monthly Weekly Monthly

6.5* 75.1* 13.1 14.9

R13,000 R12,525 R41,293 R58,000

Business Startup/Emerging Electrical/Electronics

Entrepreneur Vector

Entrepreneur Media EE Publishers

Eng Eng

Monthly Monthly

14.9 3.9

R51,887 R21,018

Human Resources Industry Marketing

HR Future Engineering News Strategic Marketing

Osgard Media Creamer Media IMM

Eng Eng Eng

Monthly Weekly 5x pa

20.0* 10.7 5.9

R18,245 R17,786 R16,600

Medical Mining Municipal/Government

SA Medical Jnl (SAMJ) Mining Weekly Public Sector Manager

SA Medical Assoc Creamer Media Dept of Communications

Eng/Afr Eng Eng

Monthly Weekly Monthly

14.6 10.3 19.5

R24,261 R17,786 R27,500

Retail

Supermarket & Retailer

Supermarket & Retailer

Eng

Monthly

13.8

R28,198

Transport

Focus on Transport & Logistics

Charmont

Eng

Monthly

6.4

R27,138

Travel & Tourism

SA’s Travel News Weekly

Now media

Eng

Weekly

6.2

R45,577

Agriculture

Monthly includes 10 & 11xpa., * Claimed circulation. Note: All rates net of agency commission.

This table reads: Farmers Weekly is published by Caxton weekly in English. Its circulation (ABC Apr-Jun 2018) is 11,000 (rounded) and a full page full colour is R16,300 (2018, exc. VAT & agency commission).

10 • OMD Media Facts

November 2018

MEDIA FACTS RADIO The market: Stations vie for audience and revenue with intensified regional competition. Some churn of community stations as stations close/launch.

Interest

National

Regional Inter-regional

Station

Language/Owner or control

Metro FM

English SABC

5fm RSG SAfm

English SABC Afrikaans SABC English SABC

Jacaranda FM 94.2

Eng/Afr Kagiso

947 (Highveld Stereo)

English Primedia

702 Classic FM 102.7

English Primedia English Classic FM

Kaya FM 95.9

English Kagiso/others

YFM 99.2

Listenership all adults 15+ Past 7 days BRC 2018 Jan-Jun* ‘000 % 4,267

10.8

670 1,339 161

1.7 3.4 0.4

985

2.5

994

2.5

479 N/A

1.2 N/A

Adult contemporary and smooth music for urban black population in greater Johannesburg.

897

2.3

English HCI

Youth station (mainly black) to greater Johannesburg.

North West FM

Setswana/Eng Various

Adult contemporary to NW Province and surrounds.

603 137

1.5 0.3

Capricorn FM

Mainly English Various

Adult contemporary to Limpopo and surrounds.

Kfm

0.6 2.0

441

1.1

Heart FM

English MRC/others

715

1.8

Capetalk

English Primedia

Adult contemporary music with news, sports and entertainment info to Western Cape metropolitan area.

Adult contemporary music format with news & sports bulletins to Western Cape.

Adult contemporary music format broadcasting Western Cape metropolitan area.

Talk and news for Cape metropolitan areas. Linked with 702.

221 806

Good Hope FM

Eng/Afr Primedia (+Broadcape) Eng/Afr SABC

East Coast Radio Gagasi FM

English Kagiso Eng/Zulu MRC/others

Vuma FM

Zulu/Eng Tiso Blackstar

Algoa FM

Eng/Afr AME

OFM

Eng/Afr AME/others

Lotus FM

Eng/Indian SABC

African language Ukhozi FM

Zulu SABC

Umhlobo Wenene FM

Xhosa SABC

Motsweding FM

Setswana SABC

Lesedi FM

Sesotho SABC

Thobela FM

N. Sotho SABC

Munghana-Lonene FM Tsonga SABC

Community

Format/Target

Phalaphala FM Ikwekwezi FM

Venda SABC Ndebele SABC

Ligwalagwala FM

Swazi SABC

BRC in Jan-Jun 2018 Various: Independent/ reported 47 out of 200+ NGO stations broadcasting

Contemporary black orientated music, news & talk shows targeted to trendy sophisticated blacks in major metropolitan areas.

Popular music format to all major metropolitan areas.

Public service national community/cultural station.

Public service content for the well informed.

Contemporary music format with news, sports bulletins & morning talk to Gauteng and beyond.

Adult contemporary music format with humour, news & sports bulletins to Gauteng.

Mainly talk and news format to greater Gauteng and beyond.

Classic, good music and news. Gauteng based. Plus netcast.

76

0.2

Adult contemporary music with news and sport to kwaZulu-Natal.

Adult contemporary music format broadcasting kwaZulu-Natal metropolitan area.

Adult contemporary music and news format broadcasting kwaZulu-Natal metropolitan area.

Adult contemporary music with news, sports and talk to Eastern Cape.

Adult contemporary music with news sports & talk to Free State, N. Cape & NW Province.

Community/cultural station for Indian communities in kwaZulu-Natal, Gauteng & other areas.

1,032 1,654

2.6 4.2

239

0.6

455

1.2

205

0.5

158

0.4

Full service station for Zulu speakers in kwaZulu-Natal, Gauteng, Mpumalanga & other areas.

Full service station for Xhosa speakers in Eastern Cape, Gauteng, S. Free State and other areas.

Full service station for Setswana speakers in NW Province, N. Cape, NE Free State & Mpumalanga.

Full service station for Sesotho speakers in Free State, Gauteng, N. & E. Cape, NW Province & Mpumalanga.

Full service station for N. Sotho speakers from the Free State, through Gauteng to Limpopo.

Full service station for Tsonga speakers in Limpopo, NW Province & Gauteng.

Full service station for Venda speakers in far N. Limpopo & Gauteng.

Full service station for Ndebele speakers in Mpumalanga, Gauteng & Limpopo.

Full service station for Swazi speakers in Mpumalanga & Gauteng.

7,504

19.0

5,394

13.7

2,356

6.0

3,084

7.8

2,643

6.7

985

2.5

984 1,125

2.5 2.8

1,161

2.9

4,875

12.3

Various interests and appeals including niche geographic community, retail and religious.

This table reads: Metro FM is an English language station owned by the South African Broadcasting Corporation (SABC). It has a contemporary black music, news & talk format with 4,267m listeners (10.8% of the population aged 15+) over the past 7 days (BRC Jan-Jun 2018). * Source: BRC RAMS Jan-Jun 2018

OMD Media Facts

November 2018 • 11

OMD

OMD

OUT OF HOME

The market: SA has a very vibrant and entrepreneurial outdoor media sector, contractors providing very many different variants. Generally, sector is moving away from traditional format sites to newer illuminated more creative formats, especially larger ‘iconic’ sites focused on major freeways and free standing structures. Innovations drive to cut through clu er. New provincial council bylaws threaten to remove many illegal structures especially in Johannesburg Metro. The number of OOH media owners in South Africa is growing rapidly with over 230 currently. Plus a number of specialised sales agents and sales brokers. Following variants numerically/strategically important. Rentals invariably negotiable

Varient Spectaculars/ Supersigns/ Iconic Building Wraps/ Hoardings Airports Mall Media

Campaign Billboards 1.5m X 3m (12 Sheeter) 3m X 6m (48 Sheeter) 3m x 12m (96 Sheeter) 6m X 4m 9m X 6m Internally illuminated free standing units

Format

Comment

Base Rate per unit per month excl. production Landscape: R30,000 - R65,000, Mainly roadside formats. Free standing.

Large format, landscape or portrait, Mainly single pole mounted. Predominant Sizes: Portrait: R 25,000 - R50,000, mainly illuminated. Free standing.

Landscape: 5m X 20m / 4.5m X 18m / 4m X 16m Iconic: R120,000 to over R325,000, depending on size and position Portrait: 15m X 9m / 12m X 9m / 10m X 8m Building Wraps - temporary or permanent, On strategic buildings and around building sites. From R 40,000 to over R350,000 depending on size of building Used as a broadcast medium. large format On quotation Units located all over airports in public areas.

Includes wraps, wall sites, billboards, digital, trolleys, washrooms, parking areas. Targets business and tourist travellers.

Hanging banner sets : R15,000-R85,000, Used as point-of-purchase reminder Many formats including banners, Parkade billboard: from R5,000 - R55,000, billboards, shopping trolleys, digital, Digital from R1,800 to R45,000 activations and in-store.

The dominant outdoor variant in terms of Available nationally. Smaller formats more dominant in rural areas. Some formats are able number of sites in the rural environment.

Predominantly used as campaign formats. to 'walk/rotate'

@ R1,750 pm non-illuminated @ R3,800 pm non-illuminated @ R7,500 pm non-illuminated @ R 7,500 pm non-illuminated @ R 9,500 pm non-illuminated

7.5m x 5m, 6m x6m, 6m x 4m, 3m x6m

Located on major arterials within urban areas.

Sites rotate alt-weekly or monthly.

R29,000 - R45,000 pm illuminated

Various formats depending on contractor & location. New LED

Located on major arterials in urban and some rural environments.

R2800 per face premium sites to R450 lower traffic routes

Formats depend on contractor & municipality. Newer formats in CT & JHB Metros Digital bulletin boards in many different formats including LED screens

Located along urban bus routes. Many close to schools and en-route to main shopping hubs.

@ R6,000 illuminated @ R2,250 non-illuminated

Frames & mirrors

In traffic areas inc., bars, gyms, cinemas,

On quotation

Branded Personal Vehicles Branded vehicles

airports to focus targeted messages.

Lifestyle targeting. Brand ambassadors

On quotation

Golf Advertising

Entrance billboards, on course, carts, digital and activations

LSM A or B courses

On quotation

Digital screens, billboards, wall wraps, branded towers, rank ownership and activations. Increase in node Wi-Fi.

Sold by dominance packages 9 Stations Taxi, Bus and Train Commuter Focus National

On quotation On quotation On quotation

Street Furniture Street Pole Ads Bus Shelters

Digital Out of Home

Lifestyle Targeting Washroom/ indoor media

Transit Nodes Gautrain Interchange Taxi & Bus Ranks Transit Minibus Taxis

Increase in large format DOOH and especially On quotation roadside digital billboards. 24 hour always-on or Day-part packages available. Tie-in with radio planning schedules available. Innovation encouraged with range of opportunities available

External & internal, from full wraps to Available in major metro areas. internal window strips and In-Taxi Digital External from full wraps to taxi top. In taxi Mostly used as alternative where other digital inc. GPS route and distance tracking formats scarce.

External Wrap @ R4,500 Quantum taxi Internal - On quotation

Trucks or Tuk-Tuks

External & internal, ranging from full wraps Available nationally. to partial wraps, to bus backs. Internal window strips and In-Bus Digital available.

External branding only Available nationally/Gauteng

@ R24,000 fully branded double decker @ R13,000 fully branded single decker Putco - @ R7500 pm / R3,000 back On quotation

OOH Mobile Mobile /Ad Vehicles

Double sided billboard on trailer towed by used for area specific or short term campaigns. car, or purpose-built vehicle.

@ R10,000 to R30,000 pm plus out-of-town mileage.

Brand Activation

Engage and involve consumers.

On quotation

Metered Taxis Buses

Range of activities designed to drive results.

External Wrap @ R5,000

Trucks CINEMA The market: A premium, high engagement medium. Cinema chains are continually building, upgrading and revitalising cinema houses. The local medium is controlled by Ster Kinekor (62,500 seats in 60 complexes, 400 plus screens), Nu Metro (22 complexes, 170 screens) and Movies@ (6 complexes, 47 screens). There are a few smaller chains and independents. Largest multiplex is Ster Kinekor's Umhlanga Gateway of 18 screens with 3,700 plus seats. Ster Kinekor have seven IMAX's, Cine Prestige offering a luxury cinema experience at the top end of the market and art-house Nouveau theatres for the discerning moviegoer.

Currently stable but does fluctuate with the offerings of Hollywood/Bollywood. Digital projection is widespread enabling rapid change of movies so as to react to market conditions. Locally produced films and the re-emergence of certain genres such as Horror are growing the audience. Rates/Performance: Rates remain competitive, but significant discounts may be negotiated and packages bought. Through Cinemark (Ster-Kinekor) a package of top screens is likely to yield a cost per thousand of R1,000 to R1,500 depending on spend.

Both Cinemark and Popcorn (Nu Metro and others) provide packages such as Follow-the-Movie (commercials screened with 1 movie only) and Guaranteed A endance.

Additional opportunities: Foyer, sampling, branding, activations, sponsorships and events.

12 • OMD Media Facts

November 2018

MEDIA FACTS ONLINE MEDIA South Africa has thousands of sites that accept or would like to accept commercial advertising. Bigger sites have sub-communities to a ract specialist targets.

Following is a selection of some of the larger members of Interactive Advertising Bureau SA.

Category

Site

Address/owner

Comment

Unique browsers '000 (Page views '000)+ SA

Business & finance

Base rate

Worldwide

www.businesslive.co.za Tiso Blackstar www.fin24.com Media24

Online companion to group’s newspapers.

Business and finance site of News24.

1,083.0 (4,734.3) 1,683.6 (6,145.7)

1,425.8 (5,637.6) 2,057.5 (7,077.9)

R550*

www.wheels24.co.za Media24 www.dailymaverick.co.za Daily Maverick

Feeds from group's daily & weekly newspapers.

Investigative journalism & politics.

677.2 (2,048.3) 664.1 (3,147.5)

856 (2,379.1) 841.9 (3,651.1)

R290*

www.news24.com Media24 www.timeslive.co.za Tiso Blackstar

Feeds from group's newspapers & magazines.

Sunday Times/The Times online.

6,208.2 (62,942.7) 4,435.5 (24,870.3)

8,315.0 (74,885.2) 5,295.7 (27,536.7)

www.engineeringnews. co.za Creamer Media www.bizcommunity.com Biz Community

Online edition of weekly magazine.

www.soccerladuma.co.za Soccer Laduma (Media24)

SA and international soccer

Technology/ MyBroadband Telecommunications

www.mybroadband.co.za MyBroadband

Women

www.all4women.co.za All 4 Women

BusinessLive Fin24

Motoring

Wheels24

News/current affairs Daily Maverick

News24 Times Live Industry

Engineering News

Marketing

BizCommunity

Sport

Soccer Laduma

All4Women

74.1 (321.0)

R290*

R18,750 takeover per day R290* R500*

127.7 R5,400 pw.^ (453.9)

302.3 (1,891.5)

522.5 (2,307.3)

R300*

1,657.0 (34,006.7)

2,876.2 (39,387.9)

R290*

Internet, computer and telecommunications.

2,077.9 (8.265.4)

2,613.4 (9,182.1)

R500^

General interest women's site.

441.4 (3,372.9)

576.4 (3,712.5)

R325*

Media, advertising & marketing community.

This table reads: Businesslive.co.za is owned by Tiso Blackstar and in May 2018 had 1,083,000 unique browsers with 4,734,300 page views from identified South African URL's.

A standard banner cost R550 cost per thousand impressions. + Effective Measure Online Ranking May 2018. * Per 1000 impressions standard 728x90 leaderboard, run of site. ^ Per 1000 impressions other size/calculation. Excludes volume discounts or additions for targeting. Other sizes, keywords and rich media, sponsorship etc opportunities usually available.

SOCIAL Active Social Media users: 18m (32% of population) of which most active: Facebook YouTube Instagram

46% 45% 27%

LinkedIn Pinterest Twi er

23% 23% 22%

Can include video and personnalisation opportunities. Source: Hootsuite reporting GlobalWebIndex.

MOBILE ADVERTISING Mobile phone penetration of South Africans is almost 100%. The distinction between Online via desktop and mobile devices is non-existant: the focus being on mobile, especially smart-devices.to read web/mobi sites, participate in social media, watch video and other content. Mobile also offers a range of customised other vehicles.

E-NEWSLETTERS Many are advertising vehicles in their own right.

Category Industry Radio station

Name Mining Weekly

Frequency Daily Weekly

Details Banner/R5,700 per week Leaderboard/R11,199 per send

Quantity 64,800 per day 52,700 per week

This table reads: The Mining Weekly e-mailer is sent daily to some 64,800 recipients. A Banner costs R5,700 per week.

OMD Media Facts

November 2018 • 13

OMD

OMD

ANGOLA Background

Angola gained independence from Portugal in 1975.

In 2002 rebuilding started following the 27-year civil war.

Governing MPLA wins 2012 election. New president 2017

Climate

Semiarid in south and along coast to Luanda; north has cool dry season (May-Oct) and hot rainy season (Nov-Apr).

Terrain

Narrow coastal plain rises abruptly to vast interior plateau

Resources

Petroleum, diamonds, iron ore, phosphates, copper, feldspar, gold, bauxite, uranium

Land area

1,246,700 km2, world rank: 24

Land use

Agricultural: 47.5% (arable: 3.9%, permanent crops: 0.2%, permanent pasture: 43.3%), Forest: 46.5%, Other: 6.0%

Literacy

15+ read/write: total: 71.1%, male: 82.0%, female: 60.7% (2015 est.)

HIV/Aids

1.9% (2017 est.), world rank: 26

Income per capita

US$3,330 (2017 est.), world rank: 118

Income share

Highest 20%: 48.5% of income; GNI Index: 42.7

GDP

US$124.2bn (2017 est.), world rank: 57, growth 0.7% on 2016.

Exports FOB

US$33.8bn (2017 est.), word rank: 59

Export partners

China (61), India (13), USA (4)

Exports

Crude oil, diamonds, refined petroleum, coffee ,sisal, fish, timber, co on.

Population

29.8mm (2017 est.), world rank: 46, growth: 3.4% pa.

Imports FOB

US$23bn (2017 est.), world rank: 70

Urbanisation

65.5% of total population (2018)

Import partners

Age structure

Portugal (18), China (14), USA (7), South Africa (6), Brazil (6)

0-14 years: 48.1%, 15-24 years: 18.3%, 25-54 years: 28.0%, 55-64 years: 3.3%, 65+: 2.3%

Imports

Ethnic groups

Ovimbundu: 37%, Kimbundu: 25%, Bakongo: 13%, Mestico (mixed European and native African): 2%, European: 1%, Other: 22%

Machinery, electrical equipment, vehicles, medicines, food, textiles, military goods

Currency

Kwanza (AOA)

US$1=

301.08 (16/10/2018); 163.66 (2016)

Languages State of the media

Portuguese (official), Bantu and other African languages

A growing media sector but still very regulated. Self censorship of content common.

Telecommunications Telephone lines per 100 people (2016): 5.0 Mobile subscribers per 100 people (2016): 44.7 Population covered by min. 3G mobile: 62% Research availability

Keyresearch 2016 covering Luanda. Plus ad-hoc surveys.

Television

TV per 100 households (2009): 38.5 TV covers the majority of the country but electricity supply issues and set ownership costs are limiters. However in the major urban areas: Luanda, Benguela, Huambo and Huila access is good and use high, with 98% watching regularly in Luanda.

Government TV stations plus international satellite services available. Most important are: National: TPA 1 & 2 (government, general/sport), TV Zimbo (private, satellite), Globo On (private from Brazil, satellite), DStv (private from SA, satellite), Zap Novelas (private, satellite)

Radio

Radio penetration: 79%, an important rural medium, 86% in last 4 weeks in Luanda.

National: Rádio Nacional de Angola (government). Regional: Radio Luanda (government), Radio Mais (government), Radio Cinco (5) (government), Radio Cazenga (government), Radio Despertar (government), Escola (government), Ecclesia (Catholic, private)

Print

Print Penetration: 68% (Luanda). Despite the increase in a number of privately owned publications, print availability is decreasing.

Press: National: Jornal de Angola (only national daily, government), Jornal dos Desportos (sport), Novo Jornal (weekly, private), Folha 8 (weekly, private). Magazines: Chocolate (monthly, private), Lux (weekly, private), Economia & Mercado (business, private)

Cinema

Too few cinemas exist to be a viable medium.

Outdoor

Full range of conventional outdoor opportunities exist incl. electronic and illuminated. Key research indicates 90% reach of Luanda population.

Online

Internet users per 100 people (Dec 2017): 19.3 Fixed broadband per 100 people (2017): 0.3 Households per 100 with computer: 10.5 Households per 100 with internet access: 10.0 Web traffic share: mobile: 68% Facebook accounts (Dec 2017): 3,8m Country code: .ao

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, PAMRO, own files

14 • OMD Media Facts

November 2018

MEDIA FACTS BOTSWANA Background

Formerly the British protectorate of Bechuanaland, Botswana adopted new name upon independence in 1966.

Has 40 years of uninterrupted civilian leadership, progressive social policies and stable economy.

Literacy

15+ read/write: total: 88.5%, male: 88.0%, female: 88.9% (2015 est.)

HIV/Aids

22.8% (2017 est.), world rank: 3

Income per capita

US$6.820 (2017 est.), world rank: 77

Income share

Highest 20%: 65% of income; GNI Index: 60,5

GDP

US$17.4bn (2017 est.), world rank: 112, growth 2.3% on 2016.

Exports FOB

US$7.6bn (2017 est.), world rank: 100

Climate

Semiarid; warm winters and hot summers

Terrain

Predominantly flat to gently rolling tableland; Kalahari Desert in southwest

Resources

Diamonds, copper, nickel, salt, soda ash, potash, coal, iron ore, silver

Land area

581,730 km2, world rank: 49

Export partners

Land use

Agricultural: 45.8% (arable: 0.6%, permanent pasture: 45.2%). Forest: 19.8%, Other: 34.4%

Belgium (20), India (13), UAE (12), South Africa (12), Singapore (9).

Exports

Diamonds, copper, nickel, soda ash, meat, textiles

Population

2.3m (2017 est.), world rank: 142, growth: 1.8% pa.

Imports FOB

US$6.0bn (2017 est.), world rank: 115

Urbanisation

69.4% of total population (2018)

Import partners

South Africa (66), Canada (8) Israel (5)

Age structure

0-14 years: 32.0%, 15-24 years: 18.9%, 25-54 years: 38.5%, 55-64 years: 5.5%, 65+: 5.2%

Imports

Ethnic groups

Tswana: 79%, Kalanga: 11%; Basarwa: 3%, Other, including Kgalagadi and white: 7%

Food, machinery, electrical goods, transport equip., textiles, fuel, wood and paper products, metal

Languages

Tswana (or Setswana) 77.3%, Sekalanga 7.4%, other including English (official) 15.3%

Currency

Pula (BWP)

US$1=

10.65 (17/10/2018); 10.90 (2016)

State of the media

One of Africa’s stable countries. It is the continent's longest continuous multi-party democracy. It is relatively free of corruption and has a good human rights record. The constitution provides for freedom of expression and the government generally respects this right.

Telecommunications Telephone lines per 100 people (2017): 6.2 Mobile subscribers per 100 people (2017): 141.4 Population covered by min. 3G mobile: 84% Research availability

Some research produced in 2011. Plus BAMPS and academic research conducted earlier.

Television

TV per 100 households (2008): 56.8 National: BTV (government, general/news), Regional: E Botswana (private, general), DStv (English/satellite broadcast from SA)

Radio

Radio per 100 households (2008): 76.4 National: Radio Botswana 1,2 (government) Regional: GABZ FM (private); Yarona FM (private); Duma FM (private)

Print

Press: national- Botswana Daily News (government, daily), Sunday Standard (private, weekly), Mmegi The Reporter (private, daily), Mmegi Monitor (private, weekly), Midweek Sun (private, weekly), Global Post (private, weekly), Botswana Guardian (private, weekly), Magazines: a few local magazines: Kutlwano, Guardian Lifestyle

Cinema

Too few cinemas exist to be a viable medium.

Outdoor

Full range of conventional outdoor opportunities exist. There are a number of well established Pan-Africa outdoor companies in Botswana.

As a result there is a wide variety of formats available in strategic locations in urban centres. Mall advertising is prevalent at major shopping centres.

Online

Internet users per 100 people (Dec 2017): 39.6 Fixed broadband per 100 people (2017): 2.1 Households per 100 with computer: 28.5 Households per 100 with internet access: 43.7 Web traffic share: mobile: 48% Facebook accounts (Aug 2017): 830,000 Country code: .bw

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, PAMRO, own files

OMD Media Facts

November 2018 • 15

OMD DEMOCRATIC REPUBLIC OF CONGO Background

Climate

Established as a Belgian colony in 1908 and marred by extreme instability since independence in 1960, 2011 national elections disputed. Conflict renewed.

Election delayed.

Tropical; hot and humid in equatorial river basin; cooler eastern highlands.

Terrain

Vast central basin is a low-lying plateau; mountains in east

Resources

Cobalt, copper, oil, diamonds, gold, silver, zinc, manganese, tin, uranium, coal, hydropower, timber

Land area

2,344,858 squ km, world rank: 12

Land use

Agricultural: 11.4% (arable: 3.1%, permanent crops: 0.3%, permanent pasture: 8%). Forest: 67.9%, Other: 20.7%

Population

81.3m (2017), world rank: 17, growth: 3.3% pa.

Urbanisation

44.5% of total population (2018)

Age structure

0-14 years: 41.7%, 15-24 years: 21.4%, 25-54 years: 30.5%, 55-64 years: 3.6%, 65+: 2.7%

Ethnic groups

Over 200 ethnic groups, majority Bantu. Four largest tribes: Mongo, Luba, Kongo (Bantu), Mangbetu-Azande (Hamitic): about 45%

Languages

French (official), Lingala (a lingua franca trade language), Kingwana (dialect of Kiswahili), Kikongo, Tshiluba

State of the media

Literacy

15+ read/write French, Lingala, Kingwana, or Tshiluba, total: 77.0%, male: 88.5%, female: 66.5% (2016 est)

HIV/Aids

0.7% (2017 est.), world rank: 53

Income per capita

US$450 (2017 est), world rank: 176

Income share

Highest 20%: 48.4% of income; GNI Index: 42.1

GDP

US$37.2bn (2017 est.), world rank: 93, growth 3.7% on 2016

Exports FOB

US$8.6bn (2017 est.), world rank: 95

Export partners

China (41), Zambia (23), South Korea (5), Finland (6)

Exports

Diamonds, copper, gold, cobalt, wood, oil, coffee

Imports FOB

US$8.8bn (2017 est.), world rank: 101

Import partners

China (20), South Africa (18), Zambia (10), Belgium (9), India (4)

Imports

Food, mining and other machinery, transport equip., fuel

Currency

Congolese Franc (CDF)

US$1=

1,625.00 (16/10/2018); 1,010.30 (2016)

Media are flourishing and consumption has reached an encouraging level; TV remaining the most consumed media type. Majority of press readership falls within those gainfully employed, and leadership of public and private sectors.

Telecommunications Telephone lines per 100 people (2017): 0.0 Mobile subscribers per 100 people (2017): 43.4 Population covered by min. 3G mobile: 20% Research availability

Most recent research: Africa Scope (TNS) 2016/17 covering Kinshasa.

Television

More than 100 stations broadcast with li le content differentation. Includes: Semi-national: RTGA (private), Regional: Moliere (private), Mirador (private), Digital Congo (private), RTNC1 (private)

Radio

Stations: over 300 in total, radio is the dominant medium outside of urban areas. Important stations are: Semi-national: Okapi (UN Mission), RTGA (general popular station), RTNC (Catholic). Regional: Mirador FM (private), Digital Congo (private), Top Congo FM (news, private), B-one (general, private), Raga FM (private).

Print

An elastic situation with over 175 print media of all types, down from over 500 in 2002. Most are low circulating and face printing and distribution challenges. French and pan-African magazines circulated.

Press: L'Avenir (daily, private), Le Potentiel (daily, government), Le Palmares (daily, private), L’Observateur (daily, private), Le Phare (daily, private), Les Depeches: Kinshasa (daily, private), Le So International (weekly, private).

Magazines: Kabibi (monthly, private), Optimum (quarterly, private), Bellissima (monthly, female), Lookin (monthly, lifestyle), Wagenia (quarterly, inflight)

Cinema

Too few cinemas exist to be a viable medium.

Outdoor

Full range of conventional outdoor opportunities exist.

Online

Internet users per 100 people (Dec 2017): 6.1 Fixed broadband per 100 people (2017): 0.0 Households per 100 with computer: 2.7 Households per 100 with internet access: 2.8 Web traffic share: mobile: 91% Facebook accounts (Dec 2017): 2,1m Country code: .cd

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, PAMRO, own files

16 • OMD Media Facts

November 2018

MEDIA FACTS MALAWI Background

Climate

Terrain

Resources

Established in 1891, the British protectorate of Nyasaland became independent Malawi in 1964. First multiparty elections held in 1994. 2012 and 2014 saw smooth transitions to new presidents.

Literacy

15+ read/write: total: 62.1%, male: 69.8%, female: 55.2% (2015 est.)

HIV/Aids

9.6% (2017 est.), world rank: 9

Income per capita

US$320 (2017 est), world rank: 183

Income share

Highest 20%: 51.8% of income, GNI index: 45.5

Narrow elongated plateau with rolling plains, rounded hills, some mountains

GDP

US$6.3bn (2017 est.), world rank: 146, growth 4.0% on 2016

Limestone, arable land, hydropower, unexploited deposits of uranium, coal, and bauxite

Exports FOB

US$1.4bn (2017 est.), world rank: 151

Export partners

Zimbabwe (13), Mozambique (12), Belgium (11), South Africa (6), Netherlands (5), UK (5).

Exports

Tobacco (55%), dried legumes, sugar, tea,co on, peanuts, coffee

Imports FOB

US$2.4bn (2017 est.), world rank: 156

Import partners

South Africa (21), China (14), India (12), UAE (7), Netherlands (4).

Imports

Food, fuel, semi-manufactures, consumer goods, transportation equipment

Currency

Malawian kwacha (MWK)

US$1=

720.10 (17/10/2018); 720.10 (2016)

Sub-tropical; rainy season (November to May); dry season (May to November)

Land area

118,484 km2, world rank: 101

Land use

Agricultural: 59.2% (arable: 38.2%, permanent crops: 1.4%, permanent pasture: 19.6%), Forest: 34%, Other: 6.8%

Population

18.6m (2017), world rank: 60, growth: 2.9% pa.

Urbanisation

16.9% of total population (2018)

Age structure

0-14 years: 46.3%, 15-24 years: 20.6%, 25-54 years: 27.4%, 55-64 years: 3.0%, 65+: 2.7%

Ethnic groups

Chewa, Lomwe, Yao, Ngoni, Tumbuka, Nyanja, Tonga, Sena, Ngonde, Asian, European

Languages

English (official), Chichewa (common), Chinyanja, Chiyao, Chitumbuka, others

State of the media

The Malawian media industry provides a range of media opportunities. Media are both privately and government owned, with content censorship a threat on the former.

Telecommunications Telephone lines per 100 people (2017): 0.1 Mobile subscribers per 100 people (2017): 41.7 Population covered by min. 3G mobile: 42% Research availability

No recent research conducted.

Television

TV per 100 households (2011): 8.7 TV penetration in rural areas is low due to electricity supply issues but high in urban areas of Blantyre, Lilongwe, Mzuzu, Zomba and major trading towns Luchenza, Karonga, Kasungu, Balaka and Mangochi. Broadcast language is English alongside Chichewa.

National: TVM (government, general, English/Chichewa), DStv (English/satellite broadcast from SA), GOTV (satellite)

Radio

Radio per 100 households (2011): 45.6 An important medium: Malawi Broadcasting Corp 1 (MBC1/Chichewa & others/national/mainly educational talk/government), Malawi Broadcasting Corp 2 (MBC2/English & Chichewa/national/entertainment/youth/government), Capital FM (English/regional in south/contemporary music and

Print problems.

Newspapers: The Nation (English & Chichewa/daily newspaper/major urban areas), Daily Times (English & Chichewa/daily newspaper/ major urban areas/private), The Nation on Sunday (English & others/weekly newspaper/major centres/private), Malawi News (English & Chichewa/weekly newspaper/major centres/private). Magazine: Pride Magazine (English only/monthly/general interest).

Cinema

Too few cinemas exist to be a viable medium.

Outdoor

Full range of conventional outdoor opportunities exist. Serviced by local and South African contractors. Various sizes available along key routes and locations; is mostly congested in urban areas.

Online

Internet users per 100 people (Dec 2017):9.5 Fixed broadband per 100 people (2017): 0.1 Households per 100 with computer: 6.4 Households per 100 with internet access: 11.5 Web traffic share: mobile: 91% Facebook accounts (Dec 2017): 720,000 Country code: .mw

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, own files

OMD Media Facts

November 2018 • 17

OMD

OMD

MAURITIUS Background

First explored by the Portuguese in 1505; it was held by the Dutch, French and British before independence in 1968.

Stable democracy, regular free elections, considerable foreign investment.

Climate

Tropical, modified by SE trade winds; warm, dry winter; hot, wet, humid summer

Terrain

Island: small coastal plain rising to discontinuous mountains encircling central plateau

Resources

Arable land, fish

Land area

2,040 km2, world rank: 181

Land use

Agricultural: 43.8% (arable: 38.4%, permanent crops: 2.0%, permanent pasture: 3.4%), Forest: 17.3%, Other: 38.9%

Population

1.3m (2017), world rank: 157, growth: 0.1% pa.

Urbanisation

40.8% of total population (2018)

Age structure

0-14 years: 20.1%, 15-24 years: 14.8%, 25-54 years: 43.7%, 55-64 years: 11.6%, 65+: 9.7%

Ethnic groups

Indo-Mauritian: 68%; Creole: 27%: Sino-Mauritian: 3%; Franco-Mauritian: 2%

Languages

Creole: 86.5%, Bhojpuri: 5.3%, French: 4.1%, English (official): 1%, Other: 3%

State of the media

Literacy

15+ read/write: total: 92.7%, male: 94.9%, female: 90.7% (2015 est.)

HIV/Aids

N/A, world rank: N/A

Income per capita

US$10,140 (2017 est.), world rank: 60

Income share

Highest 20%: 43.9% of income; GNI Index: 35.8

GDP

US$13.3bn (2017 est.), world rank: 121, growth 3.9% on 2016

Exports FOB

US$2.3bn (2017 est.), world rank: 128

Export partners

France (17), USA (13), UK (12), South Africa (9), Madagascar (7), Italy (7).

Exports

Clothing and textiles, sugar, cut flowers, molasses, fish

Imports FOB

US$4.5bn (2017 est.), world rank: 129

Import partners

India (18), China (16), France (11), South Africa (10).

Imports

Manufactured goods, capital equipment, foodstuffs, fuel, chemicals

Currency

Mauritian rupee (MUR)

US$1=

34.52 (17/10/2018); 35.54 (2016)

The media of Mauritius is limited by its small population size. Nonetheless, Mauritius has a robust economy, and there are a number of major media outlets, including print, radio and television stations.

Telecommunications Telephone lines per 100 people (2017): 32.7 Mobile subscribers per 100 people (2017): 145.4 Population covered by min. 3G mobile: 95% Research availability

TNS AMPS 2015

Television

TV per 100 households (2014): 97.1 A particularly popular medium with local national and regional stations plus foreign satellite pay services: National: MCB1 (government, news and films), MBC2 (government, series and telenovelas), MBC3 (government, sports), Digital 4 (private, Indian Serials and films), Sports 11, Cine 12, Bhojpuri Channel, Senn Kreol, Kids Channel. Regional: Canal + and Parabole Maurice (private, general).

Radio

Households with radio: N/A A vibrant medium: National: Radio Plus, Radio One, Top FM, Taal FM, Music FM, Radio Maurice, Radio Mauritius, Kool FM, Best FM

Print

2 major local press groups and others provide a diverse and editorially competent range of opportunities, including: Press: Dailies: L'Express, Le Mauricien, 5 Plus, Weekend: Le Matinal, Defi Quotidien, Defi Plus, Weekly: Mauritius Times, L'Express Samedi, L'Express Dimanche, L'Express Junior, WeekEnd Scope. Magazines: Business Magazine, L'Eco Austral, Lifestyle, Panorama, Menstyle, Automodo, Evasion, Sundays, Cote Nord, Islander, Essentielle, Détente, TechKnow, Fortune.

Cinema

Cinema is becoming popular and useful for suitable brands: houses run by Cinema Star, Mcine.

Outdoor

Full range of conventional outdoor opportunities exist. Serviced by local and South African contractors, including JC Decaux, FlowerAd, Trait D'Union, Alliance Media, Rent a Sign.

Online

Internet users per 100 people (Dec 2017): 63.4 Fixed broadband per 100 people (2017): 19.4 Households per 100 with computer: 61.2 Households per 100 with internet access: 63.8 Web traffic share: mobile: 47% Facebook accounts (Dec 2017): 700,000 Country code: .mu

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, own files

18 • OMD Media Facts

November 2018

MEDIA FACTS MOZAMBIQUE Background independence came in 1975. Emigration by whites and a civil war which ended in 1992 hindered development.

The 1990 constitution provided for multiparty elections and a free market economy.

Climate

Tropical to subtropical

Terrain

Mostly coastal lowlands, uplands in center, high plateaus in northwest, mountains in west

Literacy

15+ read/write: total: 58.8%, male: 73.3%, female: 45.4% (2015 est)

HIV/Aids

12.5% (2017 est.), world rank: 8

Income per capita

US$420 (2017 est.), world rank: 178

Income share

Highest 20%: 59.5% of income; GINI Index: 54

GDP

US$12.3bn (2017 est.), world rank: 127, growth 3.7% on 2016

Exports FOB

US$4.8bn (2017 est.), world rank: 112 India (28), Netherlands (24), South Africa (17).

Resources

Coal, titanium, natural gas, hydropower, tantalum, graphite

Land area

799,380 km2, world rank: 36

Export partners

Land use

Agricultural: 56.3% (arable: 6.4%, permanent crops: 0.3%, permanent pasture: 49.6%). Forest: 43.7%.

Exports

Population

29.7m (2017), world rank: 47, growth: 2.9% pa.

Urbanisation

36% of total population (2018)

Age structure

0-14 years: 44.7%, 15-24 years: 21.6%, 25-54 years: 27.4%, 55-64 years: 3.4%, 65+: 2.9%

Ethnic groups

African (Makhuwa, Tsonga, Lomwe, Sena, and others): 99.7%, Europeans: 0.06%, Euro-Africans: 0.2%, Indian: 0.1%

Languages

Emakhuwa: 25.3%, Xichangana: 10.3%, Portuguese (official; spoken by 27%): 10.7%, Cisena: 7.5%, Elomwe: 7.0%, Other: 39.2%

State of the media

timber, bulk electricity Imports FOB

US$5.0bn (2017est.), world rank: 124

Import partners

South Africa (37), China (7), UAE (7), India (6)

Imports

Machinery & equipment, vehicles, fuel, chemicals, metal products, food, textiles

Currency

Metical (MZM)

US$1=

60.52 (16/10/2018); 63.07 (2016)

A rapidly growing entrepreneurial media industry is evolving with the country.

Telecommunications Telephone lines per 100 people (2017): 0.3 Mobile subscribers per 100 people (2017): 40 Population covered by min. 3G mobile: 35% Research availability

AMPSE: 2017

Television

TV reach: 55% of urban population 14 stations: 1 national & 4 regional (government) plus private/NGO/community stations and international satellite services.

Some important commercial services: National: TVM1 (government, general). Regional: TV Miramar (private, general), STV (private, general/sport), DStv (private from South Africa, satellite)

Radio

Radio reach: 16% of urban population Some 60 stations: 1 national, 11 regional, 1 sports stations (government). Plus private/NGO/community stations. Some important commercial stations: National: Radio Mozambique Antena Nacional (government). Regional: Radio Miramar (private), Super FM (private), Radio Indico, SFM (private)

Print

Print reach: 15% of urban population Some 21 newspapers and 10 magazines publish. Important include: Newspapers: Noticias (national, daily, government), Diario de Mocambique (daily, private), O Pais (daily, private), Savana (weekly, private) Magazines: Mozceleb (bi-monthly), Visao Jovem (youth, private), Exame (business, monthly)

Cinema

Cinemas with 3D in Maputo and Matola, otherwise limited.

Outdoor

Full range of conventional outdoor opportunities exist. Serviced by local and South African contractors.

Online

Internet users per 100 people (Dec 2017): 17.3 Fixed broadband per 100 people (2017): 0.1 Households per 100 with computer: 6.5 Households per 100 with internet access: 16.2 Web traffic share: mobile: 85% Facebook accounts (Dec 2017): 1,8m Country code: .mz

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, own files, Mozambique Market: Digital Platform

OMD Media Facts

November 2018 • 19

OMD

OMD

NAMIBIA Background

Colonised by Germany in the late 1800's, Namibia was bush war it gained independence in 1990 and has been governed by SWAPO since.

Literacy

15+ read/write: total: 81.9%, male: 79.2%, female: 84.5%

HIV/Aids

12.1% (2017 est.), world rank: 5

Income per capita

US$4,600 (2017 est.), world rank: 98

Income share

Highest 20%: 66.4% of income; GINI Index: 61.0

GDP

US$13.2bn (2017 est.), world rank: 122, growth -0.8% on 2016

Climate

Mainly desert; hot, dry; rainfall sparse and erratic

Terrain

Mostly high plateau; Namib Desert along coast; Kalahari Desert in east

Resources

Diamonds, copper, uranium, gold, silver, lead, tin, lithium, cadmium, zinc, salt, hydropower, fish

Land area

824,292 km2, world rank: 35

Exports FOB

US$4.7bn (2017 est.), world rank: 113

Land use

Agricultural: 47.2% (arable: 1%, permanent pasture: 46.2%). Forest: 8.8%, Other 44%

Export partners

South Africa (27), Botswana (15), Switzerland (12), Zambia (6), China (5).

Population

2.5m (2017), world rank: 141, growth: 2.2% pa.

Exports

Urbanisation

50% of total population (2018)

Age structure

0-14 years: 36.9%, 15-24 years: 20.4%, 25-54 years: 34.4%, 55-64 years: 4.4%, 65+: 4.0%

Imports FOB

US$6.8bn (2017 est.), world rank: 111

Import partners

South Africa (61)

Ethnic groups

Ovambo: 50%, Kavangos: 9%, Herero: 7%, Damara: 7%, White 6%, Mixed 6.5%, Nama: 5%, Caprivian: 4%, Bushmen: 3%. Other: 3%

Imports

Food, fuel, machinery & equipment, chemicals

Languages

Oshiwambo languages: 48.9%, Afrikaans (common language of most of the population/60% of Whites): 10.4%, English (official) 3.4%

Currency

Namibian dollar (NAD)

US$1=

14.58 (17/10/2018); 14.71 (2016)

State of the media

processed fish

Mature industry in a media friendly country, catering for a diverse audience.

Telecommunications Telephone lines per 100 people (2017): 7.6 Mobile subscribers per 100 people (2017): 104.5 Population covered by min. 3G mobile: 53% Research availability

Most recent survey: Media Metrics 2016, others

Television

42.9% of adult population viewed yesterday Stations: 1 state owned, 1 private free-to-air stations. Plus international satellite services.

National: Namibian Broadcasting Corporation (government, general), One Africa TV (private, general), DStv (private from South Africa, satellite)

Radio

80.3% of adult population listened yesterday Stations: about 30 in total including 1 national, 10 language/regional community (government). Plus private stations.

National: NBC National Radio (government). Regional: Radio Oshiwambo (NBC government), Omulunga (private), Fresh FM (private), 99FM (private), Kanaal 7 (private), Radio Energy (private), Radiowave (private), Base FM (private)

Print

6 dailies, some weeklies plus magazines produced for the local market.

Newspapers: The Namibian (daily, private), New Era (daily, government), Namibian Sun (daily, private), Die Republikein (daily, private), Allgemeine Zeitung (daily, private), Namibia Economist (business daily, private), Informante (weekly, private).

Magazines: Prime Focus (monthly), Insight (current affairs, monthly), Flamingo (in-flight)

Cinema

Cinemas located in Windhoek, Swakopmund and Ongwediva

Outdoor

Full range of conventional outdoor opportunities exist. Serviced by local and South African contractors.

Online

Internet users per 100 people (Dec 2017): 30.8 Fixed broadband per 100 people (2017): 2.5 Households per 100 with computer: 20.0 Households per 100 with internet access: 29.5 Web traffic share: mobile: 66% Facebook accounts (Dec 2017): 570,000 Country code: .na

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, own files

20 • OMD Media Facts

November 2018

MEDIA FACTS eSWATINI (SWAZILAND) Land area

17,364 km2, world rank: 159

Population 2017 est.

1.4m, world rank: 153, growth: 1.8% pa.

Income per capita 2017

US$2,960, world rank: 124

GDP 2017 est.

US$4.4bn, world rank: 153, growth: 2.0% on 2016

Telephone lines per 100 people

3.1 (2016)

Mobile subscribers per 100 people

74.8 (2016)

State of the media

A small, poor, conservative country with a media industry to match. Strong state control. Much overspill from South Africa.

Radio

National: Radio Swaziland National Service (Siswati, national, traditional orientation), Radio Swaziland English Service (English, national, youth & entertainment), Voice of the Church (Christian, private)

Print

Newspapers: National: Swazi Observer (English & Siswati, daily), Times of Swaziland (English, daily), Swazi News (English, weekly, major centres), Weekend Observer (English & Siswati, weekly, major centres), Voice (private). Magazines: Nation Magazine (English, monthly, urban, official magazine).

Cinema

Too few cinemas exist to be a viable medium.

Outdoor

Full range of conventional outdoor opportunities exist.

National: Swazi TV (English, Siswati & Zulu, national, general, government), Channel S (English & Siswati, larger centres, younger upmarket target), DStv (English/satellite broadcast from SA)

Internet users per 100 people, Dec 2017

32.1

Web traffic share: mobile Facebook accounts Dec 2017

75% 170,000

Land area

30,355 km2, world rank: 142

Radio

Population 2017 est.

2.2m, world rank: 143, growth: 1.3% pa.

Income per capita 2017

US$1,280, world rank: 152

GDP 2017 est.

US$2.6bn, world rank: 160, growth: 5.6% on 2016

Television

LESOTHO

Telephone lines per 100 people Mobile subscribers per 100 people

National: Lesotho TV (Sesotho & English,

Television

FM (Sesotho, private); People's Choice (entertainment/general, private) Print

Newspapers: Public Eye (English & Sesotho, weekly, largely national, private); The Mirror (English & Sesotho, weekly, private), Lesotho Times (English, weekly, major centres); Sunday Express (English, Sunday, major centres, private) Moeletsi Oa Basotho (general/religious)

Cinema

Available via South Africa's Ster Kinekor.

Outdoor

Full range of conventional outdoor opportunities exist.

0.5 (2017) 106.6 (2017)

A small, poor country with rudimentary local media industry. Much overspill from South Africa.

State of the media

Popular medium. National: Radio Lesotho (Sesotho & English, government)

Internet users per 100 people, Dec 2017

27.7

Web traffic share: mobile Facebook accounts Dec 2017

87% 310,000

SEYCHELLES Land area

455 km2, world rank: 199

Population 2017 est.

0.1m, world rank: 194, growth: 1.2% pa.

Income per capita 2017

US$14,180, world rank: 48

GDP 2017 est.

US$1.5bn, world rank: 170, growth: 4.2% on 2016

Telephone lines per 100 people Mobile subscribers per 100 people State of the media

National: Pure FM, Seychelles Broadcasting Corporation, AM Radio Seychelles (French plus English & Creole, larger islands, youth orientated), Paradise FM (French plus English & Creole, larger islands, general interest)

Print

Newspapers: Le Seychellois Hebdo, Seychelles Nation (French plus English & Creole, daily, all islands, government), Victoria Times, Today in Seychelles, The Independent, Seychelles Weekly, Business Seychelles, Seychelles Nation, Rising Sun (English, daily, main islands, private), Regar (English plus French & Creole, weekly, main islands), The People (English plus French & Creole, weekly, main islands).

Magazines: Isola Bella (English & French, monthly general interest, main islands)

Cinema

Deepam Cinema

Outdoor

Full range of conventional outdoor opportunities exist.

20.7 (2017) 176.6 (2017)

Characterized by government monopolization of broadcast, tough libel laws that have been used against opposition newspapers, media workers, and extensive self-censorship.

Television

Radio

National: Seychelles Broadcasting Corporation (general and community, very pro-government)

Internet users per 100 people, Dec 2017

70.5

Web traffic share: mobile Facebook accounts Dec 2017

48% 61,000

OMD Media Facts

November 2018 • 21

OMD

OMD

TANZANIA Background early 1960s, Tanganyika and Zanzibar merged to form the nation of Tanzania in 1964. Government of national unity in 2010.

Climate

Varies from tropical along coast to temperate in highlands

Terrain

Plains along coast; central plateau; highlands in north, south

Resources

Hydropower, tin, phosphates, iron ore, coal, diamonds, gemstones, gold, natural gas, nickel

Land area

947,300 km2, world rank: 32

Land use

Agricultural: 43.7% (arable: 14.3%, permanent crops: 2.3%, permanent pasture: 27.1%). Forest: 37.3%, Other: 19%

Population

57.3m (2017), world rank: 24, growth: 3.1% pa.

Urbanisation

33.8% of total population (2018)

Age structure

0-14 years: 43.7%, 15-24 years: 19.9%, 25-54 years: 29.9%, 55-64 years: 3.5%, 65 years+: 3.0%

Ethnic groups

Mainland: African: 99% (mainly Bantu from over 130 tribes), Asian, European, and Arab: 1%. Zanzibar: Arab, African, mixed Arab and African

Languages

Kiswahili (official), English (official, language of commerce, administration, and higher education), Arabic, many local languages

State of the media

Literacy

15+ read/write: total: 77.9%, male: 83.2%, female: 73.1% (2015 est)

HIV/Aids

4.5% (2017 est.), world rank: 13

Income per capita

US$910 (2017 est.), world rank: 159

Income share

Highest 20%: 45.8% of income; GINI Index: 37.8

GDP

US$52.1bn (2016 est.), world rank: 78, growth 7.1% on 2016

Exports FOB

US$5.2bn (2017 est.), world rank: 108

Export partners

India (22), South Africa (18),Kenya (9), Switzerland (7), Belgium (6)

Exports Imports FOB

US$8.6bn (2017 est.), world rank: 106

Import partners

India (17), China (16), UAE (9), Saudi Arabia (8), South Africa (5).

Imports

Consumer goods, machinery and transportation equip., industrial raw materials, oil

Currency

Tanzanian shilling (TZS)

US$1=

2,290.20 (17/10/2018; 2,177.1 (2016)

A large poor country with a high population. Tanzania's media scene, once small and largely state-controlled has developed and now supports a remarkably diverse and strong industry. The mainland and Zanzibar have separate media policies. Many islanders can pick up broadcasts from the mainland and read mainland Tanzanian press.

Telecommunications Telephone lines per 100 people (2017): 0.2 Mobile subscribers per 100 people (2017): 69.7 Population covered by min. 3G mobile: 85% Research availability Television

TV per 100 households: 15.0 (2011), recent research indicates 59% reach of the population. Completed switch to digital.

10 stations broadcast, 4 near national (1 government, 3 private) ITV (Independent Television/Kiswahili & English/major centres/private), TBC1 (Kiswahili & English/national/government), Star TV (English/major centres/private), EATV(East Africa Television: is the top youth station), DStv (English/satellite broadcast from South Africa). Regional: Clouds TV (Kiswahili & English/private), TV1 (Kiswahili & English/major centres/private), Azam TV (Kiswahili & English, satellite/private), ZBC (Zanzibar Broadcasting Corporation/Kiswahili/ Zanzibar/government)

Radio

Radio per 100 households: 65.0 (2011), research indicates over 75% reach of the population Stations: over 70 in total: 1 national, 2 regional (government), 4 national, 32 private, 6 international and balance community.

Some important commercial stations: RFA (Radio Free Africa/Kiswahili & English/urban areas/entertainment/private), Radio One (Kiswahili & English/urban/information & education/private), Radio Tanzania (inc TBC FM & TBC Taifa: Kiswahili/national, mainly rural/family/government), Clouds FM (Kiswahili & English/entertainment & music/private) Times FM (Kiswahili & English/entertainment & music/private)

Print

Almost 80 newspapers including 15 dailies, large number of weeklies, some magazines produced for the local market. Plus Pan-East African and international titles. There are Kiswahili and English papers alike.

Nipashe (Kiswahili/daily & Sunday newspaper/major centres), Daily News (daily/government), Business Times Tanzania (English & Kiswahili/weekly business newspaper/major centres), Mwananchi (Kiswahili/daily newspaper/popular content/major centres), The Citizen (English/daily/private), Majira (national/information/entertainment), Harabi Leo (Tanzanian newspaper published by Daily News Media Group/news/culture/international in Kiswahili), Bang Magazine (English & Kiswahili/6 x pa/showcases E. Africa & educational)

Cinema

Too few cinemas exist to be a viable medium.

Outdoor

Full range of conventional outdoor opportunities exist.

Online

Internet users per 100 people (Dec 2017): 38.9 Fixed broadband per 100 people (2017): 3.2 Households per 100 with computer: 3.9 Households per 100 with internet access: 8.5 Web traffic share: mobile: 85% Facebook accounts (Dec 2017): 6.1m Country code: .tz

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, PAMRO, own files

22 • OMD Media Facts

November 2018

MEDIA FACTS ZAMBIA Background

Northern Rhodesia was administered by the [British] South Africa Company from 1891 until it was taken over by the UK in 1923, changing to Zambia upon independence in 1964. New presidents 2011, 2015.

Literacy

15+ read/write: total: 63.4%, male: 70.9%, female: 56.0% (2015 est)

HIV/Aids

11.5% (2017 est.), world rank: 7

Income per capita

US$1,300 (2017 est.), world rank: 151

Income share

Highest 20%: 61.3% of income; GINI Index: 57.1

GDP

US$25.8bn (2017 est.), world rank: 100, growth 4.1% on 2016

Exports FOB

US$8.1bn (2017 est.), world rank: 97

Export partners

Switzerland (45), China (16), Dem. Rep Congo (6), Singapore (6), South Africa (6).

Climate

Tropical; modified by altitude; rainy season (October to April)

Terrain

Mostly high plateau with some hills and mountains

Resources

Copper, cobalt, zinc, lead, coal, emeralds, gold, silver, uranium, hydropower

Land area

752,618 km2, world rank: 40

Land use

Agriculture: 31.7% (arable: 4.8%, permanent pasture 26.9%). Forest 66.3%, Other: 2%

Population

17.1m (2017), world rank: 66, growth: 3.0% pa.

Exports

Urbanisation

43.5% of total population (2018)

Imports FOB

US$6.8bn (2016 est.), world rank: 113

Age structure

0-14 years: 46.0%, 15-24 years: 20%, 25-54 years: 28.7% , 55-64 years: 2.9%, 65+ years: 2.3%

Import partners

South Africa (28), Dem. Rep. Congo (21), China (13), Kuwait (5), UAE (5).

Ethnic groups

African (inc Bemba, Tonga, Chewsa, Lozi, Nsenga, Tumbuka): 99.6%, European & other: 0.4%

Imports

Languages

English (official), major vernaculars: Bemba, Nyanja, Tonga, Lozi, Chewsa, Nsenga, total some 70 other indigenous languages

Machinery, transportation equip., oil products, electricity, fertilizer; food, clothing

Currency

Zambian kwacha (ZMK)

US$1=

12.09 (17/10/2018); 10.3 (2016)

State of the media

Until recent years the State controlled main-stream media. Relaxing ownership has produced an expansion of the industry but some government restrictions and censorship.

Telecommunications Telephone lines per 100 people (2017): 0.6 Mobile subscribers per 100 people (2017): 78.6 Population covered by min. 3G mobile: 53% Research availability Television

TV per 100 households: 30.7 (2010), recent research indicates 67% reach of population. Some 45 services available including National: ZNBC & TV2 (general, government), Muvi TV (general, private), DStv (satellite from South Africa), TBN (religious, private), Mobi TV (general, private). Regional: CBTS (general, private)

Radio

Radio per 100 households: 58.3 (2010), recent research indicates 75% reach of population. 66 stations available including National: ZNBC 1, 2 & 4 (government), Komboni Radio (private), Radio Phoenix (private). Regional: Breeze (private), QFM (private), Mano (news/general, private), Sky FM (private), Icengelo (religious), Yatsani (Catholic Church), Hone FM (private)

Print

Newspapers, 10 titles reach 35% of population including: The Post (daily, private), Times of Zambia (daily, government), Zambia Daily Mail (daily, government), Sunday Mail (weekly, government), Sunday Times (weekly, private) Harare Post (weekly, private).

Magazines, 20 titles reach 22% of population including: Drum (monthly), Beauty Zambia (monthly)

Cinema

Cinemas located in Lusaka

Outdoor

Full range of conventional outdoor opportunities exist.

Online

Internet users per 100 people (Dec 2017): 41.2 Fixed broadband per 100 people (2017): 0.2 Households per 100 with computer: 8.1 Households per 100 with internet access: 14.3 Web traffic share: mobile: 84% Facebook accounts (Dec 2017): 1,6m Country code: .zm

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, PAMRO, own files

OMD Media Facts

November 2018 • 23

OMD

OMD

ZIMBABWE Background

The UK annexed Southern Rhodesia in 1923. In 1965 the (White) government unilaterally declared independence.

UN sanctions and a guerrilla uprising led to free elections in 1979 and independence (as Zimbabwe) in 1980.

Subsequent political problems well known and continue.

Literacy

15+ read/write: total: 86.5%, male: 88.5%, female: 84.6% (2015 est)

HIV/Aids

13.3% (2017 est.), world rank: 6

Income per capita

US$910 (2017 est.), world rank: 160

Income share

Highest 20%: 49.7%; GINI Index: 43.2

GDP

US$17.8bn (2017 est.), world rank: 111, growth 3.4% on 2016

Climate

Tropical; moderated by altitude; rainy season (November to March)

Terrain

Mostly high plateau with higher central plateau (highveld); mountains in east Exports FOB

US$3.8bn (2017 est.), world rank: 119

Resources

Coal, chromium, asbestos, gold, nickel, copper, iron ore, vanadium, lithium, tin, platinum group metals

Export partners

South Africa (50) Mozambique (22), UAE (10), Zambia (5.0)

Land area

390,757 km2, world rank: 62

Exports

Land use

Agriculture: 42.5% (arable: 10.9%, permanent crops: 0.3%, permanent pasture: 31.3%), Forest: 39.5%, Other: 18%

Imports FOB

US$5.6bn (2017 est.), world rank: 120

Population

16.5m (2017), world rank: 69, growth: 2.4% pa.

Import partners

South Africa (48), Zambia (21)

Urbanisation

32.2% of total population (2018)

Imports

Age structure

0-14 years: 38.9%, 15-24 years: 20.5%, 25-54 years: 31.9%, 55-64 years: 4.3%, 65+ years: 4.4%

Machinery & transport equip., other manufactures, chemicals, fuel, food

Ethnic groups

African 99.4% (predominantly Shona, Ndebele second largest), other inc white 0.4%, unspecified 0.2%

Currency

Languages

English (official), Shona, Sindebele (Ndebele), 13 minor languages

US$: Zimbabwean dollar (ZWD) eliminated 2009. Bond notes issued 2016 to counter poor supply of US$

State of the media

textiles/clothing

State dominated media ownership, decrease in censorship in recent years, troubled by worsening chronic economic environment.

Telecommunications Telephone lines per 100 people (2017): 1.6 Mobile subscribers per 100 people (2017): 85.3 Population covered by min. 3G mobile: 55% Research availability

Zimbabwe Advertising Research Foundation (ZARF) industry research. Zimbabwe All Media Products Survey and Teen ZAMPS (2018)

Television

TV per 100 households (2011): 36.3, recent research indicates 71% reach of population in peak time hours National: ZTV 1 & 2 (general, government), satellite services both free and paid are popular, including DStv (satellite broadcast from South Africa, particularly Zee World, Telemundo & sport), eAfrica (eTV ex South Africa)

Radio

Radio per 100 households (2011): 37.9. Research indicates 67% reach of population including National: Radio Zimbabwe (government), National FM (government), SFM (government), Power FM (government), Star FM (private), ZiFM (private)

Print

Dailies get 63% reach of population including: The Herald (daily, government), The Chronicle (daily, government), Zimbabwe Independent (weekly, private). Magazines: Out of Africa (monthly), Domino (monthly), The Parade (monthly), high incidence of South African magazines

Cinema

Almost all cinema screens located in Harare.

Outdoor

Full range of conventional outdoor opportunities exist.

Online

Internet users per 100 people (Dec 2017): 40.2 Fixed broadband per 100 people (2017): 1.1 Households per 100 with computer: 12.9 Households per 100 with internet access: 22.1 Web traffic share: mobile: 67% Facebook accounts (Dec 2017): 880,000 Country code: .zw

Source: BBC, CIA World Book, World Bank, ITU, Facebook, Internet World Stats, Hootsuite, PAMRO, own files

24 • OMD Media Facts

November 2018

TAILORING EVENTS THAT LIVE OFF THE PAGES. Differentiating brands in today’s cluttered environment has become one of the greatest challenges facing companies and marketers, who need to find a space where their brand can not only be seen and heard, but also where their target audience will find relevance and value.

Tailored events provide companies with a number of opportunities to engage with their audience, share memorable experiences and enhance business relationships; while simultaneously creating increased brand awareness.

Tiso Blackstar Events hosts regular tailor-made, thought-leadership events where companies and brands can align themselves with well-respected media titles that enhance their brand value. Our expert turnkey process provides converged offerings from initial discussions through to execution and evaluation of the event.

For more information on tailored opportunities, visit www.tailoredevent.co.za

FM CREATIVE CHALLENGE WINNER M&C Saatchi Abel gets first in a first for AdFocus

1st

2nd

3rd

the only green that gets you high in public

With over 3 million books online, there’s one for everyone.

We don’t mean to be blunt, but we have been getting people hig high in public for over 17 years.

If you love getting away more, for less, sign up to kulula.com/fanmail.

iflykulula

T

he Creative Challenge is a print advertising competition which provides advertising agencies the opportunity to feature tactical print ads on behalf of their clients.

For an eight week period during September and October FM editor Rob Rose selected each week’s best tactical ads, with each week’s winner obtaining free placement in an issue of the FM. Weekly winners were automatically entered into AdFocus’ Creative Challenge Award competition.

This challenge is a first for AdFocus, included as a separate category of the competition from 2018 onwards. The Creative Challenge was previously hosted by The Times newspaper for four years as a way of 70 - AdFocus 2018

iflykulula

kulula

encouraging creative agencies — including copywriters and art directors — to connect brand messaging with current news stories from various Tiso Blackstar media titles in order to deliver maximum impact and audience appeal.

A total of 32 entries were submitted during September and October, many of which met the brief to provide creative wit and bravery.

However, it was an M&C Saatchi Abel ad for its client, Takealot, that scooped top honours.

The winning ad features two book covers, the first titled “Some of my best friends are white”, while the second is titled “Australia?” with a tagline reading “With over 3 million books online, there’s something for everyone”. M&C Saatchi Abel also won a cash prize.

In second position this year is an ad by McCann Johannesburg on behalf of Kulula, which reads: “The only green that gets you high in public”, in response to the announcement that cannabis was being legalised for private use.

In third place is a witty ad by Kilmer & Cruise on behalf of Hill’s Pet Nutrition, which reads: “Fat Cats costing you money?” The copy goes on to discuss overweight pets, urging pet owners to “stop the gravy train and take your pet for a free weight check at your nearest participating vet”.

Abnormal was also shortlisted for its work for client Kameraz, with an execution that included FM’s property images encroaching on the advert.

With over 3 million books online, there’s one for everyone.

AdFocus 2018 - 71

Corporate Profile

99c WE GO BY THE NAME OF Ninety9cents (99c).

OUR CORE SPECIALITY IS We’re best known for our retail work, but we also work with a wide range of clients across many other sectors.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Checkers Little Garden/Shoprite Hustle/Checkers Ready to Chef/Spur Flag Bearer.

OUR BIG CLIENTS Shoprite Group, Ackermans, Puma, Spur Corporation, Distell.

OUR OLDEST ACCOUNTS Shoprite Group.

ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Spur Steak Ranches, OK Franchise Division, Kuda Holdings, Cape Thoroughbred Sales, FNB (Zambia).

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS Nil. WHO OWNS US Independently owned and managed.

OUR BEE RATING In the process of being verified.

OUR REVENUE BAND R150m–R200m THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE +-330.

WHO’S THE BOSS Andrew Brand, Group CEO. OUR BUSINESS IN 140 CHARACTERS We do work that works.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Already Africa’s hardest-working agency, the past year has seen growth and expansion in Johannesburg and Zambia, new client acquisitions and additional agency offerings. Where others see barriers 99c continue to see opportunities, and we have added additional expertise and offerings to our portfolio.

In a constrained economy and in a business environment where no sector is finding it smooth sailing, advertising agencies are increasingly being asked to do more for less return and find new ways of breaking through a fragmented media environment.

These demands, says 99c CEO Andrew Brand, are a reflection of the increased demands made on marketing and business in general.

99c, an agency which has built its reputation largely on retail business, is no exception to this trend. Retail clients are by no means recession-proof and FMCG brands tend to cut back in tough times. The agency’s largest client, Shoprite-Checkers, however, is an exception to this rule, with the company doubling down in challenging times because, says Brand, it understands the importance of marketing.

A no frills, no fuss type of agency, 99c has a reputation for producing hard working advertising that ensures the impact of its work is felt in the cash registers of its clients. The type of agency 99c is, is perhaps best epitomised by its relationship with founding client, Checkers.

The agency has retained the Checkers account since its establishment in 2008, growing its business in tandem with the retail giant and working with the brand to maintain its status of fastest-growing supermarket chain in SA. Their 10-year relationship has seen Checkers emerge as an innovative retail force, gaining both market share

and support through memorable campaigns, including several featuring celebrity chef Gordon Ramsay.

Last year 99c and Checkers received the AdFocus Partnership of the Year Award for an agency-client relationship that epitomised the very essence of the award. A culture of never

Checkers Easter Checkers turns an Ordinary Easter into an Extraordinary one

resting on its laurels and always striving to produce more effective work has had positive results in the past year: “Growth has been organic from existing clients in Cape Town, while 99c’s new Johannesburg office — although still in its infancy — is starting to gain traction. Zambia too, has seen 99c pick up a number of new clients, and in total the 99c Group has added more than 50 staff over the past year to handle the increased workload,” says Brand.

The Zambian advertising industry is very different to SA. “Our Lusaka team on the ground, supported by specialists in Cape Town and Johannesburg, is growing really nicely.

“Agencies are expected to handle everything from PR and events to above-the-line, so the model is integrated by necessity.

Our Zambian office is headed by Natasha Omokhodion Banda, a dynamic and experienced advertising practitioner, which is standing the business in good stead for future growth.”

Checkers Freshmark A fresh approach to fresh advertising.

Colour-coding fruit and vegetable by colour and benefit

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (0) 21 460-5299 (HQ) info@99c.co.za www.99c.co.za @99c_CT @Ninety9cents Instagram: @99c_ct

72 - AdFocus 2018

Ackermans Denim

Shoprite Hustle

The Ackermans Kids Play Hard range TVC showcased kids doing

Collab with Cassper Nyovest, reminding hard-working South

what they do best; being kids!

Africans that Shoprite makes every Rand work as hard as they do

The agency recently signed FNB up — its first major client in Zambia. While the agency is justifiably proud of the work it produces for Checkers, Brand says the challenge is to keep upping the ante, particularly for annual campaigns such as Christmas. While the vast majority of work produced for Shoprite remains product-and-price value advertising, the agency recently produced a new brand-related campaign for Africa’s largest retailer.

Shoprite’s Hustle campaign clearly defined Shoprite’s role in the community, illustrating the retailer’s efforts to get the best deals for increasingly cash-strapped consumers, and tapping into the very real local sentiment of South Africans needing to hustle to create a better future for themselves and their families. 99c also works extensively across the African continent, producing tailored campaigns for Shoprite for each country in which they operate. A recent highlight in Nigeria is a campaign the agency produced featuring Nigerian celebrity Chef Eros, a personality who embodies Shoprite’s hustle spirit beyond SA’s borders.

Perhaps not surprising considering its aversion to unnecessary frills, 99c does not

Spur Steak Ranches Flag Bearer Spur’s heartwarming & hyperreal TVC told the real-life story of Inam, a Spur Kids Flag Bearer competition winner

measure creativity by the number of trophies in its cabinet, but rather by its ability to continually top previous successes. With Checkers it was topping the success of Little Shop with Little Garden, while for new clients like CTS and Kuda it was the agency’s ability to move the niche brands from a generic ubiquitous space to a unique position that sets a new benchmark for that industry. “We measure the success of our creativity with a focus on work that works,” says Brand. “Recent work for Spur highlighting their rugby test match Flag Bearer sponsorship also epitomises our understanding of both the “hard” and “soft” aspects of growing brands,” he says.

“Our ability to consistently exceed client expectations is one of the reasons we tend to work with clients for long periods.”

With regards to prevailing

industry challenges, Brand says agencies need to take responsibility for attracting more black talent to the industry. For its part 99c has a number of initiatives in place to attract black youth to their business, as well as train and mentor them in order to create a pool of talent in the agency. With the majority of the brands in the 99c stable being aimed at the mass market, Brand believes it’s imperative that they employ increasingly diverse people who are more reflective of the national population and who truly understand that market.

He also has an issue with the standard of some students coming out of advertising schools, particularly creatives. “It’s unfortunate that some key fundamental skills in our profession are falling away. The bottom line remains that if you can’t write, you can’t sell, no

matter the medium you’re working in. A great copywriter should be able to write in 140 characters as effectively as they can write a brochure.”

And designers are not exempt from criticism: “We’re producing a new breed of art director and designer who have forgotten what a blank page and marker look like.

We need to keep insisting that our creatives continually hone their craft,” he says. “We might be in a new media world and a data-rich environment, but the reality is that the core skills required by the industry are still as relevant now as they were in the 1970s.”

The fact that globally there has been an uptake in the number of clients taking their advertising in-house should set the alarm bells ringing, and be a constant reminder to the industry that it ensures it keeps doing work that a client can’t do itself. “I really hope the industry is able to remain resilient,” he says. “In this tougher economic environment, ad agencies that are not rooted in the businesses of servicing their clients will be found out.”

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From evolution to

Revolution The story of Absa’s rebrand

How does a bank deal with its major shareholder dramatically reducing its investment, and with the prospect of re-branding not just across a country – but across an entire continent? And all within just one year?

This is the challenge that faced Absa when, in March 2016, Barclays PLC reduced its shareholding in Barclays Africa Group Limited. A challenge that led Absa not to an expected safe evolution, but to a complete revolution. This challenge affected everything about the group going forward, re-defining the entire business from the ground up as part of the journey to create a new and iconic brand.

Absa began the journey by holding over 130 000 conversations with stakeholders, employees, customers and regulators.

Their feedback was unanimous: Absa should be the name of the organisation across the continent. It should be bolder, braver and more courageous – and move away from being the typical bank.

It should be new and different, digitally led, and just get things done.

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A ground-breaking story of audacity, bravery and heart With a presence in over 12 countries, Absa had the opportunity to reposition itself as an African bank, with a strategic imperative to enable growth on the continent. With this driving the business, the bank’s new positioning of “Bringing possibilities to life” was born.

While many brands have a similar intent, for Absa this positioning had to recognise and reflect the unique nature of the countries the brand operates in, in order to be meaningful and relevant to their people, and to connect with their hearts and minds.

To achieve this, Absa undertook to capture the commonality that connects the people of Africa, the way they do things, and their ability to see opportunity even in adversity.

This spirit was captured in a new word coined by Absa called Africanacity: A new word for an age-old attitude unique to our continent. A continent defined by its ingenuity, tenacity, creativity, audacity and positivity. It’s Africa’s ability to turn any adversity into a fresh opportunity. It’s about how we will get

things done, inspired by Africa. It’s our promise to our customers, to bring their possibilities to life.

A new word for a new bank

/ 'afrIk(˸)nasIti/ noun “The distinctly African ability to always find ways to get things done” To bring Africanacity to life, Absa started with the brand’s identity. The capital letters of the amalgamated banks of yesteryear fell away and a fresh new identity was created, with the brand name no longer an acronym, but rather written as a lower-case word, with a contemporary and approachable feel.

The new logo incorporated the name into a circle, reflecting the connected communities of our continent, and putting the customer at the centre of what Absa does. The spaces in the circle reflect the brand’s flexibility and openness to the continent’s endless possibilities.

commitments to new behaviours that would support the evolution of a new culture.

Absa also recognised that, with such a variety of languages spoken in Africa, the identity needed to ‘speak’ to people, without using words. And so the ‘Gestures’ were created; a universal visual language that would unite us - bringing meaning in new ways.

The colour red has always been an identifier of the brand, so the new identity built on this, with Passion Red as a primary colour that had equity with customers, now expanding into a full spectrum of beautiful hues inspired by the colours of Africa.

Gestures: a new universal visual language bringing meaning in new ways.

The biggest brand launch in Africa On 11 July 2018, Barclays Africa Group (BAGL) changed to Absa Group Limited (AGL) and the repositioning came to life.

A giant leap in the right direction Within 3 weeks post-launch, a total of 18 million people had seen the Absa rebrand campaign across social media, and the ad recall rate was 20% higher than any competitor bank. Across the continent, more than 371 million people were exposed to the new brand across all media platforms. Early indications suggest brand equity attributes – such as public perception of Absa, attributes such as innovation, ease of doing business, trustworthiness, and pricing – are trending upwards.

Changing the game Absa has already continued with this impressive trajectory by launching ChatBanking for WhatsApp on 11 July this year, having signed up 10 000 customers by the end of the month. The bank’s challenge continues as the group moves towards converting more than 400 Barclays branches in Africa to Absa, while retaining the goodwill that Barclays brand built up over the last century.

With the big idea of Africanacity, Absa went equally big with their launch, introducing the new brand to Mzansi with over 180 outdoor pieces celebrating the new dawn of the brand, sharing the bank’s new identity and vision in 55 print ads, inspiring the nation through 2 TV ads, and immersing South Africa in Africanacity with over 400 pieces of digital and social content, not to mention putting Africanacity on everyone’s lips with radio ads that explained how to pronounce the word. Absa also rebranded thousands of ATMs and hundreds of branches, transformed 9 offices and sent 300 drones into the night sky in one exceptional launch.

Creating thousands of brand ambassadors, from the word go Absa realised that the most important market they would speak to pre-launch was their own team. An internal drive, ‘Absa Africa United’ introduced the campaign and aligned them to the new values: Brave, Passionate and Ready.

Post-launch, 95% of staff fed back that they felt part of a new team with wide-ranging

One thing is certain. Absa will take on this challenge with Africanacity, a determination to do things in a new way, and a commitment to bringing our continent’s possibilities to life, now, and in the future.

OOH brand launch billboard

Launch video

Absa brand launch drone show

Social media

Africa Emoji

Africanacity definition content AdFocus 2018 - 75

Corporate Profile

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AdFocus 2018 - 77

Corporate Profile

Abnormal WE GO BY THE NAME OF Abnormal.

OUR CORE SPECIALITY IS Advertising and design.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Repositioning for Bavaria brand, launch of Bavaria Radler in SA, The Ridge Campaign for Craft Homes and the rebranding of Craft Homes.

OUR BIG CLIENTS Bavaria, RedRock Brewing Co., Abland, rebrand of Craft Homes and Candide App. OUR OLDEST ACCOUNTS Abland, Craft Homes.

ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Bavaria, RedRock, Candide.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US Abheka & Abland.

OUR BEE RATING B-BBEE Level 2 — 51% black-owned.

OUR REVENUE BAND R12m.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 10.

WHO’S THE BOSS? Operations: Estilee du Plessis, creative direction: Michael Neser, Wynand Botha.

OUR BUSINESS IN 140 CHARACTERS The abnormal approach is simple: To make the brands we service icons within the SA market by challenging the norm in everything we do. We believe that breaking the norm is essential for social relevance, grabbing the needed attention and most of all for maximum brand impact.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Winning two great accounts in Bavaria and RedRock as well as getting awarded at the Loeries and Pendorings gave us a massive boost in confidence.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (11) 510-9778 info@abnormalgroup.co.za www.abnormalgroup.co.za @abnormalgroup (Instagram) abnormalgroup

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Three years after opening its doors, Abnormal has fully established its purpose: breaking the norm to help its clients make an impact.

It’s an approach that the agency has instilled not only into its work and client service, but also into all of its processes, briefs and client interactions. After all, as creative duo Michael Neser and Wynand Botha point out, neither client nor agency will ever get noticed by sticking to the norm.

The agency boasts a small team of members who pride themselves on their agility and an ability to keep their overheads low with the result that clients get exactly what they pay for — excellent creative work.

Botha and Neser are taking a dual approach to business, focusing on servicing existing clients while also pursuing new business. Things are going well, with the agency meeting its targets as well as onboarding new clients such as Bavaria, The Red Rock Brewing Co. and gardening app Candide.

The majority of its clients are based in the alcohol and property categories (Abnormal also services Abland and Craft Homes), which means, says Neser, that the agency has first-hand experience of limited consumer spending — adding that the environment is reasonably demanding.

“Most agencies continue to do good work with the budgets they have available, though many clients are allocating more spend to digital, which automatically means they spend less in ATL,” says Botha.

Going forward, awareness of social issues, such as gender equality, is key and it is up to agencies to nudge their clients to be proactive in this regard, says Neser. In fact, it’s imperative to keep up as social media platforms evolve and to ensure that they’re incorporated into all ideas.

“While this isn’t a new idea, it’s still important to understand how to integrate work seamlessly across platforms and implement ideas effectively,” says Botha.

Moreover, a siloed approach is to be avoided and agencies should rather try for a “project management approach”.

As a small agency of 10, managing work loads and traffic are vital for the efficient day to day running of the business.

Neser points out the

importance of creativity in the industry, adding that ultimately, while agencies have tended to get caught up in the tech and the creative has suffered as a result.

Creativity should be defended at all costs.

“It’s refreshing to note that at Cannes this year there was a definite focus on creativity as the industry’s major selling point,” he says, adding that at the end of the day, this is the industry’s very foundation.

A further trend is the growing traction of the Afrocentric approach — “Finally, we’re able to do work that celebrates the African continent and our heritage, mainstream work that clearly sets us apart from our European colleagues,” he says.

In this environment, Abnormal is looking forward to continuing to build what it has started. That said, the team is insistent it will maintain its personalised approach even as the agency grows.

Both Botha and Neser started their careers in large agencies and are adamant about not falling back into the large agency mentality.

It’s a balancing act, but one they’re committed to managing successfully.

“At the end, we’re just happy to partner with clients who want to do great work,” says Neser.

Corporate Profile

Creatrix WE GO BY THE NAME OF Creatrix Branded Storytelling OUR CORE SPECIALITY IS Branded storytelling with an emphasis on mother tongue and radio/digital synergies OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Absaville – a weekly, multilingual 42-part sitcom series on 9 African Language Stations OUR BIG CLIENTS Absa, Anglo American, Eskom, Bliss Chemicals, Old Mutual, Unilever and Various Blue Chip Advertising Agencies ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Bliss Chemicals Old Mutual WHO OWNS US Lynn Joffe – CEO. BBEEE – 30% Black Female Owned OUR BEE RATING Level 4 OUR REVENUE BAND SMME R10 – 40 million THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 6 WHO’S THE BOSS Lynn Joffe CEO OUR BUSINESS IN 140 CHARACTERS We bring branded storytelling to life for the mass market on their terms, on their turf and in their lingo. Now with narrative amplification into all digital platforms.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS The moment we all walked on stage at the Liberty Radio Awards to be handed the ‘Best Drama’ prize for Anglo American’s Makarapa City, a multilingual radio series flighting on 7 x ALS Stations. Our campaign was selected from a plethora of mother tongue programs, including station-generated productions. Viva Creatrix!

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (0) 83 227 2655 lynn@creatrix.co.za www.creatrix.co.za creatrix_guru Creatrix

The Creatrix Crew: left to right: Mmabatho Ramokgadi, Katleho Marole, Lynn Joffe, Thandi Ngwenya, Sthandwa Nkosi, Noxolo Shangase

There is an increasing recognition that branded content — and with it expertise around storytelling — is an effective way of communicating with, and engaging consumers.

Branded storytelling agency, Creatrix, was established to fill a gap in the market that existed around the provision of quality mother tongue advertising. The growing use of branded storytelling has meant that Creatrix too has come of age, having experienced its best year yet.

Founder Lynn Joffe is renowned as one of SA’s most successful radio copywriters. But despite having built her expertise in radio, the past few years have seen Creatrix shift their perspective from creating content purely for radio to content that fits on a variety of platforms. “The digital age has seen a merging of storytelling and traditional advertising to create branded content that for the mass market is perceived as entertainment,” she says.

To be effective, branded content has to tell some kind of story, ideally in the consumer’s mother tongue. Storytelling may be an ancient art, but its application has become a lost skill,

something Joffe laments, adding that storytelling is the bedrock of all effective branded content.

Mother tongue advertising, she says, is as relevant as ever. “Don’t believe anybody who tells you that consumers don’t prefer being communicated to in their mother tongue or that they don’t use their mother tongue on social media.

“Mother tongue content can be just as successfully amplified into the modern digital age as any other language. The challenge now, given new media consumption habits, is to tell stories in 21st century ways.”

Much of Creatrix’s success is based on a lack of storytelling skills at an agency level. And while Creatrix has a long history of working successfully with other players in the communications space, it’s also increasingly working directly with clients. A recent trend has seen it take its branded storytelling skills and applying it to other mediums.

A recent example of this was an

online music video for Bliss Brands’s “Securex Soap” that evolved from a multilingual song developed for radio. The video has gone viral, garnering more than 1.5-million hits on YouTube.

Awards are a slightly sensitive point for the agency. Focusing as it does on mother tongue storytelling and content, there are few award shows that reward mother tongue branded content.

As such, being recognised at the 2018 Liberty Radio Awards for Best Drama for Anglo American’s Makarapa City radio series was poignant and meaningful.

Makarapa City also picked up a Certificate of Excellence at the Sabre Awards, 2017.

The all-female Creatrix team includes one of the best scriptwriters and strategists in SA, Thandi Ngwenya. In addition to scriptwriting, Ngwenya is also MD. Talented production director, Katleho Marole, heads the studio, specialising in multilingual productions.

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Corporate Profile

DDB South Africa WE GO BY THE NAME OF DDB South Africa OUR CORE SPECIALITY IS Fully integrated TTL agency with strong effectiveness credentials OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS The MiWay campaign based on true stories of MiWay staff who have gone further than the policy and beyond the script.

OUR BIG CLIENTS Nigerian Breweries, MiWay, Plascon, African Bank, Unilever, Honda, Wrigley, Edcon and SANBS. OUR OLDEST ACCOUNTS Unilver, Wrigley ad Honda ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS African Bank digital, Plascon, MiWay. ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US Omnicom.

OUR BEE RATING Level 2.

OUR REVENUE BAND R50m-R60m.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 58.

WHO’S THE BOSS Emmet O’Hanlon — CEO. Louise Johnston — MD. OUR BUSINESS IN 140 CHARACTERS We are all about integrated effectiveness. That is work that works in any channel. We’ve applied this approach to our current Clients business with a lot of success . We believe in creativity to drive business success.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Winning the MiWay account was a highlight. We have a wealth of financial experience but they are our first Insurance Client and it’s a category we were very keen to work on.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (0) 00 000 0000 louise.johnston@ddb.co.za www.ddb.co.za @DDBSouthAfrica @ddbsouthafrica

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Despite the challenges facing the industry, DDB has had a good run in terms of new business wins over the past year; notably winning the pitch for African Bank’s digital business as well as the Plascon and MiWay accounts in hard fought pitches against other strong industry players.

An integral part of this success is the fact that it has been consistently included in pitches — after all, says MD Louise Johnston, you have to be in it to win it.

It’s also been a fairly good year for the agency from a creative point of view, with a silver at Cannes for a gender equality campaign — a piece of work that the agency is particularly proud of.

Other creative awards include a Merit at One Show, two silver and three bronze awards as well as Network of the Year at African Cristal, and one bronze and five finalists at Loeries.

Coupled with its transformation goals, gender equality is a top priority at DDB. The agency has a female staff complement of about 62%, many in senior positions such as MD, head of broadcast, head of FastTrack, and senior strategist.

A recessionary environment means clients are looking for short-term fixes as opposed to long-term solutions, says Johnston. In this climate, it’s vital to support marketers, arming them with proof of return on investment (ROI) on their advertising spend and helping

them justify that spend to their CFOs in order for them to believe in the efficacy of marketing.

Though measurement is key, too many agencies are focused on overall campaign measurement, as opposed to analysing the combination of channel, message and product and how that successfully motivates a group of consumers to take action. While it’s important to know how the campaign has performed, it’s equally important to measure how the campaign contributes to the brand’s success and how each component works together. It is this understanding that ultimately adds value to clients and helps them to inform future decisions.

Johnston says ironically, when times get tough, advertising becomes more important as consumers are forced to narrow their consideration set and seek out the brands which offer both quality and value. It is up to agencies to identify strong unique selling propositions that will differentiate their clients.

February 2018 saw the appointment of Wendy Clark as CEO of DDB Worldwide. Coming from a client background, she points out a shift that clients today are looking for: a customised experience that ensures each clients’ particular needs are met; even if this means changing the agency’s processes to accommodate them. DDB has adapted by, for example, basing account management at one of the

client’s office a few days per week A nimble business model is essential if agencies are to survive in this climate. In the past, the agency could promise clients two out of three of the following: quality, quickly or cheaply (not forgetting that cheaply and quickly don’t get you quality). However, with clients’ expectations changing and agencies needing to do more with less, they’ve had to adapt to doing all three by decreasing time lines and being more innovative.

DDB’s culture is what sets it apart from other agencies. DDB’s Bill Bernbach coined the phrase “talented and nice”, and this is how the agency recruits its people. Johnston says “nice” has given way to “collaborative” in the modern era, driven increasingly by teamwork and partnership with other agencies as required by clients. The agency’s executive committee team is long-standing and stable, with a sound knowledge of all accounts.

The agency was voted top agency for effectiveness at the 2017 Apex Awards.

DDB treats every client as though they’re the only one, making exceptional service a hallmark of working with the agency.

What do all top marketers in SA have in common?

They are members of the FM Redzone!

The corporate marketing community where members derive immediate value through exclusive events, training and branding.

CONTACT: Cortney Hoyland for our membership options Hoylandc@tisoblackstar.co.za

www.businesslive.co.za/redzone

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Corporate Profile

Decimal Agency WE GO BY THE NAME OF Decimal Agency OUR CORE SPECIALITY IS Strategy, TV, billboard, radio, print, digital, social media, coding, apps, web development, content, production – (ATL; BTL; OTL — TTL) OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Toughees “Tough is” campaign and television commercial for the Bata Group OUR BIG CLIENTS Ellies, Ster-Kinekor, BSH, Bata, Krispy Kreme, Lee Cooper, Forever Resorts, Starter & Röhlig-Grindrod OUR OLDEST ACCOUNTS BSH, Rohlig-Grindrod, Tudortech, Trojans Neurological Trust, CDA Solutions ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Ellies, Bata, Forever Resorts, Stanley Inspection, SkillsGro and Ster-Kinekor ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS 0 WHO OWNS US Privately owned OUR BEE RATING BEE level 4 OUR REVENUE BAND +R10m per annum THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 30 WHO’S THE BOSS Raffaele Mc Creadie OUR BUSINESS IN 140 CHARACTERS We are a team of 30 creatives chasing big brands with big ideas, combining business strategy, creative output and the art of narrative.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS We are proud to have formed partnerships with three legendary SA brands over the past 12 months. Bata, with the infamous Toughees school shoe manufactured in SA; Ellies, a JSE-listed company formed in 1979; and Ster-Kinekor, who have entertained South Africans in cinemas since 1969.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (011) 615 3984 hello@decimalagency.com www.decimalagency.com @DecimalAgency @DecimalAgency

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Decimal agency’s winning team

MD at Decimal Agency, Raffaele Mc Creadie is a great believer in the power of proactivity. It’s an approach he uses in every client interaction, as well as the way in which he runs the agency and manages his team. After all, as he says, you can’t expect the phone to ring, you have to be out there, making things happen.

Things have certainly been happening over the past year at Decimal, with three notable successes.

Earlier this year the agency was awarded the Elllies Electronics account and while McCreadie concedes it is rather industrious, it has been an exciting challenge to work on this brand; and with challenge comes creativity.

In addition, the agency recently acquired the Ster-Kinekor account, which it won in a pitch against Ogilvy and Net#work BBDO. Decimal has also formalised its relationship with international clothing brand Tommy Hilfiger — a win that has provided the team with the opportunity to work with international directors.

McCreadie describes the industry as much like the Wild

West these days — the only way to survive it is to be aggressive and ready to draw. With the country in limbo, no one can really tell where SA is going. “In this climate, you have to remain true to your definition,” he says.

Despite the challenges, McCreadie says he is highly optimistic – without belief, you have already lost the game.

This is the year that the agency has invested more money into its culture than ever before, incorporating perks such as running and yoga instructors, and even a guitar teacher, for staff to enjoy. Pool tables have been installed, as well as McCreadie’s pride and joy — a Lego table.

“I admit I am extremely precious about that Lego table,” he says, adding that he wants the agency to be associated with meetings around the Lego table.

“It’s going to make us famous.”

His team is a like-minded group of people who listen to their clients. “We work across a number of different clients and industries, but at the end of the day, it is the client who knows his industry best,” he says.

“We work for our clients’ business in the same way we

work for our own.” He says the agency insists on weekly status meetings with all clients. It’s the agency’s responsibility to be proactive and come up with ideas and solutions — far more than it is the client’s responsibility to brief the agency.

This is one of the reasons the agency does not enter awards.

“The day I start to focus on awards instead of the work we do for clients, is the day I expect my clients to fire me,” he says, adding that he believes that the agency produces what they deem to be award-winning work anyway.

If there is one thing he laments about the current geo-political climate, it’s the lack of bravery from clients. “Clients are playing it safe, to guarantee job safety. After all, you can’t lose your job if you’re simply ticking boxes,” he says.

Mc Creadie says the next step is to become a global agency, with physical offices in other parts of the world (aside from Decimal’s virtual office in Australia).

Corporate Profile

DUKE WE GO BY THE NAME OF DUKE. OUR CORE SPECIALITY IS Integrated campaigns.

It’s who you have in your corner that counts.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Garagista — For Sale Ale. OUR BIG CLIENTS Pioneer Foods; RCS; Woolworths; ABInBev; and Quality Beverages.

OUR OLDEST ACCOUNTS RCS; DebtBusters; Garagista; Heart & Stroke Foundation; and YPO. ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS AB InBev; Heart & Stroke Foundation; Pioneer Foods; Quality; Beverages; RisCura; Woolworths; YPO; Africa; Zespri; Timbercity; Squish; and Constantia Insurance Group.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US 100% Independent.

OUR BEE RATING BEE Level 1.

OUR REVENUE BAND R10m– R20m.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 18.

WHO’S THE BOSS Wayne Naidoo — CEO. OUR BUSINESS IN 140 CHARACTERS DUKE is an integrated marketing agency that puts the best people in the corner of contender brands so they can win the fight for customers’ attention.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Winning our first Gold Loerie.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (21) 421-4239 info@duke.co.za www.duke.co.za @dukeadvertising https://www.facebook.com/ dukeadvertising @dukevertising

DUKE has taken a very specific approach to doing business. And with the agency celebrating its fourth birthday at the end of the year, clearly it’s one that has worked for both the agency and its clients.

The agency appoints senior experienced people — outsourcing where it needs to — which has become something of a selling point for DUKE. CEO Wayne Naidoo says he believes there is no need for an agency to employ hundreds of staff — what is important is that staff members are largely heavy lifters who understand both consumers and the market place. As such, DUKE employs 18 core staff members who are predominantly seasoned and experienced industry heavyweights.

To this end, the past year has stood the agency in good stead for growth, with a number of new account wins, including Pioneer Foods, RisCura, Zespri Kiwifruit and Eagle Lager as well as collaborating on a number of projects for Woolworths, and other project-based work which has taken the agency’s footprint across various African markets as well.

What is notable about DUKE’s new clients is that they were acquired without pitching, a process which the team openly

despises. Rather, they believe in presenting their credentials and seeing if there is the right chemistry between the client and the agency. The team is driven to work with clients who understand the value of good ideas and want to forge ahead in their respective categories.

The past year has also seen DUKE building on its creative prowess. Under the leadership of executive creative director Mike Beukes, the agency has appointed creative director Gareth Cohen and Pieter Janse van Rensburg as head of design. The agency was awarded its first gold at the Loeries this year, took home two gold Assegais and won Ad of the Month for its Garagista “For Sale Ale” outdoor campaign.

While economic pressures have impacted the broader advertising industry and put increased pressure on clients, DUKE’s independence has given the agency the freedom and luxury of being agile and adapting to the environment. This has brought a different energy to the business, one which attracts both clients and industry talent alike.

In this environment, clients are looking for a different solution and the standard template just doesn’t do the job. The DUKE team’s approach is to put themselves in their client’s business shoes and

ask themselves how they can increase sales by taking ideas and thoughts and applying them to business problems.

Making things happen for its clients is an elixir for the agency — it’s what gives the team its sense of value. Indeed, they believe that if they’re able to add value to their clients’ businesses, the money will follow. Because the agency is built to be small and agile, there is no need for the restructuring and rethinking of strategies that has become so common in the larger shops. DUKE gets the work done in a fraction of the time with a lean team of smart and mature people who are able to have grown up conversations about the work and, most importantly, to have fun with it.

Somewhere along the line, the industry has become too corporate. It has forgotten the human factor and created a “no” environment that is driven by money and ultimately kills the passion, says Naidoo. DUKE has managed to avoid this corporate focus, rather concentrating on the best interests of the client and the creation of an environment where being the best is the objective, but growth for growth’s sake is not.

AdFocus 2018 - 83

Corporate Profile

Ebony+Ivory WE GO BY THE NAME OF Ebony+Ivory.

OUR CORE SPECIALITY IS As an integrated advertising and media agency, we consider, create and amplify.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS TransUnion: launch of TrueIdentity.

OUR BIG CLIENTS TransUnion, JSE and Brand South Africa.

OUR OLDEST ACCOUNTS Profmed, Kreepy Krauly, Engineering News and Mining Weekly.

ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Dermalogica.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS N/A. WHO OWNS US 100% by local management and 100% South African.

OUR BEE RATING Level 1.

OUR REVENUE BAND R8m–R12m.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 15.

WHO’S THE BOSS? Paul Middleton.

OUR BUSINESS IN 140 CHARACTERS We are a strategic, media and creative specialist, we craft and enable clients to develop compelling brand stories and sales results.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Our refined partnership structure embraces 12 highly skilled strategic, digital, social media and creative specialists. This enables greater consumer insights, deeper customer journeys and agile creative mobilisation. It enables us to deliver an effective, lower-cost partnership to clients and a simplified creative process to cut through unnecessary complexity.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (11) 327-6871 paul@ebonyivory.co.za ebonyivory.co.za facebook.com/Ebony+Ivory

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The past 12 months at Ebony+Ivory have been about redefining the agency’s structure, and taking a deeper and more strategic customer journey, which enables the delivery of greater consumer insights and creative thinking. Vital in the current economy is the ability to deliver faster, simpler, at a lower cost and ensuring more effective partnerships with clients.

There’s also been a focus on the creation of a new kind of agency partnership model, which has been established by hiring or contracting 12 highly skilled digital, strategic, social media and creative specialists.

At the core of this agency model lies a holistic, multidisciplinary approach, something which MD Paul Middleton says is not a new concept at Ebony+Ivory. In fact, the agency has been working in this way for the past 50 years.

This approach allows the agency to maintain the ATL, BTL, TTL approach of the existing agency model but at the same time adapt to a new era where greater skills, agility and simpler structures allow it to facilitate, curate and collaborate on demand.

It is a landscape where

concepts and ideas must be rolled out fast, with 40 to 50 different iterations to suit the multichannel delivery requirements of clients.

Moreover, the agency prides itself on the delivery of one-to-one marketing at scale.

As such, Ebony+Ivory is set up in such a way that all the traditional disciplines (a full service traditional agency structure) are paired with the talents of publishers, journalists, computer scientists, sociologists, data analysts and researchers.

This structure — a host of traditional and nontraditional disciplines under one roof — ensures that Ebony+Ivory is able to service its clients by providing them with simpler, more cost-effective and time-effective solutions and a measurable demonstration of ROI — on a daily, weekly and monthly basis.

The smooth operation of the agency depends on its open and empowering culture — something which Middleton says is easy to talk about, but that, in reality, has to be driven daily through all contact points.

Collaborating with clients and other suppliers (such as media and channel owners, other agencies, internal design and PR teams) is crucial to building internal teams and to the establishment of a supportive, sharing culture among all parties involved.

In this environment, there is no space for ego and arrogance. The agency sees itself as playing a pivotal role in the businesses of its clients — an agile curator that has a mandate to do more, narrow its focus and follow trends.

Trends in data and technology are key, while focus and clarity give the agency its power and the agility to shapeshift 24/7 as the environment changes daily. It is these factors that have ensured Ebony+Ivory’s relevance over the past 50 years, and will be what will continue to ensure its relevance in the future.

Corporate Profile

Edelman WE GO BY THE NAME OF Edelman.

OUR CORE SPECIALITY IS Communications marketing.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS In line with Edelman’s enhanced presence across Africa, this year we launched a pan-African version of our Trust Barometer research in 10 of Africa’s 15 largest economies.

OUR BIG CLIENTS Deloitte, Nissan, Telkom, Unilever.

OUR OLDEST ACCOUNTS Deloitte, GE, PayPal, Telkom, Tsogo Sun. ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Comic-Con, Dimension Data, LG, Liberty, Total.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS Shell.

WHO OWNS US Independent.

OUR BEE RATING LEVEL 4.

OUR REVENUE BAND R50m – R75m.

NUMBER OF PERMANENT EMPLOYEES 55+.

WHO’S THE BOSS? Jordan Rittenberry.

OUR BUSINESS IN 140 CHARACTERS Through communications marketing, we help our clients act with certainty, earning attention and trust to create meaningful change.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Taking a moment to stop and reflect at our end-of-year function, evaluating the keys to our success that helped us achieve 40% year-over-year growth.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (11) 504-4000 Jordan.rittenberry@edelman.com www.edelman.co.za @EdelmanAfrica

Edelman’s SA office is a point of pride for the entire global Edelman network. Edelman SA has become one of the network’s top performing operations, while simultaneously becoming one of the largest and most respected communications agencies in SA. In the past two years, Edelman’s head count has tripled in size, with revenue growth well into the double digits each year. This top performance has been attributed to the way the agency seeks and hires talent.

The agency’s approach to hiring staff is methodical and purposeful, looking further afield than its competitors in the PR space. Edelman’s staff complement of 60 people includes digital experts, designers, media planners, strategists and copywriters — disciplines not typically associated with public relations. Talent is often sourced from advertising agencies, which helps to bring to life the agency’s approach — what it calls “communications marketing”.

In an economic landscape where budgets are becoming ever more constrained while KPIs remain the same, many clients no longer have the finances to work with a host of specialist agencies.

Instead, they are forming strategic partnerships with one or two agencies who have the ability to

cover all the necessary core competencies.

To this end, Edelman has focused on a broader scope than PR alone, honing its communications marketing approach. At the tip of the spear is communications, says MD Jordan Rittenberry, which focuses on building trust and relationships with consumers, which in turn creates brand loyalty, allowing clients to weather the storm of economic uncertainty.

Marketing has become somewhat secondary in this approach, based on the belief that consumers see a television commercial or billboard as less authentic, and true value comes from trust that makes customers feel closer to the brand.

Indeed, trust has become a vital aspect in the interaction between consumers and brands. According to the annual Edelman Trust Barometer, only 35% of South Africans trust the media, four points lower than last year, and a clear indication that distrust of “fake news” is more than just a passing trend. With its core business in earned media, Edelman pays close attention to this loss of trust, maintaining that consumers no longer find it easy to separate good journalism from falsehoods.

As a result, brands should be working hard to engage with media in ways that nurture trust

with their consumers.

In uncertain times, many marketers would rather take no action at all than issue communication that has the potential to hurt their brands. In this climate, Edelman sees its mandate as helping its clients to “act with certainty”, providing C Suite advice that will enable them to cut through the chaos and gain the trust and attention of consumers.

One of the agency’s greatest benefits is the fact that it offers the breadth and scale of a global firm, coupled with the passion and enthusiasm of an independent boutique agency. Being a familyrun company, it reports solely to its clients rather than shareholders, providing clients with the best of both worlds.

Edelman’s growth over the past two years has proved it is filling a void in the market. And the agency plans to harness this advantage as it grows to the next level. As more clients bring pan-African work to the agency’s door, it looks forward to expanding its footprint into Africa in the near future.

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FCB WE GO BY THE NAME OF FCB Africa WE ARE A SMALL/MID-SIZE/LARGE AGENCY Large OUR CORE SPECIALITY IS Creating behaviour THIS IS HOW OLD WE ARE 92 OUR BIG PROJECT IN THE PAST 12 MONTHS Attaining fully un-encumbered shareholding for majority Black ownership OUR BIG CLIENTS Absa, Cell C, South African Tourism, Toyota, Coca-Cola OUR OLDEST ACCOUNTS Toyota, Distell ACCOUNTS WE’VE WON IN THE PAST 12 MONTHS Sasol, Fanta, Black Cat, Tastic, Mrs Balls, Maynards, Beacon, Dealz, Dial-A-Bed; retained Toyota ACCOUNTS WE’VE LOST IN THE PAST 12 MONTHS Wimpy, Engen, IDC WHO OWNS US Bourasque 26%, staff 19,06%, Invincible People 15% and IPG 39,94% OUR BEE RATING Level 1 OUR REVENUE BAND R550million+ THE NUMBER OF PEOPLE WE HAVE 650+ WHO’S THE BOSS The consumer OUR BUSINESS IN A TWEET A network of independent speciality practices offering a diverse range of capabilities, including advertising, promo, design, retail, PR, experiential, digital and content production THIS IS WHAT INSPIRES US Inspiring South Africans SO, YOU LIKE US? ENGAGE WITH US: Tel: +27 (0) 11 566 6000 Email: Brett.Morris@fcb.co.za Website: fcb.co.za Twitter: @FCBafrica Facebook: facebook.com/FCBafrica

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THE NEXT CHAPTER OF NEVER FINISHED They’re the oldest agency in South Africa, but they also like to think of themselves as the newest. Their ‘never finished’ mindset means that they are always looking for new and better ways of doing things, of using technology to enable creative storytelling and adapting to the changing needs of their client partners and their customers.

This mindset also applies to transformation, which is an ongoing pursuit for them.

At FCB Africa, it’s all about authentic transformation and true ownership. So, today they have debt-free shareholding across three critical pillars: staff, investors and their broadbased partner. In total, they are 55% Black-owned and 32% Black female-owned, and are a Level 1 B-BBEE contributor.

They are also the only large Black-owned network agency

not reliant on modified f low through. But, they’re quick to add, that’s just the start and they’re far from done.

FCB Africa seems to manage driving this agenda well.

They’ve been able to move the needle significantly every year in terms of the number of Black staff, up from 56% in 2016 to 64% in 2018. They have 64% female staff, also with a small increase year-onyear. And on the FCB Africa Group Exco, where they were historically the most underrepresented, they’ve also doubled the number of Black executives in the last three years, moving up to 40%.

They’ve also moved from 10% to 25% female representation in the last three years. This is well ahead of South Africa’s Top 40 listed companies with only one woman represented at the very top level.

According to Brett Morris, Group Chief Executive of FCB Africa, not a day goes by without them having a serious conversation about how they address the needs and desires of South Africa’s consumers in a way that authentically resonates with them. Ultimately, they believe they are here to build more legacy-making, equity-building campaigns for their clients – this is a hallmark of FCB Africa and something that has always driven them.

Lighting the fire, however, is their desire for the agency’s make-up to mirror that of the country’s population.

In addition to some great truly South African work resonating with the new South African consumer, and impressive strides along its transformation path, there were a number of other highlights for the group in the year. These included winning Sasol and another global campaign for

Coca-Cola, retaining Toyota and – in an about face – being acknowledged in the media for turning away work and saying ‘No’ to the Guptas when they came looking for advice.

Another major milestone for the group was FCB Joburg being named as AdFocus Large Agency of the Year and AdFocus Overall Agency of the Year. At the 2018 Bookmark Awards the group walked away with 7 silvers, 3 bronzes, and 1 Black Pixel. Plus, a substantial Loeries haul including 3 golds, 4 silvers and 1 bronze. And true to the group’s promise of building Africa’s favourite brands, these awards included work for Toyota, South African Tourism, the Western Cape Government and Cerebos; in three different languages.

All this, it seems, adds up to another successful chapter in FCB Africa’s ‘never finished’ journey.

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Corporate Profile

Group Africa Marketing WE GO BY THE NAME OF Group Africa Marketing.

OUR CORE SPECIALITY IS Sponsorship; brand activation; digital; content; public relations; eventing; branding logistics warehousing; and staffing solutions.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS The successful execution of the Coca-Cola SEABU Convention; the launch of Yekani’s R1bn Smart Factory in East London; MTN Springboks Bozza launch and announcement; MTN8; Standard Bank RPC National U17 Week; Standard Bank IRONMAN African 70.3; and 5150 Races 2018; Standard Bank Joy of Jazz and the Grahamstown Arts Festival; successful execution of Castle Africa 5s (biggest 5-a-side tournament in Africa); and Kimberley Clark (Huggies).

OUR BIG CLIENTS MTN, Standard Bank, ABinBev, Coca-Cola, Kimberly Clark, NBA. OUR OLDEST ACCOUNTS MTN, ABinBev and NBA. ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Standard Bank, Coca-Cola, Yekani Manufacturing, OUTsurance.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS Sasol.

WHO OWNS US Experiential Marketing.

OUR BEE RATING LEVEL 2.

OUR REVENUE BAND R200m.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 60 permanent.

30 contractual.

WHO’S THE BOSS Sandile Ndzekeli — CEO. OUR BUSINESS IN 140 CHARACTERS GAM serves 19 African markets and is a leader in areas of sponsorship management; brand activation; public relationms; events; branding; logistics; and warehousing.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS MTN Springboks Bozza Campaign; the launch of Yekani’s R1bn Smart Factory; the successful MTN8 Tournament and Final.

SO, IF YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (11) 549-54340 info@expagency.com www.groupafricamarketing.com expagency

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In line with its specialisation strategy, Group Africa Marketing (GAM) has morphed from one agency into five; each offering a specific focus area — boutique agencies within an agency, if you will.

Under the GAM umbrella, EXP is solely a sponsorship activation and event management agency, The GrindPR provides public relations, communications and media relations services for both corporate and sponsorship clients, LIVE+ Marketing is a connected brand activations specialist agency focusing on both live and digital experiences, !A (Ideas Accelerator) is a creative and strategy hub, while Turnkey provides branding, procurement, logistics and warehousing solutions.

Group CEO Sandile Ndzekeli says the past 24 to 36 months have been particularly rewarding for the group. The past year has seen growth from 2017, as the specialisation strategy has started to come to fruition.

“The strategy was designed and implemented three years ago and, admittedly, it took some time to get going, but this year we are seeing the results and we can now offer our clients a full BTL service including activations, digital, PR, logistics, procurement, branding and design,” he says, adding that feedback from clients has been hugely positive with the agency increasingly being seen as a one-stop-shop providing specialist skills.

Indeed, GAM has moved from its niche as a sponsorship agency to a full-service provider and in the process won new clients including Standard Bank, Coca-Cola SA (the group has been working on the account on the continent for some time), OUTsurance and the MTN Springbok sponsorship as well as Yekani Manufacturing and

technology.

Ndzekeli says for some time the operating climate has been one where clients want more work for less money, in half the time, not to mention better results for less investment.

However, he says instead of lamenting these trends, the group has embraced them.

“This is a climate where one is forced to push harder, be more innovative and creative, and ultimately, always deliver the best work,” he says.

The pressure to deliver more for less is a global reality that’s here to stay. Agencies that don’t adapt to this new normal will simply not survive, he says. GAM has embraced the current paradigm, offering what Ndzekeli terms “Rolls Royce” service at a lower cost. Indeed, in his eyes, the biggest and best ideas can come from the smallest budgets.

It’s when agencies consistently deliver an outstanding calibre of work that clients will inevitably give them more budget, providing you’re delivering results, he points out.

This year, the group will be refocusing on content. While the idea that content is king is not new, there is a greater emphasis on content than ever before. To this end, he reveals that the group will be acquiring the majority stake in a specialist content production company in the near future, enabling clients and brands in SA and on the continent access to top quality branded content. This will include the group’s own properties, as well as social media channels, reality programmes, game shows and the like.

Crucial in the content space is the generation of authentic and human content, Ndzekeli says.

“The telling of human stories has always been an important focus for us, yet we haven’t even

begun to scratch the surface of what we want to offer,” he says.

“All brands should be associated with authentic content that tells a human story — indeed, it is what draws consumers to brands.

Consumers care about brands that resonate with them on an emotional level, that in some way reflect their own lives and experiences.”

Moreover, Ndzekeli believes that brands have fallen into a common trap of telling a brand or product story as opposed to a human one. “Humanity comes first, and then the content can be associated with a brand,” he says.

This idea is linked to a current industry trend where brands have shifted their focus from product back to the brand and what it stands for, which aligns with the need for authenticity.

“At one point, price and product were taking centre stage, but the reality is consumers fall for brands and

not products. Look at Nike, for example. Nike doesn’t sell shoes — Nike sells the stories of athletes who have inspired the world, it sells a lifestyle that consumers buy into,” he says.

“Ultimately, we’re living in a time where advertising is emotive — it’s about telling stories that consumers can relate to and communicating with them in relevant ways.”

The group’s philosophy of “candoism” has enabled it to weather intense pressure over the past year, delivering innovative work despite back to back deadlines. “Candoism is more than a positive attitude,” says Ndzekeli.

“It’s the philosophy that drives the business and is about getting things done through great planning, creative strategy and implementation.”

The group’s other mantra, “we don’t sell crap”, is driven across the entire establishment, and all employees — from the most junior to the most senior — know to do everything to the very best of their ability. “If you’re not proud of the work, you cannot present it. It’s about doing better than your best, making the perfect effort,” he says.

2018 has been a year of cementing the agency’s specialist

offering and finding the right people to lead the teams going forward. Ndzekeli says the group has finally found a creative and strategic director to replace Michael Masson, who relocated to Finland. “Allan Marks brings the energy and experience to the role and has already started making magic.”

Brand activation agency LIVE+ Marketing also welcomed Amanda Slabber back to the fold.

“Slabber is no stranger to the business. She worked with us previously and we are delighted to have her return,” says Ndzekeli.

He adds that within the brand activation space there will be a refocus on classical experiential branding, whereas in previous years there has been a greater focus on digital.

Additional news is the imminent opening of Ggroup Africa Marketing’s business staffing solution, following its foray into the business staffing space two years ago.

The next 12 months will see a continued focus on content and classical experiential marketing and the launch of the staffing business. Ndzekeli says Turnkey — the group’s branding, logistics, procurement and warehousing division — has also become a huge focus, after showing significant growth in the past year.

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20962 JPU Adfocus 2018 FA

Joe Public United 2018 WE GO BY THE NAME OF Joe Public United OUR CORE SPECIALITIES ARE Integrated brand and communication solutions Joe Public (Integrated Above The Line) Joe Public Shift (Strategic Brand Design) Joe Public Connect (Digital) Joe Public Ignite (Beyond The Line) Joe Public Engage (Public Relations) OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Chicken Licken® – Sbu 2.0 OUR BIG CLIENTS Anglo American, Chicken Licken®, Clover, Jet, Nedbank, SAB OUR OLDEST ACCOUNTS Clover (14 years), Anglo American (11 years), CCI (9 years), Jet (6 years), Nedbank (5 years) ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Altron, Assupol, Castle Free, Castle Milk Stout, Converse, CTM, Flying Fish, Tour Vest ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None WHO OWNS US 100% independently owned by senior management OUR BEE RATING MAC Charter BBBEE Level 1 OUR REVENUE BAND R200m – R250m THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 298 WHO’S THE BOSS Joe Public United OUR BUSINESS IN 140 CHARACTERS A purpose-driven brand and communication group that exists to be the fertile soil that grows our people, our clients and our country.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Ranked no. 1 Creative Agency in Africa at the Loeries.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US Tel: +27 (0)10 591 7770 Email: info@joepublic.co.za 90 - AdFocus 2018

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Case Study

As an important contributor to SA’s economy, the Johannesburg Stock Exchange (JSE) has committed to not only support economic growth in the country, but also to ensure that it encourages South Africans to invest actively It takes this commitment seriously, and to this end, has introduced a new initiative — the JSE She Invests Arena, to improve accessibility for all South Africans, specifically women to the stock market.

Zeona Jacobs, director of marketing and corporate affairs at the JSE, says while women are comfortable about making crucial decisions around their careers, families and households, many are not as confident when it comes to making decisions around investing their money.

The JSE She Invests Arena event was held at the JSE on the 4th of August 2018 and various speakers, including industry leaders and financial specialists were invited to present talks on investment topics including; how to go about investing; what financial freedom is and how to achieve it; saving versus investment; and how and where to invest.

“The aim of the JSE She Invests Arena is to empower women to make effective and informed investment decisions by providing them with access to information and knowledgeable speakers, activities and engagements that would instil confidence and show them that investing is not as daunting as they perceive it to be,”

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says Jacobs.

She explains that the JSE She Invests Arena was developed as a way to encourage women to take control of their investment journeys. The event was the first of its kind to be hosted by the JSE, in association with Ndalo Media, who are known to be at the forefront of female empowerment and equity, as well as EasyEquities, whose philosophy on investment is to ensure that it is cost effective and easy.

Additional associations included the JSE’s ETF providers, financial service providers (FSPs) and women in ETFs (exchange traded funds) — all of whom

represented direct access to brokers and financial experts and were able to guide potential investors.

A multi-platform approach was used to create awareness prior to the event. This included print adverts in publications such as Ndalo’s Media’s Destiny and Elle, as well as the JSE Magazine.

Outdoor street pole posters and digital advertising placements were displayed at various sites throughout Sandton.

Digital marketing on the JSE website and social media posts on Instagram, Linkedin, Facebook and Twitter were also included as part of the awareness campaign.

The event was one element of the holistic effort that the JSE is undertaking to make investment accessible, easily understood and fun. In line with this, a number of lifestyle associates, including Power Lips, Pandora, Mowana Spa, Sharpeville Breweries and Stitch and Steel also joined the event to provide women with support in other areas of their lives. These included everything from power dressing to self defence techniques.

One of the main objectives of the JSE She Invests Arena was to create awareness aroundETFs, an investment product that has been used to encourage more people to invest on the JSE as the offering is both low risk and cost effective.

ETFs provide access to a broad level of investments, rolled into one. It is a JSE listed investment product that tracks the performance of a particular basket of shares, bonds or money; as well as single commodities such as gold or platinum. Put simply, if the underlying assets perform well, the ETF goes up.

They offer investors a wide range of benefits, including the opportunity to diversify their portfolios, make hassle free investment decisions and qualify for exemptions from certain taxes such as capital gains and tax on interest and dividends. They’re also easy to buy and sell through a JSE broker or Financial Sector Conduct Authority (Fisca) registered online platforms. This makes them an ideal investment vehicle for those starting out as well as those looking to grow and diversify their portfolios.

A number of other objectives were defined for the event.

Amongst them were the opportunity to position the JSE as a thought leader, raise awareness around ETFs and ultimately educate the target audience (primarily professional women

with the disposable income to invest, between the ages of 25 and 55).

Another objective of the event was to generate leads of potential investors who have not yet invested on the JSE as well as generate leads from existing investors who have a basic knowledge of investing and are looking to increase and diversify their portfolios.

The JSE She Invests Arena was the ideal platform to entrench the idea of the JSE as an organisation with the ability to connect buyers

and sellers — those who are looking to invest their money with the companies and shares that they can invest in so as to grow

their wealth.

Jacobs says the JSE She Invests Arena was a success for both the JSE and its partners and plans are already in the pipeline to host the event again in 2019.

Attendees shared numerous positive social media mentions including: “Great time at #sJSESheIvests insights, markets, growth on post by JSE: Keep reminding yourself that you are capable, that you are worthy.”

Inspiring words by @KhanyiDlomo at #JSESheInvests.

“Today was magical, I got to hear @KhanyiDlomo speak. It was a dream realised for me. I have a

The aim of the JSE She Invests Arena is to empower women to make effective and informed investment decisions by providing them with access to information and knowledgeable speakers, activities and engagements that would instil confidence and show them that investing is not as daunting as they perceive it to be

picture of her on my vision board as inspiration and everything she said today resonated with me.

Here is to investing in myself.

Thanks @JSE_Group #JSESheInvests.” “#IReallyCan’tWait2 to one of the biggest property investors.

Create employment in Mzansi” In addition, Jacobs says the content, speakers and topics appealed to the audience; the event as a whole was informative and attendees found value in it; young people are interested in investing and the event proved a good place for them to start their investment journeys. Moreover, the JSE was positioned as an enabler with regards to starting an investment portfolio.

Looking ahead to the next event, Jacobs says there will be a focus on additional financial service providers and pension funds. She adds that increased breaks between speakers will allow for more time to visit the exhibition areas. Next year’s event will also include a community element.

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Corporate Profile

King James Group SA WE GO BY THE NAME OF King James Group South Africa (Johannesburg and Cape Town) OUR CORE SPECIALITY IS A fully integrated communications and technology offering including brand strategy, through-the-line communications, digital services and platforms, PR, digital media and data analytics, live events and activations, and decoupled retail production.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Multicampaign initiative recognising Sanlam’s centenary milestone OUR BIG CLIENTS Pick n Pay, Sanlam Group, AB InBev, TymeBank, Allan Gray, Siemens, Visa OUR OLDEST ACCOUNTS Sanlam Group, Visa, Allan Gray ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Bob Martin, TymeBank, Netflix, Cell C, McDonald’s, BBC Worldwide, G-Star RAW, Sunglass Hut, Sasfin WHO OWNS US We are independently owned.

OUR BEE RATING We are a Level 1 BBBEE contributor.

OUR REVENUE BAND Over R200 million annual turnover SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (0)11 215 0000 +27 (0)21 469 1500 info@kingjames.co.za www.kingjames.co.za twitter.com/kingjamesgroup facebook.com/kingjamesgroup instagram.com/kingjamesgroup

King James Group SA, with offices in Johannesburg and Cape Town, celebrated 20 years of creative and business growth earlier this year.

A significant milestone made even more impressive by the Group’s ability to stay ahead of the curve in a disrupted and fragmented agency world, by constantly evolving to remain nimble, agile and relevant.

CEO James Barty says the Group’s independence is what makes this possible. “We operate on our own terms and run the agency the way we want to. Our culture is our own.

In times of uncertainty it’s been tempting to join forces with a conglomerate, but we’ve weathered the economic ups and downs.

We value our freedom. It allows for quick decision-making, more experimentation, more innovation and more fun.”

An approach that has paid off.

Two decades on, King James remains one of the most respected agency groups in the country among marketers and peers alike – named Scopen’s Agency of the Year 2017 and Marklives Most Admired SA Agency two years running.

The business is robust, with collapsed silos and best-in-business specialists across communication, earned media, service and platform development, as well as data and media. “We’re able to bring together the right mix of skills to create

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 300+ WHO’S THE BOSS Alistair King, Chief Creative Officer and James Barty, Chief Executive Officer

Newlands Spring Brewing Co. #NotThatNewlands

OUR BUSINESS IN 140 CHARACTERS We are in the business of investmentworthy ideas that pull our clients’ brands and businesses closer to their customers.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Turning 20 and still independent 94 - AdFocus 2018

45849_ADFOCUS 2018 Print Ad.indd 2-3

Netflix Man in a Van

Allan Gray Father’s Share

standout solutions for the vastly different briefs from one brand to the next. From communication solves to the development of digital products and services, we’re able to offer our clients seamless access to the full suite of services under one roof,” says Nimay Parekh, CEO of the Group’s digital arm.

The agency’s longstanding reputation for big emotive and powerful brand-building advertising and solid track record for building narratives in new and novel ways for the digital era has made King James the go-to agency for blue chips like Sanlam, Pick n Pay and AB InBev as well as new economy brands like TymeBank, Spotify and Netflix. An enviable

“More than just ideas for ideas’ sake, we produce work with measurable impact.”

Le to right: James Barty, Lauren Chavez, Lesego Kotane, Nimay Parekh, Taryn Walker.

Sanlam 2-Minute Shower Songs

client portfolio that speaks as much to where the world is heading as it speaks to where it is today.

“Our creative product is undoubtedly our biggest differentiator. Our ability to create bold ideas that cut through an increasingly cluttered world.

In the age of content, our attention is being pulled in a million different directions at any given point in time. So unless you manage to jar consumers by doing something truly spectacular or unexpected, it’s all just strategically sound wallpaper,” says Lauren Chavez, Executive: Earned Media Director.

Siemens Fabric

find unicorns wrapped in rainbows; talent that can specialise in core skills to deliver on the increasing client requirements and expectations. We’re a team of specialists rather than an amalgamation of generalists.

An important distinction and a key driver of our success,” says Taryn Walker, MD at King James Cape Town.

“More than just ideas for ideas’ sake, we produce work with measurable impact. Campaigns that grab headlines and fuel conversation in a way that delivers strong earned media ROI for our clients through multichannel ideas,” Chavez continues.

Lesego Kotane, MD at King James Johannesburg, agrees, saying the Group has strong leadership in place across all critical skillsets.

“We’ve got our structure right.

And we’re now focussed on embedding it into the agency’s core way of thinking and how we approach problems. It’s about spending less time organising ourselves and spending more time delivering great work across skillsets and geographies,” says Kotane.

“But the delivery of standout work means more and more we need to

As a group, King James strongly believes that skilled leadership

is critical to navigating the many challenges facing the agency and the industry at large. As such it has appointed key management into leadership roles in each of its specialist divisions, as well as MDs in all its operating divisions.

There is no doubt that the Group benefits from the ongoing interaction that takes place within the agency’s senior leadership.

“We’re an agency that is fortunate to still have our founders walking the corridors, sitting in offices and contributing to the work that we do – that’s an invaluable asset for us across the company,” Kotane says.

“A challenge for our leadership – and the agency at large – and a critical priority for the year ahead will be to get marketers to back the

value of original and unique ideas in driving business success,” says Barty. “The temptation to cling to the familiar ideas that feel ‘safe’ is indicative of a risk-averse environment, and agencies’ inability to prove metrics and real business return from original and brave ideas.”

Overall, however, the team is hugely optimistic about the future.

“We’re exactly where we want to be as an agency. And producing the kind of work we can be truly proud of.

With our team of exceptionally talented specialists backed by trusted partnerships with our clients, we’re able to push the boundaries of what’s possible to produce category-disrupting work that delivers measurable results,” Barty concludes.

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Corporate Profile

M&C Saatchi Abel WE GO BY THE NAME OF M&C Saatchi Abel – JHB and C.T. OUR CORE SPECIALITY IS Creating beautifully simple solutions in an increasingly complex world.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Nando’s #rightmyname multi media campaign encouraging people to recognise diversity.

OUR BIG CLIENTS Heineken South Africa, Takealot, Nando’s, Hollard, MWEB and Lexus.

OUR OLDEST ACCOUNTS Heineken, MWEB, Takealot, Nedbank and AVI. ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Windhoek, SA Reserve Bank, Supersport, Lexus/Automark, SA Revenue Service and Weylandts ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS Sun International WHO OWNS US We’re owner run and operated with M&C Saatchi PLC having a major shareholding (50,1%) that connects us to a network of people across 26 offices.

Black ownership – 26%; Mgt shareholders - 23,9%; Over 50% of distributable equity available for local black staff OUR BEE RATING Level 1 OUR REVENUE BAND R125m - R150m THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 155 WHO’S THE BOSS The partners – a federation of entrepreneurs OUR BUSINESS IN 140 CHARACTERS To build our Client’s market share and create remarkable change through Brutal Simplicity of Thought OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Beyond 13% year on year revenue growth and award-winning work across a broad base of clients, retaining our Level 1 BBBEE rating with improved scores, was key. Our Agency is truly transformed and comprises the rich and diverse talent that makes our country special. This leads to diversity of thought.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US JHB +27(0) +27 11 2686388 C.T. +27 (0) 21 421 1024 info@mcsaatchiabel.co.za www.mcsaatchiabel.co.za 96 - AdFocus 2018

At M&C Saatchi Abel, there is a complete and utter focus on helping clients navigate their way through what the agency believes is a ‘brutal economy’ through imaginative solutions to business problems.

As an agency that made its debut in tough times – M&C Saatchi Abel opened its doors just over a year into Zuma’s presidency - the agency has never had the benefit of a strong economy. As such, the team has always had to make clients’ tighter budgets work better for them and find innovative and compelling ways to grow their client’s business, despite the state of the economy.

In fact, the agency has become renowned for its ability to rise to the challenge. Chief executive partner Mike Abel says the team relishes a challenge; understanding the pulleys and levers that facilitate growth. If anything, the agency is daunted by apathy, helplessness and hopelessness – they believe a business can grow despite the climate it operates in.

Abel is quick to point out, however, that clients who see marketing as an expense to be endured are not the sort of clients the agency looks to work with; yet those who see it as an investment will be welcomed with open arms as the team thrives on unlocking opportunities for new growth.

That said, Abel admits that times may get even harder – who would have thought that Ramaphoria would end so abruptly, he says. The reality of the economy has now hit home and the outlook is one of pessimism, which is giving way to further pessimism, when in fact what is required to drive the economy forward is optimism.

Despite a trying economy and operating climate, the agency has had an excellent year, with

Nando’s Client and Agency team with their Loerie Grand Prix

account wins including Windhoek, the South African Reserve Bank (SARB), Supersport, Lexus/ Automark, the South African Revenue Service (SARS) and Weylandts; which equate to combined billings of R43 million in new business; in addition to year on year growth of 13%.

While the market is unlikely to change through 2019, looking set to remain tough with low levels of business confidence, there will also be growth and business opportunities for the agencies that know how to find them.

Clients will require their agencies to be agile, solve problems creatively and create innovative business strategies that will allow them to prosper.

M&C Saatchi Abel’s approach has been built around finding

these growth opportunities for clients. Often, says Abel, the problem is that clients are so busy looking for the answers that they are not thinking about whether they are even asking the right questions, or solving the right problems. The agency works with clients to focus their thinking in the most effective strategic direction and make use of the correct platforms; which may be an ad - but then again, it may not.

Diversity is a crucial aspect of this approach. The agency has come up with some incredibly powerful solutions for clients due to diversity of thought, which can only come about through having a diverse group of people on the team, each bringing a different perspective to the problem.

Indeed, powerful, relevant and resonant solutions emerge when there is a variety of valued opinions.

Central to the strategy at M&C Saatchi Abel is to ask the following questions at every point: ‘is it relevant, is it impactful and is it original’. Originality in particular, is a product of a diverse team, and being 57% black and 60% female, the agency is certainly living the idea of diversity. The addition of Neo Mashigo to the team as Chief Creative Officer of the group adds an additional level of vibrancy in terms of the diversity of an agency that can truly say it is embracing transformation in a meaningful way.

In tough times, clients are always more judicious with their

spend and marketing solutions must be robust. Abel reveals that there continues to be tension between creating advertising that works, versus creativity for its own sake. Ultimately, relevance is key – it doesn’t matter what you want to tell people, it needs to be told in a way that is relevant and that is entertaining – it’s how you do it that counts.

On a creative level, the agency continues to produce the outstanding creative work that it has become known for, across a range of clients including Nando’s, Takealot.com, Zeitz Mocca, 10X Investments, Strongbow, Mr Delivery, the Animal Rescue Group (DARG) and Zang Chocolates.

In fact, the agency has made a financial investment in the latter,

true to its policy of getting behind great entrepreneurs and creating opportunities to turn small businesses into big businesses.

It’s been a satisfying year on the awards front, with the team bringing home a number of Creative Circle firsts, as well as 13 Leorie awards, including a Grand Prix for Nando’s. Abel is particularly proud of the fact that these awards have been won across many of its clients, as well as a Loerie for its own branded calendar.

M&C Saatchi Abel continues to prove that it is an agency that

provides its clients with an unfair advantage. Clients are expected to hold the team accountable for growing their market share, top line and brand equity as well as building their brands and improving their bottom line results.

It’s a responsibility that the team takes on gladly, approaching the task with its core philosophy, ‘Brutal Simplicity of Thought’ – creating beautifully simple solutions in an increasingly complex world. This philosophy talks to the fact that simple messages enter the brain more quickly and stay there for longer.

Another unique aspect of the agency is its structure, which comprises a partner model offering a great breadth and depth of knowledge across the group.

Abel likens the structure to that of a law firm as opposed to a traditional ad agency and describes it as a ‘federation of entrepreneurs’. Everyone is directly involved in the day to day operations – as Abel puts it: you’re either on the field playing or you’re out of the stadium.

This is an agency that grew out of the belief that challenge is the only opportunity for growth. No company has ever saved themselves into growth – Abel’s overriding philosophy is that these are the times to find compelling solutions and to grow brands, not shrink them.

The year ahead will be planned with organic growth from existing clients in mind, as well as further client acquisitions and a focus on PR. Most importantly, Abel emphasises that the agency will continue to seek the best possible solutions for its clients in order to deliver the highest return on investment.

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Corporate Profile

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Corporate Profile

Moving Ads WE GO BY THE NAME OF Moving Ads South Africa.

OUR CORE SPECIALITY IS Moving Ads is an outdoor media, activations, promotions and events company.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Football, beach and stadium activations including the DStv Compact Russia World Cup campaign.

OUR BIG CLIENTS MultiChoice.

OUR OLDEST ACCOUNTS MultiChoice, MoneyGram, National Union of Mine Workers.

ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Fidelity Life Assurance Zimbabwe and Extra Joss.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US We are a family-owned business led by the founder and chairman of the board Dr Rodwell Jacha.

OUR BEE RATING 1.

OUR REVENUE BAND +/- R14m.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 22.

WHO’S THE BOSS Our MD Tinashe Jacha.

OUR BUSINESS IN 140 CHARACTERS We bring memorable customer experiences with a track record of creating innovative, high-impact and engaging activations.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS In the past 12 months the team has executed memorable activations and brand experiences, especially during the Soccer World Cup period, including a sterling beach activation during the Durban July weekend.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (0) 11 805-0987 admin@moving-ads.co.za www.moving-ads.co.za Moving Ads Moving Ads

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In a climate where added value and return on investment are imperative for clients, Moving Ads has continuously ensured that their customers share the benefit of leveraging off their multi-faceted properties on every campaign. With over 10 years of intellectual and operational experience in the outdoor advertising space, Moving Ads believes that in an environment where most clients have a tendency to shrink their marketing and advertising budgets, outdoor media is the best solution that offers clients inevitable success.

Moving Ads specialises in truck media, brand awareness, in-store activations, digital boards and stadium advertising. The business prides itself on their unique, new and highly innovative display screens that have taken well to the market. It is through their unique direct human engagement approach and key elements to ignite and sustain conversation through the mobilisation of the communities they work in that have seen them reach a wide audience.

The business strategy has always been customer centric and in that, Moving Ads offers a 360° offering to their clients that cover all necessary elements for execution. Line items such as sound and shuttle services are added to all outdoor activations for all customers. The value-added services have seen clients access the shuttle services provided for activations to various venues with ease.

Key highlights and accomplishments for the business in the past year include the beach activation, which took place in KwaZulu-Natal, major success with digital trucks and a 2018 FIFA World Cup Campaign in conjunction with DStv, which ran prior to, and for the duration of the tournament. In addition, the

shuttle value-added service was utilised by DStv ahead of the 2018 FIFA World Cup to transport Russia’s visitors around the country during the tournament.

The business is closely aligned to the business objectives of the clients needing to maximise reach.

With truck viewership per week ranginge between 250,000-500, 000 people and activations attracting about 12,000 consumers, Moving Ads clients are guaranteed tangible results.

Ultimately, the success of a campaign depends on an open dialogue between client and

agency, a concept which Moving Ads actively promotes as they place emphasis on providing bespoke solutions to meet clients’ needs.

When it comes to moving in the speed of culture on the onset of a digital world, it is essential to incorporate digital and social media into every campaign.

Moving Ads has focused on driving traffic to its websites and social media platforms by maintaining consistency across branding and design elements.

Digital and social media sites produce high-quality video

content, which has become the backbone of brand awareness, helping the agency to accomplish both marketing and overall business objectives. Live broadcasts and videos during campaigns help to generate leads, as do video testimonials. Posting high resolution images on social media sites, together with using hashtags for easy tracking and attention-grabbing headlines, have also proved to be successful.

Leads are captured through inbound marketing, which Moving Ads believes provides better information than other

competitors in the market.

There are, of course challenges that Moving Ads has faced and had to address over the past year. Most significant has been the escalation of fuel prices, which ultimately has an impact on prices across the board. As a result, the business has extended focus on in-store activations as an alternative as these require less travelling.

Continuing to provide clients with the quality service they have come to expect is vital in this climate, and Moving Ads’ strong footprint in the SADC

region has helped the business to overcome some of these challenges. Moving Ads has been recognised by the UN for the quality of its interactions with the youth market and has been involved in voter education campaigns which have increased

voter turnout from 60% to 86%.

Executive Director Tinashe Jacha says Moving Ads is a vibrant field marketing agency, offering a wealth of experience and works tirelessly to get clients’ brands out there. “With us, success is inevitable,” he says.

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Corporate Profile

FoxP2 WE GO BY THE NAME OF FoxP2.

OUR CORE SPECIALITY IS Giving our clients an unfair advantage.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Various campaigns for FNB, Hyundai, IndieFin “Mullet” campaign and brand campaign for Rediscover Dairy.

OUR BIG CLIENTS FNB, Hyundai, Wimpy, Namibian Breweries, Tiger Brands.

OUR OLDEST ACCOUNTS SAMPRO, Stanlib, FNB. ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Wimpy, Hippo, Mediclinic, Indiefin and Tiger Brands.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US Dentsu Aegis Network and local founders.

OUR BEE RATING FoxP2 JHB — Level 1.

FoxP2 CPT — Level 2.

FoxP2 Design — Level 4.

OUR REVENUE BAND R60m–80m.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 70.

WHO’S THE BOSS The work.

OUR BUSINESS IN 140 CHARACTERS Giving our clients an unfair advantage through the power of creativity.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Concluding our partnership with the Dentsu Aegis Network in February 2018.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US (+27) 21 424-4802/ (+27) 10 500-0239 charl@foxp2.com www.foxp2.com @foxp2lab / @foxp2jhb https://www.facebook.com/ FoxP2-210998128910623/ / https://www.facebook.com/ FoxP2JHB/

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The big news of the year for FoxP2 is its partnership with agency network Dentsu Aegis.

For an agency that is known to be fiercely protective of its culture, FoxP2 was excited to find like-minded people in Dentsu.

The move has been highly beneficial on all levels; not to mention that strategically there is a great fit between the agency and the larger network.

“The partnership has given us a real opportunity to marry our creative pedigree with the muscle of a global network and all the capabilities that it brings, giving us even more of a competitive edge in the current climate,” says CEO Charl Thom.

In addition, it’s opened the rest of the African continent for FoxP2.

While the agency has been working in Africa from its base in SA for some time, it is now able to work with a legitimate African network that has none of the smoke and mirrors that have unfortunately come to be associated with some agencies operating on the continent.

FoxP2’s greatest asset has always been its people, who now have access to online universities and training opportunities that they previously never had.

The agency believes the current climate is one of opportunity, and its mandate is to unearth these opportunities for itself as well as for its clients.

Creative founding partner Justin Gomes says FoxP2 has been around for the past 13 years and it’s still thriving; thanks to the agency’s core philosophy. “We have the right teams in place, and the core of the business is solid, which means we’re always ready to take advantage of any opportunities.”

“As the agency takes such great pride in its creative — and because creativity is what makes campaigns work harder in a more challenging economy — FoxP2 thrives in this environment,” says executive creative director and

partner Grant Jacobsen.

The agency’s philosophy is simple — to provide its clients with an unfair advantage over its competitors.

“To achieve this it delivers insightful, creative work that fosters change and is always met with a disproportionate reaction in the marketplace,” says founding partner Andrew Whitehouse.

Thom adds that he is always proud to present work to clients (which has not always been the case earlier in his career pre-FoxP2) and it is this pride that is the agency’s reason for being.

Despite the Dentsu partnership, FoxP2 is determined to maintain its underdog, independent, fighting status and this is what influences its strategy.

“But now we have the power of a big global network and tools to add more muscle and it’s a powerful combination,” says Whitehouse.

Another advantage is the way FoxP2 agencies are structured.

FoxP2 Joburg, FoxP2 Cape Town and FoxP2 Design are set up as three independent businesses that share the same philosophy and DNA. This allows for each agency to manage its own people and clients and also enables FoxP2 to

take on conflicting clients.

Perhaps the most important component of FoxP2’s considerable success is that all the original shareholders remain as hands-on as they were in the beginning — in fact that was part of the partnership agreement made with Dentsu.

It’s certainly the dawn of an exciting journey for FoxP2 as it works through phase one of the Dentsu partnership and gets ready to face the next step in the agency’s evolution.

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Corporate Profile

Ogilvy South Africa WE GO BY THE NAME OF Ogilvy South Africa OUR CORE SPECIALITY IS Full Service OUR BIGGEST BRAG IN THE PAST 12 MONTHS Huggies “Baby Marathon” Carling Black Label “#NoExcuse” OUR BIG CLIENTS Vodacom, Multichoice, KFC, VW/Audi, Dischem, Pep Stores, SAB/ABInBev, Cashbuild OUR OLDEST CLIENTS SAB/ABInBev (57 years), Nestle (55 years), VW/Audi (40 years), Unilever (30 years) OUR WINS OVER THE PAST 12 MONTHS Investec, Tiger, Turkish Airlines Nilfisk, Investec, Tiger Brands Reckitt Benckiser, Pfizer, Bacardi Philips, Nimue OUR LOSSES OVER THE PAST 12 MONTHS Allan Gray WHO OWNS US 59% Ogilvy Worldwide 41% Local Shareholders

The game has changed... so have we In the past year Ogilvy has changed radically, right across the globe. Not because we were falling behind but because we needed to stay ahead.

The way we partner with our clients, the way we work, the way we run our businesses and the way we lead our teams has been, and is, challenged daily.

In response, we embarked on an exciting, but sometimes painful, journey we’ve called ‘Next Chapter’. Although we’ve not reached the end of this next chapter, we have implemented some dramatic, gamechanging decisions way beyond the bold new wrapping paper of a shortened name (sorry about that Mr. Mather) and a re-designed logo.

THE NUMBER OF PEOPLE WE HAVE 855 WHO’S THE BOSS Alistair Mokoena, (CEO) OUR BUSINESS IN A TWEET Ogilvy believes the world would be a better place if we bring out the inner greatness in brands, companies and people.

OUR KEY MOMENT Doing work that is good for our country and society, for one of our biggest clients on one of their biggest brands; that went on to win a Grand Prix at Cannes. This being the Carling Black Label #NoExcuse campaign.

SO YOU LIKE US, ENGAGE WITH US Email: Alistair.mokoena@ogilvy.co.za Website: www.ogilvy.co.za Twitter: @ogilvysa Facebook: Ogilvy South Africa-

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We maintained our position as #1 Creative Agency & Agency Group in the 2017 Creative Circle Rankings; we won our 4th Cannes Grand Prix in five years (for Carling Black Label) and a Loeries Grand Prix for the 8th consecutive year (for Huggies).

New Ogilvy people in high places

We restructured seven separate operating companies into one P&L - introducing a new strategic operating system and a revolutionary digital workflow tool - and have focused obsessively on delivery.

OUR BEE RATING Level 1 OUR REVENUE BAND R600m plus

The positive disruption of Next Chapter is already bearing fruit. During the year we delivered highly successful work for major brands across the full suite of disciplines including data-driven marketing, content creation, mobile-first interface design, influencer marketing, activations and earned media strategies.

The goal was, and is, to simplify, clarify and unify our offerings to clients in order to achieve the Holy Grail, promised by everyone but, truthfully, seldom achieved: media-agnostic thinking within an agile and scalable framework.

Nkosinathi Biko - Chairman Ogilvy SA

Luca Gallarelli – MD Ogilvy SA

THE PEOPLE PLAN Importantly, this Next Chapter involves a dynamic talent plan to ensure that we are recruiting, retaining and empowering the right people with the ability to deliver for brands in a world of change.

Vicki Buys – MD Ogilvy Cape Town

Alistair Mokoena – CEO Ogilvy SA

Elouise Kelly – MD Ogilvy Johannesburg

Joanna Oosthuizen - COO Ogilvy SA

This talent plan has seen us improve our BBBEE rating to Level One and place many more women in key leadership roles.

Matthew Barnes – joint ECD Ogilvy Johannesburg

Neo Makhele – Group Head of Strategy Ogilvy SA

Some next chapter work

South African Agency of the Year.

Tallied from all local and international awards.

SOCCER SONGS FOR CHANGE A powerful activation at the Soweto Derby, which generated massive earned media exposure for Carling Black Label’s #NOEXCUSE campaign, involving a female choir singing amended lyrics to the popular football anthem Asambe Nono.

CADBURYS PS MOBILE Making the chocolate bar that’s always allowed youngsters to communicate via messages on the wrapper, relevant to a new mobile-first generation, through fun, unlockable video content.

Best Performing South African Agency.

Best Performing Effectiveness Agency.

MTV FCK HIV Inspiring youth to “give HIV the middle finger” by simply changing the finger that is usually used to get tested.

Best Performing Effectiveness Agency.

HUGGIES BABY MARATHON A successful mash-up between the creative visualisation of babies’ movement data and entertaining content.

Best Performing South African Agency.

2 x Gold, 1 x Bronze. 8 x Merits.

Proud to deliver on our Twin Peaks (creativity & effectiveness) ambition once again in 2018.

KFC “KEEP ROLLING” A video for KFC Africa showing a fictional football player taking a sequence of spectacular and comical dives achieved 13.9 billion impressions during the World Cup.

VOLKSWAGEN POLO RED FLASHY THINGY Launching the new VW Polo with ‘overconfidence’ in a humorous TVC where an unsuspecting intern ends up in space.

Ogilvy SA CCO Pete Case was ranked the 9th best performing agency CCO in the world in The Gunn Report’s ‘Global Agency Review’ and Ogilvy Johannesburg joint ECD Mariana O’Kelly was ranked 12th best ECD. Ogilvy Cape Town ECD Tseliso Rangaka was appointed chairman of the Loeries.

Pete Case

Tseliso Rangaka Mariana O’Kelly

Corporate Profile

Promise

It is this focus, plus the harmonious environment and winning philosophy, that keeps the agency ahead of the game.

WE GO BY THE NAME OF Promise OUR BIG CLIENTS AB InBev (SAB), AfriSam, Bestmed, RMB CIB, RMB Private Bank OUR WINS OVER THE PAST 12 MONTHS Bestmed, Castle Lite digital, Hansa Golden Crisp digital WHO OWNS US Independent and locally owned

Below, Bottom Left: Socialising in the bar area, Bottom Right: Studio at work

OUR BEE RATING LEVEL 2 OUR REVENUE BAND R50m to R60m THE NUMBER OF PEOPLE WE HAVE 73 WHO’S THE BOSS James Moffatt, Marc Watson, Verushen Reddy, Craig du Preez OUR BIGGEST BRAG IN THE PAST 12 MONTHS Winning the FM AdFocus Medium Agency Of The Year Award SO YOU LIKE US, ENGAGE WITH US Tel: +27 (0)11 463-2413 Website: promisegroup.co.za Facebook: Promise Agency SA

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Top: Studio interior

Diversifcation continued to be a driving factor during the past 12 months at Promise – a key area of focus which the agency continues to make a top priority.

CEO James Moffatt explains that the agency continues to forge into new offerings while securing the best talent to compete in these areas. Over the past year it has seen some very exciting channels of output within the data and digital media space. Promise’s data and digital offering is continuing to show tremendous growth, with digital output accounting for over 50% of revenue.

There’s also been a great deal of success with regard to the onboarding of new clients. These include Bestmed, SA’s largest open medical scheme, and the Castle Lite digital portfolio – which adds to the BTL portfolio that the agency already handles. The newly-formed Hansa Golden Crisp digital account has also recently come on board, further deepening the relationship with Ab InBev. Promise has also earned a number of accolades which the agency is immensely proud of. It received the Medium-sized Agency of the Year Award at the 2017 Financial Mail AdFocus Awards; in addition to maintaining its top

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client satisfaction in the 2016/17/18 SCOPEN Agency Scope Surveys, and leading SA across a number of other Agency Scope metrics.

Group MD Craig du Preez says the agency’s growth has

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Year-to-date, Promise has achieved 16% growth, with year-on-year growth for the past three years sitting at 22%.

Fundamental to Promise’s success has been the outstanding relationships it has built with its

clients, all of which are based on mutual trust and respect. Moffatt adds that the agency’s culture is a constant work in progress, as is the team’s personal development.

It is this focus, plus the harmonious environment and w-inning philosophy, that keeps the agency ahead of the game. Also, the new addition this year of a number of “fur babies”, says Moffatt, creates a pet-friendly space where the group comes together to produce the work that has carved its name.

Corporate Profile

RMS Media WE GO BY THE NAME OF RMS Media.

OUR CORE SPECIALITY IS Development and implementation of innovative online and offline communication solutions, driven by strategic insights and supported by data analysis.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Bliss Chemicals — MAQ range of laundry products.

Top 50 TV advertiser OUR BIG CLIENTS MAQ, Dairymaid, SATRIX, Austell Pharmaceuticals, Standard General Insurance, Showtime Management, TGRC. OUR OLDEST ACCOUNTS Old Shanghai, Red Cherry Advertising, Media Max. ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Acsa, Garmin, Netcare, Phumelela Racing.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US 100% local independent.

OUR BEE RATING Level 4.

MEDIA BILLINGS R 300m+.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 11.

WHO’S THE BOSS Rob Smuts.

OUR BUSINESS IN 140 CHARACTERS RMS Media is a future fit, channel neutral, full service media agency servicing communication groups and clients direct. We understand the seismic shifts and movements currently prevailing in our dynamic media landscape and we’re at our best when developing innovative communication strategies which meet the needs of the day.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Establishing RMS Media & Pty Ltd — a Level 2, black female-owned company.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (11) 884-9282 rob@rmsmedia.co.za rmsmedia.co.za @RMSMediaZA RMSMediaZA

Shareholders of empowered company RMS Media

This year RMS Media celebrates 25 years in business. Launched by Rob Smuts in May 1993, the business opened its doors at a time when the independent media industry was still in its infancy.

It’s been a journey of milestones and successes. Smuts recalls how the agency was courted by Carat, the Parisian founder of media independence around the time of its 10th birthday. “Carat acquired Cape Town-based Media Coordination, which started out as the in-house agency for the Rembrandt group, adding that RMS Media’s association with the network did not culminate in a sale of the business — in fact, the experience made them appreciate their independent status even more.

Smuts has good memories of more than a decade of working on international cosmetics brand Estee Lauder. Ongoing calls for international alignment eventually ended the relationship. Another noteworthy account was Silversands Casino, which grew the online gaming sector to such an extent that SARS joined forces with physical licenced casinos to shut the online gaming industry down.

20+ years with Tempest Car Hire and numerous other significant relationships meant the business has long since earned its stripes. In 2015, Smuts was

presented with Media Agency Legend status at the MOST Awards, joining other industry heavyweights who have made significant positive contributions to the media industry. Over the past 25 years RMS Media’s client base and industry experience has been as interesting as it has been diverse, spanning across both private and public sector business, a true testament to the agency’s agility.

Today, its client base includes the likes of iconic ice cream brand Dairymaid and local laundry detergent manufacturer and marketer - MAQ. RMS Media services key players in the mining as well as the entertainment sectors, together with non-profit organisations like The Glass Recycling Company, Anova Health and working in collaboration with the Kagiso Trust. Other clients include over-the-counter pharmaceutical brands, clinical trial companies, as well as medical aids and financial services companies. A truly diverse client base.

The past two years have seen the agency growing billings substantially from both existing as well as from new client wins including projects from the Airports Company SA, Packaging SA, Garmin and Netcare.

The big news for now is that RMS Media, in conjunction with

other international independent media agencies, have founded and become shareholders of an alternative global media network, Local Planet — the world’s first and only privately owned media agency network. Local Planet SA was registered this year and is jointly owned by RMS Media and Local Planet International. Smuts is adamant, however, that the core business, RMS Media, will remain fiercely independent.

Empowerment is a major agency priority and to this end, sister company RMS Media & Pty Ltd has been established — a Level 2 black female-owned company which provides dedicated colleagues with a real stake in the business. “We’re excited about the prospects for this new company and we believe this empowered business will be the vehicle to drive our future success, taking the RMS family well into the next decade,” says Smuts.

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Corporate Profile

Superunion WE GO BY THE NAME OF Superunion.

OUR CORE SPECIALITY IS Creativity is vital in developing great brands. Powerful, strategically grounded creativity applied to the heart of the business, not just its outward expression. We call this upstream creativity, and it’s our specialty.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Jameson, Tsebo Group, StorTech and Old Mutual.

OUR BIG CLIENTS Standard Bank, Vodacom, MMI Holdings, Jameson, Tsebo Group, StorTech & Old Mutual, AB InBev, Tiger Brands, Pernod Riccard.

OUR OLDEST ACCOUNTS Standard Bank, Vodacom and MMI Holdings.

ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Jameson, Sasol, Omnia, Tsebo Group, StorTech and Old Mutual.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US WPP. OUR BEE RATING In progress.

OUR REVENUE BAND R40m–60m THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 30.

WHO’S THE BOSS Mathew Weiss.

OUR BUSINESS IN 140 CHARACTERS Superunion is a next-generation brand agency. We're experts in brand strategy, identity, communications, engagement, reputation and brand management.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Becoming Superunion. The integration of five specialist global consultancies; Brand Union, The Partners, Lambie-Nairn, Addison Group and VBAT, allows Superunion to offer clients a broader array of specialists and offer a more connected set of services.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (0) 11 895-9300 johannesburg@superunion.com; capetown@superunion.com www.superunion.com @SuperunionAFR @SuperunionHQ

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Superunion Team

Our business is built on a spirit of creative optimism, so while we see the short-term outlook for SA’s economy is not encouraging, we believe the overall long term picture is hugely promising, says Superunion Africa MD Mathew Weiss.

When you’ve got a growing middle class, a generational “dividend” of young people entering the workforce, with money in their pockets to spend on brands that help them define who they are, then the opportunities for brands are enormous, he says.

But people today are not as easily marketed to as previous generations. They are less likely to trust brands at face value, they are more media savvy and discerning.

With marketing departments under ever increasing pressure to deliver return on investment, Superunion’s unique combination of skill sets and experience means we are well placed to help clients navigate this increasingly complex and interconnected set of audiences.

As the only global brand agency in SA, with 23 offices around the world, Superunion has more senior brand practitioners leading client engagements and a more comprehensive range of brand and communication services to help brands connect with people. That’s why we call ourselves a “next-generation” brand agency, says Weiss. We are

also the most creatively awarded brand agency and our outstanding creativity makes more powerful and enduring connections with consumers. This approach lead to Superunion being named FastCompany’s Design Company of the year honouree, in FastCo Innovation by Design Awards, 2018. (The overall winner this year was Google, so we are in good company).

It’s a position that is paying off commercially, with the agency showing growth of 16% this year, primarily off the back of key account wins including Jameson, Sasol, Omnia, Tsebo Group, StorTech and Old Mutual as well as organic growth from existing clients such as Vodacom, Standard Bank and MMI Holdings.

Crucial to the industry is more concerted focus on transformation. At Superunion, transformation is an absolute priority. In June, Keshni Deacon was appointed the new managing partner for the Johannesburg office, Nkosinathi Biko has been appointed as chairman and Angela Madlala, head of talent at Ogilvy SA, has joined the board as a non-executive director.

Transformation is key to producing the work that brings brands to life in a way that is

compelling and relevant.

An area of concern for the agency is the impact digital sales tactics are having on brand building. The digitisation of what used to be called Direct Mail is essentially old tactics in a new medium. No one ever liked direct mail, and the same is true of most digital marketing. The majority of it is badly conceived and executed. It gets in your way and the rise of ad blocking tech globally shows how people find advertising an increasingly unnecessary irritation in their lives.

People don’t hate advertising, they hate bad advertising, says Keshni Deacon. We need to get back to some of the fundamentals of good brand building. Taking a long-term approach, crafting a story that is either entertaining or/and brings something positive and useful to people’s lives. Rather than chasing short-term sales effects with vanilla messaging and discounts, brands should be pushing the boundaries creatively and be more consistent in their approach. Our agency’s philosophy centres around the belief that great brands unite all audiences around a common goal, says Weiss. And that is what we are here to help clients achieve.

Corporate Profile

Switch WE GO BY THE NAME OF Switch.

OUR CORE SPECIALITY IS Branding and Communications.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Rebranding of Altron; Furnmart and Home Corp.

Rebranding of the Sports Science Institute of SA; SARAO; Brand Strategy for the Square Kilometre Array, the world's largest radio telescope; Capitec Bank — positioning and launch of their Funeral Insurance product and continual strategic direction across the brand.

OUR BIG CLIENTS Furnmart and Home Corp, Altron Group, Incolabs, CBSA, AEL, The BUD Group of Companies, Investec, Capitec Bank, MyCiTi, Pearson, Sports Science Institute of SA and SARAO — the Square Kilometre Array.

OUR OLDEST ACCOUNTS Investec, AEL, DGB, Market Theatre, Tsogo Sun, South African Mint, Coca-Cola SA, MyCiTi, Capitec Bank and Pearson.

ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Altron Group, The BUD Group of Companies, Kenya Tourism Board, Vamara Group, SARAO — the Square Kilometre Array and BroadReach.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US Independently owned.

OUR BEE rating Level 4.

OUR REVENUE BAND >R50-million.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 22 in Johannesburg and 10 in Cape Town.

WHO’S THE BOSS S’bu Manqele, Gaby De Abreu, Larry Shiller and Simon Arenhold.

OUR BUSINESS IN 140 CHARACTERS We’re a multi-disciplinary agency specialising in branding, communication, and design. We consider ourselves creators, nurturers and custodians of brands.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Rebranding Altron in the ICT sector and alignment of business units into a single focused entity. Loerie Award for brand identity for Equilibrium, silver and bronze packaging awards for DGB’s Red Rock beer brands. Capitec voted “Best retail bank brand” 2017 and 2018 in the Sunday Times Top Brands Awards.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (0) 82 908-8800 sbu@switchbrand.co.za www.switchbrand.co.za Switchbrand switch switchworld

Switch design team

After a tough two or three years, the past year has seen an impressive turnaround for the boutique branding and communications agency Switch, with the acquisition of a number of key accounts.

The industry turnaround was a surprise to the Switch team and illustrates the fact that branding agencies are still relevant despite economic downturns, says group executive creative director Gaby de Abreu.

Account acquisitions have included Altron and the Bud Group of companies, while a packaging redesign project for DGB and a redesign for Equilibrium have resulted in some impressive wins for the agency, including a Loerie for the latter.

“We’re always very excited when our work is recognised at awards shows,” says De Abreu. “Like many other boutique agencies in a tougher business environment we can no longer justify the expense of entering international awards.”

In addition to local account acquisitions, Switch has also been busy beyond SA’s border with a rebrand for the Kenyan Tourism Board, a project for which they

competed and were awarded against a number of larger international agencies, as well as a projects in the property development industry within Nairobi.

The agency has worked with a number of blue chip accounts including Coca-Cola, FIFA, Investec, the South African Mint and Famous Brands, since its inception nearly a decade ago. Its vast experience working across a multitude of sectors including hospitality, retail, industrial, financial services and sport across the globe provides it with the ability to think local while addressing global issues.

The introduction of a new division to handle retail accounts has paid off with the acquisition of the Home Corp and Furnmart accounts in SA, Botswana and Namibia.

“In today’s environment it’s more important than ever that agencies are jacks of all trades and offer a 360 degree suite of offerings, including digital capabilities,” says De Abreu, predicting that agencies that fail to adapt will

be sidelined.

An owner-managed and fiercely independent agency, the team prides itself on their service and quick turnaround times. Clients, in turn, appreciate the fact that they interact with members of the executive team.

Reduced budgets and an increasingly constrained economy have resulted in clients requiring more than simply rebrand and brand architectural services but the strategic thinking behind any brand re-architecture and business solutions.

“Design today has to contribute to other disciplines including advertising, public relations, signage and even the physical space the brand entity occupies,” says group executive director S’bu Manqele.

The biggest shift of the past year, he says, is that clients are more carefully scrutinising costs versus return on investment. This poses a challenge to brand design agencies as it can take a brand years to reap a brand design investment.

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Corporate Profile

TBWA\ WE GO BY THE NAME OF TBWA\SA. OUR CORE SPECIALITY IS Using our collective creative capabilities to locate our clients’ brands in culture.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Joburg Ballet: Breaking Ballet, the ABSA rebrand, MTN corporate identity and becoming the global creative hub for Datsun.

OUR BIG CLIENTS MTN, SPAR, Standard Bank, Nissan, Liberty, P&G, Qatar Tourism Authority.

OUR OLDEST ACCOUNTS SPAR, Standard Bank and City Lodge.

ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Multichoice Africa, Qatar Tourism Authority, Fenix and Datsun global creative hub.

WHO OWNS US Omnicom, Phembani and a local staff trust.

OUR BEE RATING Level 2.

OUR REVENUE BAND Large.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 550+.

WHO’S THE BOSS Sean Donovan and 24 talented leaders across the group.

OUR BUSINESS IN 140 CHARACTERS We are a creative collective powered by our operating system, Disruption®, creating work that seeks to make an impact in culture.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS We've had several; winning Regional Agency Group of the Year Award at Loeries 2018; increasingly delivering content-led solutions like Joburg Ballet and MTN’s Answer The Call; launching Backslash® Africa, our daily cultural insights editorial content series, embedding our data practice in our work, and winning SA’s and TBWA’s first ever Data Lion.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (0) 11 322-3100 sean.donovan@tbwa.co.za or ntombi.malaza@tbwa.co.za www.tbwa.co.za @tbwaafrica @tbwaafrica, @backslashafrica TBWA in Africa

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TBWA\ collective leadership team in South Africa

When an advertising collective the size of TBWA\SA is able to say it’s had a “pretty good year”, you can be sure this is a business that knows how to successfully navigate a challenging business environment.

Being awarded the Multichoice Africa account as well as accounts for Qatar Tourism Authority, Fenix and becoming the Datsun global creative hub in the past year have all added to organic growth on existing clients to help the agency weather the economic downturn.

The group’s agencies, HDI Youth Consultancy, GRID Worldwide, TBWA\Hunt\Lascaris, Magna Carta, Yellowwood and OPENCO continue to report both solid growth and impressive wins at local and international award shows. After doing well in the local awards in 2017 but achieving modest success internationally, TBWA\SA set itself a goal to do better on the international awards front this year. And they certainly achieved their goal with a number of local and international award successes in the past year, including winning Regional Agency Group of the Year at the Loeries Awards and performing well at Cannes where, among others, it won SA’s — and TBWA’s — first ever Data Lion Award. It was also named SA Agency of The Year at the One Show and SA’s top performer at Clios.

The collective is making good progress in the areas of data and

digitisation, says CEO Sean Donovan, and has established a dedicated data practice in addition to developing several proprietary technology and automation tools.

This will be augmented in Q4 2018 by the introduction of Omnicom’s data and insights platform, Omni.

It’s all too easy in a tougher economic climate to argue that the age of big TV commercial productions is over. Donovan says, however, that TV is not dead — but it is producing numerous offspring and is taking its place in a boarder ecosystem of content rather than the sole player. “There is still a place for big TV commercials but these are coupled with high volumes of more frequent, smaller and rapidly produced content,” he says.

At the end of 2017 the collective launched its own production facility to focus specifically on driving content, and is producing up to 30 pieces of content each day. The group is consolidating all content production into one stand-alone entity.

Transformation is an ongoing journey. In July 2017 the group’s BEE partners upped their stake to 30% black ownership while its efforts at growing female leadership representation are paying off, with five out of the seven group companies having a female MD. Efforts to employ more diverse

talent are starting to pay off. This is illustrated by the phenomenally successful Breaking Ballet campaign for Joburg Ballet, which was born out of the group’s data practice, which identifies social triggers after measuring social media interactions.

This feeds into a number of philosophical principles that the group has been focused on in the past few years, including trademarked concept Disruption®, and a focus on delivering work that competes with popular culture rather than the more typical competitor brands.

“The key to the success of any agency in this day and age is the ability to operate at the speed of culture; embracing failure fast and quickly; and always striving to be better,” Donovan says. “What this translates to is a model where we pull the best team together regardless of which operating company they emanate from. Or from a broader pool, as evidenced

by GRID’s recent ABSA CI drone launch, partnering Intel.”

The group plans to launch several new services in the next few months and has its eye on selected new acquisitions to achieve sustainable growth.

Corporate Profile

The Odd Number WE GO BY THE NAME OF The Odd Number.

OUR CORE SPECIALITY IS Through-the-line Advertising.

OUR BIG PIECE OF WORK IN THE PAST 12 MONTHS Wimpy | Brand SA | Assupol | Nedbank.

OUR BIG CLIENTS Wimpy | Nedbank | Assupol |BBC Worldwide | ABinBEV | Brand SA. OUR OLDEST ACCOUNTS BBC Worldwide | Brand SA. ACCOUNTS WE’VE WON OVER THE PAST 12 MONTHS Wimpy | Nedbank | Assupol | Stadio Holdings.

ACCOUNTS WE’VE LOST OVER THE PAST 12 MONTHS None.

WHO OWNS US Nobody. We’re an independendent 100% black-owned and managed advertsing agency.

OUR BEE RATING Level 1.

OUR REVENUE BAND R35m – R40m.

THIS IS HOW MANY PERMANENT EMPLOYEES WE HAVE 23.

WHO’S THE BOSS Xola Nouse (MD) and Sibusiso Sitole (Executive creative director).

OUR BUSINESS IN 140 CHARACTERS We’re an independed 100% black-owned and managed through-the-line agency that uses powerful, nuanced mass market inisght to connect brands to people.

OUR KEY MOMENT IN THE PAST 12 MONTHS IN 50 WORDS Winning a Gold and Silver Loerie for Brand SA in 2017, as well as two Radio Craft Awards for Performance for BBC Worldwide and Brand SA. Also winning the coveted Umpheta award for Brand SA at Pendorings 2017.

Winning the iconic Wimpy brand as a client as well as Nedbank Digital Media and Assupol.

SO YOU LIKE US, THIS IS HOW YOU GET IN TOUCH WITH US +27 (11) 566-6840 info@theoddnumber.co.za www.theoddnumber.co.za @OddNumber /TheOddNumber

Thriving in the current business environment means remaining relevant to clients’ changing demands, which are driven both by their evolving business imperatives, as well as by the market. The Odd Number ensures this relevance by embedding itself in its clients’ businesses and remaining as invested in their success as it is in its own triumphs.

Solving business challenges through creative solutions, in the process factoring in the client’s business objectives, has long been the priority of The Odd Number. MD Xola Nouse believes that true client and agency partnerships are built on sustained mutual success.

It’s an effective approach and one that has paid dividends – The Odd Number is one of the fastest growing agencies in the country.

In the three and a half years it has been operating, it has carved a niche for itself in the industry and through great work and significant account wins showed year-on-year financial growth of 1,600% over the past three years.

Over the past year, the agency has maintained sound relationships with all its clients, in addition to winning work from large brands such as Wimpy, ABinBev, Assupol and Nedbank.

While Nouse concedes that in the current climate it is smaller and emerging agencies that feel the pinch most seriously, their

size is an advantage as it allows them to adjust their operating models more quickly than their larger counterparts and allows for flexible client relationships that are not necessarily bound by financial targets.

The debate around inbound versus outbound agencies has become an important one for clients to consider — The Odd Number’s answer to this challenge is to continue to demonstrate end-to-end value that drives results.

An increase in the number of communication platforms and new technologies in the industry is changing the way in which business is done in adland.

Another significant trend is the influx of consulting firms entering what was traditionally the turf of advertising agencies.

However, Nouse insists that clients looking for results-driven work will continue to need both data and creativity.

Creatively, The Odd Number has shone over the past three years at a variety of awards ceremonies, and Nouse reveals that the agency is working hard at maintaining this position, together with a focus on attracting, nurturing and retaining the best talent the industry has to offer.

The agency won a Gold and a Silver at Loeries in 2017 for Brand SA, as well as two Radio Craft Awards for BBC Worldwide

and Brand SA respectively, the MarkLives Ad of the Year in 2017 as well as agency to watch in 2017 and 2018. Co-founder and ECD (??), Sbu Sithole was recognised as the most admired creative leader in advertising by industry peers.

The agency also won the Financial Mail AdFocus Small Advertising Agency Award in 2017. These wins have firmly positioned The Odd Number as the leading wholly black-owned agency in the country.

Another exciting development which took place earlier this year was the acquisition of an equity stake in Hoorah, a data-driven digital agency based in Cape Town. The acquisition further entrenches The Odd Number’s TTL capacity with strong digital, digital media buying and analytics capabilities.

The agency has plans for continued growth through the execution of its philosophy of connecting brands to people through powerful, nuanced creative executions.

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Corporate Profile

Wunderman SA WE GO BY THE NAME OF Wunderman SA OUR CORE SPECIALITY IS Customer Experience Optimisation and Marketing Services OUR BIGGEST BRAG IN THE PAST 12 MONTHS Standard Bank Digital Transformation and Marketing OUR BIG CLIENTS Avis Coca-Cola Ford Microsoft Mondelez Openserve BCX Standard Bank Telkom Consumer VS Gaming Yellow Pages OUR OLDEST ACCOUNT Ford OUR WINS OVER THE PAST 12 MONTHS Telkom Group VKB Group OUR LOSSES OVER THE PAST 12 MONTHS Massbuild, Builders Warehouse WHO OWNS US WPP OUR BEE RATING Level 3 THE NUMBER OF PEOPLE WE HAVE 350+ WHO’S THE BOSS Haydn G Townsend OUR BUSINESS IN A TWEET TV, radio, print, OOH, POS, & digital work to improve customer experience.

Strategy, Content, User Interface Dev/ Design, Multimedia Campaigns & Data Insights.

THIS IS WHAT INSPIRES US Yellow Pages SO YOU LIKE US? ENGAGE WITH US +27 (011) 750 7300 Email: haydn.townsend@wunderman.com Website: www.wunderman.co.za Twitter: @WundermanSA Facebook: @WundermanSA

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AdFocus 2018 - 113

THAT’S IT, FOLKS

BEEN THERE, DONE THAT, AND I’LL BE BACK The increasingly fickle world of advertising The rapidly changing industry spares no soul in its path as it is now a case of ‘out with the old — in with the new’

O

nce again for AdFocus, Sir Marvin Bovril writes exclusively for us. Until earlier this year he was chairman, CEO, COO, CFO and CIO of PPW, the world’s largest communications company. Until he had a curry.

This, my good friends in the far-flung colony of SA, is possibly the last time that you’ll hear from me. And more is the pity. For you that is. No longer will you read my penetrating insights into the world of advertising and branding and use my profound wisdom to grow your business. As you know by now, the collective swine that is the PPW board, in their misguided wisdom, decided to give me the boot, throw me overboard and kick me to touch.

Am I hurt? you ask. Us Bovrils are made of much sterner stuff and we don’t take things lying down. You might not be aware that my distant relative Sir Bardolph Bovril in 1690 was a hero during the Battle of the Boyne in Ireland, where he was responsible for marketing battle to the ragtag bunch of mercenaries who supported King James II. It was he who developed the famous line “The Joy of War” which as you well know became part of an award-winning marketing campaign for violence and mayhem.

These days he is considered to be one of the fathers of early advertising and no doubt where my brilliance is derived from. Anyhow, enough of my illustrious family history. I could go on and on but the last thing I want to do is intimidate you. I’ve done enough of that over the years. Since my ouster I have become a more empathetic person and profit is only second on my list of things to do in my post-PPW life. Revenge, of course, is the first.

How can it be? I asked my slavering Doberman Slaughter during another walk on a cliff edge What did I do wrong, I asked this stupid dog, and why did they turn on me?

Well, the time has come for me to break my silence, friends, and spill the beans on why the

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most powerful and fantastic man in global advertising finds himself tramping alone through horse manure. It’s a sorry state of affairs. So, here’s the real story. Earlier this year I had the brilliant idea of getting rid of all 15-million people who work for my agencies across the planet and replacing them with a single algorithm that would spew out advertising copy, design solutions, logos and the rest of the guff this overpriced industry produces in a matter of milliseconds.

Given that the ad business has been taken over by programmatic technology anyway, I thought it would be the next logical step and one way of saving us all from extinction. I found a young boy programming genius in Venkatanarasimharajuvaripeta, a small railway station in India who, using an android phone and a wire coat hanger, seemed to have developed a unique advertising formula.

I immediately offered him a simple co-ownership deal in which I would advance him an amortised swap spread on future revenue curve options. Within moments I had his grandmother’s signature and we celebrated with a Phaal curry made from Bhut Jolokia, the hottest chilli in the world. Three weeks later when I was discharged from intensive care

with my you-know-what encased in ice I presented this fait accompli to my board of losers.

By now you know they rejected it out of hand, said I was off my rocker and summarily dismissed me with a hefty pay cheque (the size of Portugal’s GDP) and forced me to sign a nondisclosure agreement, which I continue to spit on when my burning larynx allows me to.

And so Sir Marvin Bovril at the end of 2018 finds himself in the advertising wilderness. But hear this friends in SA, I’m not done.

As I write, there are devious plans to take back the company that I started. Dossiers on the peccadillos of my traitor directors are being assembled. Here’s a sneak preview – the CEO of one of my former agencies has a penchant for using chocolate digestive biscuits for unnatural pleasure. He’s toast. Another prefers dog grooming parlours to his regular barber. He’s toast. And so the list develops.

I will be back I tell you, stronger, fitter, feistier, and more fabulous than ever before. I need to stop writing now as I need an iced pillow from the freezer. I shall also not be returning to India anytime soon.

Sir Martin Bovril

As Deloitte, we take pride in ensuring we understand our clients, their needs and how to serve them with distinction. We know what itȇs like to put in the time and e΍ort to produce work that stands out from the crowd. Deloitte. Making an impact that matters. www.deloitte.com/za AdFocus 2018 - 115