Adobo magazine | march april 2014

Lucille Tenazas a class of her own

PEOPLE

Chona Bustamante Lou dela Pe単a

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FCB Manila Indie.go

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AdFest Festival of Media SXSW Issue 50 march - april 2014

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50 ISSUE th

8 th Anniversary

E D I TO R ’ S N OT E March-April 2014, Issue 50

Double milestones in anniversary read This issue is extra special for us at adobo, marking two milestones in one edition – our 50th issue since launching in 2006 and our 8th anniversary.

For a magazine that started modestly enough in my home, adobo has come a long way, as has our industry in the past eight years.

Indeed, this year’s kick-off to the awards season could not have been better. In another Cannes first to last year’s Grand Prix coup, the newly renamed dFCB emerged as one of eight winners in the 2013 Cannes Chimera challenge (see pg 11). AdFest produced double last year’s metal takings as well as a Grande Lotus for Ace Saatchi & Saatchi (pg 12).

Media agencies have also been making waves on their own steam, with Starcom MediaVest Group scooping the Grand Prix award in the network’s global internal competition (pg 12) and making the Festival of Media Global shortlist with three entries.

Filipino talent continues to shine away from home, with Lowe’s EJ Galang and our recent cover girl Katrina Encanto winning a Grande Lotus to add to their collection of Gold awards for Sunlight’s ‘Seperate Them’.

In addition to highlighting local accomplishments at AdFest, our extensive coverage of the festival features some very strong regional work that will likely play well in this year’s Cannes.

There’s plenty of festival coverage apart from AdFest in the issue – South by Southwest delivered an eclectic menu of pop and digital culture in Austin, Texas (pg 36), Festival of Media Asia Pacific speakers underscored the value of agility in a rapidly changing media environment (pg 128), Graphika speakers harked back to the joys of their childhood playtime as a source of creative inspiration (pg 60).

With summer’s arrival, the issue also sizzles with a look at seasonal campaign splashes from travel to fashion (pg 112), while our Centerfold personality, Campaigns & Grey Rizzo Tangan, dreams of running (pg 80) and a group of industry camping enthusiasts offer a taste of the great outdoors in Trendspotting (pg 82).

Summer also signals graduation season at local universities, an apt time to take a look at agency hiring policies and internship offers to inject young blood in their organization (pg 172).

Our profiles feature an eclectic group of talents – AIGA Medal recipient Lucille Tenazas (pg 70), who has made her name in the US and returns to Manila to lead judging for the adobo Design Awards; poet cum creative Petra Magno (pg 66), designer Kitkat Pecson (pg 64) and producer Chona Bustamante (pg 88).

Local and foreign shops make our Firm section – FCB/ dFCB (pg 92), Vgrafiks (pg 96) and Jun Reyes’ Indie.go start-up (pg 106) as well as firms behind the Korean creative wave (pg 100).

There’s plenty to celebrate in adobo’s 50th issue beyond our anniversary. Let’s raise a toast to the industry and wish them well for the competitions ahead.

Enjoy your latest read.

Angel V. Guerrero Founder, Publisher & Editor-in-Chief

staffbox President & Editor-in-Chief Angel V. Guerrero

Vice-President & Chief Operating Officer Janelle Barretto Squires

EDITORIAL Consultant Editor Sharon Desker Shaw Managing Editor Mikhail Lecaros Editorial Coordinator & Writer Charisma Felix

Digital Editor Carmela LapeĂąa Multimedia Journalist Amanda Lago

Cover Photo Craig Callison and Magali Duzant

ART Creative Director Victor Garcia Multimedia Artist Ricardo Malit

Graphic Artist & Illustrator Joshua Gonzales

marketing & events Sales and Marketing Head Jovy Astillero Events Manager Ched Dayot Marketing & Events Coordinator Kriss Luciano

Account Managers Tricia Amarilla Jake Ching Business Development & Circulation Officer Andrew Sarmiento

admin & Finance Finance Consultant Jeffrey Cuenca Finance Officer Elsa Bagalacsa

For advertising, sales, subscription, editorial and general inquiries, please get in touch. editorial@adobomagazine.com sales@adobomagazine.com subscriptions@adobomagazine.com events@adobomagazine.com books@adobomagazine.com info@adobomagazine.com www.adobomagazine.com Telephone +632.845.0218 / +632.886.5351 Fax +632.845.0217 adobo magazine Unit 203, Bldg 1, OPVI Center (Jannov Plaza) 2295 Pasong Tamo Extension, Makati City 1231, Philippines Follow us on Twitter @adobomagazine Like us on Facebook www.facebook.com/adobomagazine

HR & Admin Officer Romina Claros

adobo magazine is published bi-monthly by Sanserif Inc. Š 2014 Sanserif Inc. All rights reserved. Printed on recycled paper.

No part of the magazine maybe reproduced or transmitted by any means without prior permission of the publisher. While every effort has been made to ensure the accuracy of the information in this publication, the publisher and the editor assume no responsibility for errors of omissions or any circumstance of reliance of information in this publication. The opinions expressed in this publication do not necessarily represent the views of the publisher and the editor. Advertisements are the sole responsibility of the advertisers.

CO N T R I B U TO RS March-April 2014, Issue 50

Jay Tablante Photographer

Shampoo Padilla Photographer

Dan Harvey Photographer

Craig Callison Photographer

Magali Duzant Photographer

Ryan Sulit Photographer

Mike Palacios Writer

Luis Suarez Writer

Marla Darwin Writer

Jamie Tolentino Columnist

Bong Osorio Columnist

Tepai Pascual Writer-artist-creator ‘Krokis’

KC Mempin Stylist

Camz Materiales Stylist

Chuchie Ledesma Make-up artist

Miko Bustos Make-up artist

Elvie Recalde Make-up artist

Cecil Lubong Make-up artist

J-mar Martinez Make-up artist

Bianca Vela Make-up artist

Filipinos express gratitude to the world for Yolanda aid through a song Filipino music artists led by some of the most renowned names in the international music scene collaborate to say thank you to the whole world for the help they extended to the Philippines after the onslaught of typhoon Yolanda via the music video “Listen with Your Heart”.

Days after the super typhoon struck last November, aid from all over the world arrived for the victims of Yolanda and in-kind or cash donations and pledges from more than 50 countries poured in. Through their help and also the help of our countrymen, we are slowly picking up the pieces from what seemed to be an insurmountable adversity.

Chosen to send this message of gratitude are world-class Filipino artists Lea Salonga, Lani Misalucha, Arnel Pineda and Billy Crawford who sang the theme song “Listen with Your Heart” together with other popular local music artists such as Jaimie Rivera, Angeline Quinto,

Yeng Constantino, Juris Fernandez, Bugoy Drilon, Liezl Garcia, Jovit Baldivino, KZ Tandingan, Marion Aunor and Wynn Andrada.

The song, written by Christine Daria-Estabillo with music

by Marcus Davis Jr., was intentionally written in English so that the message will cross boundaries and will surely be heard in all parts of the world. It was produced by the Creative Communications Management Division of ABS-CBN. The music video was directed by Paolo Ramos together with members of the creative and production team Johnny delos Santos, Roxy Liquigan, Jonathan Manalo, Danie Sedilla-Cruz, Mark Raywin Tome, Edsel Misenas, Jaime Porca, Jojo Medrano, Danica Rueda, Emil Rae Hembra, Alfie Landayan and Andrew Go. To watch the music video and to get more updates on the rebuilding efforts for Yolanda-affected areas, please log-on to www.abs-cbnnews.com/tulongph.

70

A class of her own Lucille Tenazas, Designer and Educator

Trendspotting Into the wild

82

Table of Contents March-April 2014, Issue 50 Cover Story 70

A class of her own: Lucille Tenazas

Philippine News 11 12 14 15 16 18 20

Cannes Chimera coup AdFest metals boom Media buy Agency launches Local rise tops charts New Wins Relationship Status

Global News 22 24 26

28 30

On the Move New Wins Venables scores Reebok’s global creative account New York jury duty Beverage boost

Digital 31 32 36 38

Playing the long game Time to shine South by SouthWest Educating the modern digital marketer

The Work 40 44 48 50

Creative Review: Ronald Ng Creative Showcase Ad of the Month Jan-Feb 2014 Ad of the Year 2013

52 54 56 58

The Gunn Report Bang for the Buck: Roti Reminder Movie Review: The Lego Movie Creative Corner: Joe Dy

Design 60

62 64 68 70

Graphika Manila 2014: Making work more like play Design Showcase adobo Exhibit: Kitkat Pecson adobo Exhibit: Petra Magno Asian Creatives: Filipino talent gain global platform

Centerfold 80

Rizzo Tangan, Campaigns & Grey

Trendspotting 82

Into the Wild

People 84 88

Lou dela Pena, Publicis Singapore Chona Bustamante, Blue Bottle Inc.

The Firm 92 96 100 106

FCB Manila/dFCB Vgrafiks Korean Firms Indie.go

Intelligence 110 Decoding local millennials

Marketing 112 Eyes on Manila Fashion 114 Travel in the age of Budget Airlines 116 JWT Trends 120 Mad World: Starting with a ‘Selfie’ 122 Sidedish: Hubert Uy, Digital Marketing Head,

ABS-CBN Corporation 122 In The Bag: Crystal Lee, Country Manager, Viber

Media 124 Getting to Know: Sheila Paul, VP New Media, TV5 125 Media Showcase 138 The Gunn Report 2013 128 Festival of Media Asia

Special Report 140 Ad Summit Primer 147 AdFest 2014 172 Agency Internships

Regular Sections 176 Logic & Magic 178 Downtime 180 Events calendar

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philippine

news

Nestlé stays put MANILA ZenithOptimedia Philippines outgunned MEC in a closely contested pitch to not only retain the local Nestlé media business but also added Wyeth brands into the mix.

The battle for the consolidated media agency-of-record account was conducted late last year between the two globally aligned Nestlé agencies.

“It was a very close fight considering the respective strengths of both agencies,” said Nestlé Philippines communications director Sandra Puno.

ZenithOptimedia ultimately prevailed “after a thorough evaluation and deliberation… (based on) a strong combination of factors that include strategic planning, digital acumen, buying efficiencies, and leadership strength”, Puno explained.

MEC had for the past three years handled Wyeth, formerly Pfizer Nutrition, which Nestlé acquired in a global deal in 2012.

ZenithOptimedia has been Nestlé’s AOR for 11 years since 2003.

The review came at a transition time for ZenithOptimedia, which saw its chairman Venus Navalta leave in mid-February before the pitch results were announced.

“We respect the decision of Venus to pursue her other interests, and we thank her for her

Consolidates media business with incumbent ZenithOptimedia

Navalta tipped for UM return Back to bigger role?

support and valuable contribution to bringing Nestlé media where it is today. Venus has put a strong team in place at ZenithOptimedia, and we are confident that this team, now under the leadership of (Asia Pacific chief operating officer) Malcolm Hanlon, will help bring us to greater heights,” said Puno.

Hanlon has been tapped to support the Philippine operation, which has set up a management board of senior executives, following Navalta’s February 19 departure.

Keeping the long-standing AOR client was crucial for ZenithOptimedia. Nestlé was the fourth-biggest Philippine advertiser last year with a monitored spend of close to 14.2 million pesos compared to first-ranked Unilever, which invested a little over 48 billion pesos, according to Kantar Media data.

MEC declined comment. Puno thanked the agency “for its years of excellent work with Wyeth Philippines”.

ON THE MOVE Return and exit

TAN RETURNS Award-winning creative Brandie Tan has returned to the Philippines, joining Publicis JimenezBasic as executive creative director. The appointment comes after Tan spent nearly two years as ECD with Lowe Malaysia, his second stint with the network.

Tan – part of a team at JWT Manila to win the country’s first Cannes Gold Lion in 2007 – had joined Lowe after an award-winning run as ECD at BBDO Guerrero.

GOOGLE HUNT Google Philippines has lost its first country manager with Narciso Reyes leaving early this year.

Reyes joined Google as Philippine head of sales in 2012 and was elevated to country manager when the company launched Philippine operations in January 2013. Google Malaysia country head Sajith Sivanandan has been tapped to oversee Philippine operations as acting country head in the interim. Google posted a job ad for a country manager who would be responsible for “managing Philippine operations, including the development and execution of the overall Philippine strategy”.

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March-April 2014

MANILA Venus Navalta’s departure from ZenithOptimedia (ZO) on February 19 has sparked a flurry of speculation, which now centers on the highly respected media agency chieftain returning to her former home: McCann Worldgroup’s UM agency.

Earlier speculation by the media industry of a move to GroupM Philippines turned out to be wildly unfounded.

Her return to UM, however, would make sense as the agency’s technical adviser Bruce Oltchick left last year after coming on board in April 2012.

If Navalta does return to UM, it will reunite her with a network that had been home for 17 years until she took early retirement in September 2009.

During her tenure as head of UM, Navalta turned the agency into one of the country’s largest and most respected media operations.

The agency handled AOR duties for some of the market’s biggest-spending advertisers, including Johnson & Johnson, Jollibee and Globe Telecom, the latter later defected to ZO after Navalta led an energized team to land the account in January 2012.

UM also distinguished itself on the creative front under Navalta, winning a Cannes Bronze Lion in 2009 and a Bronze medal at the Asian Marketing Effectiveness Awards for J&J’s ‘Botelya’ campaign.

In her three years heading ZO, Navalta engineered a spectacular turnaround of the agency.

Under her watch, ZO won the Media Agency and Media Creativity awards in the 4A’s 2012 Agency of the Year show and a consecutive Philippine Gold winner of Campaign’s 2012 and 2013 Media Agency title.

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Cannes Chimera coup dFCB makes 2013 Cannes Chimera challenge cut MANILA Newly rebranded dFCB Manila’s ‘Gamers vs Poverty’ entry was one of only two entries from Asia selected for a shot at winning a US$1 million grant to end extreme poverty by 2030 in the third Cannes Chimera challenge.

Its entry to co-opt gamers in the fight against poverty by turning them into heroes outside the world of gaming was among eight winners – along with Y&R Singapore’s ‘The Share Exchange’ – selected from more than 900 entries from 79 countries.

Known until recently as dFCB Digital, the agency was rebranded after parent network Draftfcb returned to its storied past to once again become FCB across the world.

At press-time, the team was working on a business plan to determine the best platforms, game type – MMPORG or casual – and other issues to execute the idea for maximum impact for a final round of judging at the Bill & Melinda Gates Foundation Campus in Seattle at the end of March.

James Bernardo, chief creative officer of dFCB and FCB Manila (pictured), says the campaign requires a two-pronged approach – to raise gamers’ awareness of

Local shops climb in Gunn rankings DM9 makes global Top 25 LONDON The Philippines and two local shops shone in Gunn Report’s annual evaluation of global creative performance.

The country climbed five notches to finish in 20th place as the world’s most awarded market, helped largely by DM9JaymeSyfu’s series of Grand Prix coups with ‘Smart TXTBKS’ for Smart Communications and BBDO Guerrero’s multi-awarded ‘Persistent Headaches’ campaign for Bayer Philippines’ Saridon.

The country placed ahead of Hong Kong and Singapore, both tied in 21st place, but lagged Japan, India, China, Thailand and Korea in the rankings.

DM9 rocketed up the global Most

the issue with storylines or for them to move to the next level and securing a percentage of what they spend in-game for charity.

“The idea is really about getting the gaming community involved in doing what they love to do, which is playing games, but at the same time they can contribute to alleviating poverty,” explains Bernardo.

He said the beauty of the idea lay in its simplicity and reach, citing the potential to reach out to billions of MMPORG and casual game participants.

See agency profile, pg 92

Awarded Agencies ranking to tie for 25th place helped largely by its clutch of Grand Prix trophies from Cannes, Ad Stars and Spikes for ‘TXTBKS’.

It was the highest ranking achieved by a local shop after BBDO Guerrero reached 49th place in the 2012 ranking.

‘TXT BKS’ was ranked 26th in the All Gunns Blazing category.

BBDO Guerrero’s Saridon work (picture) emerged as the 24th Most Awarded Commercial in the ranking.

See global rankings, pg 138

March-April 2014

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IN THE RUNNING Local shortlisted work

GLOBAL BETS Starcom MediaVest Manila’s Grand Prix-awarded ‘First Steps to Livelihood’ project for Unilab’s United Home Products is in the running in three categories in the Festival of Media Global competition. Rexona and McDonald’s each have one shortlist entry respectively with ‘Run to Your Beat’ by 1 Digital Media Group and ‘McDonald’s McDelivery Mobile’ by Mobext. Rexona is up for Best Event/ Experiential Campaign, and McDonald’s for one of this year’s new awards, The Retail Award. The Philippines leads Asia with the most number of shortlisted entries. Results will be announced in early April.

‘TXTBKS’ AT ANDY DM’sJaymeSyfu multi Grand Prix winner ‘Smart TXTBKS’ has been shortlisted in the ANDY Awards’ Mobile and Reset categories. Marking its 25th year of competition, the show will award winners in New York on April 24.

EFFIES CUT BBDO Guerrero’s multi-awarded ‘It’s More Fun in the Philippines’ tourism campaign is the lone Philippine shortlist competing in the inaugural 2014 APAC Effie Awards.

The social media sensation, which leverages the country’s people as its best tourism asset, is competing in the Single Market – Travel/ Tourism category.

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AdFest metals boom Ace Saatchi wins Grande Lotus for ‘Remeet’ campaign PATTAYA The Philippines reeled in a Grande Lotus and doubled its Gold takings at this year’s AdFest, a noticeable improvement on its 2013 performance.

More agencies also made the rostrum this year – six compared with four last year – with wins across a wider range of categories – seven compared with four last year.

Ace Saatchi & Saatchi topped the Philippine leaderboard, winning a Grande Lotus Roots award for Cebuana Lhuillier’s ‘Family Remeet’ campaign and two Golds for Pampers’ ‘ZZZ Radio’ in Direct and Media.

A play on the word remit, the ‘Remeet’ campaign also delivered Silvers in Direct and Film, the latter with ‘Sister/Father Remeet’ spot.

‘ZZZ Radio’, which saw Ace Saatchi charter a radio station to deliver white noise to soothe sleeping babies, also scored Silvers in Promo and Radio.

BBDO Guerrero and McCann Worldgroup each won Gold for

Total number of metal wins

by Philippine agencies this year, which included a Grande Lotus, four Golds, seven Silvers and four Bronzes.

5 ‘#unselfie’ in aid of typhoon Yolanda victims in Direct for the former and ‘Press’ for the latter’s cancer prevention radio campaign, which also picked up a Silver for another spot, ‘Hold’. BBDO also netted two Bronze awards with viral sensation ‘Labels Against Women’ to debunk gender stereotypes in a Procter & Gamble campaign for Pantene in Film and ‘Night Light’ for Pepsi in Direct.

TBWA\Santiago Mangada Puno won a Silver in Design and a Bronze in Radio; DM9JaymeSyfu a Bronze in Design and Leo Burnett a Silver in Promo.

See AdFest wrap-up, pg 147

DUBAI Starcom’s Manila office beat back tough competition from within the global network to nab the Grand Prix and Gold honors at Starcom Mediavest Group’s (SMG) ONE Awards show in February.

The Grand Prix was awarded for the agency’s ‘First Step to Livelihood’ program created for United Home Products’ initiative to provide livelihood opportunities for mothers in the provinces ended up creating a unique distribution channel for the company.

The office beat 48 finalists, selected from 282 entries submitted from across the world and evaluated by the network’s Global Experience Committee (GEC) in

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March-April 2014

ONE Award double honors

Metals bonanza

16

quarterly rounds, to take the Grand Prix, which was chosen from Gold award winners.

Global CEO Laura Desmond said: “It’s a classic ‘teach a man to fish’ campaign that started with the basic fact that UHP’s target consumer often can’t afford to put food on her family’s table, let alone buy them medicine. So rather than focus on selling product, we organized classes and seminars to teach Filipina mothers the skills they need to start their own business and to take their ‘First Step to Livelihood’.”

Manila office CEO Joanna Mojica recounted Desmond’s verdict: “…Laura Desmond…stated that the campaign was so simple yet it invoked real and meaningful experiences for mothers from the low-income segment.”

SMG Australia chairman and GEC director John Sintras applauded the campaign’s use of the experience creation framework created to bring the

Starcom wins Grand Prix for Unilab work

YEAR-ON YEAR

Total number of Philippine wins in 2013, including two Golds and three Bronze awards.

6 Total number of Philippine agencies that won metal this year compared to four in 2013. Agencies won across seven categories versus four last year.

Jeffery Seah (second, left) with Joanna Mojica (third, left) and the winning team

network’s repositioning as the ‘Human Experience Company’ three years ago.

Starcom Manila also struck Gold in the Designing Experiences category for Coca-Cola’s centennial; ‘President for Happiness’ anniversary campaign.

“If you’re serious about getting to teens, you need a representative for teens so I think that’s a really neat idea to elect a teen president and to ask him to ask teens what they want the brand to be able to facilitate,” said Sintras.

Justice Secretary Leila de Lima places Napoles and Reynald on the Bureau of Immigration’s “lookout bulletin.”

In an Inquirer report, Napoles denies involvement in any scam and attacks Benhur’s credibility by saying he is a “drug addict” and a “thief.”

The Inquirer publishes the first of a six-part series on the investigation of the NBI on an alleged P10-B pork barrel scam.

The series is based on the affidavits of Benhur and five other whistleblowers who allege that Napoles operates bogus NGOs and offers commissions to lawmakers for the liquidation of their pork barrel funds.

The Office of the Ombudsman announces in a statement the formation of a special team of six investigators that would conduct a parallel inquiry with the NBI in relation to the pork barrel fund scam.

In a briefing, presidential spokesperson Edwin Lacierda says President Aquino has instructed de Lima to ensure that the pork barrel scam be “exhaustively investigated.”

Facing the media with her new lawyer, Lorna Kapunan, Napoles, in a statement, says she is willing to open her bank accounts and undergo a lie detector test to cooperate fully with the ongoing investigation into her involvement in the pork barrel scam.

DOJ places Benhur under the Witness Protection Program.

On the same day, Napoles and her brother Reynald submit their opposition on the motion for reconsideration filed by the NBI at the DOJ in relation to the dismissal of the serious illegal detention case filed against them.

Kapunan says in radio interviews that Napoles would sue the Inquirer and an online news site for libel for failing to get their side and for printing “false” stories about them.

The Inquirer starts publishing the five-part verbatim transcript of the paper’s roundtable discussion with Napoles.

President Aquino tells reporters that he is not keen on abolishing the pork barrel, saying that “as in everything else, there are good uses, and bad uses.” He adds that, “Perhaps the right thing to do is to apply the appropriate punishment for the misuse, but support its good use especially in communities outside the National Capital Region.”

In a surprise press conference aired on national television, President Aquino says he is pushing for reforms in the disbursements of the corruption-plagued pork barrel funds. He adds that he is scandalized by the COA report and blames the irregularities on the Arroyo administration.

In the morning, President Aquino announces a P10-million reward for any information that would lead to the arrest of Napoles.

Internal Revenue Commissioner Kim Henares says her office has been conducting a comprehensive investigation on whether Napoles paid her taxes properly for her reported multimillion-peso properties.

At night, Napoles goes to the Inquirer main office in Makati for a roundtable discussion with Inquirer editors, columnists and reporters.

A branch of the Makati Regional Trial Court issues a warrant of arrest for Napoles and her brother, Reynald, for the illegal detention of Benhur. However, the siblings are nowhere to be found.

The Court of Appeals freezes the bank accounts of Napoles, as well as those of her other relatives and her alleged NGOs. The Department of Foreign Affairs also cancels the passports of Napoles and her brother at the request of the DOJ. On the same day, the Commission on Audit releases its report saying a total of P6.2 billion were transferred to 82 NGOs “in clear violation of the law” from 2007 to 2009. COA adds that 10 of the 19 NGOs that received the bulk of the pork barrel funds are linked to Napoles.

Angry Filipino netizens and ordinary citizens gather in at least 30 spots nationwide and abroad for the ‘Million People March’ protest, which calls for the abolition of the pork barrel.

In Manila, at least 85,000 people flock to Rizal Park for the first largest protest assembly under the Aquino administration.

News that makes a difference.

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Media buy MANILA Business tycoon Manuel Pangilinan’s pending majority purchase of the Philippine Star will only pressure broadsheet rivals to step up their digital publishing activities.

According to local news reports, Pangilinan’s MediaQuest group is poised to acquire as much 80% of the 18-year-old broadsheet in a deal valued at 5 billion pesos.

Owned by the family of House Speaker Feliciano Belmonte Jr and other shareholders, the Star group also publishes tabloids, the Philippine Star Ngayon and Pang-Masa as well as The Freeman and the tabloid Banat News in Cebu.

The deal comes just months after MediaQuest bought a majority stake in Business Mirror, the country’s oldest business daily, as the Pangilinan-led PLDT parent group moves to aggressively transform itself into a multimedia organization.

The group also has a minority stake in Star’s main competitor, Philippine Daily Inquirer.

Omnicom Media Group Philippines CEO Nicanor ‘Nic’ Nic Gabunada, Jr. described the acquisitions of Philippine Star and Business Mirror as a “content and convergence play” that would complement the group’s distribution muscle, which include PLDT, Smart,

Industry awaits integrated opportunities with MVP empire snapping up print titles Cignal, TV5, radio and digital platforms.

“And a good (content and convergence play) one at that considering that they are buying into profitable companies,” Gabunada added.

Industry observers say the next step would be for the group to pool editorial resources across its multiple media properties.

If the acquisition results in a successful integration of assets in news gathering and in the production of content, it will have an impact in terms of operational efficiencies,” said Gabunada.

“Theoretically, it should also result in better content offerings – reports, articles, features, documentaries, etc. – that will be distributed via the various outlets of the group: Satellite TV, broadcast TV, radio, print, digital, mobile, etc.”

MediaQuest is likely to move quickly to create integrated marketing and sales opportunities for agencies and advertisers.

“Said Gabunada: “In terms of sales and marketing – it will depend on how – they can craft an integrated offer to advertisers where the media values and efficiencies of the package – TV5 + Cignal + Star + Business Mirror + and the digital assets) will be far greater than the sum of its parts.”

CLEAR ACROSS SE Asia Philippine director Robbie Dinglasan brought the sensory aspects of freshness and invigoration to life in a TV spot for Clear shampoo’s Ice Cool Menthol variant, which will air across Southeast Asia.

Thai actress Wow-wa stars in the spot, aimed at both sexes, to communicate the cool, fresh feeling Clear offers irritated scalps during humid months. Lowe handles the global account out of Singapore. The spot launched in Thailand and will begin airing locally in early April.

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March-April 2014

A multimedia empire TV TV5’s channels and the global Kapatid TV5 and Akyson International, NBC, Cignal Digital TV Radio 5 stations including Radyo5 Print Majority stakes in Business Mirror and Philippine Star and minority share in Philippine Daily Inquirer.

Online InterAkyson and News5 Everywhere

The way ahead “A stronger media vehicle is a natural result of improvement in their operational efficiencies, improved content offers, and a more efficient cross platform media package.

The devil is in the details – i.e, on how well they can put life into these.”

Nic Gabunada, Jr. CEO Omnicom Media Group Philippines

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15

Agency launches New brands make Philippine debut

Cohn & Wolfe

Dentsu Media

Posterscope

In a move to broaden its Southeast Asia operations, the WPP PR agency launched its Philippine shop as part of an aggressive expansion drive in Asia Pacific over the past three years to support client demand.

Account director Amiel Mendoza (pictured) is head of the six-person office, reporting directly to Gavin Foo, group managing director, Southeast Asia.

Mendoza joined the wholly-owned office after a nearly three-year stint as associate account director of EON. He had previously worked for eight years with Fleishman Hillard, where he gained marketing experience working on global brands such as L’Oréal, Cirque du Soleil, McDonald’s, Kraft and Procter & Gamble.

The team will focus on technology, consumer and lifestyle and branding, counseling Southeast Asia clients such as Google and Nokia.

“With 100 million people, a large consumer base and a fast-emerging middle class, the Philippines cannot be ignored,” said Foo.

Dentsu Aegis Network (DAN) has extended its Southeast Asia offering with a launch in the Philippines as part of a global roll-out that combined Dentsu Network and Aegis Media brands.

The Philippine launch comes 12 years after the Japanese advertising giant first debuted in the country in 2002 and just under a year after Dentsu completed its US$4.9 billion acquisition of Aegis Media.

Dick Van Motman, chairman and CEO of Dentsu Network Asia and DAN Southeast Asia CEO, said brighter local economic prospects encouraged the network to step up investment in the market, now seen as the world’s fourth growth engine.

“What we see for the first time is sustained stability, infrastructure development, the rule of law and efforts to weed out strange practices,” he said.

Unlike global rivals, Dentsu never unbundled media from its creative offering, a decision that Van Motman described as visionary in hindsight given today’s world of media convergence and the need to deliver fully integrated brand campaigns seamlessly and effectively across multiple touchpoints.

Director of media services, Jam de Guzman (pictured), heads the local office.

The out-of-home (OOH) company, now part of the Dentsu Aegis Network, debuted its offering in the country with long-time senior executive Vinay Goel as as general manager.

The office, one of more than 20 locations in Posterscope’s global network, has brought its suite of media solutions for planning, buying, research and ROI analytics to the market with the aim of transforming OOH with technology. “Lots of our current effort are going into better planning and (the group’s) Prism tools,” said Goel.

The launch makes for a more dynamic OOH playing field, where WPP’s Kinetic has a strong presence As part of its service offering, Posterscope regularly polls 3,000 people on their attitudes towards OOH advertising in the country.

“We all know that OOH media in the Philippines is second only to TV and is a key media, but we at Posterscope believe it is beyond static formats,” said Goel. “It is more than just a reminder media, it can now interact, create brand engagement and share information in environments, where the consumer is active on a day-to-day basis,” said Goel, who was part of the company’s founding team for its 2008 launch in India.

March-April 2014

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SYNCHRONIZED THANKS BBDO Guerrero and Dentsu Media Philippines engineered a synchronized global campaign for the Department of Tourism to thank the world for relief efforts and support in aid of Typhoon Yolanda victims.

The campaign went live across the world on the third month anniversary, at the exact moment of impact of the typhoon.

The creative agency created the pro bono campaign, comprising billboards, LEDs and an online video, which went live at nine landmarks around the world such as New York’s Time Square, London’s Picadilly Circus and Tokyo’s Shibuya crossing. Partly shot in the region affected by the typhoon, the film depicted Filipinos from all walks of life saying thank you to a world that came so readily to the country’s aid.

According to BBDO, the campaign attracted 167 million impressions and more than 300,000 YouTube views.

Local rise tops charts Philippine internet user base grows 531% EXPLOSIVE GROWTH The Philippines not only has one of the youngest populations but also one of the fastest growing internet populations in the world.

With a staggering 531% growth in its internet user base in the last five years, the country leads GlobalWebIndex’s growth rankings released as the World Wide Web marked its 25th anniversary.

The Philippines also had the highest social media network penetration, at over 70% against the global average of 50% However, with just over 33 million internet users out of a population of nearly 100 million, the country did not figure in the Top 10 cut of markets with the largest internet populations.

China, with 463 million users, dominates the ranking, with the US emerging a distant second at 178 million.

However, explosive smartphone growth, rising tablet use and the availability of affordable, pre-paid data plans are driving up internet use through mobile devices.

The sharp spike in online and mobile use have not been matched by marketers – they are expected to spend just 3 billion pesos, a fraction of the overall advertising pie, on digital communications this year, according to the Internet & Mobile Marketing Association of the Philippines (IMMAP).

IMMAP has projected investments in digital marketing growing to 8 billion pesos by 2016.

The World Wide Web at 25: Fastest Growing Internet Populations in Last Five Years 600%

531% 430%

500%

414%

400%

230%

300% 200%

100%

87%

82%

79%

74%

71%

Russia

Argentina

Vietnam

Saudi Arabia

UAE

Mexico

100% 0%

Philippines Indonesia

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South Africa

India

March-April 2014

World’s selfiest cities

1 2 3 9

Makati + Pasig 4155 selfies by 2915 users 258 selfie takers per 100,000

MANHATTAN, NY 3823 selfies by 3004 users 202 selfie takers per 100,000

MIAMI, FLORIDA 747 selfies by 621 users 155 selfie takers per 100,000

Cebu City 1064 selfies by 787 users 99 selfie takers per 100,000

SELFIE CAPITAL Makati and Pasig City have jointly emerged as the Selfie Capital of the World, Time’s research into the trend of vanity photo taking has found.

The two Metropolitan Manila cities produced 258 selfies per 100,000 people, according to Time’s examination of more than 400,000 Instagram photos that were tagged “selfie”.

Cebu City, with 99 selfie takers per 100,00 users, placed 9th on the list.

Finding the right address for your growing business at One Park Drive Entrepreneurs know that setting up a company and staying in business is hard work but doing business is more than just hard work. Those who have successful businesses will say that, among other things, the right location for your office can spell a big difference.

Whether you are a start-up company, a professional firm, or an aspiring conglomerate, the right office address adds prestige that helps boost your corporate image and attracts more clients.

Finding office spaces in Metro Manila’s business districts is challenging.

While you may have the resources to pay for the office space that you want, chances are, most of them are only available for lease.

Recognizing the need to have office spaces for medium-sized companies, Avida Land, one of the country’s most recognized leaders and preferred provider of quality homes and communities, took a bold step and ventured into its first office building development known as One Park Drive.

Herbert Herrero, Avida Land’s project development manager for South Metro Manila and Luzon, said the company hopes to use its experience in residential development in expanding its operations to office building projects like One Park Drive. He mentioned that “The experience in residential development really allowed us to understand well the needs of the market, and it is reflected on the way we plan and design our developments, both for the land and houses and the residential condos.

We would be bringing in some of those principles in office developments.”

Backed by Ayala Land’s commitment and rich legacy in developing masterplanned communities, One Park Drive offers companies with about seven to twenty employees a chance to move up to a more prestigious office address located at the heart of Bonifacio Global City, Taguig’s Central Business District.

One Park Drive has 20 floors where 13 are office floors with 226 office units available for sale at P9.4 million (inclusive of VAT). There are six podium parking floors with 379 parking slots so getting there with your car will not be a hassle.

One Park Drive will have seven elevators, which will enable you to make it to your desk in time every morning.

ARTIST’S PERSPECTIVE OF CORNER UNIT

ARTIST’S PERSPECTIVE

There will also be retail spaces at the ground floor which can house convenience stores, restaurants and banks, among others, providing opportunities for a well-balanced work and play lifestyle.

Herrero said Avida will also offer conference rooms and function rooms at the seventh floor to give office owners extra space to conduct their meetings and company events. An open deck and lounge at the rooftop will also let office owners enjoy all the perks of having a big office, but with the charm of a refined, boutique setting.

Herrero said One Park Drive will be built across an open park, which will give office owners a chance for a leisurely stroll amid the greenery after a hard day’s work.

“It is really a rare opportunity for a development to be built facing a park,” Herrero said. “I think that’s what sets the development apart from other projects in Bonifacio Global City,” he added.

The office spaces with floor areas starting at 65 square meters to as large as 150 square meters have fully customizable interior finishes to allow office owners to set the mood and feel of their office spaces.

Turnover of the office spaces is scheduled to start on the second quarter of 2017.

“Your office address is not only a reflection of the business owner and the business. It really gives the impression on the credibility of the business, probably, to a certain extent, even the prestige depending on its location because an office address is to the business owner as the home is to the family,” Herrero said.

For more information on the art of doing business at One Park Drive, email oneparkdrive@avidaland.com.

(02) 848-5200 • avidaland.com avidalandph HLURB TLTS No.13-10-051

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r3 new business league

new wins

January 2013 Philippines Top 10 wins Creative Agency

FCB SCOOPS DOLE Dole Philippines Inc has handed 80% of its marketing communications business to FCB Manila without a pitch, according to president and CEO Tom Eugenio and chief creative officer James Bernardo. The pair had previously worked with the client separately at different points in their career and the advertiser was familiar with their work.

BPI AWARDS Interpublic pair Lowe and McCann Erickson have been awarded Bank of the Philippine Islands’ (BPI) advertising and branding business following a six-way review, McCann won the agency-of-record brief for institutional and corporate campaigns to position BPI as the premier Philippine bank ahead of ASEAN’s economic integration next year, while Lowe was awarded the retail business.

Month

Account

Area

TBWA

Jan

Converge ICT

Philippines

DDB

Jan

Habitat for Humanity

Philippines

Grey

Jan

Mega Lifesciences Project

Philippines

Publicis

Jan

Asia Brewery

Philippines

Grey

Jan

Pharex Health Project

Philippines

Grey

Jan

Super 8 Grocery Warehouse Project

Philippines

Publicis

Jan

Unilab Appebon & Alaxan

Philippines

Publicis

Jan

Canon Printers

Philippines

Publicis

Jan

Jollibee - Project Telstar

Philippines

DDB

Jan

Ipanema Project

Philippines

Media Agency

Month

Account

Area

Vizeum

Jan

Reckitt Benckiser

Philippines

MEC

Jan

Beiersdorf (Nivea)

Philippines

MediaCom

Jan

JFC

Philippines

Havas Media

Jan

Prestige-Kenneth Cole

Philippines

Havas Media

Jan

Reckitt Benckiser Digital Project

Philippines

Havas Media

Jan

Globe Telecom

Philippines

ZenithOptimedia

Jan

TAJ Motors

Philippines

ZenithOptimedia

Jan

All Phones

Philippines

ZenithOptimedia

Jan

BPI

Philippines

Jan

Save the Children International

Philippines

PHD

CHANGE OF PLANS Pfizer Philippines changed plans to appoint two agencies following a four-way review. It instead handed the entire account pitched to Leo Burnett. Popular brands such as Centrum, Caltrate Plus, Stresstabs, Clusivol, Robitussin, Advil, Loviscol and Chapstick are covered in the brief. According to the agency, Pfizer was impressed by its overall thinking, which demonstrated integrated capabilities and expertise across various disciplines.

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Pizza Hut shifts account to Bates BBDO was the incumbent MANILA Bates CHI&Partners Philippines has scooped the Pizza Hut brief in a three-way pitch after the advertiser and incumbent, BBDO Guerrero, parted ways.

BBDO did not contest the pitch, which included another 4A’s agency and a local shop. The win comes on the heels of the first anniversary of Bates CHI&Partners’ tie-up to launch across Asia and marks an expansion of the agency’s relationship with the advertiser, which also works with the shop in China.

“Bates CHI&Partners stood out by demonstrating exceptional strategy thinking and creativity. A strong network of creatives

March-April 2014

across Asia working on the Pizza Hut brand is also a big plus,” said the brand’s marketing vice president Elaine Guzman The brief had three main requirements – to develop a long-term consumer engagement program based on the global ‘Make It Great’ platform, present a campaign idea for new product launches, and to increase frequency of consumption across all channels.

The shift comes after a long relationship with BBDO, which created award-winners such as ‘Bikers’ and ‘Hate Late?’. BBDO CEO Tony Harris said: “We declined to be involved in this review. We wish them and their new agency the very best of luck in the future.”

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Relationship status These ads put the spotlight on relationships, familial and casual

Honda Motorcycles

Security Bank

Head & Shoulders

Bayan Bundle

Campaign ‘Balat-Kalabaw’ Agency Aspac Client Honda

Campaign ‘You Deserve Better’ Agency PC&V Communications Client Security Bank

Campaign ‘#FlakerDate’ Agency Ace Saatchi & Saatchi Client Procter & Gamble Philippines

Campaign ‘Lola Techie - Telepono’ Agency BBDO Guerrero Client Bayan Telecommunications

The Work The first of a series of minimovies, the quietly dramatic ad shows the struggles of a hardworking tricycle driver and his teenage daughter as he tries to make ends meet and she navigates the tough crowds at school. The two bicker, but a big challenge brings them together, and the ad ends with the line “Kaagapay Habang Buhay” (companion for life), underscoring the idea that the brand is a partner of its consumers in livelihood.

The Work Leading the brand’s multimedia rebranding campaign, newlyminted Miss World Megan Young first hints of a new relationship in a teaser spot before revealing that the other half is none other than Security Bank, which launched a new logo, tagline, brand look and suite of service features. Young describes her experience with the bank as more than just business, but a relationship — and a healthy one at that. The spot highlights the improvements in the brand’s services, and champions the idea that banks are more than just a place to keep one’s money.

The Work Released just before Valentine’s Day, the prank shows what happens when dandruff gets in the way of a first date. Using hidden cameras to record the reactions of several guys to their pretty but flaky date, the spot builds on the idea that dandruff is deal-breaker, no matter how good a girl looks. Filled with maybe a little too many close-up shots of dandruff, the ad takes a turn for the cringe-worthy when the girl – played by an actress with hopefully fake flakes – feeds her unfortunate date a slice of cake garnished with dandruff.

The Work Everyone’s favorite grandma returns in this new ad, the first in a three-part series of films for BayanTel’s service bundle.

In this spot, the inimitable Lola Techie gives love advice to her brokenhearted grandson. Skype, Facebook, and Twitter are not enough for the tech-savvy senior, who says that when all else fails, there is always the good old telephone, and, failing that, moving on.

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March-April 2014

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global news

‘Made In’ power

FutureBrand study shows changing attitudes to made-in-China label

top 20 made in ranking

NEW YORK China has leapfrogged South Korea to climb into 9th place in FutureBrand’s ‘Made In’ survey assessing the power and value of a country to the ranking of its brands in global markets.

Only Japan placed ahead of China in the brand consultancy’s inaugural Made In ranking, an expansion of its long-running Country Brand Index, which evaluated the strength and power of nation brands.

The four other countries from the region that made the Top 20 were South Korea in 10th place, India 14th, Australia 16th and New Zealand 17th.

China’s rise above South Korea – the

origin market of the world’s biggest selling smartphone brand, Samsung – signaled that consumers were beginning to perceive quality and value in Chinese-made products.

The country’s association with some of the world’s biggest brands appears to have rubbed off China, which has long been seen as the world’s factory floor. “China is well known around the world as a manufacturing base, and increasingly respected for highquality production – as exemplified by Apple’s ‘Designed in California, assembled in China’ assertion,” the consultancy said.

“This has driven strong associations between China and the ‘provenance’ aspect

of country of origin across categories.”

On top of that, China was developing a reputation as a designer and owner of brands, from Lenovo – the world’s largest PC brand by sales – to Haier, the world’s largest appliance brand by sales.

The decision to compile a Made In ranking, separate from the Country Brand Index, came after research showed that overall country brand strength was not a guarantee of country of origin strength.

Switzerland is currently number one in the country study, but is 7th overall in the Made In rankings. Significantly, China and South Korea – respectively 66th and 49th overall in the country ranking – are in the Top 10 Made In ranking. “A weak overall ‘country brand’ does not necessarily damage country of origin strength,” FutureBrand concluded.

“However, successful brands themselves do contribute to country of origin associations. In other words, the more brands we know of that are Made In a country, the more likely we are to prefer it as a country of origin.”

The study polled more than 1,000 consumers around the world in each of the seven markets covered in the individual Made In reports, assessing the importance consumers gave to where products were manufactured.

GLOBAL APPOINTMENTS SAATCHI CREATIVE Pablo Del Campo, who has led multiple global creative assignments for Saatchi & Saatchi, has been elevated to worldwide creative director of the network, a role vacant since 2008.

A member of Saatchi’s worldwide creative board, Del Campo spent 14 years running the agency he set up in his native Argentina, Del Campo Saatchi & Saatchi, and seven years as the network’s regional creative head for Latin America, helming Procter & Gamble’s Pampers, Head & Shoulders and Ariel brands. In 2012, he launched Del

Campo Saatchi & Saatchi in Madrid as part of a Spanish-speaking agency within the global network.

Del Campo will continue to be based in Argentina and remain closely involved in the agencies in Buenos Aires and Madrid but travel throughout the worldwide network.

His appointment marks the rise of Latin American creatives to global roles such as of Alexandre Gama, the founder of Neogama BBH in Brazil, as worldwide chief creative officer, succeeding John Hegarty, a cofounder of BBH.

ISOBAR CHIEF Jean Lin has risen to the top of Isobar after a decade with the Aegis agency, now part of Dentsu Aegis Network (DAN), which appointed her global CEO. Lin was CEO of Isobar Asia Pacific and global chief strategy officer prior to her promotion to succeed Mark Cranmer, who will leave at mid-year after serving as chairman for a few months to directly support Lin. She will lead global duties from Shanghai, reporting director to Jerry Buhlman, DAN’s CEO. Lin’s association with Aegis

March-April 2014

began when it acquired the digital agency she founded, Wwwins Consulting in 1999 in Taiwan.

Aegis relocated Lin to Shanghai as Greater China CEO. “Jean’s appointment is the natural next step, having made stunning progress in developing her own business, and then Isobar, across Taiwan, China and the Asia Pacific region,” said Buhlmann. “Under Jean’s leadership in Asia Pacific Isobar has become one of the most awarded digital agencies.”

Isobar won eight awards at Campaign’s 2013 Agency of the Year.

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On the move

Christel Quek Twitter SINGAPORE Twitter has hired Christel Quek, one of The Guardian’s Top 10 digital strategists to watch in 2013, as regional content lead for Asia, Middle East and Africa. Quek will lead content development, marketing and strategy on the micro-blogging site.

A digital native, 23-yearold Quek has worked at a Silicon Valley start-up, in an agency and advertiser before making the jump to media.

She moved to Twitter after three months as regional social business lead of Samsung Asia, which restructured operations and retrenched staff, including Quek, late last year.

Prior to that, Quek put in nearly four years at Havas Media Group, rising from social media strategist for the Singapore office to the group’s global social manager.

Quek’s appointment comes as the micro-blogging site embarks on aggressively expanding its global office footprint to boost revenue outside the US. According to the Financial Times (FT), three-quarters of Twitter users live outside the US but only produce a quarter of the site’s revenues.

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Key agency and social media hires

Masako Okamura Dentsu

Valerie Cheng JWT

HO CHI MINH Veteran Dentsu Inc Tokyo-based creative director Masako Okamura has been promoted to executive creative director of Dentsu Aegis Network (DAN) Southeast Asia’s Vietnam office.

Dentsu’s first female creative, Okamura has been with the Japanese advertising giant for 20 years. In that time, she has won awards for Toyota, Suntory, Shiseido and Shizuoka Broadcasting at shows such as Cannes, Clio, Spikes Asia, London International Awards and AdFest.

Okamura’s appointment comes as the network has been beefing up its creative bench strength in Southeast Asia following the June 2013 appointment of Ted Lim as chief creative officer.

“In order to deliver on Dentsu’s proposition ‘moving business by moving people’, we need to have a relentless focus on creativity in every aspect,” said Dick van Motman, chairman and CEO of DAN Southeast Asia. “With her impressive track record, we feel very comfortable that Masako will deliver exactly that for Dentsu Vietnam. Her appointment is yet another step in our regional wide focus to keep raising the talent bar continuously.

Ted Lim has been amassing a great team and I feel they’re ready to play.”

SINGAPORE JWT Singapore’s two-time Digital Creative Director of the Year, Valerie Cheng, has been handed additional responsibilities as global executive creative director for Shell Lubricants.

The appointment comes a year after Cheng was promoted to chief creative officer of the Singapore office.

As part of her additional remit, Cheng will provide creative leadership for brands such as Shell Helix, Shell Rimula and Shell Advance among, working with the agency’s creative talents across all global markets.

“A brand as futureforward as Shell requires the same innovative spirit in its communication and brand engagement. I am truly excited and grateful for this opportunity to make an impact on such a global brand,” said Cheng.

Cheng is a multi-awarded creative who started her career specializing in digital. She was twice honored with the Institute of Advertising Singapore’s Digital Creative Director of the Year award for 2011 and 2012 for making digital a core part of the agency’s offering with work such as the ‘Rapid Rescue’ app for the Red Cross to cut emergency response time.

March-April 2014

Dominic Stallard Saatchi & Saatchi SINGAPORE Dominic Stallard has decamped from Lowe Singapore to Saatchi & Saatchi Singapore.

Lowe’s former chief creative officer and regional executive creative has taken over as Saatchi’s ECD, replacing Bruce Matchett, who retired last year-end.

Stallard has worked in advertising for more than 20 years across Europe, the Middle East and Asia. He was a commercials director before ditching the lens to join Lowe in 2006 to oversee creative in its Middle East/North Africa, Bangkok and Singapore.

Stallard has amassed a collection of Gold awards across the circuit, including Cannes, Clio, One Show, D&AD, Dubai Lynx and Mobius among others.

The Big Won named him one of the Top 10 Art Directors in the World in 2008.

“The opportunity to develop interesting work for a great portfolio of clients is what attracted me to Saatchi & Saatchi Singapore,” he said.

“The agency has a great spirit and energy, and I look forward to growing its reputation as a hub for great creative ideas.”

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AP debut

Dentsu Aegis takes UK’s Data2Decisions to Asia

TOKYO/LONDON Newly rebranded Dentsu Aegis Network (DAN) has taken its UK-based marketing effectiveness agency Data2Decisions (D2D) to Asia Pacific.

The company was bought in 2012 by Aegis Media, which was itself acquired

by Japanese advertising giant Dentsu last year. The two relaunched as DAN early this year though their seven specialist networks have retained their individual identities.

D2D is a consulting business that uses data analytics to show clients how well their marketing is performing and why, and helps optimize marketing budgets to increase sales and grow profit.

“The expansion into the region comes as more companies seek to maximize their marketing investments in an ever-changing media landscape,” said John Perella (pictured), D2D managing partner in Asia Pacific.

“Businesses are facing increasing complexity in deploying their marketing budget — which brands

to support, which territories to develop and which channels are most effective?

“Businesses in Asia Pacific have access to an immense amount of high quality data. By knowing how to harness it, they can make more effective decisions about their future marketing investments in order to grow profits,” he added.

Nick Waters, who was named regional CEO of the combined Dentsu and Aegis’ regional media operation, added: “Data2Decisions plays an important role in the company by building a business case for marketing and adding rigour to the media planning process.”

With the merger, the combined DAN network will have a presence in 110 markets and house Carat, Dentsu’s operations outside of Japan, Dentsu media, iProspect, Isobar, Posterscope and Vizeum and its growing specialist and multi-market brands including Amplifi, Amnet, D2D, mcgarrybowen, Mitchell Communications (PR), psLIVE and 360i.

Interpublic buys Profero for Lowe

focus on building a fully integrated offer in five key global locations: Australia, China, Singapore, UK and the US, with a near-term focus on extending the Lowe Profero brand into additional growth markets. Existing Lowe offices in these five initial markets will continue to exist as is, with co-location to occur in certain markets, notably the US. “Embedding digital talent and capabilities throughout our organization has been a key strategic priority for IPG,” said Michael Roth, IPG’s chairman and CEO. “Both agencies bring exceptional operations in high-growth markets; they have a strong track record of successful collaboration on major digital assignments; and the leadership teams have great chemistry with one another that clients can feel.”

Launched in London in 1998, Profero began building its network in Asia first before it expanded to the US in 2008.

CEO Arnold to stay on NEW YORK Interpublic Group’s (IPG) Lowe and Partners has acquired global digital network Profero, which saw its global CEO Wayne Arnold (pictured) relocate to Singapore last year to drive global growth.

Offices of the 15-year-old Profero will be rebranded Lowe Profero and will be led by Profero’s current management team. Co-founder Arnold will serve as global CEO of Lowe Profero, which will serve as Lowe’s global digital agency.

The two agencies have worked together on shared clients’ including Danone, Diageo, PwC and Unilever’s OMO and TRESemmé.

The merged entity will

March-April 2014

23

AGENCY EXPANSION New deals and launches

HK SPRINGBOARD UK brand development agency Haines McGregor has set up a base in Hong Kong to expand in Asia Pacific. Jo Mawhinney Dixon, who has 16 years brand development and design experience, has been named managing director. “We have delivered numerous projects across the region, most recently a five-year innovation pipeline for Danone Baby Nutrition in China. With continuing regional demand ... we want a dedicated team on the ground,” said co-founder and MD Brett McGregor.

DIGITAL BUY Tribal Worldwide India will merge with Indian digital marketing firm 22feet to form 22feet Tribal Worldwide under DDB Mudra. The merger follows 22feet’s acquisition

by DDB Group Asia Pacific and Omnicom Group. The leadership of 22feet – Vineet Gupta, managing director; Brijesh Jacob, joint MD; and Deepak Nair COO – will head the new agency.

LIVE IN HK Live, the PR and activation specialist of DDB Group Hong Kong, has been reborn, led by Valiant Yip, Leo Burnett’s former activations director. Live will have its own set of clients in addition to providing PR and activation support to DDB group clients.

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r3 new business league

new wins UNILAB SHIFTS With an eye on greater efficiencies, Unilab has consolidated its media planning and buying for Cambodia Riverorchid Media.

It won a pitch to handle the PHCare, Decolgen, Alaxan, and Kremil S brands. Said Raymond Hilay, Unilab Cambodia’s general manager: “We were impressed with Riverorchid’s media research, which is now conducted in various forms across all 24 provinces of Cambodia, their TV ratings capability, and their buying efficiency.”

GLOBAL BRIEF M&C Saatchi has won the global coffee business of DE Master Blenders 1753 off the back of M&C Saatchi Sydney’s relationship since 2007 with the company’s premium Moccona brand. The win has added Douwe Egberts, L’OR, Senseo, Merrild and Marcilla, household brands in core markets, including Poland, Scandinavia and Thailand, to the roster.

UM TRIUMPHS UM fought off Carat to retain Telekom Malaysia’s (TM) media planning and buying business. UM defended the brief, which it won in 2009 and was valued at US$20.5 million, in a six-month review last year. It has created several award-winning work for TM, which included the world’s first crowd-sourced sports channel for the 2012 Olympics.

adobomagazine

January 2014 Asia Pacific Top 10 wins Creative Agency

Month

Account

Area

Lowe

Jan

Friesland Campina

APAC

Saatchi & Saatchi

Jan

Volkswagen (some brands)

China

Leo Burnett

Jan

Honda

Australia

Y&R

Jan

ASB Project

Australia

Grey

Jan

Dermatix Project

Korea

TBWA

Jan

PTT Corporate

Thailand

Y&R

Jan

NRL Project

Australia

Jan

Chevrolet Sales Project

Thailand

Leo Burnett Ogilvy

Jan

Dabur

India

Ogilvy

Jan

Old Navy

China

Media Agency

Month

Account

Area

Carat

Jan

Friesland Campina

Regional

OMD

Jan

Beiersdorf

China & Indonesia

Carat

Jan

MasterCard

Asia Pacific

MindShare

Jan

Nestlé

Malaysia

Vizeum

Jan

Reckitt Benckiser

Indonesia, Philippines and Thailand

Vizeum

Jan

BMW Korea

Korea

OMD

Jan

Reckitt Benckiser

Pakistan

MediaCom

Jan

K2 Eider

Korea

MEC

Jan

HuiYuan Juice

China

MEC

Jan

Ajinomoto

Indonesia

Dentsu Aegis shops score landmark wins Scoops Shiseido, MasterCard LONDON The newly formed Dentsu Aegis Network (DAN) has scored two landmark triumphs – Shiseido tapped Vizeum for global media duties, while MasterCard consolidated its worldwide media account with Carat.

Shiseido, one of Japan’s largest cosmetics companies, awarded responsibility for media planning and buying, consumer insight, activation and innovation and global media partnerships to Vizeum after a 2013 pitch.

The contract will initially be limited to major markets with gradual expansion to the entire Shiseido group network, excluding Japan.

Vizeum’s global client president Lee

March-April 2014

Hawkins will lead the account through Vizeum hubs in Singapore, Paris, London and New York and in close collaboration with the Dentsu team in Tokyo.

Carat brand triumphed in MasterCard’s global review, which was held in November 2013, winning the bulk of the global business. Only Latin America remained with long-serving incumbent UM, the Interpublic network.

Carat faced off against Omnicom’s PHD, MediaVest and a team from WPP’s GroupM in the final round.

The advertiser’s global spend has been estimated at US$250 million annually, with $126.6 million of this invested in the US, according to Kantar Media.

CALLING ALL AGENCIES! CREATIVE & MEDIA Experience better TVC transmission to broadcasters globally via IMD Cloud What makes IMD Cloud different?

“All our ads are instantly available online in our own personalised library. We can share these with clients or download for web.”

Cham Loreto, Division Manager Havas Worldwide Manila

“We are excited that broadcast networks have been accepting ads in data format, using broadcast quality codecs such as IMX30. IMD’s emergence as a technology provider in the distribution of these data files is a big boost to the industry in facilitating this transformation. IMD’s QC technology gives facilities like Optima Digital 100% assurance that the data file we release is of data broadcast standard and is indeed the material that goes on air.”

Marc Ambat, Head of Post Optima Digital

“The automated quality control IMD has means we can instantly know if files we are sending meet the network’s broadcast requirements and instantly make changes to fix issues at hand.”

Ted Mosuela, Technical Director Fluidpost

“IMD receives only broadcast quality files, which means we as a post-house have full control over the final quality sent to local and cable channels. Flame and Smoke can export directly, giving no loss in colour or quality from bad transcoding workflows and methods.”

Pedring Lopez, Managing Director welovepost

Get in touch for your free account today: info@imdcloud.net

www.imdphilippines.com Salamin Building, 6th Floor, 197 Salcedo St, Makati City

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new wins DIGITAL COUP Publicis Groupe’s Digitas LBi outgunned rivals in what has been described as the biggest-ever global digital shootout for Renault and Nissan’s global portfolio of websites, valued at €50 million. The pair had united for the joint review as part of their strategic alliance.

OMD WINS Global skincare company Beiersdorf AG, the makers of Nivea and Hansaplast, has appointed OMD to handle media planning and buying across all platforms in Indonesia, taking the business off Carat. The three-way pitch also included MEC. Holger Welters, president director for Beiersdorf Indonesia, said: “We were impressed with The depth of their capabilities, strategic insights into our customer base, and passion to drive our business, struck a chord.”

ANNIVERSARY PITCH Iconic American denim brand, Lee Jeans, has appointed TBWA’s Hong Kong and Shanghai offices to lead the creative campaign for its 125th anniversary in China. Vincy Ho, Lee China’s marketing director, said TBWA had “shown a great understanding of our brand and audience, and demonstrated the ability to provide a solid creative platform for Lee’s 125th anniversary year”.

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Venables scores Reebok’s global creative account Shift ends on-again, off-again DDB relationship NEW YORK Reebok has handed global creative duties to indie shop Venables Bell & Partners after the advertiser and DDB called time on their on-again, off-again relationship.

Reebok reached a decision swiftly after calling and concluding the review this year.

Founded in 2001, Venables will serve as lead creative agency for the Adidas-owned brand, which is estimated to spend US$50 million annually on global media.

Venables is no stranger to big brand campaigns, having developed seven consecutive Super Bowl spots for Audi and a series of short films about inspirational figures scaling new heights to launch Intel’s new brand platform ‘Look Inside’.

The agency faced off against Goodby Silverstein & Partners and Mother’s New York office in the three-way shoot-out.

DDB declined to repitch for the business after retaking the account only a year ago.

The Omnicom shop had previously handled the business from 2009 to 2012, when it lost the account to McGarry Bowen.

SapientNitro wins Lycra global AOR Tapped for global strategy

LONDON Invista ingredient brand Lycra has awarded its global agency-of-record assignment to SapientNitro to sharpen its targeting of the millennial generation.

SapientNitro’s London office will lead the account, which covers global brand strategy, advertising, digital, social and customer experience.

The appointment comes as Invista makes a renewed push for Lycra, aiming to

March-April 2014

Its first global piece of work for the brand only broke in early February, providing the latest iteration of Reebok’s ‘Live with Fire’ marketing campaign, which launched last year.

Showcasing the brand’s latest footwear innovation, ZQUICK, ‘Race the City’ (pictured) features runners attempting to outrun a subway train to deliver the lightweight footwear’s “unnaturally quick” proposition.

Although DDB parted ways with Reebok, the Omnicom agency remains on Adida’s roster it handling work for Europe through its office in Amsterdam.

bring the brand’s positioning to life through a connected ecosystem of experiences across advertising, digital engagement and multi-channel marketing efforts designed to drive deeper engagement with businessto-business customers and consumers.

The company is seeking to sharpen Lycra’s product advantage to enhance its appeal along the entire apparel value chain – mills, packagers, brands, retailers and consumers.

“We want to communicate our Lycra brand positioning to the millennial generation and build a consumer following of Lycra brand ambassadors,” said Bob Kirkwood, Invista’s executive vice president of marketing.

SapientNitro’s London office will lead work, which includes TV-led brand advertising as well as co-operative campaigns with famous garment and retailer brands to roll out globally across key regions this year.

The campaign will also include print, digital and social activities to create integrated, immersive stories and experiences that live across brand communications in today’s always-on world.

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MEGA INFLATION WhatsApp spike

$1.65bn Google’s 2006 purchase price of the then year-old YouTube for what was a record buy had the industry agog at the skyrocketing cost of digital acquisitions.

$19bn MUPPETS FOR TEA Who better than the Muppets, the stars of the upcoming Muppets Most Wanted movie, to inject the playfulness that Lipton’s first-ever global positioning campaign ‘Be More Tea’ extols? The adam&eveDDB London ad makes the most of the fun and irreverence of the Muppets to highlight Lipton’s call for people to break out of their daily routines for a more present and playful mindset to life. As Kermit croaks in the ad: “Making movies and dating Miss Piggy can be stressful – especially the dating part. But I always try to stay cool and look on the bright side…” Exactly the quality Lipton is pushing in the new campaign.

Eight years later, Facebook is poised to splash out a truly stratospheric sum for the massively popular WhatsApp messaging client, making its 2012 Instagram buy for $1bn or Yahoo!’s $1.1bn for Tumblr look like bargains.

Newsweeklies waging new battle Newsweek back in the print game after 14-month hiatus just as Time.com unveils its makeover NEW YORK It took an acquisition by a digital news company IBT Media for Newsweek to return to print after discontinuing its print edition in December 2012.

Newsweek had blamed falling adsales revenue for pulling out of the ink and paper game after 80 years of publishing, but IBT has a game plan to make the most of the brand’s print return – it is counting on subscriptions to generate 90% of income rather than adsales.

Accordingly, the print edition cover price will be raised to US$8 in the US. Having spent the months following its August 2013 acquisition of the former Washington Post-owned magazine boosting its web traffic, the company felt the time was ripe for Newsweek’s print comeback, initially in the US and to be followed shortly by a European edition Newsweek made its US return with crypto currency Bitcoin 90% on the cover. of revenue to come from subscription.

NEW YORK Time has given its web and mobile sites a facelift after expanding its digital team and boosting monthly unique visitor count.

The long anticipated relaunch was a year in the making, and saw the newsweekly rethink the look of its homepage, both content and advertising units, and in using responsive design to accommodate a variety of screens.

Although the homepage is not a major departure from news homepages, the redesigned page houses more content, including more breaking news in a cleaner layout.

The most important current news stories runs in the middle of the page under ‘The Brief’, with the latest stories running on the page’s left and columnists and other features on the right.

The new look also features what it calls “magnetized” ads that open into larger ads at the center of the page in a makeover of traditional display units.

Native ads, which also expand as readers scroll over the ad, are presented in the style of editorial content but marked as sponsored.

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New York jury duty New York Festivals has tapped another four creatives from Asia for jury duty in the latest series of juror appointments for the April 25-29 judging in New York to select the world’s best advertising

Wain Choi VP/Global ECD Cheil Worldwide Korea

Polly Chu CCO JWT Beijing

Merlee Jayme Chairman/CCO DM9JaymeSyfu Philippines

Asia creatives fill third of NY Festival jury pool

campaigns across all mediums.

DM9JaymeSyfu chairman and chief creative officer Merlee Jayme will be making a back-to-back appearance at the show after judging last year. In addition to

Jeffry Gamble CCO DDB HK & Guangzhou

Minoru Hakamada Senior CD Daiko Japan

Chris Kyme CEO Kymechow Comms Hong Kong

the creatives featured below, the roll call from the region also includes Ben Coulson, GPY&R chief creative officer (CCO), James McGrath, Clemenger BBDO creative chairman, and Shahir Zag, Y&R CCO.

Ronald Ng CCO BBDO/ Proximity Singapore

Masako Okamura ECD Dentsu Vietnam

KV Sridhar CCO Leo Burnett India

BEDROOM STORIES Meet Frank, one of the stars of BBH Asia Pacific’s new Ikea ‘Bedroom Stories’ campaign, showcasing bedroom makeover possibilities. A civil servant by day, Frank transforms into an elaborately dressed cosplayer by night, a passion that has left him with a cluttered wardrobe.

The second film centers on Michele, a mom trying to squeeze hubby and son into one bedroom. Both need to manage their space better, which Ikea does with its set of furnishing solutions.

2013 holding company REPORT CARD

£1.2bn

$1.1bn

$991m

$259m

WPP Revenues grew 6.2% to over £11bn, giving it a pre-tax profit of £1.296bn, up almost 19%, while operating margins were up by a record 15.1%, though the 0.3% margins increase was slightly off on the promised 0.5% hike. New business added £46.2bn in billings, up 4.1%.

Publicis Groupe Net income rose 11% to $1.1bn from revenues of $9.2bn. The amount excludes $52 million incurred in expenses related to its merger with Omnicom.

Organic income came in at 2.6%, below the 3.53.6% forecast for the year, described as “the only cloud on the horizon”.

Omnicom Group Net income fell to $991.1m from $998.5m although global revenue rose 2.6% to $14.6bn. Its pre-tax mergerrelated expenses for the year reached $41.4m.

Interpublic Group Total revenue grew 2.4% to $7.1bn but net income fell 40% to $259.2m from $435.1m reported in 2012.

As with agency rivals, it blamed Europe for the sharp fall in net income.

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It’s 3:45am. The old cellphone’s alarm won’t stop ringing. Mang Ed, who is referred to and known by most as Manong

Dyaryo, scampers to make it stop. Shhh! Everybody else is sleeping. He gets up and starts his day in an instant with yesterday’s now-cold pandesal and a cup of coffee. Immediately after having his fill, he takes out his rusty bicycle, straps on a stack of newspapers on its cross bar, and rolls out. Delivering from house numbers 1 to 9 and Blocks 2 to 10. Nobody sees him do it, yet he has already placed the news right at our doorstep.

They are this nation’s present umalohokans, bringing news wherever and however. They have been and still are important tools in building the country. By delivering the news, they helped provide the spark we needed, for example, to stand up against a dictator and fight for our democracy. Presidents will come and go, but the truth stays the same. Nation-changing news is useless without them.

Let’s take the time to thank the messengers of truth.

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Beverage boost Liquor labels lead global pitches with an A-lister, iconic DJ and online music

Budweiser

Heineken

Jim Beam

Ballantine

Campaign ‘Rise As One’ Agency Anomaly Client Anheuser-Busch InBev

Campaign ‘Dance More, Drink Slow – The Experiment’ Agency Publicis Milan Client Heineken International

Campaign ‘Make History – Questions’ Agency FutureWorks Client Jim Beam

Campaign ‘Stay True Journeys’ Agency M&C Saatchi Sports & Entertainment Client Pernod Ricard

The Work Looking to break through a sea of color, Budweiser filmed its global TV campaign for the upcoming World Cup in black and white to sharpen the focus on people and the emotions sparked by the competition.

Centered on football’s ability to unite people, ‘Rise As One’ is part of a comprehensive World Cup offensive to make the most of Budweiser’s role as official sponsor. The campaign launched with online teasers, one set to a pulsating drumbeat had a man kicking a ball off a tower block, ahead of a full roll-out on March 24. Along with advertising, the brand has also invested in digital and packaging for the World Cup.

The Work Let’s just say the results were entirely predictable: A great DJ leads to more dancing and less drinking in a club.

Still, the premise was worth testing, as Heineken did for its global responsibility campaign to encourage drinking in moderation. But it amped up the message by partnering with iconic DJ Armin Van Buuren, who laid down a bespoke track Save My Night for the experiment. The track is available online to fans in 42 markets as Heineken wants to make “moderation aspirational for consumers”.

The Work Jim Beam chose to zag rather than zig, picking A-list actress Mila Kunis as the face of its first global, 100-market campaign.

As it turns out, the Black Swan actress is a big bourbon fan, who comes across as an authentic pitchman in telling the brand’s story through dramatic moments in its 200-year history – from the civil war and Prohibition eras right through to changing tastes of the present.

Having showcased the brand’s heritage, Kunis segues to the question: “How will you make history?” ‘Questions’ is the first of three spots created by a consortium comprising Sydney’s The Works, Strawberry Frog in the US and Jung von Matt in Germany.

The Work The Scotch whiskey label has launched a global Instagram channel as part of its new ‘Stay True Journeys’ platform, which included leveraging online music channel Boiler Room, to resonate with younger consumers. For the Instagram venture, the brand captured stories of consumers on London streets on how they stay true to their convictions. Along with this channel, the brand has been working on a series of 15-minute documentaries shot around the world, featuring local musicians.

Which is where Boiler Room comes in – its intimate style has inspired the format of these oneoff, invite-only gigs, which will also be live-streamed globally.

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Playing the long game Industry is at an exciting stage of online’s evolution

Illustration by Joshua Gonzales

Words MICHAEL PALACIOS

“Your industry keeps selling me toys.”

I’ve spent the last couple of weeks meeting with various local advertisers, trying to figure out what help they needed from our local digital marketing association, the Internet and Mobile Marketing Association of the Philippines (IMMAP). The “toys” quote came from a senior marketing officer at a large national advertiser, and it stood out amidst a litany of concerns about how digital marketing services were being pushed to Philippine advertisers.

Toys or magic bullets? These days, will it be mobile marketing that will ultimately connect us with customers?

Wasn’t it social last year? Wasn’t it viral content? Wasn’t it that website we spent a few million pesos on? Or that CRM platform we acquired five years ago?

Last year, I was exposed to a roadmap of digital service fragmentation. There were over 30 service offerings or specializations in that map, of which picking just one or two (for example, a company built around augmented reality and wearables, or perhaps mobile commerce and analytics) could already make a viable company.

As digital marketing functions become more specialized, even the notion of a full service digital agency is being challenged.

It’s difficult to imagine how one group

can deliver expertise across the entire ecosystem. Are the best content creators necessarily the best social response teams, or the best data handlers?

Perhaps the biggest challenge might be finding a creative agency that can paint across all these areas.

Maybe what’s needed isn’t the next big thing. Perhaps what advertisers need is their own vision of a digital future, perhaps over the next two-three years. How will their product or service delivery evolve online? What new offerings are looking to disintermediate them by using a digital strategy?

It’s a good time to start thinking about it, for the following reasons: 4 Smartphones are maturing, and mobile marketing platforms are coming online.

4 We’ve built our audiences on Facebook and Twitter. Now what do we feed them?

4 Revenues from e-commerce and online transactions are increasing.

Can we get a piece of that?

(FWIW, Teresita Sy-Coson of the SM group was quoted by Bloomberg saying the retailer’s full-scale online operation to target shoppers at home is “another year or two” away from a full deployment.)

Admittedly, things are a bit more clear-cut

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for telcos, banks and service companies — just move the transaction online. There are so many parallels in more mature markets. But what if you’re a fast moving consumer goods, or something distributed at the sari-sari store level, or you’re just looking to engage an audience, how do you plan ahead?

For agencies, there is an opportunity to co-create their vision of an advertiser’s digital future — and be a part of it. The challenge is to figure out the right competencies to bet on.

For service providers, there’s a chance to frame a strategy around their key offering.

But will that offering be relevant?

For advertisers, it’s imperative to have a key decision-maker in place to define and steward that future.

It’s an exciting time to be at the intersection of marketing and technology.

We’re past the questions of “if”, and are now struggling with “what”, “when” and “how”.

Happy problems, all around.

Michael Palacios is the Managing Director of Havoc Digital, a digital marketing services company with involvements in social, e-commerce, web publishing, and digital media. He was elected President of IMMAP for 2014.

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loca ti o n-based market ing

Illustration by Joshua Gonzales

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Time to shine?

Location services begin roll-out, but roadblocks remain to full functionality Words Chris de Pio Sanchez

Today’s crop of ever-more savvy consumers are quite aware of the tactics – whether covert or overt – employed by marketers and companies, and have become increasingly wary of such overtures. It’s of course no surprise that said firms and marketers are continuously on the hunt for more innovative and effective methods to lock their target customers in.

Location-based marketing is one such tactic, and has been in play in many global markets for a number of years now.

It’s tipped to take on further importance regionally – a study conducted by WARC in association with the Festival of Media Asia Pacific and the Mobile Marketing Association found that location-based marketing is seen as crucial to both current (by 73% of respondents) and future marketing activities (79%) in the Asia Pacific region.

Location-based marketing harnesses technologies such as a global positioning system (GPS); “geofencing” or the establishment of virtual perimeters or “fences” over real-world locations, within which marketers and telcos work hand-in-glove to “push” targeted SMS messages; and near-field communications (NFC) and Bluetooth, which allow for data transfers between two devices in close proximity to each other. These technologies are used to deliver content, specifically tailored to a retailer’s geographic location, directly to a consumer’s mobile device such as a cellphone or smartphone after a potential user opts in to such a service.

Brands that employ location-based marketing can tweak their marketing messages specifically based on prospective customers’ location and preferences – they can, for instance, offer special discounts,

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March-April 2014

announce future sales or issue movie alerts to potential customers who have previously opted in and who come within close range of a particular establishment. What’s more, such a service is often monetized through advertising support and is free to the consumer.

Despite their potential, some factors constrain the acceptance of location-based services. Perhaps foremost among these is a persistent lack of trust on the side of potential customers, who fear ‘spam’ or unwelcome messages that are seen as not valuable or even obtrusive.

Implications for personal privacy also loom large in the eyes of many. In many, if not most cases, location data is stored in company databases to allow advertisers to deliver very specific data to particular users. While ostensibly this allows a system to “learn” what a particular customer likes or wants and thus reduce the likelihood of spam or eliminate it altogether, the prevailing fear is that this information can allow a service provider to construct an intricately detailed – and thus invasive – “personal database”, which can be used to track a user’s whereabouts, and which could even be sold or otherwise change hands.

Early days

Despite having gained a foothold in foreign markets, particularly in Western markets,

locat ion-based market ing

location-based services have yet to have their day in the Philippines. Not too many local brands appear to be investing in location information, according to Mobext CTO Jeremy Obial. “Some retailers”, he says, “don’t yet post the GPS locations of all of their branches on their websites.”

Isabelle Turpault, digital director of ZenithOptimedia Philippines, says that fullfledged location-based services continue to be in their infancy locally. “The infrastructure for said services is already in place,” she explains, but while some are already being rolled out, other key developments have yet to take place.

Turpault cites the legal framework relative to GPS tracking, saying the former was still pending. The lack of a legal framework can significantly constrain full functionality of such services. Additionally, location-focused initiatives run by local telcos Smart and Globe are either still in the works or have only recently hit the market, some five months after senior executives discussed their offering at last year’s conference of the Internet and Mobile Marketing Association of the Philippines.

At press-time, Globe, for example, had just debuted its mobile advertising service for enterprises and brands. Known as Location-Based Advertising Services (LBAS), the platform integrates mobile advertising

with location-based services, enabling brands to determine the location, based on mobile phone signal, of potential customers who have previously opted in to the service, and deliver relevant promos via SMS or mobile voucher.

Globe says that messages can be delivered to people just 200 meters from a venue, and that brands can also filter potential customers by using parameters such as gender and age.

While the current crop of location-based apps such as Foursquare, which enable social check-ins or the ability to “check in” upon arriving at a particular area and then broadcasting it to one’s social networking contacts, have managed to spark initial interest among users, their limited functionality could result in waning user interest once consumers get past the initial trial or curiosity phase. Turpault chalks this up to limitations regarding the content on offer and the lack of a legal framework that would allow for expanded functionality.

Globe’s recently debuted LBAS notwithstanding, the range of current services offered by companies that has been more basic and more akin to mapping.

Some examples include the popular traffic navigator app offered by the Metro Manila Development Authority, which provides a frequently updated snapshot of the traffic situation on major thoroughfares in the metropolis, as well as taxi booking services such as GrabTaxi and route sharing services like Tripid. Obial points out that there are also web-based location-based services, which allow ads to be pushed to users of web browsers (which may be used by non-mobile PCs) based on their location and whether they allow their web browsers to use their location information. Full-fledged location-based mobile services represent the next phase.

WiFi-targeted display advertising, which offers brands opportunities to advertise across WiFi networks, may currently be the most advanced form of location-based services available today, given that services such as Globe’s LBAS are still nascent.

It’s no surprise WiFi-based services could offer massive potential, both from a user and marketer’s point-of-view. WiFi coverage is growing along with the user base. TNS reported last year that 35% of Metro Manila respondents connected to the internet through WiFi services.

Oh, such potential

While WiFi networks may currently rule the location-based marketing roost in the Philippines, other services are

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beginning to spool up. WiFi’s current head start notwithstanding, Turpault believes “the full potential continues to reside in the geo-fencing targeting currently being rolled out by the telcos”.

Cellular services of course have a far broader reach than even the most expansive WiFi hotspot, and as a result, could open up a truly vast realm of services that could be delivered to Filipino consumers via SMS. Obial concurs, saying that location-based SMS has extremely high potential considering that, among other reasons, such a service works even on the most basic phones, and SMS open rates – a measure of how many people open SMS messages they receive – are very high.

What’s more, other services may also join the roster of these existing services. For one, Google Philippines is looking to add GPS tracking to its slate of local offerings in 2014.

While many things are not yet set in stone or are still uncertain, the outlines are fast becoming clear: Moving forward, it’s likely that different delivery methods will operate in parallel, complementing one another. Consumers will likely rely on both SMS- and app-based location services depending on the occasion. For instance, as with the Globe LBAS, when within reach of a certain WiFi hotspot and/or a particular geofence, consumers may receive and opt to take advantage of particular location-based offers. It may even be possible for different delivery methods to work in combination under certain circumstances.

Perhaps one of the biggest come-ons to marketers is the perception that privacy concerns, which are such significant constraints to location-based initiatives in other global markets, have not moved to the fore in the Philippines, at least not yet. To date, not too many Filipinos appear to be too concerned about their digital or online privacy, judging by their eagerness to share information. They willing share personal information and even locationbased information on social networks, something Western consumers might think twice about doing, according to Obial.

Experts such as Turpault and Obial agree that the potential for added services and offers, encompassing convenience, savings and relevant information, could do much to convince the Filipino consumer to truly embrace location-based services.

These factors, in combination with Filipinos’ social-network openness and fluency, could serve to push location-based marketing to the fore in 2014 and beyond.

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DIGITAL

s xs w i nt eract ive

South by SouthWest Agencies and marketers hunt for ideas and inspiration in Austin

in front of a young, largely millennial crowd. A Mashable survey of festival demographics found that close to half were in the 21-34 age segment, predominantly male (60%) and were childless (69%).

This year, Mondelez International wowed delegates with a cool bit of real-time, experiential marketing in partnership with Twitter. It used high-tech vending machines to 3D print custom fillings onto Oreo cookies, with the flavor and cream selected based on trending flavor choices. Real-time data collection never tasted this palatable.

Twenty-one this year, SXSW Interactive is the youngest of the three festivals, but its growth has been unstoppable. So much so that paid attendance for the interactive segment now surpasses the music festival, which served as SXSW’s launch pad in 1987.

Perhaps the combination of big bucks behind technology, rabble-rousing keynote speakers such as columnist Michael Wolff ranting about advertising in 2009 and a multi-faceted program that extends to a gaming expo and awards shows, helped put SXSW Interactive on the map.

There was less drama at this year’s Interactive sessions but the menu was no less eclectic, touching on the creative process, the potential in collaboration, the needless art-science schism,

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ImageThink Official Graphic Recorders of sxsw Interactive 2014

It’s easy to see the appeal of South

by SouthWest (SXSW) festival for advertising and marketing types.

There’s no other festival that comes close to the mélange that SXSW’s intoxicating combination of pop and digital culture brings to Austin, Texas, over nine days in March each year.

Some 2,000 music acts from Gaga to Chance the Rapper, 130 films, tech talks, live panels, workshops, trade shows, awards and conference sessions filled this year’s program.

SXSW is in essence spring break for music and film buffs. It’s also increasingly an incubator of cutting-edge technology, drawing start-ups, venture capitalists and geeks ready to respectively pitch, fund or adopt the next big tech thing.

And where pop culture and technology intersect, agencies and marketers are never far behind, looking to work with technologists, engage early adopters or simply suss out embryonic trends. This year, Korean agency Innocean sponsored the SXSW Interactive Awards, where two Australian agencies won in highly competitive categories (see pg35).

Over the years, advertisers have turned SXSW into something of a branding Super Bowl, sponsoring the fun stuff from pedicabs to food trucks, restaurant buyouts, open bar parties and more to get their brands

scientific curiosity among others.

Privacy, a hot button issue that is poised to spark more intense debate as companies step up their customer data collection efforts, took center stage with two of the cause’s poster boys speaking from their respective hideouts.

“We want secure services that aren’t opt-in… this is something that people have to be able to access and really the way we interact with it isn’t good,” said whistle-blower Edward Snowden, who revealed the extent of the US’ National Security Agency’s global surveillance that tapped directly into servers of internet giants, including Google, Facebook, Yahoo, Microsoft, YouTube and Skype, last year.

From his hideout in Russian, Snowden told the gathering of technologists: “The NSA has advanced policies that erode Fourth Amendment protections through the proactive seizure of communications.

This demands a policy response, but we need a technical response from makers.

The NSA is setting fire to the future of the internet and you guys are the firefighters.”

Julian Assange, the Wikileaks founder who released countless confidential documents of government correspondence, similarly questioned the State’s hijacking of the internet.

“How is it that the internet that everyone looked upon as perhaps the greatest tool of human emancipation there had ever been, had been co-opted and was now involved in the most aggressive form of state surveillance ever seen?”

When discussing internet search giants, Assange, who was beamed into the SXSW’s session from his hideout at the Ecuadorian embassy in London, asserted that “people are products sold to advertisers”, an allegation that could well leave customers a bit more leery about the personal data gleaned from their online habits.

Austin Kleon, artist and author of Steal Like an Artist, Show Your Work! and Newspaper Blackout, shifted discussion to creativity, making the case for communal creativity or “Scenius”, embedded in the scene rather than the gene. “[Scenius] just acknowledges that good work isn’t created in a vacuum and that creativity is always, in some sense, a collaboration,” Kleon said, noting that SXSW could easily support this type of creative collaboration.

But industry and society’s obsession with the next big thing over investing time and energy into something with longevity made it difficult to develop a healthy Scenius, he

ImageThink Official Graphic Recorders of sxsw Interactive 2014

sxsw int eract ive

warned. “It’s very easy in this place right now and this culture to get caught up chasing that next big thing,” Kleon said. “Let’s not forget to chase after the things that last.”

He said traits such as listening, collaborating, teaching and giving due credit were vital in keeping Scenius healthy.

Photographer Chase Jarvis highlighted what he called a “creativity crisis” in Leo Burnett’s #SXLB video interview series. In talking about the future of work, Jarvis quoted the New York Times, which pointed to a future that would be “relentlessly entrepreneurial”.

“Relentless entrepreneurialism is sort of a foundation in creativity, in making new things.

The entrepreneurial spirit, the innovative spirit is actually just creativity,” said Jarvis.

By looking at things in new ways, he said the world could solve major global problems such as the economic and humanitarian crises.

“Ultimately, the creativity crisis is much larger than those individual problems.”

Industrial and special effects designer and host of Discovery Channel’s popular Mythbusters, Adam Savage, made the case for bridging the art-science divide in his keynote, The Maker Age: Enlightened Views.

“Ignorance is not bliss,” said Savage, noting the role of art and science as building blocks of culture since the two fields tend to bring people together for conversations.

As such, he felt that creativity and scientific thought did not have to be two separate processes.

“Now, the first problem I see with art and science when I examine them from a cultural standpoint – what they mean to me and what I see they mean to other people – is that they have been drifting apart,” Savage said.

Part of the problem, he added, was people believing they were separate

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from art and science or failing to make an effort to better comprehend concepts that they didn’t understand.

“Science is for everybody,” Savage said.

“Every time you’ve adjusted your behavior, adjusted the punchline of a joke to get a bigger laugh, that’s working empirically off of previous knowledge to build something better. That’s a scientific approach.”

Savage also encouraged people to embrace what they could without feeling intimidated by art, which after all meant different things to different people. “The only wrong response to art is the one you borrow from another when someone else tells you what to think.”

Famed astrophysicist, author and science communicator Dr Neil deGrasse Tyson underscored the value of scientific curiosity, a valuable quality in today’s marketing arena, where companies and agencies are not only leveraging technology but are also taking a more scientific approach to advertising, product development and commercial activities.

Tyson called on parents to develop the quality early on in their children.

“Parents — here’s what I don’t want you to do with your one-year-old. One day, she’ll pull all the pots and pans out of the cabinet and start banging on them. Don’t tell her not to do that. See that as an experiment in acoustics! Yes she’s making a racket, yes, she’s getting the pots dirty, but it’s a small price to pay for her to hear what a wooden spoon sounds like versus a metal spoon, or a copper pot versus a steel pot.”

Aussie Rules Activism AWARD winner ‘The Missing Person Pre-Roll’ Agency VML Australia

Technical Achievement ‘Remote Control Tourist’ Agency BBDO Clemenger

This was an idea to help the Australian police search for new leads in over 1,600 missing person cold cases in a cost-effective way. It resulted in a YouTube and world-first: Turning the first five seconds of a YouTube pre-roll into an engaging, geo-targeted mission person banner. To focus the viewers attention the “Skip” button was modified to show two options “Yes, I have” seen the missing person, or “No I haven’t.” If the user clicked no, the pre-roll would skip to the video as usual. The pre-rolls used geo-location targeting to amplify the reach of the campaign. Over 1.2 million people saw the pre-roll during Missing Persons Week and 238 viewers clicked yes, providing new information on cold cases.

Melbourne isn’t known for its landmarks. It is a collection of hundreds of experiences that take time to discover.

The campaign allowed potential visitors to do just that before they arrived in Melbourne through a real-time, first-person web experience. Potential visitors could explore the city through the eyes and ears of four actual tourists, who were equipped with cameras to capture their travels through the city. Visitors were able to watch the five-day tour via Livestream, controlling every move through multiple social platforms and explore Melbourne via Interactive Google Map and its search functions. Through digital, the city could bring the wonders of Melbourne to the world.

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DIGITAL

v i ewpoint

Educating the modern digital marketer Supplement with internships, reading and networking Words jamie tolentino

Digital Marketing has definitely evolved over the past 20 years. Forrester Research estimated that online marketing spend was next to nothing in 1994, but exploded to US$300 million in 1995. This year, they have estimated interactive marketing in 2014 to reach $55 billion for the US. While these figures are taken from a specific geographical area, the trend of increasing online marketing spend is hitting most parts of the globe, including Asia.

With the growth of digital obviously comes the demand for digital talent, especially young digital talent. So the question is: ‘Is formal education enough to adequately prepare new grads for a successful digital career?’ While formal education is highly

grounded in theory, research, case studies and best practice, forming building blocks of digital marketing strategy, it is lacking in areas of practical implementation.

The reality of the workplace is that while digital marketing nirvana is the equivalent of implementing best practice, constant innovation and driving breakthrough awardwinning campaigns, there will inevitably be different company-specific challenges, which would prevent these from happening.

Another limitation of formal education is that it will never be able to incorporate the latest digital innovation or trend in the curriculum as the curriculum is formalized at the start of the year. With this in mind, current marketing students should start

reading up on various digital marketing blogs and publications, which will keep them up to speed on the industry.

Here are some ideas to give aspiring digital marketers a wellrounded digi education: Work experience

Getting several work experience opportunities or internships before finishing your degree can put you ahead of other candidates. It will provide a practical grounding to digital marketing ideas and could steer you to an area of digital marketing you would like to specialize in.

I did five internships before starting my first full-time job and it really contributed to my digital marketing knowledge.

Read up on industry trends

As the world of digital is very fast-paced, it is The reality of important to keep up with industry trends the workplace is that while digital and the rest of digital innovation. This is marketing nirvana is

!

the equivalent of implementing best practice, constant innovation and driving breakthrough award-winning campaigns, there will inevitably NDS

DIGITAL TRE

be different companyspecific challenges, which would prevent these from happening.

Illustration by Joshua Gonzales

Another limitation of formal education is that it will ne

really important if you want to engage in cutting-edge marketing campaigns.

Attend digital marketing talks and networking events

Digital marketing talks will oftentimes tackle a current or common issue or present a recently completed case study. It serves as a good supplement to formal education and work experience. The networking side of things will also prove to be beneficial when you need help from your digital marketing peers. Oftentimes, digital marketers are not alone in their problems, so it would be good to have a network to call upon for advice.

Jamie Tolentino currently works as a digital marketer at a global asset management firm. She was previously an innovation strategist at Quirk London.

She writes for TNW (The Next Web) and blogs on the Huffington Post UK.

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Ronald Ng

Creative Review Ronald Ng has more than 20 years’ advertising experience, half of that time spent with BBDO offices around the world. Appointed chief creative officer of BBDO/Proximity Singapore in 2012, Ng returned to Asia after three years as executive creative director of BBDO New York, where he was involved in a series of high-profile account wins. Ng’s association with the network started at BBDO/Proximity Malaysia, where he was chief creative officer, who led the agency’s triumph at major international award shows. The 2010 Gunn Report ranked his ‘Two Worlds’ campaign for Jeep the No.1 poster campaign in the world.

The Philippines is enjoying rock star status in the advertising world today. And it’s well deserved. If you were at Cannes last year, you would have witnessed one of the most phenomenal years for this beautiful country.

It was definitely more fun to be a Filipino. Of course, Smart ‘TXTBKS’ stole the show. But Schick ‘Icons’, ‘Dengue Bottle’ and ‘Olympic Shirt Flag’ also shone. And at AdFest a few weeks ago, the Philippines once again showed up in a big way, thanks to great work for Pampers, Unicef, Cebuana’s ‘Remeet’ and lots more.

So it’s a daunting task to review work from this market. But I’m going to give it a shot. Here goes:

McCann MRM Manila Ayala Land, Inc. ‘25 Stories – Melvin Mangada’ I do not have enough background on Ayala Land to provide an informed comment. But I enjoyed watching this simple film with an interesting life story. I’d imagine that it would resonate well for the local market.

Publicis JimenezBasic Fita ‘Eenie Meenie’ Spots like these are sweet because you can see yourself doing the same thing. With great casting (talent and hair alike) and just the right dose of director restraint, this spot turned out really well.

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Campaigns & Grey Ligo ‘Santa’ There is a nice simple idea here. And it should have been kept simple. However the temptation to over-produce has let this idea down.

Leo Burnett Manila McDonald’s ‘Hooray for Today (2014)’ Wow, who shot this film? It’s beautifully art directed and I want him or her to shoot my next film. Love the soundtrack too.

Workshop One Minola (San Pablo Manufacturing Inc.) ‘Pot of Gold’ Best use of cute celebrity child personality.

However, the spot lacks a charming storyline to complement the personality.

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BBDO Guerrero Mountain Dew ‘360’ I like this one because it’s a new way to convey the message. Though it’s a print campaign, you can imagine the ‘non-stop’ activity that’s going on. Nice art direction too.

Publicis JimenezBasic Skin White ‘Transformer’ Skin lightening product? I prefer to not comment.

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BBDO Guerrero Pantene ‘Labels Against Women’ Facebook COO Sheryl Sandberg said, “This is one of the most powerful videos I have ever seen.” This important film doesn’t need another comment.

Lowe Save the Children ‘Makahiya Shrink’ I’m relieved that this client did not choose to show images of abuse. That would’ve been the easier route. Let’s rephrase it: This idea used a powerful analogy instead and the message does an important job in influencing parents to adopt positive discipline.

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Creative Showcase BBDO Guerrero Proximity Philippines Philippine Department of Tourism ‘Project #PHThankyou’ Chairman and Chief Creative Officer David Guerrero Chief Executive Officer Tony Harris Executive Creative Director Dale Lopez Creative Directors Gary Amante, Rey Tiempo Head of Design Rizza Garcia Director of Marketing Ombet Traspe Group Account Director Paolo Acosta Account Manager Monica Muyot Senior Broadcast Producer Jing Abellera Broadcast Producer Idda Aguilar Soundtrack Director Tony Hertz Production House Revolver Studios, Inc. Directors Carlo Ledesma/ Edber Mamisao Directors of Photography Tristan Salas/ Sing Fung Cheung Supervising Director Erik Matti Photographer Gieram Villasanta Post Production House PostManila Audio Post Production House Hit Productions

TBWA\Santiago Mangada Puno CARA Phil Rescue Pets ‘Walker / Monette / Fulgoso / Dawson / Thally’ Executive Creative Director Melvin M. Mangada Creative Director Joey David-Tiempo Copywriter Joey David-Tiempo Art Director CJ de Silva-Ong Print Producer Dennis Carlos Final Artist Supervisor Romar Quiroz Accounts Kathy Cosico

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FCB Manila SM Foundation ‘Smile’ Creative Directors Sydney Samodio, Bong Pedro, James Bernardo Copywriter James Bernardo Art Director Bong Pedro/Nico Leviste Director Bong Pedro Production House Abracadabra

IXM Philippine Star ‘Newsboy’ Executive Creative Director / Copywriter Third Domingo Associate Creative Director / Copywriter Jasper Ilagan Art Director Francis Homo, Vajay Ibay

Lowe Open Philippines Scarsdale Artisanal Delights ‘Brand Identity’ Chief Creative Officer Leigh Reyes Creative Director Roman Olivarez Art Director Martin Flordeliza Copywriters Barny Rivera, Owel Alvero Account Manager Irish Viado Photographer Jake Fernandez

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BBDO Guerrero Bayan Telecommunications ‘Telepono’ Chief Creative Officer David Guerrero Executive Creative Director/ Copywriter Tin Sanchez Associate Creative Director/ Art Director Jeck Ebreo Director of Marketing Ombet Traspe Account Director Marvin Osorio Account Manager Beatrice Nisperos Deputy Planning Director Cristina Buenaventura Production House Film Pabrika Post Production House PostManila Director Lyle Sacris Producer Telly Arce

Y&R Creative Guild Of The Philippines ‘Young Once’ Chief Creative Officer Badong Abesamis Executive Creative Director Herbert Hernandez Executive Art Director Sandy Salurio Art Directors Derrick Periodico, Flerika Villagracia, Herbert Hernandez Copywriters Marco Dimaano, Badong Abesamis

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ad of the mo nt h

Ad of the Month january and february 2014

A modern twist to lullabies and a name and shame tax drive

JANUARY 2014 Ace Saatchi & Saatchi Pampers Diaper ‘ZZZ Radio’ Executive Creative Director Andrew Petch.

Creative Directors Trixie Diyco, Bia Famularcano Copywriter Ram Mendoza Art Director Kevin Beltran Client Services Director Lou Santos Management Supervisor Crissy Ancheta Account Manager Angeline Manahan Activation Gen Lizares, Yhanee Mendoza, Kervy Parreno, Nikki Pereyra PR Patti Mallari Agency Producer Michaelangelo Reyes Production Company Post Manila Sound Production Company Cutting Edge

february 2014 JWT Manila Bureau of Internal Revenue ‘Carry Doctor / Carry Chef / Carry Foreman’ Print Campaign

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ad o f t he year 2 0 1 3

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Ad of the Year 2013 T H E C ON T ENDE R S

Last year’s Ad of the Month winners vie for adobo’s top annual award, following an online poll voted on by you, our readers

JANUARY

april

Safeguard ‘Hands Feet’ Print Ace Saatchi & Saatchi

Nescafé ‘Edgar’ Online/Viral MRM Philippines

FEBRUARY

may

WWF Philippines ‘Nightlife’ TVC Leo Burnett Manila

Kitkat ‘Swimming’ TVC JWT Manila

march

june

Sprite ‘Fountain’ TVC MRM Philippines

Olay ‘Picture, Picture’ Online/Viral MediaCom Philippines

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ad of the year 2 0 1 3

july

october

Creamsilk ‘Hair Quartet’ Online/Viral JWT Manila

Resorts World Manila ‘Hangover’ Campaign TVC Seven A.D.

august

november

Mighty Bond ‘Break Up’ TVC J. Romero

Pantene ‘Labels Against Women’ Campaign BBDO Guerrero

september

december

Bodum ‘Blade/Knife/Whisk’ Print DM9JaymeSyfu

Save the Children ‘Makahiya Shrink’ TVC Lowe

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ad o f t he year winner 2 0 1 3

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Ad of the Year Winner, 2013 DE C E M BE R

Lowe Save the Children ‘Makahiya Shrink’ TVC Creative Director Mario Serrano Associate Creative Director Gari Valderrama Senior Art Director Rommel Aboy Copywriter Kat Galang Business Unit Director Do Bagcal Account Director Trina Nadela Account Manager Dea Bobadilla

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th e gu n n r epo r t

‘Dumb Ways’ sizzles McCann Melbourne sets Gunn precedent

With its sizable haul of Grand Prix and Gold awards across the 2013 show circuit, ‘Dumb Ways to Die’ unsurprisingly set a precedent in The Gunn Report in its 15th year of ranking the most awarded work and agencies in the world.

As it did in the recently released Won Report, McCann Melbourne’s charmingly macabre campaign promoting safety on the city’s metro led or reached near the top in four categories. The work topped the Film and Digital categories and placed third in Print and second in All Gunns Blazing.

The performance of McCann Melbourne and a handful of Australian agencies such as George Patterson Y&R with ‘Mobile Medic’ helped Australia oust the UK from second place in the Most Awarded Countries ranking. The UK had been in the Top 2 every year since the report’s launch in 1999 to 2012.

For the first time, India gatecrashed the Top 10 Most Awarded Countries index, taking 9th place on the back of its agencies’ showing from Clio to Cannes.

McCann Worldgroup, Taproot, Grey

THE 2013 GUNN REPORT The Most Awarded Commercials – Film 1

Metro Trains

‘Dumb Ways to Die’

McCann Melbourne

2

Southern Comfort

‘Whatever’s Comfortable – Beach’

Wieden+Kennedy, New York

3

Carlton Draught

‘Beer Chase’

Clemenger BBDO Melbourne

Axe

‘Susan Glenn’

BBH, New York

Leica M Monochrom Camera

‘Soul’

F/Nazca Saatchi & Saatchi, São Paulo

4

The Most Awarded Print Ads/Campaigns 1

Expedia Travels

‘Luggage Labels’

Ogilvy & Mather London

2

Harvey Nichols Sale

‘Pelicans’

Y&R Dubai

Coca-Cola

#Cokehands

Ogilvy & Mather, Shanghai

Metro Trains

‘Dumb Ways to Die’

McCann Melbourne

The Sunday Times Rich List

‘Rich List 2013 Pool’

CHI & Partners, London

3

The Most Awarded Digital Campaigns 1

Metro Trains

‘Dumb Ways to Die’

McCann Melbourne

2

Nike+ Fuelband

‘Nike+ Fuelband’

R/GA, New York

3

Adidas Neo

‘Window Shopping’

TBWA\Helsinki

Google / Lego

‘Build With Chrome’

M&C Saatchi/Mark, Sydney

The JFK Presidential Library & Museum

‘Clouds Over Cuba’

The Martin Agency, Richmond

4

The Most Awarded All Gunns Blazing in The World

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1

Hemoba/Vitoria FC

‘My Blood Is Red and Black’

Leo Burnett Tailor Made, São Paulo

2

Metro Trains

‘Dumb Ways to Die’

McCann Melbourne

3

Nike+ Fuelband

‘Nike+ Fuelband’

R/GA, New York

4

Sports Clube de Recife

‘Immortal Fans’

Ogilvy Brasil, São Paulo

5

Samsung Life Insurance

‘The Bridge of Life’

Cheil Worldwide, Seoul

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in 2013 Gunn Report New names, however, led the ranking of production companies and directors.

Tim Godsall’s portrayal of a bespectacled, Speedo-wearing man completely comfortable in his skin in Wieden+Kennedy New York’s multi-awarded Southern Comfort ‘Whatever’s Comfortable - ­Beach’ campaign took the director and production company Biscuit Filmworks to pole position for the first time.

The highest ranking the two had previously attained were 3rd and 7th place respectively.

For the first time ever, the Most Awarded

Worldwide and Ogilvy & Mather had all returned with multiple Gold Lions for Press and Design from Cannes last year.

Otherwise, consistency ruled, according to the report’s founder, Donald Gunn of the rankings of most awarded countries and advertisers.

“Nike and Volkswagen took the Top 2 rankings, meaning one of them has been 1st or 1st equal in every year since 1999,” said Gunn. “And usual suspects, Axe/Lynx, Coca-Cola and Google, took the other three Top 5 places.”

Agencies ranking showed a tie for first place – newcomer McCann Melbourne tied with third-time winner Wieden+Kennedy USA. For the 8th year running, BBDO Worldwide retained its Most Awarded Network status in the Gunn index though it surrendered its pole position in the Won Report to Ogilvy & Mather.

“There were two dramatic moves up the (networks) table – by McCann and Draftfcb. But the Top 4 were the same as in all of the past four years, but not in the same order this time,” said Gunn.

The Most Awarded Campaigns – Film, Digital, Print, All Gunns 1

Metro Trains

‘Dumb Ways to Die’

McCann Melbourne

2

Hemoba/Vitoria FC

‘My Blood Is Red and Black’

Leo Burnett Tailor Made São Paulo

3

Nike+ Fuelband

‘Nike+ Fuelband’

R/GA, New York

4

Dove

‘Real Beauty Sketches’

Ogivy & Mather, São Paulo

5

Australian Defense Force

‘Mobile Medic’

George Patterson Y&R Melbourne

The Most Awarded Countries

The Most Awarded Advertisers

The Most Awarded Directors

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The USA

1

Nike

1

Tim Godsall

2

Australia

2

Volkswagen

2

Ringan Ledwidge

3

The UK

3

Axe / Lynx

4

Brazil

4

Coca-Cola

5

France

5

Google

The Most Awarded Production Companies

3

5

Julian Frost Tom Kuntz Steve Ayson Marcos Kothar

The Most Awarded Agencies

1

Biscuit Filmworks (London, New York, LA)

1

Wieden+Kennedy Portland & New York and McCann Melbourne

2

Paranoid (Los Angeles, São Paulo)

3

AlmapBBDO São Paulo

3

MJZ (London, LA, New York)

4

Ogilvy Brasil São Paulo

4

Rattling Stick (London, Los Angeles)

5

Henry de Czar (Paris)

The Most Awarded Agencies in Digital

5

BBH London Clemenger BBDO Melbourne & Sydney

The Most Awarded Agency Networks

1

R/GA New York

1

BBDO

2

2. Forsman & Bodenfors Gothenburg

3

Ogilvy & Mather

3

3. McCann Melbourne

4

DDB

AlmapBBDO São Paulo

4

Leo Burnett

Wieden+Kennedy Portland & New York

5

McCann

4

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b ang for t he buck

Bang for the Buck a c a s e f o r e f f e ct i v e n e ss

Lifebuoy ‘Roti Reminder’ Client Hindustan Unilever (HUL) Agency Ogilvy & Mather Mumbai

AWARD WINS ‘Roti Reminder’ has accumulated a mantel full of metal since its February 2013 launch. It won a Grand Prix from Ad Stars, 3 Emvie Golds, Silvers from Clio and Spikes, a Bronze Lion and internal HUL awards, culminating with this year’s Grand Effie for India.

WHAT IS IT? A simple but powerful piece of communications that brought to life Lifebuoy’s belief that the mere act of washing hands can save lives since poor hygiene causes diseases that kill over 1.1 million children annually in developing countries.

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Held every three years, India’s Maha Kumbh Meha provided the opportunity to communicate the brand’s message to a large, predominantly small town and rural population. The Maha Kumbh Meha attracts 100 million Hindus to the Ganges, where they pray, live and eat together, making it the world’s biggest religious festival.

During the month-long festival, Lifebuoy prompted devotees with a timely reminder at the critical moment when they were about to sit down for a meal.

An Indian meal staple – the roti or bread, typically eaten with the hands – served as the key medium in the campaign.

Using a hot stamp, the brand stamped its hand-washing reminder on the first roti of every meal order, catching diners’ attention at the exact moment when germs can do the most damage.

During the festival, a team of 100 people was stationed in 100 restaurants and cafés to ensure the reminder was stamped on 2.5 million fresh roti.

RESULTS In all, the marketer invested US$36,000 on ‘Roti Reminder’, which translated to less

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than 1% spent per contact. Lifebuoy booked $40 in incremental sales for every dollar spent, which saw its market share climb to a three-year high and brand recall grow by 4%.

Results are all the more impressive since the festival attracts significant brand clutter yet a 30% branded content limit is imposed on all forms of media in and around the event.

“70% of the space/time on all traditional media like OOH, radio, print is reserved for non-commercial messaging, which makes it near impossible for brands to get heard,” explained Mritunjay Kumar, account director of WPP activation agency Geometry Global.

WHY IT WORKED The non-traditional approach worked because ‘Roti Reminder’ came from a powerful cultural and consumer insight, which was leveraged to create an appropriate context for the brand-consumer interaction. The roti was a novel medium that skirted limits set by the festival while allowing Lifebuoy to present its message at the moment of truth in a way that was culturally relevant, yet respectful, of the festival’s religious nature.

Moreover, the 100-strong team across restaurantsdelivered the necessary scale.

thirteen-time audio production house of the year

www.hitproductions.net

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LUI S C . S UA R E Z

Movie Review Louie Suarez is a storyteller, 3D animator and director.

He wrote and directed RPG Metanoia, the Philippines’ first full-length CG animated feature. He is currently developing his next movie.

The Lego Movie It was 1982, I think, when my brothers and I got three different Lego sets for Christmas. They were pretty expensive even back then, so when we tore open the Divisoria bought gift wrappers, it was like we won the showcase showdown on The Price is Right. I got a Basic Building Set that let you build a little house and a little red car. My older brothers got a Lego Space-Mobile Rocket Transport and a Lego Technic-Helicopter. The Technic Helicopter set had gears that spins the rotor when you turned a tiny wheel. The Mobile Rocket Transport had six giant tires and a re-positionable gantry system. My set came with removable window shutters, some flowers, and a Lego guy with a hat. I loved it.

We busted them open and built the models according to the enclosed instructions. When we were done, we carefully pulled them apart, made sure the pieces were complete, and put them all back in their individual boxes. We did this each and every time we played with our Lego. We’d build other things with them, but always within the limits of each individual set.

1-3 Scenes from The Lego Movie

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Months later, we went to see the movie, Stripes. It starred Bill Murray and Harold Ramis as a couple of screwball army recruits whose platoon gets assigned to guard a top secret weapon called the EM-50 Urban Assault Vehicle. It was essentially an RV that transformed into an armored battle transport, complete with a periscope, a flame thrower and surface to air missiles. When we got home, we dumped all our Lego together and had an EM-50 build-off. That was the day I learned the meaning of the word improvise.

Building Lego on the fly soon became second nature, and in the years that followed, our mix and matched Lego became the most indispensable part of my toy collection. Lego became Cobra’s doomsday device of the week when I played with my G.I.Joes, an Imperial hunter droid when I played Star Wars, and even a makeshift Ecto-containment unit when I got into Ghostbusters. I always used to wonder why no matter how many Lego pieces I lost throughout the years, there always seemed be enough to build whatever I needed.

Thirty-two years and a few dozen

innovations later, Lego is more popular than ever. There are Lego theme parks, video games, books, a couple of hit animated series, more than a dozen Lego knockoffs, and now, a Lego movie. I watched it twice.

The story follows the adventures of bona fide everyman/social misfit, Emmet (Chris Pratt), who accidentally finds a mysterious artifact called the “Piece of Resistance”, which according to a bogus prophecy, is going to save the Lego universe from being frozen in place by the corporate tyrant Lord Business (Will Ferrell). The problem is, the prophecy also states that the finder of the artifact is going to be a messianic master builder and leader of men called “The Special”, and poor, generic Emmet can’t even build anything without instructions.

When you consider the fact that Emmet is essentially a living Lego piece, living in a Lego universe, the term “social misfit” suddenly takes on a whole new meaning.

Can you imagine what it must feel like for a solitary Lego piece to not fit in?

The expression on Emmet’s face says it

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all when the schizophrenic Bad Cop (Liam Neeson) shows him a video that reveals what his friends and workmates really think about him. In what’s probably the single most dramatic and well acted part of the movie, the animators manage to convey the sadness and disappointment in Emmet’s face despite having no nose, dots for eyes, and only a curved line for a mouth.

Lest you think this movie is one big, touchy-feely, sappy bawl-fest, let me assure you, that this thing is one insanely fun movie. In fact, right after the whole sadness and disappointment scene is where all the crazy goes to town– (spoilers) There’s a daring escape, followed by an unbelievable Lego style, car chase with more explosions and transforming vehicles you can shake Michael Bay at. Emmet meets a hot girl called Wyldstyle (Elizabeth Banks) who can MacGuyver anything using random Lego parts, they go through parallel Lego worlds, meet a blind wizard named Vitruvius (Morgan Freeman) who has an awesome voice, they’re rescued by a cybernetic pirate named Metalbeard (Nick Offerman ) who has a shark for an arm, all this plus appearances

by Shaquille O’Neal, The Justice League, the Millennium Falcon and Batman (Will

Arnett). Yes, BATMAN is in this movie!

As far as animated movies go, The Lego Movie is one of the entertaining ones I’ve seen in a while. I’m pretty sure I liked it more than Frozen, at least. I guess the way it presented its message of fighting for creative freedom and not giving in to the whims of corporate control appealed to me.

Writers/directors Phil Lord and Christopher Miller, brought their trademark madness that worked so well in Cloudy with a Chance of Meatballs and infused it with the Lego universe’s own quirky sensibilities and the result was a different kind of crazy humor that kinda reminds me of Monty Python and the Holy Grail (run away! run away!). With everything going on in the movie, it could have easily turned into a gigantic jumbled up mess, but they did a great job keeping things in check.

The amount of detail in the movie may be overwhelming at times but it is a sight to behold. Everything on screen, from the amazing set pieces down to the lasers and explosions, look like they’re made of real Lego, but they’re not. It’s all CGI, brilliantly executed by Animal Logic. The little scratches, the imperfections on the surfaces, the plastic seams on the characters’ heads,

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even the finger print on Emmet’s chest that we see from time to time, were all meticulously planned, researched and painstakingly applied on to the models on purpose. Even the animation was intentionally made to look and feel like it was stop motion, all to give the audience the complete illusion of watching a story unfold in the Lego universe.

All in all, so much effort and creativity was generously poured into this movie, you can almost see it ooze out of the screen.

Despite being an obvious marketing move to create another base from which to build a franchise on, the directors, and the animators did a phenomenal job in turning what could have been just another gigantic sales pitch into an out-of-the-box experience that inspires and celebrates the creative spirit.

As I sat there taking in all the laugh-outloud gags and the non-stop action bonanza taking place before my eyes, hearing my niece and nephew giggle and cheer, a genuineness managed to shine through. It was everything coming together perfectly, all the pieces fitting in, that not only brought back memories of my EM-50 build-off with my brothers and how much fun I had with Lego as kid, but it also reminded me that it’s not the Lego that let me build whatever I wanted — it was me.

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creative corner

Creative Corner We crash the creative space of JWT Manila Creative Director and Head of Copy, Joe Dy

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1 The Copy Book and Well-written and Red (about The Economist’s poster campaign) – because I still love copy ads.

2 Miniature geek garage – Because I couldn’t afford full-sized replicas of Doc Brown’s DeLorean, The Mystery Machine, the A-Team’s Van, Ecto-1, KITT, the Batmobile, the Muppets’ Bus, Bumblebee and Herbie the Volkswagen.

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3 The Flash – Because the Scarlet Speedster is my all-time favorite superhero.

4 Edward Munch ‘Scream’ mug – Because since I was a junior writer at Leo Burnett in 1997, this little screaming dude has been vainly trying to remind me that, “It’s only a job… it’s only a job… it’s only a job… it’s only a job…”

5 Katanas – Because sometimes you need to bring out a threatening, ancient Japanese weapon to win a pitch.

7 More toys – Because I was running out of space for these at home. http://www.thetoygallery. blogspot.com

10. Perry Bible Fellowship and Threadless – Because these never fail to make me smile.

6 More books – Because you never know when you might find yourself at an awkward dinner party with Neil French, John Hegarty, Demetri Martin, Phil Jackson, Gary Larson, and the team behind Cyanide & Happiness discussing motion graphics.

8 Untouched jars of possibly expired cereal – Because studies show that everyone from my generation is trying to get healthier. I’m part of the control group.

11. KitKat bar – Because sometimes you need to have a break. And provide your client free product placement in adobo. (See also Berocca Tube.)

9 Community – Because you’re streets ahead if you get this. #sixseasonsandamovie

12. Electromagnetic Tentacle mug – Because it’s the coolest t-shirt company ever. www. electromagnetictentacle. com

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13. Sketchpad – Because I’ve been relying on these since I started out.

14. Schneider Rollerball pens – Because it writes like butter on a hot skillet.

15. Heart Evangelista – Because she’s Heart Evangelista.

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Making work more like play Graphika speakers draw on childhood memories to inspire Words CARMELA LAPEÑA Photography RICARDO MALIT

Filipino and international talent – Jessica Hische, Sara Blake, Dvein’s Teo Guillem and Carlos Pardo, Isabel Gatuslao, Ash Thorp, and The Mill’s Eugene Gauran – shared creative insights and tips at Graphika Manila 2014, a creative symposium that annually attracts a following of students and industry newcomers.

At this year’s gathering, childhood memories emerged as a common theme for the speakers, who shared inspiring anecdotes and valuable advice.

New York-based illustrator, fine artist and designer Sara Blake told the audience that the things they loved doing as a child were often the things they would enjoy doing as an adult. Blake observed that a lot of her friends ended up having several careers before finally returning to their core passions. “It’s because I think they started studying stuff they weren’t totally interested in to begin with and now they’re kind of re-exploring what they truly love.”

Blake explained that her studio name, Zso, which forms an upside down heart,

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01 Jessica Hische’s book design for The Circle 02 Sarah Blake’s Girl 03 Sarah Blake’s Winter Owl 04 Ash Thorp’s Iron Man

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urged the audience to stick to what they love, saying this would allow them to get the kind of projects they enjoy working on. “If you’re honest about your obsessions, you get more of what you like to do,” Gatuslao said.

San Diego-based freelance designer, art director, illustrator, and creative director Ash Thorp talked about his humble

is composed of letters of varying personal significance. “I think it’s a nice reminder to always do whatever your craft is for the love of it and no other reason – not for money not for success,” she said.

Manila-based designer Isabel Gatuslao offered “The Way to Obsess”, a guide to success based on her own experiences. She

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beginnings, saying this helped drive him to become successful. “I think it just makes me really hungry. I’m just always humbled by every opportunity that I have, and I make the most out of everything,” said Thorp, who has worked on projects such as Ender’s Game, Iron Man, and Total Recall.

Thorp, however, also stressed the importance of finding time for personal projects in the midst of a never-ending stream of client work. “When I was a kid I would draw without thinking that I needed to make a client happy or do something for somebody. I was doing it for myself and I’m just trying to become that kid again, where I’m just having fun drawing, and for no other reason other than I enjoy it,” he said.

Letterer and illustrator Jessica Hische of Daily Drop Cap fame gave similar advice, saying that while it was crucial to be business savvy when it came to accepting projects, it was also important to find work where the benefits were not only financial.

“What is also super important is to make sure that not every project that you take on is all about what the dollar bill signs are at the end of the project,” Hische said.

She also urged young designers to keep making mistakes, saying these can end up amazing. “While it can be like, really nice to have this zen repetition in your work, over time, you do feel like your work is a little stagnant. If you’re not constantly trying to figure out ways to push your own boundaries and break your own rules about your process, you’re not going to figure out how to move your work forward,” she said.

The Mill’s Eugene Gauran also encouraged designers to expose themselves to different forms of media. “I know I work a lot with CG and VFX but I don’t normally limit myself to seeing only those things. I’m always inspired by people

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like Jessica (Hische) and Sara (Blake) and what they do. At certain points, I do draw some reference from that. It’s always about keeping inspired,” he said.

For Gauran, even a field like VFX starts with design. “Fundamentally it all starts with design and you work your way up. Basically, it’s just showing the overall power of CG to tell stories, but again, everything starts with design and we should never overlook that process,” he said, emphasizing the importance of prep work.

Directors Teo Guillem and Carlos Pardo of Barcelona-based animation studio Dvein said ideas can transform into other ideas. “Ideas come from everywhere, from a mix of everything, like the Philippine jeepney,” they said.

For Pardo, nature often serves as inspiration for the agency’s concepts.

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09 05 Jessica Hische 06 Ash Thorp 07 Eugene Gauran 08 Isabel Gatuslao 09 Dvein 10 Isabel Gatuslao’s brand identity for Best Buy

“We thought we could mix several things that share similarities. For us it’s like playing god – you take reality and make your own reality,” they said.

The line-up provided plenty of food for thought to inspire the young delegates.

As attendee Vernon Velasco said, “The thing with artists is that they’re hard to understand. And I think the whole point of conferences like Graphika Manila is to gather kindred spirits... Here it’s as if you’re all on the same level and the speakers talk as if they’re just within reach.”

Graphika Manila 2014 was held on February 1 at the SMX Convention Center.

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de s ign showcase

Design Showcase From Budweiser’s trophy beer bottle to the first-ever inflatable brand design

Darling Harbour Interbrand, Australia Australia’s Darling Harbour has been given a playful makeover, with what is claimed to be the world’s first ‘inflatable brand identity’. The distinctive balloon designs reflect the district’s various events as places featuring ‘bang’ (the fireworks), fun and play. Interbrand teamed up with Explore Engage to allow users to follow balloons on their screen to different areas, which reveal special offers.

Budweiser The Anheuser-Busch InBev brand and official World Cup sponsor created a limited edition aluminum bottle in gold featuring the tournament’s iconic trophy as the centerpiece of its ‘Rise As One’ global communications campaign. Distribution is planned for 40 countries, where they are likely to fly off the shelves. Fans of the winning side will naturally want a keepsake, while others will pop a few to drown their sorrows, explaining perhaps the sharp spike in beer sales that seem to accompany World Cups.

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Johnny Walker Innovation Kitchen, Singapore The brand’s latest Blue Label ‘Cityscape Series’ has launched its latest limited edition bottle, featuring the Singapore skyline. Illustrator Michael Ng captured the city’s most iconic elements for his rendering, which featured gold-etching to reflect the label’s premium quality and exclusivity. The Cityscape Series – part of the Diageo ‘Travel Project’ – are only available in limited quantities and only in the cities featured on the bottle – to provide memorable keepsakes to travelers visiting the different destinations.

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Lux JDO Brand Design & Innovation New hair care packaging designs were created to give the Unilever brand a more premium positioning in Japan. For the relaunch, the brand wanted a more contemporary look that would appeal to core users in their 30s and 40s as well as extend its appeal with the younger female segment. JDO played around with the brand’s gold ribbons to convey glamor and luxury and used color to differentiate between two sub-ranges.

Choya Cartils, the Netherlands Japanese brand Choya has given the bottle design for its umeshu fruit liquor range a facelift to create stronger shelf impact.

The company called Dutch design agency Cartils to create the first major renewal of its main product – featuring a uniform look with an embossed Choya logo. Each flavor is, however, differentiated with an illustration of the appopriate fruit or herb on the packaging.

Kirin Natural Mineral Water SAGA Inc, Japan In creating the visual identity for Kirin No Tennensui Natural Mineral Water, SAGA was challenged to craft designs that functioned as part of the plastic bottles’ interior but also worked for display. The agency’s whimsical designs boast a uniquely Japanese aesthetic, with each design reflected on the bottle and the delivery cartons.

Shazam In-house The free music app retained its logo but gave itself a completely new look and feel as it evolves from a utility app to a destination for its 420 million users across the world and a platform for artists, shows and brands. While the logo has been retained, the app has switched over to a more visually-led look: Lato typeface plus changes to the design of its tag results page, which now features headers for both its music and TV sections, with information on artists, album title, tracks and the option to play, buy and share.

Waitrose Dried Fruit Turner Duckworth, UK Old-fashioned mason canning jars are referenced in the supermarket’s Dried Fruit pouch-style packaging. The agency created an illusion with the design, which features jars of different styles and sizes illustrated on the packaging. The illustrated jars provide a transparent window to view the product and also carry a label showing the product name, giving the range a warm, home-made feel.

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Escape artist Getting out is the perfect tonic for creative growth, says Kitkat Pecson Words amanda lago

It was arguably a colorful take of the Game of Thrones universe that helped put artist Kitkat Pecson on the map.

The Filipina American’s whimsical tribute with her ‘Map of Ice and Fire’ was a world away from the typical black and grey and slashes of red imagery associated with the R-rated series. With its palette of rainbow colors and adorable little details, Pecson’s version would not have looked out of place in a children’s book.

Nevertheless, fans loved it, shared it, viewed it, downloaded it, and even ordered prints. And Pecson – who created the map out of sheer love for the series – enjoyed letting what she calls her 15 minutes of fame to warm her geeky heart.

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01 The ‘Map of Ice and Fire’ that put Pecson on the map 02 ‘Imagine Nation’, Pecson’s ode to childhood 03 ‘Dagat’ a tribute to the Philippine seas 04 ‘In the City’, Pecson’s take on escaping the bustle of the urban jungle 05 Detail of a travel-themed wedding invitation for an adventurous couple

Several equally colorful maps followed soon after, and then other equally bright illustrations, which the illustrator, designer and art director generously made available for download on her blog.

Soon enough, her artwork was virtually everywhere – at least digitally.

Facebook timelines, laptop screensavers, and smartphone wallpapers all got a much-needed dose of color. Eventually, her kaleidoscopic creations went further, landing on blogs, magazines, wedding invitations, and even shoes.

Interestingly enough, especially for someone who is known for creating such visually stunning imagery, the young designer says that the escapes she makes helps fuel her creative output.

Her strong online presence, for instance, is an escape from obscurity that has allowed her to land a number of clients.

“Half my projects would never have happened if the client hadn’t heard about my work from a blog or stumbled across my website,” she said. “You could be the greatest artist in the world, but if you’re living in a cave, you’ll never get clients. Apart from having a website, it’s also good to be active on social networks like Facebook or Twitter. You need to speak up!”

More importantly, escaping – both physically and mentally – brings her imagination to life and helps her find inspiration.

“I try not to get sucked into the industry 24/7,” she said. “Of course, art is my passion and my life, but you won’t be inspired if you don’t look at the outside world.”

A blast of color may be Pecson’s most obvious trademark, but escape certainly figures as a big theme in a lot of her work as well. Whether it’s a map of storybook worlds, a drawing of an undersea kingdom, a print of an urban jungle, illustrations in in-flight magazines, or a colorful

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pair of tribal-print shoes, her art is all about bringing people places.

As it turns out, going places is something of great importance to the 23-year-old designer.

When asked how she keeps creative, she answered: “My advice is to travel!”

“You might actually buy a ticket to a faraway land, but you can also ‘travel’ by immersing yourself in other worlds,” she explained, pointing to classical music and books, particularly science fiction and fantasy, as escape alternatives that end up inspiring her.

For a year, Pecson worked at design studio Plus63, which she joined in 2012, following art internships at BBDO Guerrero and Sindikato Productions. In what may arguably be her greatest escape yet, she recently bought a one-way ticket to a faraway land, left her dream job and the heat of the tropics, and moved to (currently) freezing New York City.

“It was actually very hard to leave Plus63 because it was actually my dream job since I was just starting. Everyone collaborates and learns from each other. It’s a great environment and everyone’s good friends,” she shared, saying that she felt lucky to have had the chance to work with her studio-mates, including Plus63 co-founder Dan Matutina who happens to be one of her design heroes.

Still, the Big Apple beckoned. “I’ve always wanted to chase my dreams in New York City. It’s the center of art, illustration, and design. And if you can make it here,

you can make it anywhere! So I decided to be brave and take my chance,” she said.

She left Manila in January, and is presently interning at RoAndCo, a creative agency that has clients mainly in fashion and luxury.

The way things are going, the future looks bright (and sleepless) for the budding designer.

“I am going to kick some ass and I probably won’t sleep for the rest of the year,” Pecson shared of her plans. “I’m excited to meet new people and work on new projects.”

At this early stage in her career, Pecson’s design mantra is understandably a simple one. “Ask me in 20 years when I’m an industry dinosaur,” she said when asked to articulate her design mantra. “For now, I just try to be a good storyteller.”

Having just begun her great escape, Pecson has yet to become a household name. But if her current portfolio and passion are anything to go by, this is one designer who has clearly mapped out a route from obscurity to fame.

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The poet writ large Ahead of World Poetry Day, Petra Magno proves there’s always time for a lyrical verse Words AMANDA LAGO Photo Joey alvero

Petra Magno never seems to run out of words.

As someone who has built a career and a following on the way she strings words together, it would appear that she cannot afford to.

The thing is, Magno always seems to have a large supply of words at the ready for every occasion and every one of her roles – whether she’s writing award-winning copy and must-read articles for high profile magazines, or updating one of her many blogs, or shooting down haters on her ask.fm. page.

Even in conversation, thankfully, she’s never at a loss for something to say. In fact, even when Soft Floors, her poem-a-day project, hasn’t seen a poem for days, it’s not due to a lack of words.

The reassuring truth is that Magno is still writing poetry. The absence of new poems is simply due to the fact that she is keeping them to herself for now.

“They’re not done yet, so it’s kind of like, I’m not going to serve unbaked bread,” she said by way of explaining the momentary silence.

Poetry for Magno happened long before she became an award-winning copywriter, even before she graduated with a literature degree from Ateneo de Manila University.

Like many poets, her verses were necessitated by a surge of emotion. In Magno’s case, it was love, the emotion that drives so many poetic ventures.

“I guess I started seriously writing poetry in high school ’cos you know how it is in high school, you’re so in love, and you feel like normal language is not enough to capture your feelings,” she shared. “So I was writing really torrid love poems in high school. Gross.”

Why she chose poetry to express herself was simple enough: “I guess I grew up reading it, and, I think a good poem, it sends off a click in your brain. You know how it is?

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You’re reading a good poem, and something goes off in your brain, and then you feel like you understand it, but not really?

“It’s kind of like ads, I guess. A really, really, good ad will send of a click in your brain,” she mused.

Copywriting came later, after college, when she joined Ace Saatchi & Saatchi, where she worked for two years. In that short period, Magno wrote copy for ads that went on to win all sorts of awards on the local and international circuits. By the time she left the agency to explore other opportunities and travel, she was third on the Won Report 2013 list of top Philippine copywriters.

As her advertising career thrived, her poems also evolved.

“What happened was, when I started writing copy, my poems got shorter, they

got punchier. Somebody told me they got funnier,” she shared. “But what I think copy and poetry have in common, or advertising and poetry have in common, is the purity of an idea. The strength of a concept.

If your concept is not strong, whatever you say about it is going to be shitty.”

At the same time, poetry also had an effect on her advertising work, “I feel like my poetry, or at least the way I would think of poems or projects, was helping inform my work in advertising. It wasn’t as easy as like, oh this copy will sound poetic.

But you’ll have an ear, I think, for what sounds good and what doesn’t,” she explained.

“Above that, you know what concepts were whole and what were hilaw (halfbaked), because if it was a concept that wasn’t fully formed, you wouldn’t be able to

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make a poem out of it, your ad would not be right. It’s kind of like the thought process I was doing for my poems was working for the ideas I would come up with.”

Magno is now a free agent, doing work for both Y&R and Saatchi, as well as magazines such as Rogue and Preview. As if she wasn’t already churning out enough words, she also maintains an online presence through her collection of blogs (Petradactyl, The Daily Tangina, Drunken Dispatches, etc.), Twitter, and ask.fm, where she somehow manages to be poetic even as she responds to scathing anonymous messages that for some reason plague her feed in droves. In between all that, she is also gearing up for a big “for good” move to New York City.

How Magno manages it all seems a miracle, especially since she confessed that she has “no discipline at all”, no writing ritual or productivity technique (though she did say that she used to use the pomodoro method) save for an inexplicable urge to start writing at three in the morning – and that’s only for her magazine articles.

“I don’t sleep, I don’t go home,” she joked, but she actually chalks up the fact that she gets things done down to technology: “Most of what I do anyway is digital. I’m online a lot. Ever since I got my smartphone, if I feel like writing a blog entry on something, I can put it up while I’m walking, or in the middle of things.”

That, and what she describes as her terrible attention span, which somehow works in her favor.

“I can’t focus on one thing. I work best when I have a lot of things laid out in front of me and I’m doing them piecemeal.

That’s also why I Iike advertising. You’ll have like three documents open, and you have different clients,” she said.

As for the why of it all, she shared: “I see the things that I write kind of like, I don’t know, sometimes they feel like little animals.

Especially tweets. You’re just letting little animals out into the world, and then they just go, some of them go really far, some of them kind of just flop over and die. Yeah.

That’s why I write a lot. I want to fill the world with animals. That doesn’t sound right.”

Come to think of it, Petra Magno never seems to run out of words, not because she cannot afford to — more perhaps that she simply incapable of doing so.

“I’ll write whatever – I think it’s just because I’m talkative,” she laughed.

“Maybe I’m just scared of dying without saying enough, you know?”

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asia n creativ es

Filipino talent gain global platform ubies takes Asian creatives global Fifteen Filipino creative and design talent and their agencies are showcased in a bilingual creative bible produced by regional creative social network ubies.

Launched in Asia to take the region’s brand of creativity to the world, the network’s Asian Creatives book is another step towards its goal of facilitating transnational projects.

The book is packed with 150 of the most promising talents in art, design, illustration and photography from 10 cities in Asia, including Japan, Korea, Hong Kong and Singapore, along with the Philippines.

Gifted illustrator, designer and co-founder of design studio Plus 63, Dan Matutina, provides the introduction to the Philippine chapter.

Matutina’s work has been influenced

by Filipino National Artists, who were

influenced in turn by Western artists and art movements in their time, yet were still able to incorporate traditional and folk influences in their creations.

“In five years’ time, people will look towards Asia for more exciting economic opportunities and cultural inspiration because this is where the next big developments will be,” says Matutina in his foreword.

“Though the genre of turning design into a business started just barely 10 years ago, I realized that this country has a long and creative history once I saw their masterful art and culture,” said ubies’ Mikiharu Yabe.

フィリピン 世界で活 のクリ 躍するイ ation

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に託して 人 類初 の月 伝える 面着 陸と 同じ日に でしょう 生ま れた か。 私は ことも関 サイエン 係し ス・フィクシ てい ます ョンに大 し、 宇宙 きな 影 の不 思議 にも魅了 南部 で育 され 続け ち、しょ てい ます っちゅう地元 の性 向は の書店に 変わって 通っ ていたこ いま せん ろ 。また私 表するア の作 品は ーティストた 、フィリ ちからも ピ のアーテ 多いに影 ィストやムー 響を受け ています ブメントと、 に作 品に 伝統 的で 取り入れ 民族 的な てい るの 文化 が、 大き ます。フ な特 徴に ィリピン なってい ・アート る 界で は、 に意 識的 文化 のア に探 求さ イデ ンテ れていま ィティ す。 フィリピ ン文 化は もともと 、西 洋と な要 素が 東 洋を 掛け 混じり合 っていて 合わ せた 、そこが 私もフィ とても興 リピ ン文 味深 いと 化の良さ ころで を作 品で す。 いろ 受け 継ぎ いろな要 たい と考 素を融合 えて させるの い リピン人とし が好 きな てどのように んです。 よく、フ イラストやグ かと訊ね ラフィックを られ ます が、 それ 表現でき は作 品の る ます。フ テーマを ィリピン 通じて表 の民 話に 現して 登場 する 元で 有名 人物 を描 な織 物、 写した作 食器 など 品や、 をデ ジタ しま す。 ル・デザ そうする イン で制 ことによ 作したり って、長 ンの童話 年受 け継 や伝 統を がれてき 、作 品を たフィリピ 通して伝 えること ができま す。 次世代へ

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Asian Creatives Line-up: Electrolychee Design and illustration studio

Soleil Ignacio Illustrator

Hannah Reyes Photojournalist

Leeroy New Artist and sculptor

!nodoro Graphic design consultancy

Vgrafiks Branding agency and graphic design studio

Charles Buenconsejo Photographer

Daryl Feril Designer and illustrator

Team Manila Graphic design studio

INKSURGE Design studio

FLUX DESIGN LABS Design studio

AJ Dimarucot Graphic designer

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したい イン ター ネットの 発 達に よっ や制 作物 て、 私 が を見 たと 手が けた いって国 コマーシ 外の クラ ャル ロー チが イアント され るよ からも多 うに なり 数のアプ ました。 たほど、 数年 前に 名高 い企 は考えら 業か ら依 れな かっ 頼を 受け 界中どこ ることも にいても しば しば 、さまざ です。世 まなクラ ができる イアント 機会 が設 と共 に制 けられる 作するこ ようにな イターの と って、私 幅が 広が たちのよ りました うなクリエ 。 そうした 変化 もあ って、マ ニラのク リエイテ ィブ・シ ーンは現

Niel Quisaba Illustrator Raxenne Dosher R. Maniquiz Graphic designer and illustrator Everywhere We Shoot Photography and graphic design duo

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The Festival combines a two-day intensive learning programme of world-class speakers and inspirational case studies, with the Inaugural Lions Health Awards Ceremony.

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Blessed with an almost effortless dignity and a design sense that has earned her accolades all over the world, adobo Design Awards 2014 Head of Jury Lucille Tenazas is in a class all her own Interview and Words Mikhail Lecaros Photos and Art courtesy of the artist

When it comes to the work of Lucille Tenazas, one is immediately stricken by the precise manner that the designer’s chosen elements convey information while avoiding the tendency towards over-embellishment that despoil many a contemporary work. Meticulous allocation of visual real estate notwithstanding, the voice and – more importantly – the intelligence behind each piece ring true and clear, communicating the intended message (and, by extension, the artist) more effectively than any number of superfluities.

Given the thought that must have gone into some of her pieces and the deftness of their execution, it is no surprise that Tenazas is at the top of her game. As a graphic designer, Tenazas has done work for clients as diverse as the San Francisco International Airport, Rizzoli International, the Neue Galerie Museum for German and Austrian Art, and a number of non-profit organizations and institutions. Highly-sought as an educator, Tenazas regularly gives design talks, seminars and workshops all over the world, in addition to being the Henry Wolf Professor in the

School of Art, Media and Technology at Parsons The New School for Design.

With 30 years under her belt and a number of active projects going on at any given time, Tenazas is one practitioner who shows no signs of slowing down. Of course, the artist herself is amused by the notion that designing is the only thing people expect her to be up to all day long.

“They have this perception that I don’t have a life outside of design,” she laughs.

“They think that that’s all I do, I live, breathe, eat design, I mean I’m serious about what I do but that doesn’t preclude me living my life and enjoying other parts of my life.

Sometimes they’re surprised that I have kids, that I’m married…maybe the seriousness with which I view my work makes some people think that I’m a workaholic, but I’m not!”

Of course, seeing as Tenazas is the recipient of accolades like the American Institute of Graphic Arts (AIGA) Medal in 2013 and the National Design Award in Communications Design from the Smithsonian Cooper-Hewitt National Design Museum in 2002, one could be forgiven for thinking that it was mere “seriousness”

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that got her to where she is today, but that would only be half the picture.

Simply put, any artist is so much more than the mere sum of their works and, as adobo was privileged to find out, Tenazas is no exception, proving every bit as fascinatingly multifaceted – if not more so – than any single design.

The daughter of a civil engineer father and a mother who taught high school social studies, Tenazas grew up in the Philippines, attending the College of the Holy Spirit from kindergarten to college. The second of six children, Tenazas’ creativity was fostered from an early age by her parents. Despite having the conventional expectations of wanting their daughter to be a lawyer or doctor (“You know, it would be great if there was an appendage to your name, like ‘Atty.’ or ‘Dr.’!”), they supported her in her artistic pursuits.

Unfortunately, Tenazas’ father would pass away when she was 16 years old, meaning he never saw the heights that his daughter eventually reached with her talents. Tenazas started small, joining school and local publications’ competitions, slowly gaining a reputation in her circles for her abilities.

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01 Animal Logic: Richard Barnes, 2009

Book Design

Client: Princeton Architectural Press 02 Casa Alta: An Andalusian Paradise, 2013

Book Design

Client: Princeton Architectural Press 03-04 Neue Galerie New York Museum for German and Austrian Art

Design Shop Catalogue

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ADOBO How did your parents express

their support for your art?

albeit not overt, by not so much putting their foot down, or making it into a situation where “you have to do this, or else!”, and then at school that was a continuation because I was held to a certain kind of level of, you know. I was the class artist, I would do lettering for diplomas or certificates or whatever. So my track, in a way, was pre-determined for me.

TENAZAS My father would just sit and watch, he’d be drinking his beer and he would wait for my mother because she always got home a little later from her teaching – around 7 or 8pm. And so we (the kids) would have had dinner while he was waiting for my mother.

And the table would be cleared and I would then lay all my art supplies on the table but I think what was interesting to me was that he would always sit by me. He never would question, or whatever. He would always just sit there and watch what I was doing and his presence was enough of an encouragement.

Every once in a while, he would lean over and say “why did you use red for this?” or whatever, and I didn’t even mind it – I just went “I like it. I like making it this way.” So anyway, I think that the atmosphere that I had at home, the encouragement of my parents,

TENAZAS My father was always planting seeds in terms of…well, you know how it is in our culture, people think that the arts is not really a legitimate profession. You needed to be either a doctor, a lawyer to make money. And you know, who are you to question this? I never said anything because of course we are in a culture where the parents are an authoritarian relationship so I just quietly plodded along. But I think that

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at a certain point your parents can no longer question or dissuade you or do anything other than support you. And so I think, in a way, my parents were of that thinking that ‘she cannot be swayed, so we might as well just sort of follow what she’s doing.’

ADOBO Tell us about when you realized there

was a living to be made from your designs.

ADOBO So they never tried to change your

mind?

TENAZAS When I was in Holy Spirit, there were always these on-the-spot painting competitions and it was always held at UST and I participated in that for maybe two-three years in a row. The first few years I was an honorable mention but when I was in my senior year, I was one of four winners of the top prize. My brother, who was at UST at the time, was hovering around. When my name was called, they gave me this envelope with cash – 400 pesos! We were so excited, my brother and I, that we took a cab home,

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“When I look back at family albums and how things prepared me to be at this stage of my work in my life, I cannot take that lightly.”

– ON INFLUENCES

instead of taking the bus on Espana. So we took a cab, and my Mom says, when we get home, “how did it go?” And I said, “Well, you know, I did my best”, and she saw from my face that I was not happy. Then I turned around and I handed her the fat envelope!

It was something I did all by myself in a short amount of time in very constrained circumstances. It was like (professional) design – there was a deadline, there was a theme, there was a project brief, whatever it is, it conforms to all these things that prepared me to actually enter the profession, and then be rewarded for it at the end of the day. So I’ve saved that envelope. I just found it – my sister had them all in one place and I’m bringing it back to the States. It brings me back to how I was. When I look back at my family albums – what I was doing then and how things like this prepared me to be at this stage of my work in my life, I cannot take that lightly.

TENAZAS I had this full time job at Smith Kline in Cainta for three years. That was the work I submitted when I was applying to graduate school in the States. And I didn’t get accepted because it was a narrow body of work. I mean, you know, vitamin labels, exhibits for medical conventions, that kind of thing. Within that context, it was actually quite good, but taken out, it didn’t stand on its own.

So I think for me, my going to graduate school in the States was one of those kinds of seminal points because what it gave me was not just to be better at what I did but also to be a better thinker. So suddenly you were confronted with “It’s not enough that your work looks good. It’s not enough that it’s pretty, that the colors are right, typography’s right.”

When I look back on my earlier work, the concept was not really critical. It was more about making things look good and putting things together in a very interesting way but when you get deeper into it, you know, what does it really mean? And I guess at the time, the people who saw my work didn’t ask those questions anyway. And in the Philippines, that’s what I think is missing.

That’s why I’m curious about how people really work in a context like in the Philippines.

Because advertising, to me, really deals with, I mean you can’t help it; sometimes it’s the lowest common denominator. You’re supposed to sell something at all costs. So you have to compromise these high ideals of making something look too sophisticated or too elitist. This is what I’m interested to know: At what point or at what level do people have to, you know, dumb down the work? It’s much more common than not, actually, and It’s true anywhere.

ADOBO We understand that you worked in a

pharmaceutical company before you decided to go to the States to study. What was that like?

ADOBO You’ve mentioned being a

collaborative partner rather than a

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hired gun when it comes to your design work. How did that come about?

TENAZAS In high school, I was involved with the school annual, the school paper. I was always the art director. I was always involved with the editor. I think what was really a great experience for me was that my relationship with the editor and writing, specifically, was cemented in that the editor trusted in my contributions – it wasn’t just telling me to make it fit or just design something or make the artwork or whatever…I was put on equal footing, if you will. I’m not a writer, per se, but I took particular interest in the content. So eventually when I started working professionally and looking at my work, I began realizing, why am I involved in books? Why am I designing books? I’ve worked with authors and they’re sometimes not prepared to confront a designer who actually pays particular attention to the content, but eventually, I started working on projects where people would come to me and they’d say “We don’t know what the content is. I know it’s gonna be about this, but what do you think? You’re the designer.

Let’s collaborate on it” even before the content is generated. And so, that I think is really a good role. I respect writing. I’m really interested in it, you know, because my work is very linguistic. When people do connect with me, it’s not about me saying “I’m the designer and you’re not”. I’m more interested in like “You’re the writer, I want to learn from your approach. I want you to see me on an equal footing.” And I think as soon as you establish that relationship, there is a lot of respect and it moves on to integrity and freedom to do what you want to do for them because they know that you’re being very thoughtful about their work.

ADOBO How do you deal with difficult clients?

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TENAZAS They could profess they love you, they love your work, and I’m thinking, “What is your gut feeling, Lucille”? Here’s my bottom line: If I like the person and I can actually have an intelligent conversation with him having lunch, not even work, just like normal conversation with another human being and I can actually see myself sitting in front of them having a good conversation, I would take them on. But if there is some, I mean you know, there are people who rub you the wrong way or they’re aggressive, I’m not going to put myself through this. It’s just more trouble than it’s worth, so why do it? So

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01-04 San Francisco Museum of Modern Art (SFMOMA) Architecture Lecture Announcements, various years

Announcements for a series of lectures organized by the American Institute of Architects (AIA)

05 Hot House: Expanding the Field of Fiber at

Cranbrook Academy of Art, 2007

Exhibition Catalogue

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at that point, you just trust your instincts.

I’m very patient – I’m not an imperious person. I sort of look at the situation and just say, “You know, I want to be able to do a good job on this. I want this to be a project that we’re both happy with.” And they respect you for that. They do see your commitment.

So this is what I’m saying. To me, my best weapon, in any relationship, in any of my projects, is that I’m very enthusiastic about my work and what I can do for others. Even if they’re just starting, they’re just kind of like kicking the tires and thinking “now, is this the kind of person we want to work with?” I’m doing the same thing too. I want them to think. People think that okay, you’re hiring me and I’m at your mercy? I mean, I have every opportunity to judge them in the same way that they’re judging me.

I think when people see themselves as being an important part of the process, it’s great – it’s gratifying for them. They didn’t have to go to design school, but I respect their judgment. I can guide them. I can just say: “Now this is what I’m showing you.

Observe this, and take a look at this. Tell me what this adds up to”. I encourage them.

It’s not like castigating them, like “you don’t know anything”. Smart people, and again, this is my sense, smart people – they don’t feel threatened. They know they’ve arrived at what they’ve done because they’ve earned it, so they can admire and respect equally smart people who are accomplished.

There’s no insecurity involved, there’s no need to be NUMBER ONE all the time.

ADOBO The funny thing is, if the client

really does know everything and has all the answers, then what does he need you for?

TENAZAS Well, it’s really a kind of very sensitive situation there in telling them that they need to listen to you because you’re good. At the same time though, you have to acknowledge inside you that you are good. If your client has a very good sense of gauging what is good and what is not good, what’s mediocre and what’s high quality, I mean there are a lot of mediocre people, ...there’s more of them actually. You have to go through the riff raff. You plow through that. And then there are a few people up there who are at the top of their game and they are very few and far between. I think that it’s a matter of arriving at an equal footing with these people so that they do give you the respect.

I just want to give you an example. When I was in the Philippines last year, I did a master class at the Ayala Museum, and there was this one guy who was asking me the same question, like you: “You know, I work for this ad agency and I really feel that we’re at the bottom of the totem pole here. We’re really kind of just service providers.” You know, these are the guys who are not really designers – account executives, I guess that’s the term. And so they now have to present the ideas to the client, right? And so this guy says, “Now I have to go back to work and just sort of have to battle it up with this guy, yet again.”

I understood what he was going through but I didn’t know the context. All I could tell

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“It’s a matter of arriving at an equal footing with these people so that they do give you the respect. ..It’s not the kind of thing you change overnight.”

– ON DEALING WITH CLIENTS

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some level, to have given him his moment of clarity. Do you get that feeling from teaching?

in Miami and there was a guy who picked me up from the airport, and it was all very cursory. And he dropped me off, and that was it. End of the story. I see him again, years later, at some design conference, and he walks up to me and said, “My life changed after that conversation.” Maybe I was giving some advice, I don’t even remember. I was just asking questions about where he stood in his work, in his life, in his relationship, whatever, and maybe that triggered something. I planted a seed. It didn’t have to be something that was a profound thing, but it was profound for him. So as a teacher, and I have been teaching now for over 30 years, it happens to me that when my students have me, they get intimidated, they may get “oh, she has high standards” or “she’s just a little too critical” or whatever, and some of them don’t perform as well, some of them don’t get it. But I realize many years later, maybe 10 years later, I would get a phone call or get an email and they would say “you may not remember me but I was one of your students in 19-blah blah blah, but I have always remembered what you said.” So I know that it’s not an immediate feedback of what I have done or of what I have maybe planted a seed on.

TENAZAS (laughs) This happens a lot to

ADOBO Okay, on that note, do you remember

me. I was giving a lecture many years ago

the first class that you ever taught?

him was “You really have to defend why it is.

Say it without any kind of anxiety, without any kind of tension and say, you know, let me just clearly state what this is about.” A rational response. And I saw him and he looked defeated. Poor guy. But anyway, on the last day of the class, final presentation, he does his presentation and we have a reception/ cocktails, picture taking, etc. This guy walks over to me and he said, “I just want to tell you that when we talked that first day, I went back to my office, remember?” And I said, “Yeah, I know.” And he said, “Yeah, and I just stood my ground and I talked with this account executive and blah blah blah, whatever I had to say, and he was just kind of taken aback and it’s kind of interesting because he went “Tell me what you have in mind.” And I was, wow, that was a quick turnaround! It’s not the kind of thing that you change overnight.

But something must have happened to this guy for him to actually assess a situation and look at where he stood, thought about what I said, or what he felt he got from the class and then just did it! So I was quite impressed.

ADOBO It must have made you feel good at

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TENAZAS The first class I taught was actually at Holy Spirit, when I was a senior in the Fine Arts Dept., in Advertising; One of the nuns, was being sent on a scholarship to Japan and she needed somebody she trusted to take over the three classes that she was gonna leave behind. So she assigns us to handle the courses – and we hadn’t even graduated! I was flattered that she handpicked the three of us and that she assigned me the most difficult one because it was theoretical – Aesthetics – and so I just said, “Yeah, I’ll do it.” So I show up months later, no longer in uniform and I’m teaching the class below me, who of course knew me because I was the president of the Fine Arts Organization.

And so I showed up and they greeted me, and say, “Oh, hey, hi, Lucille! You’ve graduated, congratulations! Do you know who our teacher is?” I said, “Well, actually, it’s me.”

We were only a year apart, so that threw them off, but it was a learning experience (laughs) ADOBO How did you do?

TENAZAS Well, it threw me off, too, because I didn’t think of myself as a teacher and there was only one year separating us, so I thought, how would they see me? How would they regard me? It was a steep learning curve…

I mean you know, the lesson plan was there, the syllabus, the curriculum, etc. but … so my first experience was really about catching up. When you’re a student, you could coast through some of that, but as a teacher, you’re supposedly the font of knowledge so I had to really do double work, or triple or quadruple work. So that’s the academic. I did that for three years, before I left for the States. But my first studio class was actually in San Francisco,

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in the school where I ended up teaching for 20 years, the California College of the Arts.

ADOBO How different was it

to teach in California?

TENAZAS So I arrived, and I think my mindset before, as a new teacher, was to kind of replicate a design studio. Okay, I’m the art director – it just so happens that there are students, right – I would give projects as if I had a studio and these were my young designers. But over time, I realized it was a dead end because I was not interested in giving them commercial work. I was more interested in knowing how they thought and sort of mining their own personal interests.

So it wasn’t about the client, the client was them. There were a couple of reasons why I changed my way of teaching. 1) I was confronted with returning students who were much older and actually more matured than I was and had more experiences. And so I realized that these were not your typical

18-year old students. Even if I was in my late 20s at the time, it was quite a humbling experience to realize that yes, you are the teacher but this is a journey both of you are on. So you may have had more experience than they have, but they have a lot to give you too. So that’s when I changed my approach.

ADOBO Tell us how this ties in to your

concept of the cultural nomad.

TENAZAS The cultural nomad versus the cultural tourist. We all have been tourists at one time or another. Sometimes we act like tourists and sometimes we try to not act like tourists, even if we are. But the idea of what a tourist is and how a tourist responds to a place is really more about superficially gliding through a place. And because there’s a fear of kind of absorbing the place because it’s an unknown quantity whereas a nomad kind of just allows himself to weave in and out of situations and assess, and stand not apart, but try and let himself be absorbed into the situation. And I’d like to think of myself as one. And I tell my students and in my lectures as well, that design is really kind of a mindset, of affecting the mindset of a cultural nomad. Especially because we cross cultures – and I’m not talking geographic cultures. You’re moving among, within, between cultures and you have to be flexible.

When I give these kinds of projects, like talk to the person next to you in the bus, the students ask, “Is that a design problem?

This has nothing to do with design.” And I say that it has everything to do with design, because beyond you working on whatever website, logo or magazine, whatever, you would have had to establish that relationship first before you’re able to do something and the success of that work is contingent on that relationship that you have with your client.

ADOBO How do you go about

forming that relationship?

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TENAZAS It’s kind of empathetic, which is a hard word to describe because empathy is really putting yourself in that position and to try and imagine what that is. I ask my students, what’s the difference between sympathy and empathy? And then they say, sympathy involves a kind of grief or some sort of unfortunate situation that one feels that you need to kind of connect with them whereas empathy doesn’t necessarily have to involve that. It just means that I understand what you’re saying but even if I’m not, if my

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02 01 Pearl Farm Resort, Philippines, 2013

Logo and Identity System 02-03 Pistahan Festival, 2013

Pistahan is an annual celebration of Filipino culture and cuisine in San Francisco. It is organized by the Filipino American Arts Exposition (FAAE), a grassroots, non-profit organization that contributes to the artistic and cultural pride of the Filipino American community.

client’s Chinese, I’m not Chinese, what does that mean? How do I connect with them? I have a 25-year old client but their needs are very different from mine, I could be their mother, so what does that mean? So there has got to be some way where there is a common language or a common understanding that we all connect with and there’s an engagement, and that I think is really the key. Even just a brief conversation, it’s a connection.

That, to me, is what empathy is about.

ADOBO What do you tell your students

about the love-hate relationship between art and commerce?

TENAZAS I tell them that when you’re young, you don’t have to be choosy and picky because at the beginning, you take on whatever gives you money and you’re saving up. You need to have all these different levels of experiences anyway; it’s not always perfect. But the important thing is for them to know what they are about, what they represent and what their values are. So when they get to the point where they say, “okay, this is not me anymore”, they have to have the courage to say, “I can’t stay here anymore, this is dehumanizing”,

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because at a certain point it’s gonna be hard to leave. People sometimes do these kinds of things where their five-days-of-the-week job is a drudgery, and then the fun work is on the weekends, right? I just don’t understand that; life is too short to be doing work (that you don’t care for) for the better part of the week. And that’s the majority of people we know and that’s because they have allowed themselves to be led on. They did not put their foot down, they didn’t make a stand at the beginning and say, “this is really about me, this is my life, so why am I doing this?”

But for you to arrive at that decision, you would need to really know where you stand, what your values are. I’m not talking about morality here, I’m just talking about a kind of integrity, an identity of what you represent

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as a person and as a creative human being.

ADOBO In your experience, either in

your professional or academic careers, how much did your background play into it? Like your race or gender, did either affect how people perceived you?

TENAZAS I get asked this question. But the thing is, when I arrived in the States, the one thing that made me feel that I may not be as good as they were was the fact that I was older than them. I just thought: Okay, I’ve had a degree already in the Philippines and I’m back in school and so these kids are younger than me. This is a little bit of a humbling situation. And the second issue was that, since I’m from another country,

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“People sometimes do these kind of things where their five-days-a-week job is a drudgery, and the fun work is on the weekends. I don’t understand that. Life is too short.” it’s fluid. There’s none of that transition.

It’s harder for people to understand that because it isn’t evident. It’s much more of maybe an intellectual or linguistic exercise but that is, to me, the true layer, the true explanation of why my work is the way it is.

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TENAZAS Maybe it’s a case of arrested development. When I left the Philippines, I was an adult. I was different from someone who was transplanted to another country when he was younger and did not develop a sense of connection. I remember a situation where I was giving a lecture in Los Angeles and there was a student in the back who asked me “Why is it that your work is not reflective of your Filipino culture?” So I asked, “What

do you mean by that? What did you expect?

Were you wanting to see palm trees? I mean, what are you thinking?” And he said, well, you know … and I realized that he was hungry for some cultural clue of what was my cultural background. He wanted it clearly evident in my work. And he said, “Well, you know, I’m studying alibata, really looking at archaic script.” And I said that’s good, you’re looking into historical references, archaic connection, something that you want to connect with in your culture. He felt compelled, as a designer operating in the US, to bring that kind of level of authenticity in his work because he wasn’t born in the Philippines. For me, seeing that, I don’t have an issue with not having that in my work, but the work, my work, is the product of a person who grew up in the Philippines who spoke English, is dealing with typography, dealing with linguistic play, precisely because I was taught English with an academic kind of rigor. And so when I finally had an opportunity to come to the States, I realized I was free of that. I won’t be castigated for imperfect grammar or whatever. I realized that this was my opportunity to subdue this language and make it my own. So that mindset can only come from the mindset of someone who grew up the way I did. It may not be the issue of an American, because for them,

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they have been in this educational system for a long time so their work is much more polished (I thought). I never thought of race, I never thought of gender. It was really about two things: My coming from another context and being transplanted to another and trying to see whether my work would out or would stand being seen on the same level. But I just realized: If I can speak English, then there’s no issue. I’m sure I realized I look different, but it didn’t really hit me. I just thought: I could speak English and I could communicate, there shouldn’t be a problem, right? I mean, they understood exactly what I said, I could talk to them, my work was good, so why should there be a problem?

ADOBO Filipinos in other countries tend to

have entirely different sets of problems.

ADOBO Fair enough. It does come across

a bit condescending, doesn’t it, if someone expects that everything you do has to be reflective of a Third World upbringing?

TENAZAS But you see, that’s the simplistic point of view. There has to be the understanding that I am the product of all these worlds, right? You don’t claim one necessarily over another because you are who you are, formed by the experiences that you had growing up. This kid, my sense was that there was a hunger and he was kind of imposing it on me. And he was, you know, it’s not enough. And I said, it’s too bad. You have your own issues and … In fact, it became kind of embarrassing because, I mean, this was a lecture hall and there were a lot of people. And I thought that this was something that we can talk about maybe privately. It doesn’t have to be on display, maybe one question is enough. But he was just lobbing more questions based on this thing that he wanted me to respond to. And I just said that it’s not as easy as that. And I realized that the kid’s young, he’s searching, he wants to know what that “lost” culture was, what he could have experienced had he stayed.

ADOBO What do you do in your free time?

TENAZAS Well, a lot. My family life is something I devote good quality time to.

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01 School of Constructed Environments (SCE),

Parsons The New School for Design

SCE is the school within Parsons that includes Architecture, Interior Design, Product Design and Lighting Design

01 AfterTaste Postcard 2012

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I have two sons and my husband, who’s a photographer, we have a very strong collaborative kind of personal relationship, very kind of deeply respectful of our work.

We are critical of each other’s work as well.

He’s very active in his work. We were able to live in Rome for a year because my husband was awarded a fellowship at the American Academy in Rome so there’s a very strong kind of connection of cultures and understanding.

ADOBO How did you find that understanding

in the places you’ve lived in?

TENAZAS A friend of mine said, “Lucille, when I came to the States as a young student, the one phrase that I hated was ‘let’s grab a bite.’” And he said, in Spain you don’t grab a bite. I adhere to that. I like that. It’s enjoying your life, enjoying your work, but also balancing it with enjoying your life.

I’ve been on repeated trips to Italy and every time I go there, I’m not rushing, I get less and less concerned about running into the next museum, into the next baroque church or something. I realized that I just calm down, just walk the streets, and then absorb what the street life is about, and I think that is the product of being much more comfortable alone. I mean, I like that. I like the fact that I’m no longer intimidated by not having company so there are things that I like doing by myself. And even on a day-to-day basis, I pay particular attention to what I eat and that it is an enjoyable activity for me. And so in the morning, I plan, okay, is it a croissant or

oatmeal? Where do I go? Is it to Starbucks, or wherever (Because I’m Filipino, food is a very strong part of my relationship.)? And part of that is this journey of walking around the neighborhood that I have, and it’s really because I start to observe different things and even if it’s just to have things to think about and be clear in my head. That’s what I do. I pay particular attention to where I’m having a nice lunch. It doesn’t have to be expensive.

But the conditions have to be right. That it’s nice and quiet if I want to be in a quiet place that I have to savor the food, whatever it is. And I like that. I like being conscious of it. To me, it’s appalling when somebody says, “Oh my God, Lucille, I just eat at my desk.” Are you kidding me? You eat at your desk? And this one person says, “Oh, I only eat for sustenance.” And I say, “What do you mean? You don’t eat for the pleasure?”

ADOBO Having lived in so many

countries, what do you miss about the places you’ve lived and worked in?

TENAZAS There are little slivers of memory that hit me, but I try not to regret anything and that all the experiences are actually cumulative and they evolve, they change, you just kind of edit out certain things. I have a different life and I will make my life the way I want to and that life is also portable. It can go anywhere in the world like you have, and make a connection and find something about these places you have been, that I have been, that it feels like home for me.

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AfterTaste is a series of lectures and roundtable conversations dedicated to the critical review of interior design organized by the MFA Interior Design program at Parsons The New School for Design.

In Istanbul, for example, there were these students. I was giving a lecture there and a workshop and I told this student, “Take me to the place where you like to go for coffee.

Don’t take me to a Starbucks and don’t take me to the mall. But where do you hang out?

And what’s where you take me.” I like these discoveries. You feel like when somebody does that to you and you actually ask for it, it’s a form of respect and at the same time, they feel that you are one of them. And I like that.

That’s the nomad, again, the cultural nomad.

ADOBO Your work is distinctive for never

pandering. Tell us about your take on the role of understatement versus spoon-feeding.

TENAZAS Okay, it wasn’t always that way because when I was a young design student, the important thing was apparently that everything was supposed to make things clear, to articulate things so that people knew the answers to questions, to solve a problem. But I think the more that I thought about what I was doing and my work, I realized that it was actually a good idea, it was much more interesting to be provocative and leave some things out so that you are not necessarily spoon-feeding or giving out answers because it doesn’t come out as conversation. You’re just handing things down and you’re just saying, ‘here it is, this is what I want’. You always have to assume that the person who’s looking at your work or the audience is equally intelligent and can decipher clues that you leave behind. And that makes them appreciate it more and they are able to leave their stamp on it or their interpretation. And to me, that is the most valuable thing. It’s a trust that you have to give the other whom you don’t know, because you never know who’s gonna be confronted with your work, and you have to leave it behind because my work will live on beyond me, and it will continue to live depending on how many people are confronted with it and interpret it.

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ect e Dir v i t a re gan, C ey n a T Rizzopaigns & Gr Cam

or

Whoever said that running was less about moving fast than it was about seeing how much one’s heart could take may very well have been talking about the sort of selfdetermination it takes to survive in modern advertising. Or, they could have been talking about Campaigns & Grey creative director Rizzo Tangan.

This is, after all a woman who was handpicked to head up the Procter & Gamble regional account for the Grey Group’s Manila office, getting into running following the birth of her second child just because “it looked fun”. Whether she’s competing on the international marathon circuit or fielding any number of meetings, presentations, and crises while shuttling back and forth between shoots, conferences and client calls across the region, Tangan is in her element, driving her team with all the tenacity and zeal one would expect from her multi-megawatt smile.

It takes a special kind of determination to push oneself to the brink time and again in pursuit of personal excellence, but when it comes right down to it, that’s just the kind of person Rizzo Tangan is.

centerfold

words makeup

mikhail lecaros photography Ryan Sulit art direction Joshua Gonzales Chuchie Ledesma of Maybelline New York hairstyling J-mar Martinez

venue

Campaigns & Grey office

trendspot ting

Bojo Torres Head of Creatives ABS-CBN Digital Media Division AMCI Mountaineering Club Inc.

Tet Verano-Suntay Client Service Director Movent Team Lagalag PH, UCMI

Ardonis Gonzales Exchange Manager MindShare Akyat Aral Organization

words mikhail lecaros photography Jay Tablante art direction Ricardo Malit makeup and hair venue Ninoy Aquino Parks & Wildlife special Thanks to Ms. Rene Calica

Elvie Recalde

IN T O t h e

W ILD

Advertising folk are an intrepid bunch and, let’s face it, they have to be (it does take a certain kind of bravery to do the work they do with the full knowledge that a single comment from a client can render everything for naught). As with any other profession, the hardworking men and women of advertising could use a breath of fresh air once in a while – some of them just put a little more effort into getting it! Whether you’re a weekend warrior or a dedicated mountaineer, there’s no denying that, sometimes, all you need for a fresh perspective, is a trip off the beaten track.

Mafel Hebulan Account Manager Movent Team Lagalag PH, UCMI

JC Javellana Associate Creative Director McCann Worldgroup Philippines AMCI Mountaineering Club Inc.

Mon Corpuz User Experience and Interaction Director Movent Black Pencil Project

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A woman on top

Newly-minted Publicis Singapore CEO Lou dela Peña chats with adobo EIC Words Angel Guerrero Photography amanacliq

Lou dela Pena, a spunky, homegrown Filipina, has catapulted herself into the role of CEO of Publicis Singapore.

This followed a decade of agressively driving new business growth in TBWA\Singapore. Starting as a group account director and rising to general manager of the agency, dela Peña delivered 34 new business wins and led the monumental global pitch for Singapore Airlines (SIA) account.

The pitch involved 50 people, whom she hired to form the team. She also handled the fee negotiations and then went on to set up the global operating model for eight regional hubs across the network. Within six months she led the historic launch of SIA’s A380 service. Not surprisingly Media Magazine named her regional ‘Account/Business Development Person of the Year’.

She had failed amibitions of becoming a lawyer. But the frustration led her into the ad industry. First as a client and then as agency owner/entrepreneur. She then became managing director of Bates 141 in the Philippines, which paved the way for her move to Singapore as regional brand development lead for the network.

Her love for new business and her ‘never say die’ attitude soon marked her out as a prime candidate to take the helm.

ADOBO How difficult was it for you to decide

to leave TBWA, after nine years for Publicis?

DELA PEñA I look for ‘homes’ and I am not a skipper. You know I spent nine years in TBWA which really felt like 18 because it was so intense. It was difficult to leave but I think it was the right time for me to move on.

ADOBO What did Publicis say/do to

convince you to take on the CEO role given TBWA’s strength in Singapore?

DELA PEñA Arthur Sadoun, chairman and CEO of Publicis Groupe’ and Erik Vervroegen, international creative director of Publicis Worldwide, were both ex-TBWA. The two have a very strong vision. And that’s partly why I said yes.

DELA PEñA I started out in Kwok

started in advertising

Properties as a training officer. Then I became the marketing services person. But the financial crisis set in and the real estate market collapsed.

So I was out of job! Instead of looking for another one, the three of us in the team formed our own agency. We were doing everything from design, events, activation , DM, you know, all sorts. anything that we could. We did stints for Jollibee, Citibank, Pfizer… but when I reached 25, I decided to leave because I realized if I wanted to be the best, I had to learn from a different environment.

Following an ad in the newspaper, I interviewed for a job in ASPAC Advertising.

I didn’t have a good CV. I was a training officer, then a struggling entrepreneur with some success. But I knew I was not the most seasoned. So I met and was interviewed by Marco Ramos first before Miguel Ramos, who still owns ASPAC. Literally, there were 500 applications for seven positions and I got one of the jobs — in account servicing.

I had a very negative view of account servicing people. I thought they werre just messengers. But my friend, Oman Tanchingco, now managing partner of Expedio, made me realize what it takes to be a great account person. He was at Ogilvy Action Philippines. And we were a partner agency he outsourced work to. He was a planner suit before there were many planners in the local industry. He was amazing and so I

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ADOBO Tell us how you

decided maybe I should go further into the business. Then I saw an ad for Managing director of Bates 141 and went for it.

ADOBO What do you admire about Publicis

that persuaded you to join the agency?

DELA PEñA Publicis has made a lot of

changes recently from the Singapore point of view, but what really excites me is Arthur’s. vision. He champions the core values I believe in: Entrepreneurship, innovation beyond creativity; new business growth and being obsessed with clients. And Loris (Loris Noid, CEO Publicis Asia Pcific and emerging markets) coming over is a really big thing. That’s one side of the story.

The other side is this incredible feeling that I needed to create the right kind of change. I am incredibly grateful for the last nine years but I needed a change to grow. And I have to say it came at the right time. I think Publicis is an agency to watch given the developments in the industry globally and I felt kinship almost immediately with Arthur and Loris.

ADOBO How are you settling in at Publcis?

DELA PEñA I am, you know. I was really excited to join even when I knew I had to take a break. I really expected a lot of great things but it has exceeded my expectations.

I know it’s only two weeks and it sounds premature but I am incredibly happy to be here. I can’t explain it any other way. It feels like a very natural fit because I know what I need to do. And I feel very energized by it.

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“I am incredibly driven and thrive on relationships. It is important to wake up everyday with a purpose. I believe we need to do things that rock our world.”

ADOBO The two networks are very different.

“Lou was one of the most energetic and focused people I have ever interviewed and had the pleasure of hiring and working with. I remember after we had interviewed her she sent over a bottle of wine as a thank you gesture, how many 20 year olds would do that?

I remember thinking that Lou would go a long way in advertising, primarily because she was very focused and driven and you just knew she was going places. Am very proud of her and what she has achieved. Along with another Filipina friend Level Butler who is GM of Saatchi Singapore I think they are some of the best talent that the industry has right now and they are rocking it at the regional level.

– Miguel Ramos, Aegis Media Philippines Chairman

what is the biggest cultural change you faced coming into Publicis from TBWA? DELA PEñA When I first joined TBWA it was a maverick agency. It still is because they are trying be ‘out there.’ And they grew extremely big here in Singapore.

I did not experience any culture shock coming into Publicis because they welcomed me. They gave me the space to do things. They want real change that will lead them into the right kind of growth and excellence. It is excellence that drives growth. It is not just growth for the sake of growth. And that’s really where I thrive. So there is no shock at all.

ADOBO What did Publicis say or do

to convince you to move, given the TBWA strength in Singapore?

DELA PEñA On a professional level I really

bought into the vision of Arthur. And on the personal level it was time for me to run an agency because I felt it was time for me to be in charge of creating the culture. It is incredibly important because culture drives everything. To build and lead a team that believes in the same values and works towards the same goal is what I really want to do.

TBWA became really big. We are talking about 200 people compared to 75 people here. So of course it will be different, And in many ways that’s a refreshing change.

And I am energized by it. Because it’s a smaller agency, the structure is leaner so it’s a great opportunity to get things right.

During the time of Guillaume, Matthew Godfrey and Calvin Soh, Publicis Singapore was incredibly successful. So it will be important how we do things. Collaboration is key. And it all starts with the brief because that affects everything. The quality of thinking, the quality of the process.

There is a good bunch of people here.

They love the the idea of constantly raising the bar. That never stops. And I want to create and build a team that has fun along the way.

If you want to be best in your field you have to mentor them and set the right standards.

It is about being empowered.

There is incredible care and thought in everything we are doing. We have a lot of exciting plans. The agency will evolve and we are aiming for the best.

ADOBO Publicis has had a great year with

the ‘Crisis Relief’ campaign. When you talk about creativity in Singapore, the names that tend to stand out are DDB, TBWA, Ogilvy.

What are your objectives for Publicis?

DELA PEñA Well it’s not just creative, I think to become top tier in Singapore, which is a small domestic market, we should be domestic, regional, and if we’re lucky, global.

We have four key objectives. First is the ability to provide ideas that are media agnostic. Being able to come up with campaigns that cut across boundaries.

Second is creative excellence. Third is a very strong position in digital — the

“Lou and I were mortal enemies the first 4 months we worked together (in 141 Worldwide Manila). Then one fine day, she came up to me and said something like “I may hate your guts but I respect you for standing your ground.” And with those words, she earned mine.

The very next day, we were friends.”

– Cats Guerrero, Bates 141 Executive Creative Director 01

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01 Corona Beer ‘Republic of Corona’ 02 Singapore Airlines ‘The Lengths We Go To’

are still in touch. There’s so many people who inspired me but he is the first one.

There were a lot of clients who did inspire me too. Singapore Airlines, Corona.

They thought me how to be excellent.

ADOBO And you wanted to be a criminal defense lawyer?

02

growth of digital is huge in Singapore.

And fourth is to retain a nimble approach to things. Lots of clients these days go to boutique agencies. They see them as more entrepreneurial. I think clients wants that more than having comfort of the network.

it because you know, winning is magical. And even losing can be magical. If you create the right tools, set the right standards, you have fun along the way. Your relationships become enduring. And that’s what builds the culture.

ADOBO What will you miss about TBWA?

ADOBO What do you see yourself

bringing to Publicis with your client, below-the-line and agency experience?

DELA PEñA My friends. It’s a short answer. I have a lot of friends there.

DELA PEñA When I was at TBWA I took the Omnicom Advanced Management Program in New York. Which is run by people from Harvard. And as they say: You hire the attitude and train the skills. So I think the first thing that I bring is my attitude.

I have a “never say die” attitude. And I believe in having fun along the way.

Also I believe we need to care about each other. Not just about getting things done.

If you ask people who I have worked with, I don’t believe in half measures.

I am very entrepreneurial at heart so I think I will be a good fit in this set up.

ADOBO What was it like coming here

ADOBO What would you consider are

your greatest achievements during your nine years in TBWA Singapore?

alone and living in Singapore?

DELA PEñA My first year I had tons of cases and some pieces of art. that’s it. I had two friends. I was really lonely. it was so tough. that was the challenge coming here the first year. I started from scratch.

I didn’t have an apartment. I had to eat at the hotel. it was very lonely even though it was only three hours away from the Philippines. It’s a different world and we Filipino are all about relationships.

I started making friends with the people in the agency, And then after that you just network. When I celebrated my 30th birthday here I had 20 people there. So I think that’s not bad. And my friends then are still my friends today.

DELA PEñA I don’t want to single out a

specific win because a pitch is always a group effort. I think what I did was help build a new business culture. I was TBWA’s new business person for nine years and you know, new business has to be the heart of the agency. It is such a difficult job. One might say, it’s the most difficult. You have to start working with new clients alongside your existing clients.

But what new business does is that it unites the agency. You put your heart and soul into

ADOBO And the people who inspired you in your career?

DELA PEñA David Bridgman of 141

definitely! He is a people person. He taught me how to be more generous in terms of spirit and time and he was my first boss in advertising and he completely changed me. His impact stays with me today. He is retired now in New Zealand – but we

March-April 2014

DELA PEñA Where did you hear that? Yeah I think I did. I wanted to be a Katrina Legarda.

Fight for women’s rights. But I failed the entrance exam. I was so devastated and my best friend in high school made it without trying. So I felt I really failed my dad right after not seeing my name on the big wall in the UP Law School. I will never forget that. and I had to call my dad sraight away.

My dad is one of my favorite people and I didn’t know what to say. My dad is eloquent and articulate. And he didn’t know what to say. So I was very grief-stricken for a long time.

I graduated cum laude in Comparative Literature at the University of the Philippines.

In the end I’m so glad it happened because I don’t think I would be a good lawyer.

ADOBO You were also from the client side for while, did you ever consider remaining a client rather than becoming adman?

DELA PEñA I really love the agency world. I really love it. Full stop. I’m an agency person through and through.

ADOBO You were on the winning side of some major account pitches which – HSBC, Allied Domecq... and of course Singapore Airlines. What makes an agency team a powerful new business team?

DELA PEñA A team that treats each other with respect. A team that has a common purpose.

And how you feel about the process of working together. It really about the people and culture and the inspiration you get from each other.

ADOBO You once mentioned wanting to own your own agency. Is that still an ambition for you?

DELA PEñA I’m leaving that idea now. I don’t want to be arrogant but I want to treat Publicis like my own and I am very happy.

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Chona Bustamante at a shoot for Maggi

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Ordering chaos

Chona Bustamante lives in a pressure cooker world as Just Add Water’s producer and managing partner Words amanda lago

Producer Chona Bustamante lives a busy life, juggling many different roles and shuttling between two continents while she’s at it.

Bustamante in fact wears two hats at work – she is a producer as well as managing partner of Just Add Water, an organized pool of freelance producers that does TV and radio commercials and corporate videos.

Shuttling back and forth between Toronto and Manila, she does everything from overseeing administrative day-to-day management to providing consultancy on projects handled by her fellow producers to actually producing for the team’s clients.

The way Bustamante describes it, her life can get pretty chaotic: “An agency producer must be an organizer and good with details…Having a built-in Energizer battery is also vital, as you have to keep on going until it’s done. So being borderline OCD and a type A personality works to my advantage.

“Another prerequisite to being an agency producer is to have the stomach of a rhino, to eternally deal with the unholy trinity of high expectations, unreasonable timelines and tight budgets. In other words, having to live in a pressure cooker constantly,” she added.

At any rate, Bustamante seems to take the chaos in stride, having been in the industry for quite a while and showing no signs of quitting.

To Bustamante, being a producer is a balancing act in itself, with the role requiring both creativity and business savvy.

“As you may also have heard, producers have always been referred to as Jack-of-all-trades and master of integration, since we need to know every aspect of production – from the technical to the business side,” she said.

“Added to that, we need to be good communicators, coordinators, organizers,

negotiators, pep squad leaders, shock absorbers and troubleshooters. So we may not be experts in one particular field, but we have to be a generalist to be able to function effectively in our role as an agency producer.”

Having to play so many roles for one job seems like an arduous task, but it is what Bustamante loves the most about her job.

She not only takes the chaos that comes with the job in stride, but even thrives on it.

“I guess that is what I love most about it, that I get to be many things and do different things. There is variety and it is never boring. I do not think I would have lasted this long if it wasn’t so,” she said.

Bustamante became a producer after one year of learning the ropes of production work in the casting department of McCann Erickson.

From there, she took on the immensely bigger role of broadcast head not just for McCann, but its sister company, Harrison Communications.

The sum total of 15 years of handling two advertising agencies simultaneously seems to have helped Bustamante hone her balancing act down to an art. This experience has paid off now that she heads Just Add Water, where she has to manage her time – and everyone else’s.

“I am also like the mother hen forever nagging and reminding everyone to keep his or her game tight every chance possible. Some of them tease and refer to me as their Eye in the Sky. Thank God for technology, I can definitely do that and keep in touch with everyone easily,” she shared.

Bustamante co-founded Just Add Water over eight years ago. The idea came to her while she was at McCann, and agencies began to dissolve broadcast and print departments, and outsource work to freelancers.

“Everyone was streamlining and finding ways to be more cost efficient,” she said.

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01 Coffeemate ‘Breakthrough’.

02 San Miguel Beer ‘Hero’.

03 Coca-Cola ‘Angel’.

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“At that point, I had to decide if this was indeed the route I wanted to take and if I did commit to it, I needed the right partners who shared my vision,” she said of her partners, Jem Lim, Jing Abellera, Cris Dy-Liacco, and Jho Moya.

It took four years of planning for them to set up shop.

“Just Add Water is a first of its kind (at least in Asia), so it was difficult at first as there was no business model to copy,” she shared. Eventually though, the founders were able to get the pool up and running.

Through Just Add Water, Bustamante and the team were able to standardize workflow, ethics, discipline, training, and even the rates freelance producers charged. The pool functions like an in-house broadcast department, with producers exchanging ideas and skills, and covering for each other in cases of emergency.

“When your freelance producer gets sick, who takes over? Agencies should feel very little difference when that happens,” Bustamante explained.

Just Add Water also allows producers in the pool to source new opportunities and land new clients.

Never one to take the easier route, Bustamante has clear favorites when it

comes to projects. “My favorites are those projects that are a challenge to mount yet turn out really well,” she said, pointing to development of launch materials of Coke Zero as well as Project Angel.

“The Jet Li San Miguel TVC, although producing it must have aged me by a couple of years, was an experience that I hold dear,” she added.

When it comes to finding inspiration, Bustamante is inspired by many different things, ranging from brilliant, creative minds, to movies, songs, architecture, even “wide-open spaces, great cuisines, and well-organized closets”.

“Gentle souls and selfless people hit me right there too. People with Zen-like focus and simplicity fascinate me as well – Maybe because my own Chi is often all over the place,” she said.

“But what inspires me most is my family; I do not think I would have pushed and work as hard as I do if it wasn’t for them,” she said.

Even with a transcontinental lifestyle, Bustamante isn’t showing any signs of stopping: “Just Add Water is still very young; it needs a lot more nurturing and polishing.

This will definitely take up a good amount of my time for many more years to come. And for as long as I’m blessed with good health, I’d

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“Gentle souls and selfless people hit me right there too. People with Zen-like focus and simplicity fascinate me as well – Maybe because my own Chi is often all over the place.”

like to continue producing. I really enjoy it.”

Then again that doesn’t mean the unstoppable Bustamante, who seems to eat chaos for breakfast and stress for lunch, isn’t looking forward to a slower-paced life in the future.

“Someday though, after all these years of living at hyper drive, where a ‘toxic’ day is almost everyday, I’d like to eventually just slow down and enjoy life,” she said.

“I’ve always wanted to have a small farm back home in Negros, where I can do some intensive farming and be self-sufficient. A small B&B by the beach also sounds good!”

We're all in this together.

Happy 8th Anniversary, adobo!

www.88storeyfilms.com

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Remaking

fcb manila New leadership reinvents shop and beefs up digital sibling Words Sharon desker shaw

(from right-left) Arnold Liong, Chairman/CEO; Tom Eugenio, and James Bernardo lead the newly rebranded agency

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FCB mani la/d fcb

Draftfcb, rebranded in March as FCB Manila, refreshed its Philippine leadership nearly a year ago, installing two experienced industry hands to reinvent the agency and grow it beyond its telco client base.

Appointed respectively as president/ CEO and chief creative officer, Tom Eugenio and James Bernardo are spearheading the agency’s repositioning to a “solutions agency”, one with end-to-end capabilities across the communications and engagement field.

The pair arrived within weeks of each other in mid-2013. Eugenio came after a decade at Publicis Manila, where he was last a division head, while Bernardo returned to advertising after less than a year on the client side as vice president of marketing at SM Retail.

“We’re branded as a telco agency with Talk ’N Text and PLDT – but if we want to increase our billings, if we want to be better known in the industry, what is the one thing we have to do?

Reposition ourselves,” says Eugenio.

With the battle cry ‘Bring the Change. Be the Change’, the leaders have asked staff to break out of their defined working roles and become solution providers. “We’re saying, forget your role as an account manager, copywriter or strat planner when you see a client. We want you to provide solutions – it doesn’t matter how big or small a client is or how much their advertising spend is.

We’ll look at the brief, the client issue, the brand issue and give them solutions.”

The agency has invested in training to make this happen. “We launched an internal academy with key speakers from each discipline – creatives, digital, strategic planning, creative planning and account management – to equip staff to think creatively and to provide solutions,” Bernardo adds.

The shift to a solutions agency may have only just happened for FCB’s Philippine outpost but the niche is well within the network’s comfort zone.

FCB is after all the result of a merger

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eight years ago between one of the industry’s legacy advertising networks, Foote Cone & Belding, and direct marketing’s standard bearer, Howard Draft’s eponymous shop, to create a new offering in the agency world, which was then renamed Draftfcb.

In the Philippines, however, the agency has split its offering down the line – abovethe-line capabilities reside within FCB while digital and direct marketing expertise are housed within DFCB Digital, the only market where the latter brand exists for the Interpublic-owned network.

DFCB Digital, since rebranded to dFCB in line with the global name change, was set up two years ago, focusing on areas such as app development, but shifted course early this year to deliver consumer engagement through digital.

To many in the industry, the silo approach speaks of an earlier time. Eugenio and Bernardo, however, insisted that it didn't matter where the skills resided, but how best to leverage them to provide integrated solutions that deliver to clients’ bottom line.

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01 David Gandy App 02 Instagram posts #WhoIsGandy 03 David Gandy Facebook page

01

02

To this end, the leadership and bottom line structures of both agencies were unified to encourage a collaborative culture. Beginning in January, Eugenio, Bernardo and chief strategist Lizette Santos’ leadership responsibilities were extended to dFCB and both agencies now contribute to one bottomline. The 52-person FCB and the 22-person dFCB

are also free to pursue their own clients.

“It’s really about the expertise at the end of the day. We don’t want them to shadow what (the other is) doing because that’s the normal tendency (when the different disciplines are banded together),” explains Eugenio of the decision to spin digital out as a separate company. “We collaborate a lot so that we can expand services offered to clients.”

The relationship between the two shops, Eugenio explains, is no different than the one the pair has in place with sister company Weber Shandwick for PR. “When we get a brief from our client, we do a point-of-view session with each company, including Weber Shandwick.

We attack the brief 360 degrees, and then we do the breakout so each can think how their skills can help the business – how digital, PR and above-the-line will help.”

Bernardo, who has worked at integrated operations such as Ogilvy & Mather earlier in his career, believes there are enough differences in language between above-the-line and digital to warrant the two-agency model.

“When I go to the digital side, I have to switch my thinking to that mode, where it’s about content, social media, engagement and when you go above-the-line, it all about the brand image,” he explains, pointing to work for SM Men’s David Gandy campaign.

Though still in its infancy, dFCB has enjoyed early success. Early this year, it became one of two agencies in Asia to make

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“It’s really about the expertise at the end of the day. We don’t want them to shadow what (the other is) doing.”

the exclusive Cannes Chimera club of eight finalists from across the world for the 2013 challenge. Its ‘Gamers vs Poverty’ idea competed against more than 900 entries from 79 countries, impressive considering that a five-person team put the entry together and made deadline with just minutes to spare.

The idea centered on co-opting a sizable and highly passionate, if misconstrued, community – gamers – to fight poverty, a counterintuitive approach given media’s tendency to portray video games and players in a negative light.

Yet, if they were to battle poverty, gamers would become heroes outside the gaming world, casting themselves in a new light as a community that is involved in important society issues and contributed to its development.

Accordingly, dFCB envisaged the information campaign targeting gamers would be done in the most native way possible – through in-game content in the form of new storylines, item upgrades or general information linked to the game and poverty.

“The beauty of this idea is that it is nationless. If it rolls out online, it can be everywhere. People from anywhere can benefit from it,” says Bernardo.

At press-time, the team was crafting a business plan to present to the Chimera jury in late March in Seattle for a chance to win the US$1 million grant to execute the campaign. Bernardo says the campaign requires a two-pronged approach – to

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raise gamers’ awareness of the issue majority coming from Manny Pangilinan’s “The beauty of this idea with storylines or for them to move to the group of companies such as PLDT’s Talk and is that it is nationless. next level and securing a percentage of Text product and Philex Mining Corporation. what they spend in-game for charity.

Mondelez brand Oreo and Beiersdorf’s If it rolls out online, “The idea is really about getting the Nivea contribute the bulk of the shop’s it can be everywhere. gaming community involved in doing what global business but both are relatively small they love to do, which is playing games, players in the Philippines. Be that as it may, People from anywhere but at the same time they can contribute to the agency is nevertheless contributing to can benefit from it.” alleviating poverty,” explains Bernardo, Oreo’s brand growth: An idea the office citing the potential to reach out to billions of submitted at a regional pitch session was MMPORG and casual game participants. bought by the client for a campaign this year.

Sister shop FCB also started the year with revealed Gandy’s celebrity background and a bang. It landed 80% of Dole Philippines' that he was coming to the Philippines. marketing communications business Real-time with gandy An #askgandy handle was also without a pitch early this year. It helped As for work, dFCB orchestrated a stealthy, set up for local consumers to quiz the that Eugenio and Bernardo had previously real-time campaign to unveil top British model supermodel, who answered questions in worked with the client separately at different David Gandy as the new face of SM Men’s real-time during the local runway show. points in their career and the advertiser was Fashion in October last year. Eschewing “He would answer the tweets or we familiar with their work. The repositioning the usual press media launch, the agency would retweet and we incorporated prizes as a solutions provider also resonated with turned to social media to intrigue and get and some promos – for instance, if Gandy the advertiser, which is in line with Dole’s the local market involved in talking about retweeted a tweet, the person would receive new direction to grow its portfolio.

Gandy, who has walked on runways for Dolce a gift certificate from SM Men’s Fashion,” As the agency‘s leaders see it, the & Gabbana and Hermes and appeared in said Bernardo of dFCB’s first big campaign. win is the first step in shifting industry campaigns for Ermenegildo Zegna and Zara.

“It was exciting because we were able perception that it is only a telco agency.

Questions were asked about who was to integrate social media with content.

The pair is now looking to land a client in Gandy, helping make the model a trending MUSIC: Guitar strums Echo: Meron akong ikukwento…

No traditional media was used.” personal care, a fast-growing category. topic in a span of two weeks. There were of The pair’s triumphs with Cannes Dole’s arrival only makes the agency’s course cheeky posts such as tweets asking Chimera and Dole shows progress in ditching local to global alignments even more lopsided if he was related to Mahatma Ghandi. perceptions of it as a telco-only agency.

– 90% of the agency’s business is local, the With excitement building, the agency

“BELIEVE” TVC 60s

Mga tropa kong panalo…

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Girl: Load po!

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Supers: We believe in making the good life affordable

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Work- play

balance Fridays are for personal and professional growth at Vgrafiks.

Words Carmela Lape単a

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01 Acer Mobile (Brand Launch & Advertising) 02 Simple Touch (Brand Identity & Packaging)

The team sits around a large table, sharing brushes, cups of water, and trays of watercolor paint. “Would you like to paint?" they ask cheerfully, and for a moment one wonders if they’ve come to the right place.

A paint session may not be the expected office activity, but at Vgrafiks, it’s par for the course for Whatever Fridays. As the name suggests, Fridays for this fun-loving team are for doing whatever –a trip to the ice skating rink, trekking at Taal Volcano, or an afternoon session of karaoke and drinks.

Managing partner Russell Vergara, who founded Vgrafiks in 2008, believes the practice helps the team’s personal and professional development. The company observes a four-day work week, but attendance is mandatory for Whatever Fridays programs. Since the start of this year, the company added workshops to its Whatever Fridays’ program, which previously featured a random range of activities.

At a recent workshop, a team member who used to be a barista led proceedings.

“It’s really just an exchange of skills and talents,” Vergara says of the workshops.

Although the activities may seem more about fun than work, they do serve a higher purpose. “It’s rejuvenating and it inspires us,” Vergara says. Also, it reflects the company's playful attitude – happy, collaborative, and curious, as they proclaim on the website. “Our constant brief is to play in order for things to work”, they say, and it seems to be working well for the group.

Vergara shares that at one point, the team had ended up drained and unhappy – prompting them to focus on doing what they loved. “We used to have a lot of corporate clients, then we realized that wasn’t us. We got burned out. So we decided to only take on projects that were in line with our values.

We just defined, what is fun for us?” he says.

As a result, they gained more of the projects they wanted to do, such as Acer Philippines’ launch of the first Intelpowered smartphones in the country.

With a brief to remind people how to

01

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play again, Vgrafiks had people picnicking in shorts and flip-flops at a summer barbecue party launch. As part of the campaign, they designed PlaySpace, which gathered speakers who “love their work so much, it’s all just play to them”.

Another project where the team was able to integrate play with work was creating the brand identity for Orale! Taqueria Mexicana. With shades of corn, tomato and jalapeño for inspiration, the team worked on the restaurant mural and hand-painted typography themselves, Vergara says.

Of course, not all clients are looking for their kind of work, a fact Vergara acknowledges. “We’re not trying to project an image, we’re just trying to be natural. And that’s one of our requirements for our clients and partners. If you like what you see, then join us, work with us. If you don’t, then we’re

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probably not the best group for you,” he says.

Although the approach is not without its disadvantages, Vgrafiks’ easygoing attitude is still effective for them, Vergara says. Instead of rigid rules, the team is led by example. “With great power comes great responsibility. We just treat everyone as adults and professionals,” he says. For instance, if a certain employee always comes in late, everyone else just comes in early.

“There are personal values that, if everyone around does it all at the same time, it can influence or train others,” Vergara says.

According to him, what matters is that deadlines are met and people treat each other with respect.

“There are times that you’ll clash, but what’s important is it isn’t often, and at least you learn from those situations, as well,” he says.

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“If you really love what you're doing, even if it drives you crazy, you can just take a break then come back recharged.”

Vergara patterned the company’s management style after Big Spaceship’s Our Manual, which he describes as lifechanging. “It’s not the typical employee manual with the allowed number of absences, dress code, Facebook policy – which was what I had prepared. After I saw the manual, I scrapped it,” he says, adding that it encapsulated everything he wanted to communicate to the team.

Although not for everyone, the style fits like a glove for the Vgrafiks team. “We just implemented it this year, but so far the results have been great. It’s really effective for us,” Vergara says, noting that it might not work as well for bigger organizations.

Azel Gorne, who recently joined the company, shares that the approach allows staffers to thrive. Even as an account executive, she appreciates the space for creativity and self-expression. “It’s super relaxed. I think some other companies are too stiff. I don’t want to stifle myself.

It’s like, ‘Be yourself’,” she says.

Vergara emphasizes that passion is a must. “If you really love what you’re doing, even if it drives you crazy, you can just take a break then come back recharged,” he says.

Comprising a small team of around 15 people, Vgrafiks offers five disciplines: People, brand development, accounts, technology, and the design team.

Vergara explains that these are just specializations, but the roles overlap.

Vergara says the company is looking at growth not in terms of size, but in new businesses. One project they hope to launch soon is a training lab, which is open to anyone. Essentially a series of workshops, classes, and conferences, the training lab is a dream project of Vergara, who despite taking up seven courses in seven colleges, never graduated. “Even in college, it was my

dream to set up an art institution,” he says.

Vergara recalls how fell in love with graphic design. After going through everything from Fine Arts to industrial engineering, he discovered graphic design through a friend. “It was like a super hot sexy model you’d meet at a bar. I knew then that this was what I wanted to pursue.”

From there, opportunity came knocking to work with various design studios.

Vgrafiks became more than a twinkle in Vergara’ eye when Unilever invited him to present his company profile. There was no

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company then, but Unilever liked his work.

“So I contacted Christian (his partner), I said, let’s do this. I have a business plan.

And that’s how Vgrafiks started.”

When hiring, the management team looks for attitude over aptitude. “If the character is good, it’s easy to teach design, creative thinking, or technical skills like drawing or photoshop,” he explains. Over the past six years, the company has evolved from a oneman operation to a small but effective, and happy, team."The chemistry is better, because you still know everyone,” says Vergara.

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Kore an wave

In 2011, Cheil Worldwide's work, ‘Homeplus Subway Virtual Store’ (for the Korean version of Tesco) won South Korea’s first-ever Grand Prix at Cannes for Media

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A look at the agencies that are bringing Korean creativity to the world When one thinks of South Korea, images of the very latest in high technology and pop culture inevitably spring to mind.

That these modern day creations are able to exist, however incongruously (yet somehow fittingly), as extreme juxtapositions against centuries of traditional culture is a testament to South Koreans’ ability to respect the past while moving inexplicably forward.

Indeed, if the rapid evolution (some would say, “revolution”) of their local automobile, consumer electronics, couture and cosmetics industries over the last 50 years are anything to go by, the Korean propensity for perseverance and reinvention is alive and well.

One industry that has drawn increasingly considerable attention in recent years is advertising, and no discussion of Korean advertising would be complete without mention of the “big three”, namely HS Ad, Innocean and Cheil Worldwide.

Incidentally, each of the Big Three began as in-house agencies of major Korean companies operated by family-owned conglomerates (chaebol). To wit, Cheil Worldwide began as a division of tech-giant Samsung, Innocean was spun out of Hyundai, and HS Ad started as an affiliate of the LG Group under the name LG Ad. With humble beginnings that can be linked directly to the capitalist reformation that followed the end of the Korean War, the majority of Korean advertising has kept, for the most part, well within the traditional models of jingles, celebrity endorsements and clearly-delineated gender roles. In 2010, of the roughly 2,000 commercials produced in Korea, 65% featured celebrities, compared to less than 10% in the US, UK and France.

From a bottom line standpoint, the approach works. Take, for instance, ubiquitous pop group Girls’ Generation, whose 2011 endorsements for, of all things, Woongjin Conway water purifiers increased sales for that product roughly 400% (compared to the same period a year earlier).

Speaking on the traditional nature of Korean advertising, HS Ad chief creative officer Bo Hyun Hwang, says, “The majority of Koreans, I think, are practical. So when we make ads, even if it’s humorous and

very creative, it cannot sell. In Korea, the most impactful advertising is always endorsement by film and music stars. Korean consumers are divided, but the proportion of imaginative ones is still very small.”

Of the propensity towards convention, former Cheil Worldwide chief strategy officer Bruce Haines once said, “A huge proportion of Korean ads depend on famous people. Of course, it’s not uncommon in the West for stars to endorse a product, but generally the ad has a core idea and makes use of the celebrity endorsement to enhance the original concept. Not so in Korea. In its crudest form, Korean advertising degenerates to beautiful people holding a bottle. This is one of the things holding back the reputation of Korean advertising worldwide.”

By the time the 2000s had started in earnest, Korean creatives had begun attending international awards shows somewhat regularly, with the overall goal of immersing themselves in why industry awards were important and how global trends affected the creativity needed to win them.

Another consideration affecting Korean creativity was the fact that, until very recently, the very brands that owned the agencies in Korea were, for the most part, being serviced by foreign houses when it came to their international campaigns (perhaps best exemplified by independent American agency David&Goliath’s handling of Kia’s striking Super Bowl ads over the last four years).

This was partly due to having a full load as in-house agencies of Korean brands that had yet, for the most part, to venture overseas.

While the acquisition of foreign subsidiaries, talent and offices would resolve potential problems (such as conflict-ofinterest) that arose from global alignment policies in the late 90s, it would be some time before the Big Three felt confident enough to take on clients other than their owners.

As the Koreans sought to reclaim their brands overseas while immersing themselves in international agency culture, they soon learned that what worked back home (or regionally) might not necessarily work in the foreign offices. The solution to this was to acquire local companies and hire top local talent to bridge cultural gaps and establish themselves on local soil.

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HS AD chief creative officer BO HYUN HWANG With over 20 years of advertising under his belt and a position as an adjunct professor at Ehwa Womans University, Hwang is one of Korea’s most respected creatives, having worked on campaigns for such diverse clients as Korean Air, LG Electronics, Korean Tourism and the Seoul Metropolitan Government.

A recipient of numerous various metals and a fixture of award show juries around the world, Hwang rose to international prominence with his winning of Asia’s first-ever Silver Cannes Lion (in Outdoor, for client Nike’s 'World Cup’ campaign) at the 2003 Cannes Festival of International Creativity.

In 2011, everything changed. That was the year that Cheil Worldwide (which began life as Samsung’s in-house agency) was awarded Korea’s first-ever Grand Prix metal at the Cannes International Festival of Creativity, for ‘Subway Virtual Store’ for client Homeplus, the Korean subsidiary of Tesco Supermarkets.

Busy commuters were invited to browse their aisles and select items for purchase via a series of life-size images along walls in city subway stations and make purchases by photographing their orders. While the campaign had optimistically been expected to garner a Bronze or a Silver, at best, the

“Creativity means immersive thinking. You can take different thoughts, chew them, break them up, but for creativity to happen, you have to wait; you have to let the different parts ferment by setting them aside and doing something else, because creativity is not generated at specific moments, and sometimes, you can actually solve problems better when you’re not concentrating on them. That’s why I always keep a notebook with me: From the time I wake up in the morning, I’m subconsciously working out two or three problems (without really concentrating on them). I always encourage my team to go out, see a movie, or ride a bus for its entire route – just get out of the office! That’s the essence of creativity.”

decision to award Grand Prix was reportedly a unanimous one when it came for judging.

Says Thomas Hong-tack Kim, Cheil’s Worldwide ECD, “Because it was so unconventional, it (the winning campaign) was a kind of breaking point, a disruption, from the previous way of advertising communication.

Before that, we still had an industry that focused heavily on TV commercials.”

The win would turn out be a significant one, not just for Cheil, but the Korean industry as a whole. “All of a sudden,” says Hwang, “the idea of (having) an award

changed from being something nice to have to something tangible. It became a necessity.”

All of a sudden, Koreans’ entire approach to advertising, and even agency staffing, had to be reconsidered. Whereas before, a decent showreel and portfolio were all one needed to get a job in the Korean advertising industry, now, employers were looking at awards points.

Clients, too, began getting in on the act.

“They now know that getting a Lion is very important in branding,” says Kim, matterof-factly, noting that this doesn’t necessarily have to be a bad thing as, in Cheil’s case, the multiple wins have helped to engender

HS Ad’s Bo Hwang’s work for a Nike World Cup campaign bagged South Korea its first-ever Silver Lion at Cannes in 2003

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HS Ad

“The Difference”

Incorporated into WPP in 2002, the former LG Ad was established in 1984 from what had, since 1962, been the PR department of the Lucky Chemical company.

Corporate restructuring in 2004 saw LG Ad being placed under GIIR, Korea’s first advertising group holding company. In 2008, LG Ad became HS Ad, referencing the hybrid solutions they created for their clients.

Korea’s second largest agency, HS Ad is the recipient of over 10% of the country’s ad spend and has subsidiaries in 12 cities around the world.

the client’s trust in his teams’ abilities and a greater willingness to give unusual ideas a try.

As awareness of Korean creativity and agencies became the talk of the town, the international community noted that, despite taking their original cues from the way things were done in the West, the campaigns that were getting noticed were notable for being inherently Korean. A perfect example of this would be the insight behind Cheil’s campaign for ‘Bridge of Life’ (for client Samsung Insurance). Designed around the idea of preventing people from jumping off a bridge that had become known as one

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Innocean

“Ideas that Move”

The agency behind Asia's first-ever Cannes Grand Prix (in 2011) and Titanium Lion was established in 1973 as a division of Samsung.

As the world’s 15th largest advertising agency, Cheil's clients include ESPN, AIG, Korean tire-manufacturer Hancook, New Balance and Coca-Cola. Foreign expansions have already bore fruit, with their Germany and UK offices winning awards, and a Cannes Grand Prix in Innovation being awarded to the Barbarian Group (a recentlyacquired Cheil subsidiary) in 2013.

of Korea’s top suicide spots, multimedia components were installed on the bridge that would project reassuring messages should strategically-placed motion sensors be tripped. The result? A drastic reduction in the number of suicides and a win that bore Cheil (and Asia) its first-ever Titanium Lion in 2013.

Today, Korean agencies are actively working to expand their respective footprints beyond their native borders, taking deliberate care to ensure local sensibilities following culture clashes seen in forays of years past.

“Outside Korea, we position our offices as local agencies, so most of the Cheil overseas

“Discover Innovative Power in You”

A consistent top performer at the Korean Advertising Awards, Hyundai subsidiary Innocean currently operates in 12 countries, with the bulk of its work going to Hyundai and Kia (which parent company Hyundai Motors purchased 51% of in 1998). Innocean stunned the advertising world in 2013 (at Cannes, no less) that it was moving away from the ‘in-house agency’ model of its foreign offices to become a fully-fledged integrated house with a variety of clients.

offices are led by local top talent, not Korean expatriates,” says Kim. In the past, many Korean companies sent expatriates to run their overseas offices, and from experience, we have seen the difficulty of cultural and language barriers. But even though over 90% of our overseas offices are managed by local top talent, we do not hide our Korean legacy. In terms of size, we are not WPP or Omnicom; we are large enough to have offices around the world, but we are small enough that we still know each other.”

Part of this dedication to evolve was seen in the 2004 establishment of GIIR

(above) Super Bowl TVCs such as this one and 2014’s Matrix-inspired spot for Kia (both by US-based David & Goliath) are reflective of Korean agencies’ former reluctance to handle their brands beyond their borders (left) Traditionally, Korean advertising has relied on the star power of film and TV star endorsements, such as this execution for Woongjin Conway water purifiers, featuring Girls’ Generation

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CHEIL WORLDWIDE EXECUTIVE CREATIVE DIRECTOR THOMAS HONG-TACK KIM As the man behind South Korea’s two biggest-ever Cannes winning campaigns, it is no surprise that Kim ranks at #8 on the Big Won report for 2013, the only Asian ECD to crack the Top 10. Having worked in Korea, New York and Beijing, Kim has dealt with a wide array of clients, including Samsung, Daewoo Motors, Korea Tourism Organization, CJ, Pizza Hut, Microsoft and HP. The secret to his success? “Work hard!” laughs Kim. “I mean that, there’s no special secret – just work hard! A good quality to have is the ability to pick up a good idea.”

(the two “I’s” in the center are the Roman numeral for two), which brought together a number of separate companies (including LG Ad) and put them under one umbrella as Korea’s first advertising group holding company. Cheil, on the other hand, serves as, essentially, its own holding company, actively acquiring companies, in addition to opening its own offices in new territories.

Simply put, after decades of in-house work, the Korean Big Three are now more open to the idea of taking on other clients, and have begun to attract some of the world’s top brands. Characterized by cutting-edge creative insights and innovative solutions, Korean agencies can now be found in nearly every major market in the world.

“From being such a poor country half a century ago, to one of the largest economies, the Korean people have the genetics to get things done. It’s in our blood to be somewhat hot-tempered, but also very results-oriented, performance-oriented and client-oriented, and that’s pretty much reflected in Cheil’s “genes” as well. Our overseas offices share that same spirit. I’m always amazed by how quickly we get things done, and now that spirit is spread out all over the world, and that’s what makes Cheil stand out among the other agencies.”

As the agencies’ profiles have increased, the industries that first called for their services are likewise on the upswing, especially in the sectors of automobiles and consumer electronics. Indeed, according to annual studies published by Cheil, save for a downturn in 2009 caused by the global economic crisis, adspend

by Korean companies has been steadily increasing over the last few years, with no signs of letting up. In 2013 alone, Samsung outspent Apple, Microsoft and Coca-Cola in worldwide advertising expenditure.

On the homefront, Korean advertising has attracted central and municipal government support, be it in the form of the annual Korean Advertising Awards (introduced

in 1971) and AdStars, which, since 2006 has increasingly become a regional show to be reckoned with. 1983 saw the formation of the Korean Advertising Association, which was renamed in 1991 as the Korean Federation of Advertising Associations.

With the recent triumphs at Cannes and other international festivals still fresh in everyone’s minds, where Korean advertising goes from here is anybody’s guess. After having previously being defined as purveyors of almost exclusively in-house work, the history-making awards wins and various expansions are going a long way towards showing, in no uncertain terms, that Korea’s Big Three are more than ready to show the world what they’re made of.

Cheil Worldwide’s ‘Bridge of Life’ for Samsung Insurance swept awards shows in 2013, scoring major metal, including a Titanium Lion at Cannes

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Indie .go

Production value

Jun Reyes has a customdesigned studio underway as he takes his latest venture, Indie.go, down a new path Words amanda lago

Director Jun Reyes’ latest venture, Indie.go, may sound new and unfamiliar, but the company has in fact been operating for about a year.

And while a year is considered short in industry time, the work the company has done – and the fact that a veteran director of Reyes’ stature is backing it – make the shop's low profile all the more puzzling.

The answer is simple: Indie.go’s silence is deliberate, a calculated decision.

“When we began the company one year ago, we did it very quietly, building clientele, setting up the vision for the company. We’d like to do it quietly, diba? It’s only now that we’d like to spread the word,” Reyes told adobo of a venture that is more that just a production operation.

Reyes was still at Unitel Productions when he had the idea to start his own venture. His ambitions though were bigger: He didn’t want to start another production house.

He wanted to start a media company.

“We’re not a production house, but a media company,” he said, explaining the difference: “If you do commissioned work, you’re a production house.

As a media company, we’re committed to doing actually anything that has to do with production content, creating theater, creating any kind of visual and moving images expressions, diba?”

“We can also do, at some point if we want, music. We can also do a TV series,” he said, sharing that the group is in fact finalizing a TV series for the Discovery Channel.

In the one year since it began, Indie.go has already done work for international clients from China and Hong Kong, as well as for big local brands such as Meralco, Chow King, and Procter & Gamble. The

company has even produced a stage play for the Ninoy and Cory Aquino Foundation (NCAF) along with the Philippine Educational Theater Association.

And it is all done with a crew that the director describes as “lean and mean” – a handful of talents handpicked by Reyes himself, people who have been with him since his days at Unitel Reyes chalks up the team’s ability to deliver big projects with a small head-count to a system that he and his team have finetuned after many years in the industry.

“It’s more efficient, which means less crew, which means less cost,” Reyes said. “We were able to finetune the system so that we were able to cut a lot of wastage.

We were able to trim and get down to the basics.”

Apart from trimming the crew count, Reyes also works with a pool of freelance directors, producers, and cinematographers who are part of the Indie.go collective, through which Reyes is not only able to keep his team lean, but also mentor up-and-coming talents.

“They are contemporaries of my son, they're very good, it’s just that they can’t catch a break.

This is a compilation of directors, writers, producers, cinematographers, a hub of freelance production people I mentor, and at the same time give them credibility,” he explained.

“These people are good, they’ve been in the business for the past five, six years. They don’t get any retainers. I created [the collective] so that Indie.go would become a creative hub for those who want to have a credible and valid platform. They’re freelance, but my commitment to them is that I will mentor them,” he added, Having a lean team and an efficient system, Reyes shared, doesn’t just allow the company to Top: Director Jun Reyes in action Bottom: Director Nic Reyes and Indie.go’s ‘lean and mean’ crew hard at work

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“The idea is, you don’t need expensive equipment to tell a story. It doesn’t end there.”

– indie.go founder jun reyes

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trim its rates, but along with the use of recycled props and eco-friendly materials, the group is also fulfilling a commitment to the environment, one of several social commitments that the team takes to heart.

Beyond creating great content, Reyes said Indie.go was looking to contribute to social change.

The company supports HOUSE, a social enterprise that helps abused teenagers rebuild their lives.

Reyes is also looking to start a film school using a grant from Sun Life. Not just any film school, this one will be open to public school teachers who will be taught the art of motion picture and visual storytelling using just their mobile phones.

“The idea is, you don’t need expensive equipment to tell a story. It doesn’t end there. My vision is, and the mandate is that the teachers will actually create with the students stories to drive social change; stories that actually tell something about the environment. It needs meaning.

It’s not just about making a story for the sake of story,” Reyes explained.

“Going back to the idea of creating content, the long term goal as far as I’m concerned is to create stories that will contribute to social change. It doesn’t necessarily have to be blockbuster, but hopefully it will contribute to society,” he said.

As someone who has been in the industry

for a long time, Reyes’ move to do something different reflects his lack of satisfaction with just the commercial aspect of making films.

“I’ve been in the industry for 30 years, at this stage of my life, it’s about giving back. And I want to do something that’s more significant than just making money,” he said, naming Virgin Group founder Richard Branson and producer Jeff Skoll as his inspirations.

(Along with musician Peter Gabriel and the late Nelson Mandela, Branson initiated ‘The Elders’, an international group of statesmen, activists, and leaders that come together to help solve global conflicts. Meanwhile, Skoll’s Participant Media financed and executive produced An Inconvenient Truth).

Reyes said, “It’s our way of giving back to society. To me that’s the way business should be run. It’s not just taking, it’s giving back, you know?”

One year into the business, the company is gearing up for a pretty big milestone: A move to a new office, which will be housed in a studio being built in partnership with Shooting Gallery Asia, on the plot of land that was once occupied by the Unitel studios.

As Reyes describes it, the studio will be “world-class” and multi-purpose, working not only for shoots and productions, but for events as well.

“The studio obviously is just a space, but it’s designed so that it’s also a way for me and the industry to move forward, because the problem is, outside of the TV stations, there are no other studios designed from the ground up.”

Most studios that are being used now are pretty much just old warehouses that were retrofitted with studio facilities and features, he said. Reyes' though has been designed as a studio and will be built as such from the start.

The company is looking to move into its new headquarters by April, while studio operations are expected to begin in May and be fully operational by June.

With a new studio in the pipeline, a steady stream of work from clients from all over the region, and an international partnership with Shooting Gallery Asia, the Indie.go has every reason to start making plenty of noise.

01 Jun Reyes' son Nic shoots his latest TVC. 02 Director Jun Reyes behind the scenes with actress Anne Curtis.

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Illustration by Joshua Gonzales

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Decoding local millennials Phillennials are a sought-after segment by brands Publicis Manila has found a key difference between local and global millennials, making the former a sought-after demographic for brand marketers.

The agency coined the term Phillennials to describe the 18-34-year old segment, who were born and came of age during a period of great socio-cultural change spanning the end of Martial Law and the EDSA Revolution.

Unlike their so-called “Boomerang Generation” peers, Phillennials enjoy greater earning potential, which could see the segment dramatically influence purchase decisions and consumption patterns in fast moving consumer goods, entertainment, technology and entertainment.

Phillennials and money

In markets like the US, where the average workforce age is 42 years old, many millennials are forced to work as unpaid interns or accept low-paying jobs beneath their educational background, limiting their earning potential.

Phillennials, on the other hand, enjoy stronger earning potential because Philippine employers tend to favor youth over seniority.

Phillennials enjoy a bigger edge in sectors such as BPO because of their energy and their willingness to work long hours and night shifts.

Moreover, Phillennials are not burdened by student loans since Filipinos parents generally pay for educational expenses all the

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way up to college. However, innate gratitude or “utang na loob” to their parents and elders compels Phillennials to contribute to the family expenses. Despite this, many still find ways to set aside money for their social activities and personal luxuries or “luho”.

Phillennials and family

Both local and global millennials are experiencing shifts in their role within the family.

Unlike global peers, Phillennials are today co-breadwinners or major contributors to the family’s wealth and are accorded greater respect by family members. Working Phillennials are given more family privileges over their younger non-working siblings.

Their favorite food types and brands are often accommodated when planning family meals. Those who contribute to the grocery budget may even influence choices of household staples, a privilege previously enjoyed solely by mothers.

The knowledge they have acquired through their peers and online network is greatly respected. Thus, their input is sought in making major family money decisions, which could include choice of schools for their younger siblings.

Phillennials and technology

Like their global peers, Phillennials are driven by a love for and attachment

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to technology and a belief that digital information makes them smarter. Being the first Filipino generation to experience personal computers and the internet, they have a high appreciation for all things tech.

Now that they are entering the workforce but are not necessarily breadwinners, they have a sizeable disposable income and are in the best position to buy the latest gadgets and subscribe to the best internet connections.

Phillennials see technology as a key enabler for their YOLO lifestyle. It provides them with a fast, convenient way to immortalize such moments and share them with their online network of friends.

Phillennials as consumers

Phillennials’ purchasing power has yet to be quantified though local employment trends and other indicators point to greater purchasing ability compared with global peers.

Using Geobase population date, the agency pegged Phillennials at a quarter of the Philippine population yet accounting for 50% or more of working age Filipinos. Going

by Geobase data and Henry J. Kaiser Family Foundation data on the median age of first-time moms and fertility, the agency also believed Phillennials may already account for more than 50% of consumer segments targeted by most brands in the country.

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Eyes on Manila

Foreign invasion of local fashion scene drives competition

Illustration by Joshua Gonzales

Words Marla Darwin

HM &

UNI QLO

It wasn’t so long ago that sartoriallyinclined Filipinos would return from jaunts abroad and announce (to anyone who would listen) the newest fashion shopping discoveries they’d made.

Back in the day, it was all about Zara in Europe and, later on, Uniqlo in Japan. A few years later, whether it was in Shanghai or New York, H&M had became the ubiquitous retail destination and pambansang bilin for Filipinos.

It didn’t take long for all the aforementioned brands to make it to Philippine shores (Zara was brought in by Stores Specialists Inc. in 2002; Uniqlo, a decade later in 2012 by SM Retail). It wouldn’t be a surprise if these decisions were born out of travelers’ anecdotes since market research firm Nielsen recently determined that 74% of Filipino consumers are likely to spread the word about their new purchases and a whopping 82% put stock on recommendations from their family and friends – or people they look up to or idolize.

With the hotly anticipated arrival of Swedish apparel brand H&M this year (another hit by SM, which has already brought in popular American brands such as Forever 21 and Payless), it would be

safe to say that foreign retail presence in the Philippines is hitting its fever pitch.

You only need to step out into the nearest mall to see how both Filipino men and women are stepping up their sartorial game, and it’s a mighty big step. In 2010, habit-tracking firm Kantar Worldpanel Philippines took note of a 21% spike in the demand to look physically better from 2005 to 2010.

The fact that these imported brands are able to branch out to several countries speaks much about their capacity to produce high-volume merchandise, maintain quality control, and systematize consistent training among their staff.

It’s these traits that Filipinos have to be extra mindful of, as many of them are still learning their way around improving the quality of the garments, standardizing their sizes (a common complaint), and making branding work for them.

As far as local brands competing with their incoming overseas counterparts goes, branding in the Philippines still means updating logos and graphics, which is such a small part of the picture when you have foreign brands like Muji, which is so consistent in curating their vision it that reaches all the way

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down to the smell of their stores.

Filipino companies used to have the advantage of having lower prices but the foreign brands are able to meet a lot of their price points now, the result of outsourcing and efficient distribution networks.

Competitive price points notwithstanding, however, Filipinos are usually willing to spend more if it means better quality and a perceived better brand image.

Taking from Nielsen data on Filipinos’ instinct to listen to recommendations, local brands are still relying on a tried and tested method of using endorsers to sell their goods. Companies rely on the endorsers to carry the brand for them; the merchandise becomes secondary. A look at the billboards that line EDSA reflects this.

Of course, this still begs the question of how our own local brands are standing up to the challenge of competing with their foreign counterparts. Filipinos upping their sartorial game puts pressure on the local brands to keep in step and to start tuning into the same mechanisms that drive the imported ones.

Partnering social media with endorsers is one step – Anne Curtis, for all her oversaturated exposure, still commands a behemoth power of getting Filipinas

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to buy anything she wears and posts on Instagram (1.6 million followers and counting). A quick perusal of the Plains & Prints Facebook Page will already show all the inquiries about Anne’s clothes and all the items that have been sold out.

Local brand Bench may be on to something that will break away from the industry’s formulas. Bench launched B/ Blog (www.bench.com.ph/blog) earlier this year, an online presence that features the people who work behind their campaigns (as opposed to big name celebrities) and unique styled content that puts the spotlight on the many brands under their fold. The writing is polished, the interviews are compelling, and the photography is stunning.

“When I pitched the blog to Bench execs, I described it as the online equivalent of the brand’s iconic billboards. But rather than just EDSA, we want to capture and entice an audience on a global scale. These days, customers want what they consume to be meaningful, whether it’s a shirt they buy or article they read. To do this, the blog constantly engages customers through a culture behind the brand,” says Paolo Lorenzana, B/Blog’s editorial director.

Lorenzana considers Bench to be the Philippines’ greatest representation of its national identity and believes that this is the key to reaching out to the international market, by making “the unfamiliar cool,” he says. Putting an outsider’s lens to things we’ve grown accustomed to have always allowed something to assume a whole new identity. The takeaway here is that Filipinos will gain a substantial view of its local brands if they know that the brands is talking to everyone in the world, not just them.

Apart from improving the technicalities in rolling out collections and store experiences, there should be a motivation for a brand to become influential and iconic.

The focus needs to be brought back to the consumer. By committing to efforts such as fixing the fit of the garments and delivering consistent pieces/messages, the consumer becomes an empowered individual, no longer being swayed by the company that has the better endorsers or promotions.

Local brands should aspire for consumers like this, because in the process, they themselves become empowered brands.

A loyalty to the vision and quality is what gets established (not just from the consumers, but from the employees as well), which is the stuff global giants are made of.

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Travel in the age of budget airlines Low-cost rivals battle to win share by making travel affordable Words MatThew Arcilla

For the first half-century or so of its existence, commercial air travel was the almost-exclusive province of the well-to-do. But then, somewhere along the line, the world bore witness to the birth of the low-cost carrier (LCC), or budget airline, and nothing was ever the same. Initially dismissed by legacy carriers that clung to their traditional notions and offerings, it wasn’t long before the budget airlines evolved from pesky interlopers into the preferred mode of travel for an entire generation of cost-conscious (thrifty) passengers.

The LCCs would change everything, from earning their own terminals and/or dedicated sections in airports across the world, to paving the way for online bookings (much to the chagrin of travel agencies), 1 Peso Seat Sales, dancing flight attendants and any number of options, gimmicks and promotions to get passengers’ attention.

In the Philippines, leading the local charge in LCC travel is pioneer Cebu Pacific,

which came onto the scene in 1996. A subsidiary of subsidiary of JG Summit Holdings, the airline was promoted with the mandate of giving “low fare, great value” to “every Juan who wanted to fly”.

From initial domestic-only offerings, Cebu Pacific would expand in 2001 to include a number of regional destinations.

“Destinations such as Phuket, Siem Reap, Tokyo or Dubai become very accessible and tickets going there very affordable,” says Cebu Pacific vice president of marketing Candice Iyog. “Low air fares are definitely empowering people to travel, and this is why our tagline is ‘Why Every Juan Flies.”

Indeed, today, from Manila to Hong Kong, Thailand, Malaya and Japan, Cebu Pacific has flown over 70 million passengers to where they needed to go. In late 2013, the airline introduced its first long-haul route with a flight to Dubai, with an eye towards many more. “[We are] exploring serving cities where large Filipino communities reside – Europe, Middle East, Oceania and the USA. Data indicates that more than half of Filipinos deployed in these regions take multiple stops and connecting flights because

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March-April 2014

no home carrier can fly them there non-stop.”

Iyog is rightfully proud of Cebu Pacific’s involvement in the maturation of the Philippine market; in addition to its “no-frills” approach, the airline was the first to introduce policies, procedures and techniques heretofore unavailable in the country, including web check-in, prepaid excess baggage and online seat selection.

Of course, Iyog maintains that the ultimate benefit is to the consumers. “Now, people can fly in for a meeting and fly out at the end of the day, because of multiple daily flights to key cities in the country.”

Of the proliferation of LCCs, Iyog says, “The Asia Pacific market is a very conducive environment for the low-cost carrier business model.” And the market continues to grow as well. “Southeast Asia has one of the highest LCC penetrations in the world [and] the Philippines [has] an LCC penetration of over 80%.”

Recently, a new player entered the Philippine market’s low cost carrier arena in the form of AirAsia. A pioneer in low-cast carrier travel across Southeast Asia since 1994, AirAsia offers flights to destinations

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spanning nearly two dozen countries, with the Low-Cost Carrier Terminal (LCCT) at Kuala Lumpur International Airport (KLIA) serving as its main hub. AirAsia began operating in the Philippines in 2005, with flights in and out of Clark International Airport. With an eye towards making the Philippines as its next growth market, last year saw a stock swap between AirAsia and Zest Airways that led to the creation of AirAsia Zest, operating out of NAIA Terminal 4, to brisk business.

AirAsia chief of staff and marketing head Jonathan Yabut attributes the popularity of the airline to their quality of service. “Many Asians have been used to expecting that they deserve bad service when they book cheap flights,” he says. “AirAsia is challenging that.

We think we can offer both good price and good service. That’s how we differentiate.”

“AirAsia’s business is more than just seat sales,” says Yabut. “We don’t think it’s just about bring passengers from point A to point B. [We give] options and experiences that enrich [a passenger’s] trip: Quality meals, insurance, an award-winning in-flight magazine.” The approach is working; in

2013, AirAsia saw its revenue rise by 3.4% in 2013, and posted a 5% increase in operating profit in the same period that it credited these gains to an increase in passenger volume.

“We [are] the world’s best low-cost airline. We offer world-class service [and] strive always for quality and innovation.”

He cites the ability of travelers to engage in on-the-go flight booking via mobile app as one innovation exclusive to AirAsia.

“We [also] launched automated kiosks in airports that allow people to check-in via mobile phones – an initiative to help queue congestion in local airports [and] Filipinos who don’t have credit cards [can] book their flights online and pay [for] them at 7-Eleven.”

Internet and mobile-savvy notwithstanding, Yabut says the face of Philippine travel has changed a lot in a short span of time. “Consumers [have become] more educated and conscious of various tourist destinations,” he says. “Boracay and Palawan [used to lead but] thanks to the Internet, budget airlines have targeted backpackers and adventure seekers [in search of] more affordable thrills.” The result, he

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says, is that destinations such as Cebu and Davao, that were previously unknown to the mainstream traveler, are now go-to points.

Iyog opines that there is much room in the region, both for LCCs and their more established traditional predecessors. “Lowcost carriers [...] have their own markets [...] different from legacy carriers,” she says. “The growth of both these types of carriers can only result in a bigger traveling market. More firsttime fliers and more frequent flyers can only benefit the industry.” And [for Cebu Pacific] it’s not just about serving only the Philippines, but serving destinations all over the region.”

“We don’t want it to be a race of just seat sales, says Yabut, when asked about competition. “As Lily Tomlin said, “The trouble with a rat race is, that even if you win, you’re still a rat and we don’t want to fall into that trap.”

Ultimately, it is the traveling public that has the most to gain from the options generated by the competition between carriers. For the foreseeable future, whether flying legacy or low-cost, the only question, is, where would you like to go?

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Conflicted consumers JWT examines the push and pull of technology on Filipinos JWT Manila has taken the global network’s annual 10 Trends report local, examining in particular how consumers are both welcoming and resisting technology.

While technology is seen to open doors and enable hyper-efficient lifestyles, it has also pushed people to question the impact on their lives and their privacy, the network noted.

One result is that people are trying to find a balance and in becoming more mindful and in the moment.

The agency also noted that people were embracing imperfection, an antidote to a world that is becoming more polished and mass-produced.

All of which has consumers conflicted between using and avoiding technology, while being able to live life to the fullest.

IMMERSIVE EXPERIENCES

DO YOU SPEAK VISUAL?

AGE OF IMPATIENCE

In a bid to capture consumers’ imagination and attention, entertainment, narratives and brand experiences are poised to become more immersive and altogether more enveloping.

Local examples Runs are more than just a matter of pounding the pavements these days.

Outbreak Manila has turned its 5km runs into live-action survival experience with zombies in hot pursuit. Music festivals have not only multiplied in numbers but have evolved to offer a new kind of music experience as seen in the 7107 International Music Festival in Clark, Puerto Galera’s Malasimbo or Zambales’ Summer Siren Festival.

Thought starters How can your brand rethink traditional engagement methods to enrich the experience? Are there new technologies that can be harnessed to better draw consumers into the experience and engage more senses?

There is a shift to a visual vocabulary that relies on photos, emojis, video snippets and other imagery, largely supplanting the need for text. “Visual” is a new lingo that needs to be mastered.

Local examples Apps such as WeChat and Line offer branded stickers to help users communicate better. Ditto for brands such as Megaworld and Smart that have not only created official accounts, but also offer stickers for download for users adding accounts on Line. News site Rappler uses infographics to help readers digest information quickly and easily.

Thought starters How would your brand translate your assets – websites, instructions, packaging, signage, etc – ­to a visual language with fewer words and more images? Can your brand use visual behavior to establish or deepen consumer relationships?

Consumer expectations for speed and ease are rising exponentially as the on-demand economy goes mainstream. Impatience and impulsiveness can only become more instant through services such as same-day delivery.

Local examples Same-day edit videos popularized by a prominent wedding videographer has led other production houses to shoot the ceremony and deliver the video during the reception. Large companies have launched service apps – Globe’s GService and BDO’s online banking app – allowing customers to avoid long queues.

Thought starter How can your brand use technology to reduce wait times or how can you make waiting a pleasure if your customers must wait?

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MOBILE AS A GATEWAY TO OPPORTUNITY

TELEPATHIC TECHNOLOGY

END OF ANONYMITY

In emerging markets, the mobile device has become a gateway to opportunity – helping people change their lives by giving them access to financial systems,new business tools, better health care, education and more.

Local examples The Grab Taxi app has made taxi bookings fast and safe in Manila, with taxi drivers receiving benefits in kind through the scheme’s incentive program. In Cebu, Smart Communications launched a pilot program to transmit classes from the mainland to students with tablets. Students respond on paper, which is then scanned and uploaded so a teacher can review it remotely.

Thought starter Is there a way your brand can build communities by connecting users with one another? Which key issues facing your emerging market customers could mobile services address? Can you connect any of these with your brand’s positioning?

Aided by the rise of brain-computer interfaces and emotion recognitiontechnology, brands are getting more adept at understanding consumers’ minds and moods and reacting in a very personalized way.

Local examples Google’s Waze crowdsourced social mapping and navigation app is considered telepathic because it monitors users’ movements and location via GPS, collects the information and offers better routes to take. Research firms Millward Brown and TNS are partnering Affectiva to look into their existing copy testing solutions. They are able to measure how viewers emotionally respond to ads via facial expressions to record reactions that a Filipino consumer can’t perhaps easily articulate via a traditional survey alone.

Thought starter How might you complement your brand’s current market and communication research to get at consumers real unarticulated feelings via neuro research?

How might you use information gathered via telepathic technology to design unique experiences for your brand’s loyal users?

Thanks to an array of new technologies and a growing drive to collect personal data, it’s becoming nearly impossible to remain unobserved and untracked by corporations and governments. Expect pushback from consumers and a growing paranoia around technologies and services that affect privacy as it becomes more elusive.

Local examples Globe rolled out a free Facebook service to all its subscribers as an incentive for sharing personal Facebook data. Registration provides Globe access to user’s name, gender, age, relationship status, education history and the pages they like.

Information gathered through this service will be used to further improve Globe’s services.

Thought starters Can your brand find new ways to reward customers for sharing their data? How can your brand make opting in to data-sharing a premium data experience? Can your brand make benefits of data collection more explicit? And can you make your brand’s practices and data-collection processes more transparent?

RAGE AGAINST THE MACHINE

As we move further into the digital age, we’re starting to both fear and resent technology, fretting about what’s been lost in our embrace of unprecedented change. We’ll put a higher value on all things that feel essentially human and seriously question (while not entirely resisting) technology’s siren call.

Local examples Growing up Wired: Raising Kids in the Digital Age by educator Queena Lee Chia seeks to answer questions on wise use of social media and motivating kids to socialize healthily.

Thought starters How can your brand and its messaging, especially if used by younger consumers, encourage a less tech-centric, more balanced lifestyle? How can your brand offer more human or analog elements or experiences to help consumers have healthier, real-world experiences as an alternative to automated activities?

If you are a tech brand, how can you fit more seamlessly into people’s lives so it doesn’t feel that technology is intruding?

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REMIXING TRADITION

With social norms quickly changing and a new anything-goes attitude, people are mashing up cherished traditions with decidedly new ideas, creating their own recipes for what feels right.

Local examples Joey Ayala’s personal rendition of the ‘Lupang Hinirang’ (mixing a traditional song with a modern sound) for a modernized national anthem went viral and garnered over 940,000 views on YouTube.

Wedding proposals have latched on to the viral video phenomenon, fusing a traditionally intimate event for couples with new social media platforms to share the moment.

Thought starters What traditions are changing in your market? How can your brand encourage and promote the change? How can you bridge any gaps from old to new behaviors? What can your brand do to introduce and legitimize new traditions? Which traditions can be preserved on behalf of brands?

PROUDLY IMPERFECT

Imperfection and even outright ugliness – the quirky, the messy and the clearly flawed – are taking on new appeal in a world that’s become all too polished or mass-produced. The imperfect is coming to feel more authentic, and also more comforting and meaningful.

Local examples Restaurants Wrong Ramen brands itself as the worst ramen in town, while Van Gogh is Bipolar banks on the medical condition of the owner to create an authentic and unique experience.

The Forever 21 clothing store features the Plump Pinays as brand ambassadors and models who go against media’s impossibly perfect standards for beauty.

Thought starters How can your brand acknowledge or reflect the highs and lows, or the imperfect realities, of your customers’ lives in order to create a deeper and more authentic connection with them?

Are there effective ways you can harness consumer images that show how your brand fits into your customers’ lives?

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MINDFUL LIVING

Consumers are developing a quasi-zen desire to experience everything in a more present, conscious way. Once the domain of the spiritual set, mindful living is filtering into the mainstream, with more people drawn to the idea of shutting out distractions and focusing on the moment.

Local examples Developments like Ayala Triangle Gardens, Bonifacio High Street and Greenbelt have open spaces and parks where people can hangout and recharge. This year’s ‘Hooray for Today’ McDonald’s campaign is

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presented in a way that refocuses how viewers feel about mornings. Rather than dreading it and not wanting to get out of bed, the campaign calls for viewers to be more mindful and grateful for what the new day brings.

Thought starter Are there attributes of your brand that could complement a more mindful lifestyle for Filipinos? How can your brands encourage mindfulness and instill a desire to slow down or regain focus? How can you better enable consumers to shut out distraction and be in the moment?

Following its first ever Cannes Lions for long-term client Maynilad Water, Y&R Philippines is looking forward to an even bigger 2014. “There are a lot of things to look forward to in terms of innovation. I’m very optimistic that 2014 is going to be a year where we will focus more on excellence.

When I say excellence, I mean taking it a notch higher,” says chief executive officer Mary Buenaventura.

Appointed in January, Buenaventura succeeds Chiqui Lara, who stays on as president.

Buenaventura joined Y&R in 2002 from Burson Marsteller, where she handled corporate communications for companies such as Nortel Networks, Monsanto, and Unilever.

It was also at Burson Marsteller where Buenaventura met Lara, who would become her close friend and partner. The pair went on to work at Basic Advertising (now Publicis Jimenez/Basic) before Lara was asked to reestablish Y&R Philippines. “Because of my background, I was the first to establish an integrated group, not only for the Philippines but for Asia,” Buenaventura says. The in-house integrated ‘Action Marketing’ capabilities include public relations, event marketing, CRM, digital, and shopper marketing.

“I moved my way up, and with the support of Chiqui, who I love very dearly, we stayed together for about 13 years. The culture of passion, loyalty, and family is really evident here in this agency,” says Buenaventura, who, like many of the agency’s leaders, is homegrown.

Make a Difference Award in New York for Colgate-Palmolive, one of the agency’s major clients along with Unilab, Inbisco, Boehringer, Ford, Chevron, United Health Group, and Accenture. “I believe in creative advertising, but when a client gives an award for effectivity, that’s closer to our hearts,” she says.

“That’s one thing that I’m very proud of. At the end of the day, it’s really about creating leaders and not followers,” she says, noting that the people who have bloomed within the agency were promoted not merely because they stayed, but because they worked for it. Among Y&R’s homegrown leaders are Poma Malantic, Maya Roldan, Agnes Almasan, and Nery Neves.

Unlike more popular agencies, Buenaventura says that Y&R focuses more on being present for their clients. “Clients see us as partners and not as suppliers, and I feel so blessed with that,” she says, explaining that although Y&R is a big brand globally, their service is very personal. “We’re a big network, but we service like a boutique,” she says.

Apart from their culture, another thing that sets the agency apart is that everything is done in-house, including digital, activation, and design.

“First and foremost, our objective is to provide the services that the client needs.

We’re actually a very quiet management,” Buenaventura says, noting that Y&R was among the first agencies to have in-house interactive. In 2002, they created an online voting platform for Palmolive’s Circle of Ten. “No one was doing that yet,” she says, adding that the agency won the You Can

Apart from focusing on clients, the agency also strives to nurture its people, particularly the young. “You can be smart but if you don’t have the passion, the loyalty, and the genuineness, you will not succeed. Young people like to move. They change. But I keep telling them, patience is truly a God-given virtue,” Buenaventura says.

According to Buenaventura, more exciting things are in store for Y&R in 2014. “I think it’s time to come out of our shell. We’ve been quiet, maybe not as exposed as everybody else. It’s time for us to be on the map,” she says.

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Starting with a ‘Selfie’ Mad World on creating Brand You Words CHARISMA FELIX

For the 2014 edition of their ‘Mad World’ series of conferences, the Philippine Junior Marketing Association held ‘Selfie’ at the SMX Convention Center. With the theme of encouraging delegates to ‘Create Meaningful Brands’ by starting with themselves, the event drew over 4000 students from schools nationwide – a PJMA record.

On the agenda was an afternoon of lectures and seminars from a variety of speakers on image building, personality development, social media, and even how CEOs’ personalities had a hand in shaping their corporate brands.

NOMER LASALA Personal brand magic For mentalist Nomer Lasala, who has made a career of astounding and amazing audiences the world over, there are no tricks in creating a larger-than-life personal brand. For Lasala, developing one’s brand is a matter of being bold, and maintaining an unwavering belief in oneself.

Keeping with this, Lasala says, is knowing that appearances help shape people’s perception of you. Dressing up and wearing something extraordinary can help reinforce your (high) perception value, said Lasala, in addition to enabling you to gain their trust. Most importantly, he said, failure should not stop you from trying.

“Only those who quit are the real losers.”

Globe’s Pao Peña

HVMO’s Tony Sarmiento

sharing of one’s story’s key points in order to build a personal brand.

Sarmiento noted, “It’s what you do, what you’ve done and what you will be doing that matters.” He also shared that, “If you always do what you’ve always done, you’ll always get what you’ve always got,” challenging every young marketer at Mad World to embrace change for greater success.

PAO PEÑA Your virtual profile

“When you present yourself in a different way, new things will come your way,” said Havas Media Ortega chief collaborator Tony Sarmiento.

An effective way of presenting oneself that everybody should be familiar with, said Sarmiento, is through the

In this tech-savvy era, it is an unavoidable fact of life that what one posts on their social networks and online profile accounts define who and what they are. As Pao Peña, Globe Telecom’s head of integration and branding communications, noted, “Technology has made it easy for us to create content and reach an audience, but if we post useless things, people will think that we are useless.”

He reminded young marketers that whenever they tweet, they had to make sure that they were writing well because what they were writing would be visible to the entire world. Whiny blog posts, YOLO (you only live once) shots and intimate photos are a big no-no, said Peña. These kinds of posts, he said, should be kept private, so as to avoid negatively impacting to one’s image – especially for those whose social walls

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TONYPET SARMIENTO The brand called YOU

Mentalist Nomer Lasala

Belo Medical group Vicki Belo

are visible to colleagues, bosses and clients.

VICKI BELO The boss is the brand Belo Medical Group CEO Dr. Vicki Belo shared how she was able to parlay her personal image and brand into that of her company’s. It all started, Belo shared, when she began placing labels bearing her name on her belongings, which led to almost immediate attention from anyone who saw them. She credited her experiences as, in her words, “being a fat, ugly girl” as being instrumental in her decision to pursue a career in beauty and dermatology.

For Belo, the biggest challenge in making the brand in one’s image is to look for people who share the same vision. “Cloning is essential,” she said, half jokingly. “You have to look for people who think and work like you (in order) to build an excellent team.”

Despite having achieved considerable success in transforming her brand into both a household name and an authority on cosmetic enhancements, Belo remains on the lookout for new ideas and concepts to maintain the edge in her chosen field, declaring mediocrity to be the enemy of success.

“When you always think that you’re the best, your eyes are closed and you will not learn from anyone else.”

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Hubert Uy, CDM

Head, Digital Marketing ABS-CBN Corporation Any skill you faked till you made it?

Shhh… I’m still faking it.

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If not marketing what would you have done as a career?

Lawyer. Dropped out of Law School back in 2007. Happiest decision ever.

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Best advice you ever received?

Don’t let the copier know you’re in a hurry, they smell fear – first boss on rushing documents for ASC Worst advice you ever received?

You can totally pull off a mohawk.

Thanks, mom.

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in t he b a g

Favorite campaign of all time you didn’t work on I handled sports before taking on digital so Procter & Gamble’s ‘Proud Sponsor of Moms’ campaign strikes a chord. It proves that even in digital, campaigns that win are the ones with the best story and the most heart.

Favorite campaign of all time you did work on When Yolanda hit, I was part of the team that worked on the ‘Tulong Na, Tabang Na, Tayo Na!’ campaign.

I’ve always believed that marketing campaigns can have an immediate positive impact on nation-building, and this was concrete proof.

Crystal Lee Country Manager of Viber Philippines Crystal Lee spends her weekdays in meetings and brainstorming sessions and her weekends with family, friends, and her passions: shopping and traveling.

If you had to create a tagline for your personal brand what would it be? #AlwaysHungry =)

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Bag of Choice: Bottega Veneta – I got this after I accepted my position with Viber, because its color is very close to the Viber color. It’s both my weekday and weekend bag.

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Celine pouch for my makeup.

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LV wallet – got this after getting my first executive position. I always carry it around even if I rarely open it.

3

Bottega Veneta card case – for important cards, for when I don’t want to bring my bag down.

4

Dior keychain – I’ve had this since college, holds my condo keys.

5

Viber business cards – I always carry a bunch because I like meeting, linking, and brainstorming with different people.

6

iPhone 5S – I used to be an Android fan but recently got converted to iOS by my Viber CEO Talmon Marco.

7

Daily planner notebook – I note down everything the traditional way. Writing on this makes me feel more confident that whatever I write down will materialize, especially ideas and plans.

8

Acca Cappa yellow brush – I put this in my bag to remind myself to brush my hair every once in awhile, but so far I’m still a wash and wear kind of gal.

9

VerMints – it’s healthy and organic and I love eating garlic so this helps keep me fresh.

10

Contact lens holder – My tear ducts have difficulty producing tears so I always bring this for when my eyes get too dry that my contacts pop out, which happens a lot.

11

Aqua Soft contact lens fluid – same as item 10.

12

Numan BugSpray – I love staying outdoors during dinners and nights out but I’m a mosquito magnet. This keeps the bugs away.

13

Cool mint hand sanitizer – I’m a germ freak and spray three times a day.

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ou tdoo r stud y

Sheila Paul VP New Media, TV5

How has your time at TV5 been to date?

It’s been an entertaining two years!

I never thought I’d end up in show business.

Any sleepless nights since taking the role?

Sometimes, work events run late into the night…then you have to report to the office the next day.

Coffee and concealer are my friends.

What presented the biggest learning curve in your role?

Learning how the TV industry works, how a show goes from an idea all the way to airing. Now that media crosses screens, we need to find a way to work this into the conceptualization and production process.

What excites you about your current role?

It’s brings together two of my favorite things: Media and tech.

Our group gets to be creative as well as innovative in the digital space.

Has your media consumption patterns changed since taking up this role?

I’ve added TV back to my regular media habits. I know way more about showbiz gossip now. I’m glued to the TV when I get home, and I’m a big fan of the PBA. Is there one thing you wished you knew instead of having to learn on the job?

How to talk to superstars like Derek Ramsay and Aga Muhlach.

Sheila Paul’s career has spanned a number of industries, from advertising (Ace Saatchi & Saatchi), online video game publishing (Level Up!) and telecommunications (Telenor Group). She crossed over to broadcast media in 2012 to handle product management, web and mobile development, as well as online publishing for TV5.

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Kinetic Worldwide Philippines

Getting to know…

OOH only lags TV for awareness

Metro Manila study underscores OOH’s clout MANILA Out-of-home (OOH) media came second only to television as a source of ad awareness for Metro Manila consumers, a new study by WPP’s outdoor media specialist Kinetic Worldwide Philippines has found.

Large billboards, banners and ads on bus exteriors contributed awareness levels that were slightly below TV – for instance, awareness for telco ads was 82% for TV and 51% for billboards; 50% and 30% for banking ads, and 40% and 34% for real estate campaigns respectively.

Out-of-home outranked print, which came third as a source of awareness, according to results of the study, dubbed the Kinetic Advantage.

Kinetic partnered with TNS, WPP’s research agency, to conduct what it described as pioneering research of the metropolitan region to unlock fresh consumer insights about the medium.

“We were not surprised at all (but OOH’s ranking) as it just validated our assertions how powerful OOH is in generating awareness,” said Rowell Santiago, Kinetic Philippines insights director.

“More importantly, this significant finding backed up by reliable data only proves how truly effective the medium is in reaching consumers, making this a breakthrough revelation for the entire industry.”

The study mapped a seven-day consumer

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journey, looking at how commuters moved across Metro Manila’s 17 cities, congressional districts and barangays (small administrative districts), who they are and specific out-of-home formats and initiatives that influence their level of awareness.

“We were looking how OOH influences consumers on a daily basis,” Santiago said, noting the double-digit spending increases by brands on the medium over the past few years.

The agencies studied the journeys of over 2,000 consumers across what they termed as 24 Kinetic zones, chosen not simply for their size but their value to consumers’ daily journeys and the presence of OOH media within these clusters.

A major highlight of the study was critical pieces of information on the profile of ‘recent’ passers-by of Metro Manila’s arterial roads, according to TNS. The study was customized for the country’s unique metropolitan landscape.

Other touchpoints were also examined for a comparison, allowing the agencies to rank OOH as the second most important source of awareness for consumers.

Despite increasing calls to regulate OOH, the medium continues to proliferate in the metropolitan region, its popularity growing with the increasing digitalization of the platform, offering greater opportunities for interaction with consumers.

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Media Showcase Sensory branding and a guerrilla effort turns rivals into advocates

HP A+Advantage HP Printers/HP Laptops PHD Manila PHD deployed a branded content strategy to increase HP’s penetration in the Philippine student market and improve their productivity in schools. HP products were fully integrated in a series of indie films, created in collaboration with Sinehan Advocacy Media Projects, Department of Health, Philippine Business for Social Progress and others. Film topics ranged from health advocacies to modern adaptations of classic Filipino tales and the films were screened on campus as part of the curriculum, kicking off with Ang Tweet ni Florante Kay Laura in February, and Flying Kiss which will premiered in cinemas on March 19.

The Lego Movie Warner Bros PHD and Drum, UK Eschewing a full-length trailer, PHD and sister content agency Drum recreated four well-known British ads shot-for-shot with Lego products in a brilliant stunt to promote the blockbuster’s UK launch. The three-minute ad break on ITV featured Lego versions of the British Heart Foundation ad starring Vinnie Jones, an insurance ad for Confused.com, BT’s ‘Flatmates’ and Premier Inn’s spot. Short promos of the movie aired between spots, culminating in the trailer at the end of the break.

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Johnson & Johnson baby powder Johnson & Johnson OMD India OMD India gave print a new spin with a sensoryled campaign in the country’s leading dailies. J&J ads in The Times of India, The Hindu, Malayala, Manorama and Mathrubhumi were infused with the smell of baby powder to convey the appealing scent of babies to readers. Client and agency supplied the scent to the publishers, who took a month, using special technology to infuse J&J’s signature scent in the print ad. A half page ad ran on the front page to connect readers to the scent.

Duracell Procter & Gamble Quebecor, Montreal The brand came up with an ingenious idea to keep Montreal residents warm this winter beset by the bone-chilling polar vortex. It injected a social spin in branding by heating a bus shelter, the city’s first heated facility. To get warm, commuters had to break the ice by holding hands, completing the circuit between two conductive pads installed on either side of the shelter. The action would activate four vents at the top to produce warm air, keeping commuters toasty amid one of the worst winters to hit the city in a long time.

LG OLED TV LG M&C Saatchi, Stockholm M&C Saatchi used the spine of Sound & Vision magazine to drive home the point that its OLED television sets were really, really thin. No photo-shopped images, just a 4mm spine and a handful of words to highlight the slimmest of the set, which LG first touted at January’s Consumer & Electronics Show in Las Vegas.

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‘Apolosophy’ Apotek Hjärtat Akestam Holst and Stopp, Stockholm This simple yet entirely playful and responsive ad for a shampoo brand ran on a Clear Channel digital billboard. Motion sensors attached to the subway billboard triggered a response with the model’s hair flying wildly across her face each time a train pulled into the station. Late last year, British Airways had experimented with interactive billboards for its ‘Look Up’ creative, which was updated in real time to show the flight number and origin city of BA aircraft as it flew into view.

‘Trojan Mailing’ DHL Uncredited The logistics and courier giant denied responsibility for a crafty media execution that literally turned rivals into walking billboards for the brand. Competitors such as UPS were tricked into delivering large parcels that had been wrapped in thermo-active foil packaging to cleverly hide the message ‘DHL is faster’. The message only revealed itself after competitors had picked up the parcel and were on the street.

No agency has claimed credit though German firm Jung von Matt/Neckar has hosted the video case study on its website.

‘Renovated Billboards’ OBI Jung von Matt/Elbe, Germany Faced with a challenging market environment that saw more than 200 DIY stores close in the last year, OBI and its agency knew they needed a more creative approach to break out of the price spiral. Asking themselves why people were “using adverts that make everything look uglier” to market products that were supposed to make homes look nicer, the creative team decided to turn DIY marketing on its head. They gave sections of rundown buildings a much-needed facelift, creating what it termed were renovated billboards to showcase better looking homes which people could create with its product range.

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Photos courtesy Festival of Media

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Festival of Media founder Charlie Crowe kicks off the 2014 gathering

Agility tips Festival of Media Asia Pacific underscores need for nimbleness Agility has long been prized for giving businesses an edge, and it’s more the case these days with digital firing up consumer expectations, upending rules of brand engagement and taking both the message and the missteps of brands viral.

Spotlighting agility in its third Asia Pacific outing held in Singapore March 16-18, Festival of Media organizers brought together brand marketers, media owners and media and digital agencies to showcase their experience in adapting rapidly and efficiently to a fast changing media environment.

Being nimble is non-negotiable in Asia – if the decibel wasn’t already loud enough, advertisers can count on marketing chatter hitting deafening levels soon. The region is tipped to overtake North America

as the world’s largest advertising market this year with a forecast spend of $197 billion.

Moreover, the explosion of smartphone, apps and social media use and the rise of wearable technology, are not only connecting consumers like never before but also driving changes in buying habits. comScore’s latest data shows just how connected regional consumers are: Asia Pacific’s social media audience grew 17.7% from 478 million unique visitors in January 2013 to 563 million in January 2014, while time spent by regional audiences on social sites shot up 9.3% in the past year.

And as data from 2012 showed, mobile and e-commerce have become channels to be reckoned with. Both have turned over $1 trillion in sales.

For advertisers such as YUM Brands,

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GE and Philips, real-time marketing has become the norm in a world of the 24-hour consumer. YUM Brands Asia managing director Vipul Chawla said the company turned Pizza Hut and KFC chains into lifestyle brands, operating 24-hour outlets and entrenching themselves in social media and mobile to cater to the always-on consumer.

Through its social listening center, YUM is plugged into consumer conversations about its brands, allowing the company to quickly address a problem as soon as it arises since the effects can linger on social media.

Online channels are the secret sauce for YUM’s impressive bottom line gains. In Singapore, 50% of Pizza Hut’s sales are done online, a channel which delivered $2 billion in pizza sales for the company worldwide.

But as companies well know, it isn’t always easy getting leaders, who cut their teeth during traditional media’s heydays, up to speed in digital.

Chawla suggested reverse mentoring: Its chief marketing officers in Asia are paired up with the youngest person in their marketing teams to help them acquire digital smarts.

As expected, the festival offered plenty of buzz around content, a common thread

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YUM Asia’s Vipul Chawla

across multiple speakers now that digital has given advertisers the opportunity to create multi-layered brand stories beyond 30-second TV spots, to take their stories directly to audiences anywhere, anytime and to analyze and use data produced by digital channels to create powerful engagement opportunities.

“Data has become the engine of creativity,” UM’s global chief content officer Scott Donaton said in discussing the 10 Commandments for Content (see pg 132). Donaton also reminded the audiences: “Stop focusing on what you want to say and start listening to what your audiences want to talk about.

“Whether your audience is telling your story, you’re doing it yourself with storytellers – learn to let go.”

Wharton Marketing professor Jerry Wind unveiled an industry framework for native advertising – personalized and relevant content – in partnership with Yahoo and urged transparency in advertising. “Create content that you’re proud to own,” Wind said.

Advertisers like GE and Philips are betting on content marketing to get their message across. GE has cut its use of online banners, diverting funds to its content factory and native advertising. Damien Cummings, Philips Asia Pacific chief marketing officer, said content marketing was three times more effective than paid media in his session at the festival. “You don’t build a brand through a 30-second TVC but by driving advocacy,” said Cummings.

In making the company a more agile marketer, Cummings laid out a five-point master plan to make Philips part of the conversation. The plan deploys the

GE’s Jason Hill

Wharton’s Jerry Wind

full spectrum of digital and traditional resources to handle social monitoring and analytics (listen), develop a content strategy, theme, messaging platform and owned channels (plan), establish a studio for content aggregation, production, curation, crowdsourcing and co-creation (create), create 360 degree distribution through peer distribution, search, influencer relations, PR, CRM, and paid media among others (amplify), leading to conversation management through social listening analytics, community management and real-time planning (manage).

In making content sticky, humor is easily a winner. “Humor is inherently social,” said Buzzfeed’s vice president, international, Scott Lamb, noting “the Bored-At-Work Network (BWN) is larger than BBC, CNN”.

Ads should therefore compete to the same standard as content.

As a maker of wind turbines, jet engines and data center and telecom systems, GE’s industrial range wouldn’t at first appear to offer the ingredients that go into making for compelling content. Eschewing staid – expected for a company with its legacy – for a start-up approach, GE ended up creating a series of irreverent online films to illustrate the industrial internet, humanize the brand and give it an edge against tech giants in the battle for talent.

Datalandia, the online destination it created, is filled with summer blockbustertype tales about vampires in De-Vamping Datalandia and extraterrestrials in Invasion of the Cattle Snatchers among others.

With advertisers like GE and KFC (check out its ‘It Doesn’t Count’ video) happily

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Unruly’s Phil Townend

letting their hair down, it’s no surprise that there’s been a 50% uptick in branded video content sharing between 2006 and 2013, according to Unruly Media. The viral video marketing specialist announced the launch of its Singapore headquarters at the festival, an indication of the region’s appetite for social sharing and video content. China alone watched 30 billion videos in January 2014, a billion more than January 2013, while the size of the audience for video grew 7.8%, according to comScore.

“There’s too much art and not enough science now,” according to Unruly’s EMEA MD Phil Townend, noting that Southeast Asia was the only region in the world where social good was a key factor driving sharing.

Inspiration, happiness and exhilaration are the top 3 psychological triggers for sharing in the region. Hilarity and happiness ranked at the top for the US and the UK, while the third trigger was surprise and warmth respectively.

In assessing digital content, mobile has increasingly become the medium of choice. The average consumer, it was revealed at the festival, unlocked their mobile phone 110 times a day, a statistic that staggered quite a few delegates.

For Twitter, mobile was its primary access point, used by 70% of users, while Buzzfeed’s Lamb noted that mobile generated 50% of traffic. “If you’re not publishing on mobile, you’re already losing half of the traffic.”

Yet the latest Warc wave done in association with the festival and the Mobile Marketing Association showed a profound disconnect – a majority of regional marketers still did not have a formal mobile strategy in place (see pg 133).

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Advancing automation Hurdles remain but shift to programmatic trading will be unstoppable – even in Asia With US$12 billion ads bought in real-time in 2013, the shift to programmatic buying is unstoppable.

But the case still needs to be made for optimized, real-time, algorithm-based buying that is automatically triggered by, say, an event to advertisers at this relatively early stage of the model’s arrival in the region.

In the festival’s first Talking Programmatic panel helmed by Rubicon Project’s senior vice president Jay Sears, the heads of three agency trading desks in the region came together for a frank discussion of the state of programmatic buying in the region.

While programmatic buying has become part of the marketing landscape in mature media markets such as the US, its expansion in Asia will greatly depend on advertisers’ demand.

For now, adoption remains slow, according to panelist Grace Liau, regional general manager for VivaKi’s Audience on Demand trading desk. Everything needed in a platform is available in Asia; adoption remains a challenge.

Panelists Michel de Rijk, Asia Pacific managing director of GroupM’s global Xaxis platform, pointed to other hurdles: “We still need a base of third-party ad serving” in markets such as China and India, where massive opportunities exist.

Third-party ad serving produces just 2-3% of adsales in China and India, pointing to a need for further education.

Unsurprisingly, as Mediabrands Audience Platform (MAP) Asia Pacific revealed, some clients were ahead of the curve while others needed a bit more of a push. Australia, a mature media market, is in a different league from the rest of the region.

“Australia is our star market. Publishers value automation and take a strategic approach,” said IPG panelist Yean Cheong, MAP Asia Pacific’s vice president, market solutions Cheong sees programmatic buying taking on different growth paths in the region. “It’s not on size fits all.”

At the end of the day, the programmatic model should about analytics, data

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Talking Programmatic... Rubicon Project’s Jay Sears, AOD’s Grace Liau, Xaxis’ Michel de Rijk, MAP’s Yean Cheong and comScore’s Scott Joslin

and targeting and not the spray and pray tactics of the old ad network model, according to Xaxis’ de Rjik.

Which would help programmatic’s case in Asia, especially if it delivers handsome returns on investment (ROI). During the panel, Scott Joslin, comScore vice president for international advertising effectiveness, revealed that the company’s clients saw their ROI increase 6% from the efficiencies delivered through programmatic advertising.

Such numbers may help explain the industry’s bullish forecast for programmatic’s growth. Last year, just 4% of global advertising’s US$503 billion spend was bought programmatically, but the figure is expected to surge to 80% of all adspend within a decade. The shift is being powered in part by venture capitalists pouring funds into digital companies developing programmatic technology.

Agencies are similarly scaling up their programmatic muscle to assure themselves of a place in this burgeoning ecosystem. Early this year, GroupM

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merged Xaxis with 24/7 Media to create a supersized programmatic platform.

Preceeding the programmatic panel was the festival’s keynote interview with MediaCom global CEO Stephen Allan, making the case for media agencies’ role in the evolving trading landscape.

Agencies are facing a potential threat from ad tech companies creating programmatic technology and advertisers with multibrand portfolios moving to ring-fence their data and take programmatic buying private, away from agency trading desks.

Allan stressed that it was not about having data, which advertisers have been amassing, but about how it is used. Today’s complex media environment, he said, made the need all the greater for specialists who could sort out and distill insights from data to craft creative solutions.

Accordingly, MediaCom was shifting from buying eyeballs and other traditional media metrics to measurable client-specific outcomes since brands on social media needed to be relevant, not just responsive.

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Festival takeaways Agency chiefs weigh in sharpening agility skills Matt Blackborn President of emerging markets, Starcom MediaVest Group

Cheuk Chiang CEO of Omnicom Media Group Asia Pacific

Agility message “There was a strong theme around the convergence of media, content and technology, which is driving the need for agility.

It was also interesting that the clients were consistently focused around putting social at the core of their marketing efforts to help deliver greater agility in their organizations. While the theme reaffirmed our purpose, that experiences matter as they enhance lives and build brands, we also have to make sure we continue to build capabilities in both content and agile marketing. We also learned of clients building social media infrastructure in-house, which increases the necessity to ensure that we are able to create value through deeper understanding of consumer behavior and delivering insights from data.”

Agility message “Technology, the internet and a digitized world are quickly transforming the way consumers engage with brands (and brands with consumers).

Agility, in the current context is not just the ability to adapt to change but also a cultivated capability that empowers action in the swiftest and smartest way possible across all pillars – data, content, platforms, planning, and strategy. Thus, real-time marketing is a growing reality.

We are shifting away from being media agents to data experts, creative technologists, content managers and producers, social experts and marketing investment managers – portfolio managers focused on managing risk for our clients. Being innovative, inquisitive, collaborative, and positive are key agility traits that allow us to be competitive The verdict is out there. Adapt or perish. ”

Marketer lessons “Technology is not necessarily simplifying the world for marketers and advertisers. As we are able to apply technology to deliver better targeting and performance in areas such as programmatic buying, it is important to de-mystify these areas for clients. Media agency capability goes way beyond what marketers have hired us for, and the conference creates a platform to elevate these capabilities to clients and set the agenda for future areas of development. Clients will also have consistently heard of the need to test and scale and be prepared to fail (fast). The danger is not to innovate in marketing given the pace of consumer adoption of technology in Asia.”

Electrifying tweets Havas pitches social innovation Electricity can be generated from tweets with a machine developed by Havas Media Group Asia Pacific, capitalizing on hashtags becoming powerful tools in mobilizing the public.

Heartbot – short for Havas Engagement Activated Response Technology Robot – has been set up to detect a programmed set of tweets, then produces electricity for at least 10 seconds (depending on the number of tweets generated). It can power small to large scale equipment such as light bulbs and heat generating billboards.

In the Philippines especially, hashtags have emerged as powerful tools in mobilizing the

Marketer lessons “Today, the purchase cycle is non-linear and broken. The evolution in engagement means that the onus is on building compelling consumer experiences and delivering them at strategic touchpoints, some of which were non-existent earlier.

It is important that marketers move away from a fixed or linear approach to plan and execute a strategy that is flexible, leveraging an entrepreneurial spirit, social-media driven consumer insights and quick thinking.”

public for relief efforts or tourism promotions as demonstrated by the massive outpouring from the recent Yolanda devastation or the Department of Tourism’s ‘It’s More Fun in the Philippines’ campaign.

Tony Sarmiento, regional creative integrator at Havas Media Asia Pacific and managing partner and chief collaborator at Havas Media Ortega, said: “In marketing it’s not just about the want to succeed, you need a lot of research, determination, passion but you also need a lot of heart and I guess that’s the cool thing about this innovation. It’s bringing together the two coolest things in the world – innovation and meaning.

“We are ready to roll up our sleeves to create customized versions of Heartbot. This is just the beginning, we see Heartbot powering different machines, protocols and social engagements globally.”

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Tony Sarmiento unveils Heartbot

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The 10 Commandments of Content Making the shift from intrusive marketer to master storyteller Words Scott Donaton

The challenge is clear by now: Intrusive, interruptive, self-centered marketing no longer works the way it once did, and its effectiveness will only continue to diminish in the social age. The question is what will replace the legacy model?

There’s a one-word answer: Stories.

It makes sense. Finding — or creating — a narrative thread has always been how we as a species find order in the chaos of life. And it’s how smart brands are defining what’s next in the chaos of modern marketing.

What’s the case for content? There are human reasons. Stories are welcome where ads are resisted. They’re shareable and shapeable, constantly changing based on those they touch and those who touch them.

They carve the quickest path to the heart and the mind — there’s literally brain science behind how humans interact with stories.

There are also business reasons.

Content marketing moves the brand needle, increasing awareness, changing perception, creating desire and driving to purchase.

And as stories spread — carried along by audiences — budgets don’t. Stories work.

Here’s another good reason to believe in the power of stories: You have no choice.

The empowered consumer will bypass or ignore communications that aren’t relevant and don’t add value to their lives. Whether through traditional forms such as 30-second spots, or through social bites or feature-length films, brands that want to be invited into the conversation will have to say something that’s worthy of their audience’s time and attention. It’s a truth brands such as CocaCola, BMW and Red Bull know intuitively.

After years of observing, creating and judging brand stories, it’s clear that there are some guiding principles behind great brand storytelling. Call them the 10 Commandments of Content.

1. Find your “why”

Coca-Cola’s ‘Small World Machines’ unites rival nations, India and Pakistan

they do it. Find your why and you’ve found your story. Transcend category by focusing on your role in people’s lives. Compelling brand stories speak to values, to what your brand stands for and why it exists.

2. It’s not (all) about you

Few people enjoy conversations with people who talk only about themselves. Yet for the last 100-plus years, brands have interrupted consumer conversations to make the points they want to make about their attributes and efficacy. That approach no longer works.

Content must provide entertainment, education or utility. Stop focusing on what you want to say and start listening to what your audiences want to talk about.

In the words of cultural anthropologist Simon Sinek, the best brands focus not on what they do or how they do it, but why

3. Insights inspire ideas

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Know your consumer as well as you know

yourself. Data-driven insights and intelligence are fuel for creativity, ensuring that ideas aren’t just cool but connected to business challenges and relevant to consumers. Intel and Toshiba’s ‘The Beauty Inside’ won the Branded Content & Entertainment Grand Prix at Cannes this year by mining the intersection of a simple human insight and a brand truth: It’s what’s inside that counts.

4. Go all the way

Be fearless (not reckless) in your commitment to storytelling. While many have dabbled in content marketing, it often is an experiment or add-on at the end of existing marketing and media processes, setting the stage for disappointment. Stories should be at the heart, not the tail, of your marketing plan. Once the narrative is decided, it should be surrounded and amplified in all

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communications channels. Think of your media plan as a content syndication plan.

5. Be social at the core

Brands have to think like editors and act as publishers. Lose the campaign mentality.

Putting a story in the marketplace is not the end, it’s the beginning. Consumers want a role. They want to be advocates for the brands and products they choose.

Branded content can deliver on the promise of a two-way conversation and deeper relationship that can turn customers into loyalists, and evangelists. Make sure your content can be discovered, shared and shaped. Acting at the speed of social requires a new creative mindset that understands how to create experiences that are social by design and can move rapidly from idea to execution. Stay close to the data and refine, optimize, and retarget your efforts along the way. If you’re unsure what this means, Google ‘Oreo Daily Twist’.

6. Don’t post and pray

It doesn’t matter how good your content is if no one sees it. Sounds obvious, but when pressed most brands will admit they create content without putting in place a clear distribution strategy. It’s not just about what you say, but who you say it to, where and when. Understand how you will use owned, paid and earned channels to get your message out. It’s not about content versus distribution; it’s about getting both right.

7. Be authentic

Live the stories that you tell. A brand narrative should serve the same role as the product it promotes. Coca-Cola doesn’t just talk about sharing happiness; it delivers experiences that allow people to do that, such as a can that splits in two or a vending machine that allows someone in India to buy a Coke for someone in Pakistan.

MasterCard’s Priceless Cities brings its brand promise to life. Your brand has a personality and a point of view that goes beyond bragging about how great you are, and your audience knows when you strike a false note. Be transparent and true to your story.

8. Be the expert

This speaks more to education and utility than entertainment, but is fertile ground for content marketing. Your brand has expertise in a topic that can add value to people’s lives.

Think Rogaine and confidence. Nike and physical fitness. L’Oréal Paris and self-

esteem. Brands can be trusted information providers to audiences. It’s okay to have an agenda; all storytellers do, from the authors of the Bible to Steven Spielberg, Daft Punk to Macy’s. The audience is okay with that as long as the source of the information is clear, and the content is relevant.

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Mobile disconnect Lagging mobile strategy

9. Loosen your grip

You’re no longer in (sole) control of how your brand is portrayed and perceived.

Gone are the days of the 100-page rulebook of what a brand mascot will and won’t do.

Whether by creative partners or consumers, your brand image is influenced by multiple sources beyond the brand manager or creative agency. Embrace that reality to build credibility with audiences. Brands still need to look after their interests, but the reality is that a brand is poured through multiple filters, including those of fans and detractors. Jimmy Kimmel’s BMW tie-in, in which the brand bought out all the ad time in an episode and then gave it back to the show’s host to program as he pleased, is a great example of a brand winning by letting go.

10. Expect results

Forget the idea of non-working media dollars. Storytelling must be accountable marketing. Define clear business objectives going in so they can be measured coming out. Don’t invest in content because it’s cool or opportunistic. Invest in content because you believe it can be a powerful and effective part of the marketing mix and help achieve business goals. UM’s proprietary research shows that custom content is 92% more effective than traditional TV advertising at increasing awareness and 168% more powerful at driving purchase preference. Make sure your approach to storytelling is strategic, disciplined, and connected to real KPIs. While there’s no one path to success, putting story at the heart of your marketing is your best shot at a happy ending.

Scott Donaton is global chief content officer of UM. The author of the book Madison & Vine, Donaton served as president of the Branded Content & Entertainment jury at the Cannes International Festival of Creativity in 2013.

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A majority of Asia Pacific marketers have yet to put a formal mobile strategy in place, according to results of a Warc study done in association with Festival of Media and the Mobile Marketing Association.

91%

of marketers appreciate the importance of the mobile marketing channel in Asia Pacific but 71% of agencies admitted that most clients do not have formal mobile strategies in place, suggesting the channel’s full potential is yet to be realized.

78% of brand owners admitted that only 10% or less of their marketing budgets were currently allocated to mobile, suggesting that mobile is still not a priority with marketers. Even though this represents a fall of 2% since last year, almost all respondents expect to see the proportion of budget for mobile grow by up to 30% by 2019, while nearly a third (29%) believe budgets will rise by over 50% in five years’ time.

40%

of respondents reported close integration of mobile with other marketing channels, compared with just 27% last year, suggesting greater familiarity with the mobile channel. But despite recognizing the need for integration, 62% said they seldom use mobile to gauge audience interest and engagement in advertising campaigns.

45%

of respondents identified ‘skills’ in relation to the emergence of new technology as the greatest barrier to mobile marketing’s growth this year. This aligned with respondents’ thoughts on programmatic buying – 52% admitting to having little or no knowledge of it.

37% were concerned about the

availability of reliable metrics to assist in making informed marketing decisions.

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Australia leads metal haul MediaCom and UM take top company awards

With wins across Asia Pacific, MediaCom trumped rivals to walk away with the Agency Network of the Year honors, while UM Australia claimed the Agency of the Year crown at the Festival of Media Asia Pacific 2014 awards.

Both network and agency winners demonstrated their creative thinking in a rapidly changing media environment.

MediaCom won in three categories, including Best Communications Strategy and Retail, and took a commendation in Best Entertainment Platform. MediaCom’s global CEO Stephen Allan had earlier discussed the company’s transition from a media agency to a “content and connections” agency.

UM Australia scored wins in three categories, including the coveted Best Use of Social Media and

Creative Use of Media awards.

FCB New Zealand took the Campaign of the Year prize for the multi-awarded SPCA/Mini ‘Driving Dogs’ campaign, which won in Best Use of Content and was highly commended for Best Communications Strategy.

Two indie shops – Goodstuph Singapore and Match Media Australia – scooped the Best Targeted Campaign and the Data Innovation Award respectively.

Starcom Greater China business director for digital, Donna Sharp, beat four other hopefuls to win the Rising Star award in a competition for under-30s working in a media agency to tackle a brief and present their work to jurors.

Australia led Asia with seven awards, which was double second-placed India’s tally.

01

02 01 Rising Star champ Donna Sharp 02 MediaCom’s global CEO Stephen Allan (fifth, left) celebrates with the victorious Asia Pacific team

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winners

Best Social Media Strategy UM Australia for Department of Families, Housing, Communities and Indigenous Affairs’ ‘XTL’

Best Launch Campaign MEC Australia for Optic White’s ‘Must Have Whitening’

Best Engagement Strategy Ogilvy & Mather Singapore for IBM Corporation’s ‘NextGen CIO’ Highly Commended Starcom MediaVest Group Philippines for United Home Products’ ‘First Step to Livelihood’

Best Entertainment Platform UM Australia for Lamb’s ‘Lambnesia’ Highly Commended MediaCom Australia for Westpac’s ‘Air Rescue’

Best Contribution to a Campaign by a Media Owner Yahoo Hong Kong for HSBC’s ‘Credit Card – Red Hot Dine & Fly’

Best Targeted Campaign Goodstuph Singapore for Hewlett Packard Singapore’s ‘The HP Elite Assembly’ Highly Commended MindShare Malaysia for Sunsilk’s ‘How a $3 Shampoo Became Synonymous with Hijab Fashion’

Best Use of Mobile PHD India for Brooke Bond Tea’s ‘Good Life Club’ Best Use of Content FCB Media New Zealand for SPCA/ Mini’s ‘Driving Dogs’

Best Use of Technology OMD Hong Kong for Wyeth Gold’s ‘See the World at Home’ Highly Commended UM Malaysia for KFC’s ‘Finding ‘Waze’ to ‘FAST’ Food’

Best Event/Experiential MediaCom Singapore for Coke Zero’s ‘Tasting is Believing’ Highly Commended MindShare Australia for Ben & Jerry’s ‘Sundae Sessions’

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Consumer Research Award UM Malaysia for Listerine Malaysia’s ‘Smiling is an Act of Charity’

Utility/Public Service Leo Burnett Australia for Seek Volunteer’s ‘Volunteer to Promote Volunteering’ Highly Commended OMD China for Johnson Baby’s ‘Spare Space, Spread Love’

Creative Use of Media Award UM Australia for News Corp Australia’s ‘Fast Front Pages Highly Commended Kinetic China for Nike’s ‘Nike Live Knitting’

Data Innovation Award Match Media Australia for Ikea’s ‘Ikea: A Data Matching Love Story’

Effectiveness FCB Media New Zealand for Mitre 10’s ‘Making DIY Easy As’ Highly Commended Madison Media Infinity India for Parachute Hair Oil’s ‘Convincing Consumers to Become Our Sales Force’

Retail Award MediaCom Australia for Universal Music Australia’s ‘Give Music Generator’

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Best Digitally Integrated Campaign MindShare Australia for Lynx’s ‘Leave a Man, Come Back a Hero’ Highly Commended BBH Asia Pacific, Singapore for Happydent’s ‘Transforming the Talent Show for Social Media’

Best Communications Strategy MediaCom India for Gilette’s ‘Shave or Crave’ Highly Commended FCB Media New Zealand for SPCA/Mini’s ‘Driving Dogs’

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OMD is again top media gun In pole spot since Gunn ranking’s 2004 launch

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LONDON OMD emerged as the top media gun in the 2013 Gunn Report for Media, taking pole position for another year since the index launched in 2004 to measure media creativity.

Award wins across the world and the competition circuit delivered improvements to the Omnicom network’s overall score.

OMD Worldwide won 10 Media Lions and its Australian outpost captured the

Media Agency of the Year crown at last year’s Cannes Lions, sharing the spoils of sister agency DDB Sydney’s Gold ‘Track My Maccas’ campaign for McDonald’s.

A number of OMD offices also walked off with the Agency of the Year titles – Manning Gottlieb OMD won Media Week’s crown, Singapore took the prize at the Singapore Media Awards and its Middle East office reclaimed its place at the top in

Campaign’s annual awards after emerging as the region’s most decorated agency.

After trailing in third place for the last two years, Starcom edged out MindShare to climb into the second slot. The agency showed the biggest points jump of the three competing networks – up by 108 points over its 2012 performance.

The Publicis Media Groupe (PMG) network had earlier cemented its media

Agency & holding company winners, 2011 - 2013

Agency Network of the Year

Agency Network of the Year

Agency Network of the Year

Holding Company of the Year

Holding Company of the Year

OMD 176 MindShare 161 Starcom 142

GroupM 876 Omnicom Media Group 751 Publicis Groupe Media 617

Holding Company of the Year

OMD *367 Starcom 326 MindShare 319

OMD 331 MindShare 229 Starcom 218

2013

2012

2011

2013

2012

2011

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GroupM 714 Omnicom Media Group 605 Publicis Groupe Media 445

GroupM 513 Omnicom Media Group 412 Publicis Groupe Media 343

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advertiser & country rankings, 2011 - 2013

Advertiser of the Year

Advertiser of the Year

Advertiser of the Year

Country of the Year

Country of the Year

Country of the Year

McDonald’s 83 Coca-Cola 79 Samsung 49

Coca-Cola 97 McDonald’s 76 Ikea 46

Coca-Cola 62 Volkswagen 29 McDonald’s 25

US 302 UK 254 India 241

US 282 UK 184 India 181

US 196 Germany 120 UK 99

2013

2012

2011

2013

2012

2011

supremacy in 2013 Won Report with a string of award-winners. Among them were social media sensation ‘Follow2Unfollow’, a realtime effort to de-glamorize crime in Puerto Rico, ‘Coke Polar Bowl’, which featured the brand’s iconic polar bears reacting to live events for the 2012 Super Bowl, and the content-driven ‘Shower Stories by Zest’.

MindShare had the next largest points increase over its 2012 performance but it was not enough to keep it in second place.

Even with OMD’s unprecedented run at the top of the Gunn leaderboard, its parent company Omnicom Media Group (OMG) was unable to derail GroupM’s mighty media machine in the Holding Company race.

GroupM’s 162-point increase over 2012 – second only to PMG’s 172-point hike – kept it at the top of the leaderboard for another year.

“Contact has become as critical to the success of a marketing campaign as

content. The right media connections can make or break a campaign, or even a brand, and change behavior as a result. Media innovation and creativity are more than ever, key to brand success,” said Isabelle Musnik, editor of the Gunn Report for Media.

Not only are marketers competing in a tough business environment, but they were also facing customers who were “unpredictable, expect to be surprised and entertained and are more and more influenced by their friends and networks”.

Musnik added: “Every single one of us has access to a potential audience of millions of people on social media channels. Consumers also want to control and dictate when, where and how they are communicated. They want a dialogue and a real conversation, whatever the platform is: banners, posters, press or TV ads, YouTube, Facebook, Pinterest, Instagram, Google, Twitter...”

In the advertiser race, McDonald’s rose steadily over the past three years to top this year’s index, relegating Coca-Cola to second place. Samsung rounded out the Top 3. The fastfood chain scored 83 points based on award-winning campaigns from 22 different festivals, demonstrating the quality and originality of its world across the world.

The report again noted challenges in selecting the top media campaigns – unlike purely creative advertising campaigns, media-related initiatives were very different from one country to the next.

Few were international in nature.

As such, the report chose to highlight campaigns that obtained a significant number of points and which won awards in four more regional or global festivals: 4 Dr Dre ‘Virtual 2Pac at Coachella’, US 4 Puerto Rico Correctional and Rehabilitation Department ‘Follow2Unfollow’, Puerto Rico 4 DELA Funeral Insurance ‘Why Wait Until It’s Too Late?’, The Netherlands 4 University of Engineering and Technology ‘Potable Water Generator’, Peru 4 Dove ‘Real Beauty Sketches’, Brazil These campaigns have been praised at global festivals for their creativity, their innovation and results, underscoring the importance out-of-the-box thinking, inventing new media and also in using the “oldest” ones.

All these campaigns have tangible results and prove that creativity and efficiency go together, the report noted.

01 Manning Gottlieb handled media strategy for UK retailer John Lewis 2012 Christmas campaign

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02 Starcom MediaVest’s ‘Follow2Unfollow’ in Puerto Rico

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Age of Enlightenment Ad Summit Pilipinas 2014 From May 7 to 10, advertising, marketing and media practitioners will take part in the inaugural Ad Summit Pilipinas under the theme, ‘Age of Enlightenment’.

Organized by the Association of Accredited Advertising Agencies of the Philippines or 4As and chaired by Publicis Manila’s Matec Villanueva, the event will be held at the Subic Bay Exhibition and Convention Center with the aim of paving the way for new creative solutions in the Philippine context.

“Creativity is relative. We all have different interpretations of what is ‘cool’, ‘what’s in’, and what will or won’t hit the target, because we adhere to different ideologies and creative philosophies,” said Villanueva.

She added that the Summit aims to bridge the gaps between industries by serving as a melting pot of the industry’s sharpest thought leaders and future innovators.

According to 4As chairman Alex Syfu, the Summit’s theme calls for reflection.

“Are we just happy to be game changers or do we evolve from being a game changer to creating more meaningful advocacies for our consumers and for the country itself?” he said.

In addition to standing trade exhibits, organized by the Advertising Suppliers Association of the Philippines, and outdoor activities sponsored by various organizations and brands, a highlight of the Summit will be a series of talks and seminars by a small, but select, group of industry speakers. As

Villanueva puts it, “We are not going to fill it up with ten million speakers, we will bring in rock stars, give them the time and the space (they need) so that people can appreciate what they have to share.”

Also set to take place at Ad Summit Pilipinas is the Creative Guild’s annual Kidlat Awards, which is intended to institutionalize “Kidlat” as the country’s most prestigious creative advertising competition.

What’s in Subic?

This is not the first time that an advertising convention will be held at Subic. Subic Bay Metropolitan Authority (SBMA) chairman Bobby Garcia says that, in addition to the Summit’s creative offerings, attendees of the Summit will be able to enjoy a variety

Ad Summit Chair Matec Villanueva

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of leisure activities at the many new facilities and attractions that Subic has to offer, including three theme parks and a newly-opened mall – Harbor Point – that boasts 300 shops and 30 restaurants.

Subic’s infrastructure has seen a rapid increase in recent years, with an 800% increase in investments in 2013 alone, and a 50% increase in the first quarter of 2014. In addition, a new range of 4-star and 3-star hotels having opened their doors, ready to accommodate the lodging needs of the expected 5,000 participants.

Speaking on the preparations, SBMA Tourism Head Atty. Chot Kabigting said, “We are going to make the Ad Summit a most memorable occasion that everybody will remember in the years to come.”

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Creative Guild Kidlat Awards A selection of celebrated creative heads from the region and some of the country’s top creative leaders take their places on the Kidlat Jury Kazoo Sato TBWA\Hakuhodo

Thomas Hong-Tack Kim Cheil Worldwide

Tay Guan Hin JWT Southeast Asia

Marcus Rebeschini Y&R Asia Pacific

The annual creative competition held by the 4As Philippines’ Creative Guild, celebrating the country’s best advertising work from the past year, is set to be a highlight of the inaugural Ad Summit Pilipinas. Kidlat Awards is open to all marketing media and communications companies or affiliates regardless, which means all creative agencies – 4As or not – digital agencies, media agencies, production houses, independent entities, broadcast networks, publications, etc.

An organization composed of creative leaders from all-over the country with the purpose of pushing and elevating the creative standards of the industry, Creative Guild encourages admen to let their work be recognized in front of this year’s biggest assembly of industry greats.

“We think there’s a lot of great work out there from different companies, different agencies for different clients that need to be recognized and deserve to be recognized,” said Joe Dy, Kidlat Awards competition committee head.

Considering that the industry is moving towards more integrated work, Dy said that

they hoped to see more entries in various categories, “Last year I think we had the bulk of entries in film, which of course we don’t want to go down, but we want the other numbers for the other categories going up.”

Categories include Film, Print, Outdoor, Radio, Direct, Response, Digital and Mobile, Design, Promo, Activation and Public Relations, Integrated Campaign, Media, Film Craft, Print and Outdoor Craft, Radio craft, Digital craft, Innovation, and DIWA awards. Only entries that have first run, aired, gone live, been posted online, or were first made available for public download between January 1, 2013 and December 31, 2013 are qualified to join the competition.

Other awards are 2014 Kidlat Best of Show, 2014 Kidlat Agency, 2014 Kidlat Advertiser and 2014 Kidlat Production House.

Part of the much awaited Kidlat Awards is the Young Kidlat competition where young creatives below 28 years old will be competing to be the country’s representative for the Adfest Young Lotus Competition.

They will be asked to develop and execute an integrated campaign on video format and the challenge is to solve the problem: How do we attract the brightest minds to join advertising?

Y&R Philippines launched the campaign #YoungOnce, featuring hall of famers like Joel Limchoc, Merlee Jayme, Eugene Demata, Leigh Reyes and Raoul Panes, where they shared humorous stories from their early years in advertising.

“We featured stories of advertising legends from their younger years, showing that even the great names in advertising started off as ordinary people. Bosses may not realize that perhaps among their juniors could be the next big names in the industry” shared ECD Herbert Hernandez.

With a 40 percent increase in registration and 22 entries from different agencies compared to last year, the campaign seemed to be effective.

As usual, we are expecting to be surprised by these young creatives. Today it is an advantage to be young, with so much information a their disposal and so many mediums to work with,” Hernandez added.

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145 Radical Collaboration 148 No Business Like Ad Business 152 Grande Lotus Showcase 156 Philippine Winners 160 Philippine Showcase 164 The Dirty Word 166 Young Lotus 168 Yasmin Ahmad: Lotus Legend 170 Snapshots

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No Business Like Ad Business Reduced attendance and entries can’t stop AdFest 2014.

Ascriptions to show business aside, there’s no denying that, “The show must go on!” is a pretty good way to describe an average day in the advertising industry. In light of the recent political uncertainty in Bangkok, Thailand, it’s not hard to imagine such thoughts going through the head of AdFest President Jimmy Lam when it came to the 2014 edition of one of Asia’s oldest festivals.

Since the very first entry in 1988, AdFest has come to represent a celebration of Asia Pacific creativity, with ample helpings of hospitality and insight served up in inimitable Thai fashion. Even with the reduced atendance and seeming lack of participation from a major network, this year’s theme to ‘Co-create the Future’, was dedicated to looking forward. Held March 6-8, the overall mood was casual and relaxed, as the Royal Cliff Hotel Group once again assumed its established role as the luxurious backdrop for three days of exhibits, seminars, short films and – of course – parties.

Handling the awards side of things, an international assortment of 56 jury members was convened under the lead of Grand Jury

President and Grey Group New York chief creative officer Tor Myhren to judge 3,253 entries from 41 cities in 17 categories.

“There were some very good pieces in both the Film and Radio categories this year.

I’d say that the best pieces weren’t just the best I’ve seen in Asia, but also in the world,” said Myhren, speaking at the jury presidents’ press conference. “However, I think the region could do with a little bit more consistency.

While there were really good pieces in both categories, on the other end of the spectrum we saw some very poor pieces. Hopefully, the overall quality of the entries will improve over the next few years,” said Myhren.

“What we saw that was great in the categories was very good indeed,” said Graham Kelly, Jury President for Interactive Lotus and Mobile Lotus, before noting that the entries for mobile were less strong than expected. “I think AdFest and all the awards shows need to reach out a bit to some other people outside the ad industry because of their interest in mobile. You’ll see amazing games and amazing apps done by companies who literally don’t know these things exist, because there is fantastic work,” he said.

Andy Wilson, Jury President for Media Lotus and Effective Lotus, said the jury was unanimously impressed with the quality of work in media. “I think media is an incredibly vibrant part of our industry, where technology and channel and behavioral insights are all intersecting,” he said, noting that the work included both high tech and simple ideas.

When it comes to effectiveness, Wilson said the industry is still a bit naive in presenting results. “I don’t think we’re doing enough work to really measure the real outcomes of the campaign in

“I think AdFest and all the awards shows need to reach out a bit to some other people outside the ad industry because of their interest in mobile.”

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– tor Myhren

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01 Hakuhodo Kettle ECD Kentaro Kimura and JWT North Asia ECD and China Chairman Yang Yeo, pose proudly with a familiar magazine.

02 Dentsu dominated the festival, winning Agency of the Year, Network of the Year and Interactive Agency of the Year 03-04 Pattaya Exhibit and Convention Hall (PEACH) served as the home of AdFest2014.

02

terms of behavioral change or sales or what have you. I think there’s a little bit more work that we need to do as an industry around metrics,” he said.

Speaking on winners like Penguin Books’ ‘Anytime’ series, David Park, Jury President for Design and Print Craft, said, “There was some really quite mind-blowing innovation in print craft. The work out of Japan was exceptional and it was a treat to be able to spend time with that.”

For his part, Yang Yeo, Jury President of Press Lotus, expressed similar sentiments when he said that although the number of entries went down, the quality was still very good. “I think print is still alive and kicking. It’s just that the media landscape has expanded and now there’s a lot more channels,” he said.

He noted that the work from Japan was especially beautiful, as it used both technology and emotion. “A few years ago, juries were awarding whoever got there first… Now, the bar is so much higher.

What are you doing with the technology?

How are you touching people?” he said.

03

04

The Seminars/Young Lotus

The Festival started with screenings of films by the Fabulous Four – which, due to a disqualification, was whittled down to three – under the moderation of Massive Music CEO Diederik Van Middelkoop, and Fin Design and Effects Head of Business, Asia Pacific Stephen Douglas.

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The seminars proper led off with Production Service Network’s Cristina Mateo-Yanguas and Michael Moffett as they presented ‘Global Storytelling with Local Vision’. The two discussed how global campaigns could benefit from elements that are familiar locally. They emphasized location, saying that agencies,

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01 Grand Jury President Tor Myhren, seen here speaking at the President’s address 02 The Jury Presidents pose with AdFest working Committee Chairman Vinit Suraphongchai (second from left) and festival President Jimmy Lam. (fourth from right)

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02

production companies, and directors need local input to optimize the return on their creative and cash investment.

The Gunn Report 2013 by Donald Gunn and Emma Wilkie, with their latest annual roundup of the world’s most-awarded agencies and clients, reiterating the undeniable link between awarded work and effectiveness (for a detailed summary of The Gunn Report 2013, please see page 138).

Nylon Studios’ Mark Beckhaus presented a talk on ‘Sticky Music’, while Hakuhodo’s Yoshi Matsuura shared his experiences living in other countries to illustrate his talk, ‘Welcome to the Global Wonderland’.

Another session was Curious’ ‘The Dividends of Diversification’ by Peter Grasse.

The Young Lotus shootout this year was sponsored by BBDO, the network’s first time to sponsor the competition in eight years. Following a brief to solve the ever-present problem of work and two rounds of nerve-racking presentations, the team

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from Taipei (Dentsu Taiwan’s Yi-Jung Shi and Sz Hui Liu) emerged victorious, with its ‘Creative Nanny’ approach to achieving an ideal work-life balance. (For more on the Young Lotus competition, turn to page 166) The final session featured Myhren himself, speaking on ‘Radical Collaboration’.

He shared Pixar’s Collective Creativity, and commented on how it could be applied to the industry. “Empower your creatives. That’s Pixar’s number one rule,” said Myhren. who noted the importance of giving creative people time to think. “Sometimes the best ideas come when you have time to daydream a bit.” (for more on Tor Myhren’s talk, turn to page 165) Awards, Awards, Awards

Anticipation was in the air on the second and third days of AdFest, as delegates prepared themselves for the Award presentations that were scheduled on those nights.

Continuing the precedent set by festivals over the last season, the majority of this year’s

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metal wins, while being highly technical in nature, displayed a distinct shift towards deceptively simple application, with a focus on meaningful emotional payoff.

Japanese entries dominated, with Dentsu leading the way as 2014’s Agency of the Year, Network of the Year and Interactive Agency of the Year, powered by multiple wins for their remarkable ‘Sound of Honda’ interactive exhibition.

“A lot of the work from Japan was surprisingly great. It really caught me off guard,” said Myhren. “They seem to be approaching problems in such a unique way, you know you see it and you think god, I wouldn’t have thought of that in a thousand years. And you see that kind especially in the digital stuff, but also in film and other media as well. A lot of the work from Japan surprised me in a very good way. I thought the level of design was phenomenal. I think actually much better than it is in America. So that surprised me.

For ‘Sound of Honda’, technicians used 25-year-old telemetry data to recreate recreating Ayrton Senna’s record-setting 1989 Japanese Grand Prix-qualifying lap, resulting in three Grande Lotus prizes (in Promo, Integrated and Interactive), one Gold Lotus (Outdoor) and an Innova Lotus, for Innovation.

Another Grande (in Design) winner for Dentsu was ‘Mother Book’, which charted a baby’s 40-week journey towards birth through clever use of a physical book’s page layout.

Fellow Japanese agency Hakuhodo was the Direct and Promo Agency of the Year, powered largely by its ‘Photogenic Beer’ for Kirin Ichiban, which claimed Grande Lotuses in Innova and Direct. By topping glasses of Kirin Ichiban beer with a creamy, icy foam, the temperature of the drink is kept significantly lower for up to 30 minutes, while making for a visually impactful tipple, which drinkers have been photographing and sharing on social media.

‘By creating a beer that was photogenic and, hence, shareable, the young audience readily shared this product on social media. But what made this idea really interesting was that instead of developing an ad, this idea involved developing a

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whole new product,’ said Kentaro Kimura, jury president of the Direct Lotus and Promo Lotus categories, and co-CEO and ECD, Hakuhodo Kettle Inc, Tokyo.

Also on Hakuhodo’s Grande-win list (for Media, this time) was ‘Rice-Code’, a campaign that revived an agricultural village’s economy by turning its fields into elaborate, tourist-attracting works of art through the use of different-colored varieties of rice.

As the presentations took place, Ace Saatchi & Saatchi would prove to be the Philippines’ big winner, bagging multiple metal (including a Grande Lotus!) for its ‘Remeet’ campaign for Cebuana Lhuillier, which was designed around the notion that the company’s money remittance services were as secure and reliable as delivering money to your loved ones yourself.

“The thing I loved about those films and that idea, it’s very hard in our business to really be real,” said Myhren. “You watch something and there is no question in your mind that that was real. You can’t have actors act that way. It was just beautiful stuff.”

Also waving the flag for Philippine talent were the Lowe Bangkok pair of EJ Galang and Katrina Encanto, who bagged a Grande Press Lotus for their work on “Pig/Lamb/Cow” for Sunlight dishwashing liquid to add to their Cannes and Spike Gold wins. The campaign also scored in the Print Craft category, finishing with three Golds for its depictions of the product’s ability to deal with tough stains.

Speaking on the quality of the entries he saw this year, Jury President for Outdoor Shahir Zag said that Asia Pacific led the world, by far, world when it came to outdoor.

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“In terms of posters, my god, the craft it’s just insane – The level of detail, the level of storytelling. When you look at a poster it’s like when you treat it like a screen on pause – that’s what it is,” he said.

Other winners included Leo Burnett’s Sydney office, whose ‘Small World Machines’ for Coca-Cola scooped numerous awards, including a Grande in Outdoor, to help finish the festival as the second-most awarded network, while Tohokushinsha Film Corporation was awarded a Grande Film Lotus for Cup Noodle’s tongue-in-cheek ‘Globalization’ spot.

A Grande for Humanity Lotus was awarded to Publicis Singapore for ‘Liking Isn’t Helping’, a print campaign that pointed out the inanity of just clicking the ‘Like’ button on one’s social media profiles when it came to social issues.

Production House of the year was Illusion Bangkok, while Advertiser of the Year went to Coca-Cola.

No Grande Lotuses were awarded in the categories of Film Craft, Radio, Mobile, Print Craft, New Director, Effective.

LOOKING FORWARD

Towards the close of ceremonies on the final day of the festival, Lam said, “What makes AdFest different (from other festivals) is that it is the one festival that people want to come back to.”

03

With planning for AdFest 2015 in the wings, the only thing certain for now is, the show must go on.

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03 An onstage ‘#Unselfie’ from team BBDO Guerrero, led by David Guerrero 04 Katrina Encanto & EJ Galang and Dan Zonmani from Lowe & Open Thailand, winners for ‘Pig/Lamb/Cow’ 04 TBWA\SMP’s Joey Tiempo and Ali Silao, holding their Radio Lotus for ‘Mirror’

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Grande lotus winners

Outdoor Lotus Title ‘Small World Machines’ Advertiser/Client Coca-Cola Entrant Company Leo Burnett Sydney

Media Lotus Title ‘Rice-Code’ Advertiser/Client Inakadate Village Entrant Company Hakuhodo Inc. Tokyo

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Effectiveness Lotus Title ‘Car Creation’ Advertiser/Client Nrma Insurance Entrant Company Whybin\Tbwa Group Sydney

Innova Lotus • Direct Lotus Title ‘The Photogenic Beer’ Advertiser/Client Kirin Ichiban Entrant Company Hakuhodo Inc. Tokyo

Lotus Roots Title ‘Family Remeet’ Advertiser/Client Cebuana Lhuillier Entrant Company Ace Saatchi & Saatchi Manila

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Grande For Humanity Title ‘Liking Isn’t Helping: War/Earthquake/Flood’ Advertiser/Client Crisis Relief Entrant Company Publicis Singapore

Film Lotus Title ‘Globalization’ Advertiser/Client Cupnoodle Entrant Company Tohokushinsha Film Corporation Tokyo

Promo Lotus • Interactive Lotus Title ‘Sound Of Honda / Ayrton Senna 1989’ Advertiser/Client Internavi Entrant Company Dentsu Inc. Tokyo

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Press Lotus Title ‘Pig/Lamb/Cow’ Advertiser/Client Sunlight Entrant Company Lowe, Bangkok

Design Lotus Title ‘Mother Book’ Advertiser/Client Bell-Net Obstetrics Entrant Company Dentsu Inc. Nagoya

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NO REST FOR THE WICKED. Ace Saatchi & Saatchi Manila scored multiple metal, including a Grande Lotus for ‘Remeet’ and ‘ZZZ Radio’

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Ace Saatchi & Saatchi scores Grande Lotus ‘Remeet’ leads Philippine wins Ace Saatchi & Saatchi Manila was the big Philippine winner at AdFest 2014 when it picked up a Grande Lotus Roots award for its ‘Remeet’ campaign for Cebuana Lhuillier. Built around the notion that the renowned establishment’s remittance services were just as reliable for Filipinos living abroad as it was to deliver it themselves, the campaign was an easy call for judges, who also awarded it a Silver in Film and one in Direct.

“That was one of my favorite things in the show,” said Jury President Tor Myhren, President and Worldwide Chief Creative Officer, Grey New York. I didn’t realize that in the Philippines a lot of people leave the country and send money to their family.

So I thought that that’s a great insight. For a client to grab hold of that insight and become so much more human by saying it’s

just like giving the money yourself… that was a unanimous winner for the Grande.”

Saatchi Manila also picked up one Gold apiece in Direct and Media, in addition to Silver in Promo and a Silver in Radio for Pampers Diapers’ ‘ZZZ Radio’, wherein an unassigned radio station played white noise that was proven to help babies (and, by extension, their parents) enjoy uninterrupted sleep.

McCann Worldgroup Philippines continued Philippine dominance of the Radio category, scoring a Gold and a Silver for their ‘Press’ and ‘Hold’ spots for the Philippine Cancer Society.

“That was a great, great radio spot for Breast Cancer Awareness,” Myhren told adobo. “Truly, one of my favorite ideas of the entire show. You guys have heard that radio spot. I had never heard (it before) and

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the minute I did…boom, it got a Gold!”

TBWA\Santiago Mangada Puno took home a Silver Lotus in Design for their ‘Nuvali Koi Fish Invite’ for client Ayala Land and a Bronze Lotus for ‘Mirror’, done for client The Red Whistle to generate awareness towards finding a cure for HIV/AIDS. BBDO Guerrero won two metals in Direct for their initiatives to help the victims of Typhoon Yolanda (Haiyan)-stricken Tacloban. The first was a Gold for ‘Unselfie’ – wherein participants wishing to contribute uploaded a photo of themselves and their donation call to action – and a Bronze for ‘Night Light’, which brought Illac Diaz’s ‘Bottle Light’ concept to the affected areas.

The agency also picked up a Bronze for their ‘Label Against Woman’ TVC for client Procter & Gamble’s Pantene shampoo line.

Leo Burnett Manila was awarded a Silver in Promo for ‘Aid Couture’ (for client Ariel + Downy Parfum), an initiative that saw stylists design fashionable looks out of impractical garment donations to in order to generate cash for Typhoon Yolanda (Haiyan) relief goods.

Finally, DM9JaymeSyfu won a Design Bronze for their Tanduay Ice ‘Mixhibit’, which combined the popular party beverage with installation art for a number of imaginative executions.

NICE PAIR. McCann Worldgroup Philippines won two metals in Radio for the Philippine Cancer Society’s ‘Press’ and ‘Hold’ spots.

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SIGNS OF LIFE. Social awareness was the order of the day for BBDO’s wins, which included a Gold for ‘#Unselfie’, and ‘Night Light’, initiatives for Yolanda victims.

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c r e at i v e s h o w c a s e

the philippines winners

Lotus Roots Grande, Film Silver, Direct Silver Title ‘Family Remeet’ Client Cebuana Lhuillier Agency Ace Saatchi & Saatchi Manila

Direct Gold, Promo Silver, Radio Silver, Media Gold Title ‘ZZZ Radio’ Client Pampers Diaper Agency Ace Saatchi & Saatchi Manila

Design Silver Title ‘Koi Fish Invite’ Client Ayala Land Agency TBWA\Santiago Mangada Puno

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Design Bronze Title ‘Mixhibit’ Client Tanduay Ice Agency DM9JaymeSyfu

Direct Gold Title ‘Unselfie’ Client Typhoon Yolanda Appeal Agency BBDO Guerrero

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Direct Bronze Title ‘Night Light’ Client Pepsi Agency BBDO Guerrero

Promo Silver Title ‘Aid Couture’ Client Ariel + Downy Parfum Agency Leo Burnett Manila

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Radio Gold Title ‘Press’ Client PCSI Agency McCann Worldgroup Philippines

Radio Silver Title ‘Hold’ Client PCSI Agency Mccann Worldgroup Philippines

Radio Bronze Title ‘Mirror’ Client The Red Whistle Agency TBWA\SantiagoMangadaPuno

Film Bronze Title ‘Shine Strong’ Client Pantene (P&G) Agency BBDO Guerrero

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seminar

‘The Dirty Word’ D&AD President Laura Jordan-Bambach

Quite a few hands were raised when D&AD president Laura Jordan-Bambach asked a roomful of advertisers, “Who has sometimes had to kind of bend the truth and say ‘What I do is actually marketing and communications?’”

It’s not easy to be proud about working in advertising, despite it being, as Bambach said, amazing and creative.

“Advertising has become a really dirty word,” she said at AdFest 2014, where she talked about how the industry could build meaningful brands in the postdigital world, and thus gain respect.

According to Bambach, it’s important to work with a sense of purpose. “I’ve worked very, very hard to do things that are right, change the situation that I’m in, and it’s not just profitable kind of work, but for good,” said Bambach, who makes it a point to involve herself in initiatives that promote social good, such as D&AD’s White Pencil category.

During her talk, Bambach presented a selection of White Pencil entries, demonstrating how advertising can make a real difference in the world. Among the entries were Hakuhodo Kettle Tokyo’s ‘Hands On Search’, a search engine machine that combined 3D-printing technology with Yahoo!’s ‘Search’ function to make the tool accessible to visually-disabled children. “It’s incredibly creative, and it does incredible good. If you’ve got clients’ budget to spend, why not do both? Why just be satisfied with one?” Bambach said.

Another example was BBDO Germany’s ‘Ant Rally’ for WWF’s 50th anniversary. Bambach noted that instead of simply making a TV ad to talk about the 50 years, doing something for real made a much greater impact.

She also talked about Nike’s ‘Making’ app, which was created to inspire designers to make better choices based on the brand’s internal database, the

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Nike material sustainability index.

Bambach noted that digital in particular offers so much possibility to not only entertain, but to connect to people and be useful. “Yet so much of what we produce is of very little value… At best a lot of what our industry does is just filler. It’s the law of diminishing returns,” she said.

Bambach said that the industry’s image problem affects not only those who are already in it, but the new talent that finds it difficult to get a job in advertising because their parents don’t see it as a viable career. “It’s really a big issue for the next generation as well,” Bambach said.

Despite this, she said she believed the industry can do so much more. “Gandhi said, ‘Be the change you want to see in the world’. If you really want to change things, it’s up to you to change things for yourself. And then collectively, hopefully, we can also be the change that we want to see in the industry,” she said.

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seminar

‘Radical Collaboration’ Grand Jury President Tor Myhren, Grey Group New York chief creative officer In line with the AdFest 2014 theme ‘Cocreate the Future’, Grand Jury President Tor Myhren ended the three-day festival with a session on ‘Radical Collaboration’.

Taking inspiration from Pixar co-founder Ed Catmull’s 2008 article ‘How Pixar Fosters Collective Creativity’, Myhren shared his ideas on how agencies can live a truly collaborative and creative culture.

“Creativity takes two things. It takes time and it takes nurturing, and the workplace for the most part doesn’t offer either of those things,” he said.

Myhren, president and worldwide chief creative officer at Grey New York, presented Pixar’s top three ideas, along with how these can be applied in the advertising industry.

similar to Grey’s no meeting zone. The rule prevents employees from scheduling meetings from 9 to 12 every Thursday, thus giving them uninterrupted thinking time.

Free up communications

To build a nurturing environment, Myhren said it is important to get rid of ‘proper communication channels’. Instead, people within an organization should be able to communicate freely, in order to allow ideas to grow. “Ideas are like living organisms. If you put a wall around it, put a door behind it, in front of it, it’s not going to grow,” he said.

Create a learning environment

Lastly, and perhaps most important, is the need for education within an organization.

According to Myhren, there is a need to stay close to everything that is happening outside, and to make sure that knowledge is transferred to all the people in the agency.

“Millennials tend to leave very early from most jobs if they’re not learning,” said Myhren, adding that advertising is losing the brightest minds to other industries.

“The only way that were going to be able to co-create the future, is to do it with the most creative young minds in the world and have them stay in our industry,” he said.

Concluding his talk, Myhren said that while collaboration is important, it is sometimes necessary to be radically uncollaborative.

“It’s important that you don’t always think that you need another opinion…

Just be radically uncollaborative and do something that you think is amazing.

Because if you think it’s amazing, it probably is,” he said.

Empower your creatives

Saying that agencies should be led by creatives, and not business people, Myhren stressed the importance of building an environment that allows honest feedback. At Grey, there is the ‘Heroic Failure’ award, which encourages creatives to take risks. “You can’t be afraid to fail, and the culture of the agency needs to support that,” said Myhren, while noting that it’s important to fail fast. “You want to learn from that failure, and you want to move on, and you want to be better the next time,” he said.

Another important aspect of empowering creatives is time.

“Sometimes your best ideas come when you just have time to daydream a little bit,” Myhren said, urging agencies to adopt a policy

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Young Lotus Asia Pacific teams battled it out for a better work-life balance

Under the auspices of host network BBDO (which hosted the Young Lotus for the first time in eight years), teams from Taiwan, Korea, Hong Kong and New Zealand were the finalists that had to shoot it out on the final day of AdFest for the honor of being crowned the 2014ís Young Lotus winners.

While the winning duo was from Taipei (Dentsu Taiwan’s Yi-Jung Shi and Sz Hui Liu), the Young Lotus competition began with 13 teams from across the region putting their collective best foot forward to impress the judges. Participants were given the brief to find a viable solution towards a manageable life-work balance, and 24 hours to flesh out their ideas. Of the brief, BBDO chairman and CEO for Asia, the Middle East and Africa Chris Thomas told adobo that the notion of a work-life balance was not one that was unique to the communications industry, and that the brief was designed around the notion of living more in order to get better ideas in the communications industry.

“We wanted to start a conversation about how we live more for better ideas, said Thomas. The more you live, the better your ideas. That was the brief we gave them 24 hours to work on.

At the announcement of finalists, BBDO Guerrero chairman and CCO David Guerrero commended the teams for their innovative integration of ideas with technology, noting that, even just a few years ago, the majority of entries would have been TVCs. A key factor in the judging, said CCO and Vice Chairman BBDO Asia / Chairman BBDO Singapore Danny Searle, was the teams ability to present their concepts, stressing the fact that, an idea is nothing until it’s sold.

James O’Sullivan and Adam Barnes of DDB New Zealand presented ‘The Bonus’, which would encourage creatives to change the way they work by being given incentives to take time off.

“We need to be reminded of the work/ life balance,” said Leo Burnett Hong Kong’s Jason Yu and Clara Ho. The two presented the

‘After Sunset Project’, which would involve producing creative briefs and reference books that can only be read when the sun is out.

Meanwhile, Cheil Worldwide’s Solmi Park and Hyo Jeong Kang presented ‘Charge You’, which won the Audience Choice award. “Get your creators fully charged, then there will be much better ideas in your company,” the two said.

Dentsu Taiwan’s Yi-Jung Shi and Sz-Hui

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01 Young Lotus teams and their BBDO jurors pose outside PEACH. 02 Dentsu Taiwan’s Yi-Jung Shi and Sz Hui Liu win for ‘Creative Nanny’ 03 Cheil Worldwide’s Solmi Park and Hyo Jeong Kang won the Audience Choice award.

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Liuís winning entry, ‘Creative Nanny’, was an execution in the form of a management system game for ECDs, which assigned point values to how they treated their staff. “If creatives live more, they have more opportunities to be seen and to do the things they really love,” said the duo.

As the winners, Shi and Liu will receive the opportunity to have their concept realized with the backing of BBDO.

03

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Yasmin Ahmad Looking back on a legend Renowned Malaysian director and former Leo Burnett executive creative director Yasmin Ahmad was the posthumous recipient of the 3rd annual Lotus Legend award at this year’s AdFest.

Yasmin passed away from a brain aneurysm in 2005 at the age of 51.

Yasmin’s husband, Yew Leong Tan, had been invited to accept the award, but was unable to attend the ceremony, which took place on the last day of the festival.

Accepting in his place was Denstsu Inc. executive advisor and global executive creative advisor Akira Kagami. Himself the recipient of the inaugural Lotus Legend honor in 2012, Kagami was visibly emotional as he shared his memories of Yasmin.

“Her passing away was a big loss for our region. Maybe if she were still working today she would be a kind of guide or lighthouse for us to show which direction we should go in,” says Kagami. “Yasmin didn’t believe in logic, she was always working with her heart, which is very much an Asian trait.”

Ahmad began her advertising career as a copywriter at Ogilvy & Mather and continued her success as an ECD at Leo Burnett Kuala Lumpur. Her breakthrough as a film director came with her first feature film Rabun in 2002, and her films featured in the Singapore International Film Festival and the 19th Tokyo International Film Festival.

A consummate storyteller who never flinched when it came to potentially controversial subject matter, Yasmin became known as a creative whose works never shied from depicting the social relevance and emotion of her subject matter. Indeed, it would be her films that dealt with Malaysia’s ethnic diversity and cultures that would have the most resonance with audiences across the world.

“I’m very happy about Yasmin Ahmad being named this year’s Lotus Legend,” said AdFest president Jimmy Lam. “She was a wonderful talent who was always fighting against prejudice and discrimination. She had a passion for fighting back with her

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creativity. She was a remarkable person who was very much a free spirit.”

Now in its third year, the Lotus Legend is an award designed top honor long-serving creative excellence in the region, candidates nominated by AdFest judges Contender must be those who have achieved creative excellence while working in the Asia Pacific region, as well as being a role model for junior creatives. The juries then vote on the top three nominations. Previous awardees were Akira Kagami and Droga5’s David Droga.

Akira Kagami accepts the award on behalf of Yasmin Ahmad from festival president Jimmy Lam

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01 Grey Singapore CCO Ali Shahbaz and the team behind ‘Some Toys Never Die’ for Duracell 02 BBDO Thailand’s Suthisak Sucharittanonta getting to know the Young Lotus teams at the AdFest dinner at Cabbages & Condoms. 03 Dentsu Senior Creative Director Jun Katogi, seen here with one of his entries, ‘The Fly’er’ 04 FCB New York’s Rob Sherlock, D&AD President Laura JordanBambach, and BBDO Guerrero’s David Guerrero. 05 The team from The Gunn Report are all smiles. 06 TBWA\SMP creative director Ali Silao, art director Lance Yumul and creative director Joey Tiempo 07 adobo managing editor Mikhail Lecaros and digital editor Carmela Lapena, with AdFest working committee chairman Vinit Suraphongchai 08 AdFest Interactive & Mobile jury presidient, Isobar’s Graham Kelly with Media & Effectiveness juror, McCann HK’s Spencer Wong 09 Hakuhodo Kettle’s Kintaro Kimura, Grand Jury President Tor Myhren of Grey New York, and AdFest president Jimmy Lam 10 Young Lotus contestants Jan Brandon Dollente and Isabela Martinez of BBDO Guerrero 11 Team Ace Saatchi & Saatchi Manila, celebrating their wins with a toast 12 Newly-minted Dentsu Manila ECDs Rey Tiempo and Gary Amante

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01 DDB Philippines eight-person creative team turns out in force 02 Dentsu won big for the extraordinary ‘Sound of Honda’ 03 Google’s John Merrifield, BBDO Asia, Middle East and Africa Chairman and CEO Chris Thomas with adobo’s Angel Guerrero 04 Leo Burnett Thailand CCO Sompat Trisadikun, Leo Burnett PR Director Asia Pacific Karen Lim and Leo Burnett Malaysia Creative Group Head Mukund Suresh Olety 05 The team from Hakuhodo claimed multiple Lotuses for ‘Rice-Code’ 06 Charles Cadell, McCann Asia Pacific president and Ken Hoskin regional chief talent officer at the Campaign Brief Sunset Cocktails 07 McCann Worldgroup Philippines won for ‘Press’ and ‘Hold’ 08 AdFest President Jimmy Lam, adobo magazine’s editor-in-chief Angel Guerrero and AdFest juror Spencer Wong 09 On a high, Philippine creatives in Moom Ario in Pattaya. ADFEST 2014 10 Leo Burnett’s Steph Mangalindan and Dante Dizon 11 12.20’s Jon Skinner, Campaign Brief Asia’s Kim Shaw, BBDO Asia CCO Danny Searle and BBDO Guerrero’s David Guerrero

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age ncy int er nships

There is no substitute for experience, as these IXM interns learn

The ins and outs of internships Lions and pencils and Spikes, oh my!

Every career has to start somewhere

With the end of the academic year and the beginning of the Philippine summer season in earnest, students from arts, media and design courses across the country are gearing up for that most divisive rite of passage that is the internship. Whether one sees it as a chance to learn or a glorified form of indentured servitude, there is no denying that – short of actually applying for a job – there are few better ways to get a feel for one’s chosen industry than an internship. Simply put, the abilities needed to adjust, perform and excel in an actual workplace are of a far different skill set than those needed to get good grades. Bottom line? Spending some time in the type of office you see yourself working at can go a pretty long way towards figuring out whether or not you could actually work in one.

“Advertising is not for the weak,” says IdeasXMachina’s (IXM) Jedd Ilagan, who serves as his agency’s internship program’s de facto “principal”. “You work your ass off here. Wala ka pang napapatunayan ang yabang mo na (You haven’t even proven yourself yet, and yet, you’re so arrogant).

Sure, brilliance is what we look for. But perhaps more important than that is the right attitude. Diligence. Effort. Wonder.

Stamina. Sacrifice. And most of all,

hunger. We don’t take interns who are just there to fill their required hours.”

Timing of the academic calendar notwithstanding, most agencies accept interns throughout the year, based on space availability, required number of hours, and the requirements of individual departments within the agency. There are, for the most part, no perquisites or requirements as far as applicants’ fields of study go, but it is understandable that some level of preference will be directed towards those from media, arts and communication-based courses.

“Ideally, we consider applicants who are taking up advertising-related courses as there may be a bigger possibility of them eventually joining the industry. We want to make sure that the training we provide them will be relevant to their chosen field,” says Publicis Jimenez Basic’s business unit director Wella Tan. “More often than not, our interns come from Advertising, Fine Arts, Communication Arts, and Marketing backgrounds, although we’re more than open to getting applicants from other fields,” says FCB executive creative director Sydney Samodio. “In general, we’re looking for kids who have an understanding and appreciation of the industry, and are passionate in creating good work. As a creative, I’m a bit biased, so I’m looking out for students who can potentially become good

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copywriters and art directors. Obviously, a job in advertising is not for everyone, so our internship program is really intended to give students a sneak peek into what to expect in our world, versus the mostly theoretical things that they learn in school.

Ultimately, our goal is to inspire, excite, and educate the next generation of copywriters, art directors, planners and suits.”

While there’s no industry standard for internship programs, most agencies try to give the best to each intern, and this means spending time to actually train them. Some agencies ask interns to shadow employees, and others let interns work on dummy briefs.

Then there are those who give interns the full experience: They work on the agency’s day-to-day laundry list, for some, this may even involve overtime and weekend work.

The reason for this, says Aspac strategic planning director Rey Leuterio, is that “We give them hands-on exposure and training via the agency’s projects. We assign them to a department (accounts, planning, or creatives) and give them each a mentor from that department to serve as their guide. From that point, they are treated as a member of the agency — doing work related to their department. So, the intern assigned to planning is involved in research, analysis, reporting, strategy formulation, etc. It’s real agency experience though

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bbdo guerrero presents: #30DAYSWITHINTERNS

For most undergrad programs, interns are required by their schools to keep running journals or documentation of their time in the agency. Some agencies like to make things interesting, such as BBDO Guerrero, which made a social media experience out of the process, resulting in #30DAYSWITHINTERNS. With the hashtag, the online community was able to follow along with the interns’ progress as they worked on actual campaigns from briefing to pitch to production and actual release.

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Regardless of whether one enters as an undergrad or as someone looking for a job, one thing that agencies are always on the lookout for is fresh talent.

Internship programs often include hands-on immersions in agency activities, as can be see in this photograph of ASPAC interns making a presentation.

abbreviated to 240 hours / six weeks.”

The lack of any industry standard also means that interns are evaluated according to different criteria, depending on the policies of the agency where they trained. At Publicis Manila, for instance, “This would depend on what department they would be assigned.

They would be exposed to the different processes of their assigned department, and then evaluated through their works then,” says HR Officer Jennifer Aherrera.

Where most agencies have internship programs to accommodate those looking to complete their required numbers of hours, others consider such initiatives as being built into their raison d’être, such as IXM, which prides itself on being a “teaching agency”. “Our office is designed precisely to be an open source of advertising techniques, especially to advertising students, says Ilagan. “We love our jobs and with that fervor comes the generosity to teach what we know. Advertising is good and it should be shared. If there’s a “teaching hospital”, yes, a “teaching agency” that would be us.”

While many of the agencies discussed have had their programs designed with college undergraduates in mind, there are those that were created with an eye towards accommodating fresh grads looking to get into the industry, with TBWA\Santiago Mangada Puno’s TBWA\cademy being a prime example.

“Enrolment is twice a year. The course is six months long. It’s basically our training program for fresh graduates,” shares TBWA\SMP creative director Brian Siy. “They are considered scholars, with monthly stipend. There’s no employment bond. After graduation,

they can work anywhere they want.”

Regardless of whether one enters the aforementioned programs as an undergrad or as someone looking for a job, one thing that agencies are constantly on the lookout for is fresh talent. As stated by Aspac’s Leuterio, “We are looking for interns who can eventually be part of Aspac. So that basically means we are looking for people with high potential — kickass people. Leaders and selfstarters: Insightful, creative, confident, sharp, hardworking, expressive. The internship is an opportunity for them to develop and fine tune — not really to start from the ground up. Aside from this, we want them to pick up the way we think and do things as well.”

BBDO Guerrero creative director Jao Bautista concurs, “While the program is set to spot talents early on, I would like to think that the essence of a student internship program is to give – to inspire potential ad men and women.

“We are looking for interns who can eventually be part of Aspac. So that basically means we are looking for people with high potential — kickass people. Leaders and selfstarters: Insightful, creative, confident, sharp, hardworking, expressive. The internship is an opportunity for them to develop and fine tune — not really to start from the ground up. Aside from this, we want them to pick up the way we think and do things as well.

However, it is important to keep in mind that being accepted, and even excelling, in an internship are not guarantees of future employment in the agency they trained in.

When asked about this, DM9JaymeSyfu chief creative officer Merlee Jayme said that while it is true there is no shortage of talented

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applicants jockeying for permanent positions, no agency can possibly accommodate everyone who trains under them, especially in the case of the smaller houses. All they could do, she said, was give them the best possible training, and wish them well on their way.

At any rate, as related by DM9 creative director Jerry Hizon, whether or not one is offered a position after the fact, his agency’s Internship Program does go quite a ways as far as replicating the agency experience is concerned. “Interns in the program are given actual briefs / requirements with real deadlines,” says Hizon. “When I say real deadlines, sometimes they are given same day or next day deadlines. (But) of course, we scale the requirements given to them. We start off with “easy” tasks like AOBs, DJ spiels, logo designs and name studies. When they’re further along, we move them on to more conceptual requirements like radio, print, BTL, TVCs, digital, integrated campaigns etc. So as not to shock them, the first few days consist mostly of orientation – with an overview

by Merlee – talks by different accounts and creatives on various topics like presentation, art direction, writing a brief, etc.”

This is not to say that no one who was an intern has ever been hired, as Aspac associate creative director Jonah Brocka and DM9’s Alexis Bisuna (accounts), Kevin Mayuga (copywriter) and Digit social media team member Nike Atienza will readily attest.

At the end of the day, an internship is only a foot in the door. As with much of life, it’s up to the individual person’s talents, abilities and drive that ultimately determine their right to be invited to stay.

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logi c & magic

BONG OSORIO is an active marketing and communications practitioner, educator, and writer. He currently heads ABS-CBN’s corporate communications department, and is a professor at the University of Santo Tomas, as well as a columnist at the Philippine Star.

BONG OSORIO

Logic & Magic

You’re a brand… be in charge of it Artist

You” person believes in an idea, issue or cause, and combines that belief with a substantial level of personal passion to get you noticed by people who matter.

To make “Brand You” – in Peters-speak – you have to start thinking about yourself as a free agent, not just an employee. You need to assess what you do well, determine what strengths you can build on, and think about the professional image you want to project.

Then you need to develop a plan. To do so, use the communication plan template for products and services. Use the following questions to determine your brand value: 4 Where Am I? Determine your assets or talents and God-given abilities and strengths with a brand audit.

4 Make a list of your skills and measurable abilities like managing, analyzing, artistic expertise, communicating, IT-friendliness, financial wizardry, selling, training, negotiating, and problem solving.

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BRAND

MAJO

Artist

Typography skills Branding Illustration

You

BRAND

SARAH

Account Manager

Time Management Multi-Tasking ability Well oraganized

New!

Executive Assistant

Time Management Multi-Tasking ability Well oraganized

Time Management Multi-Tasking ability Well oraganized

Every time I attend the graduation of my advertising and PR students I can’t help doing a little exercise in my mind. I try to determine the most unique feature, trait, or character of each one of these students, culled from two semesters of weekly encounters. In determining at least a one-word description for each graduate, I often silently ask the question: “If this graduate were a brand, what kind of brand is he or she?” – premium or basic, high-end or mass, rural or urban?

I was doing a branding exercise in reverse.

Normally, when I work on brands to develop a “personality” for it, the most important question asked is, “If this brand were a person, what kind of person is it?”

Well, dear graduates, what more do you need? You need to stand out, to be distinctive. Develop a competitive advantage, and a single-minded proposition. See yourself as somebody that your employer can’t do without. Determine what your company is looking for, and project yourself around it. The trick is to stay true to your capabilities and skills, soul and essence, but cut through and rise above the clutter.

Your brand as a human being makes you distinctive from the rest in your field. As business guru Tom Peters says become “Brand You” or you’ll be canned; distinct or extinct.

The “Brand You” phenomenon is changing the world of work dramatically.

As Peters says, “Soon there will be no such thing as a ‘job’, because this is the age of ‘Wow Projects’ and virtual teams. A Wow Project is a dynamic, compelling and stimulating tangible thing that must be accomplished since it will make a big difference to people.

In Brand You you are on your own.

This requires expert collaboration and networking skills not only to survive, but also to thrive. As management consultant Fred Pfaff avers, “relying on pure selfpromotion to gain reputation can easily backfires.” To get your name in the public arena, you must get “branded”. A “Brand

You

I.T. Programmer

Account Manager

Typography skills Branding Illustration

You

BRAND

Organized Keen on details Trustworthy

XTIAN

You

BRAND

I.T. Programmer

RACKEE

Executive Assistant

Time Management Multi-Tasking ability Well oraganized

Organized Keen on details Trustworthy

You

BRAND

4 Where Do I Want To Be? Make sure your goals and objectives are properly set. Your performance will be measured later on against the objectives in your plan.

4 How Do I Get There? State your strategies, tactics and executions.

Create your “brand essence”, build a relationship with your targets and reinforce the relationships created and trigger recognition with consistent visual symbols, personal logo or a personalized tagline.

4 Am I Getting There? In the process of implementation, make an effort to step backward and review your moves to determine whether you should proceed as planned, make revisions, or completely change the plan based on your own evaluation.

“Brand You” takes time and effort. For it to pay off, get involved in things, work and activities that you love, and are best suited for.

As Peters declares, “You are in-charge of your brand. There is no single path to success.”

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downtime

Downtime logomania We’re not going to waste time complaining how Google, Instagram, Firefox, Yahoo! and Visa’s newly-unveiled logos are pretty much the same old ones with minor tweaks, so we’ll just go into some of the stranger redesigns of recent memory.

ABSOLUT (SWEDEN) Because periods are serious.

BLACK + DECKER (USA) Power tool brand Black + Decker (formerly Black & Decker) traded in its classic industrial-inspired aesthetic in favor of a look more suited to the menu of a hipster restaurant. Definitely successful (if New York- design consultancy Lippincott’s goal was to strip the brand of any and all character).

FITNESS FIRST So from a logo that looked better on a box of cake mix, we move to…1F? Or is it F1?

LBC (PHILIPPINES) While the case study by Singapore-based design firm Tangible says that their new three-sided logo for venerable Filipino courier LBC was inspired by the company’s Brand Attributes and Services Principles, we couldn’t help but think someone may have been plucking a guitar while fighting off a bad chest cold.

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cloned

KIA TAKES THE RED PILL The nostalgic thrill of seeing Lawrence Fishburne as Morpheus again notwithstanding, the success of Kia’s Matrix-inspired Super Bowl spot’s ultimate punchline depends entirely on your opinion of Puccini’s Turandot opera.

While that bit had some people scrambling for the blue pill, we thought it was a memorably ridiculous spot from a Super Bowl that was conspicuously lacking in them.

ADOBO AROUND TOWN

adobo EIC Angel Guerrero and CCO Janelle Squires were interviewed by the Asian News Channel (ANC) to speak on the Word on Creativity. Angel was featured by Mornings@ANC on Feb 4 adobo’s recordsetting 3rd Philippine Quill Grand Prix award win, while Squires appeared on Feb 4 with designer Brian Tenorio to talk on the upcoming adobo Design Awards.

Dave Matthews

12:20 CD John Skinner

GIRL POWER AT ANDYS Between judging sessions at the Andy Awards in Shanghai, DM9JaymeSyfu CCO Merlee Jayme indulged her inner artist with this doodle highlighting that most rare of festival sights: female jurors! From L-R: Jayme, Naked CCO Fernanda Romano; Duval Guillaume Modem ECD Katrien Bottez; Goodby Silverstein & Partners ECD Margaret Johnson; JWT New York ECD Sarah Barclay; Weiden+Kennedy global ECD Colleen DeCourcy

AD NAUSEAM: PROPOSAL TO NOWHERE When these garish billboards went up along Manila’s main thoroughfare, EDSA, social networks went wild with speculation. Who was Olivia? Was it a genuine proposal? Was it sweet or tacky? Sadly, it proved to be the latter, as the promised reveal date of 02.14.14 came and went, until five days later, when it was revealed to be a marketing stunt promoting...a developer’s 2,141.40 Peso weekly condo payment scheme. Fail.

March-April 2014

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ev ents calendar

Events Calendar March 26 adobo CEO Masterclass: Lucille Tenazas The City Club, Makati Place Makati, Philippines ----

April: Announcement of Shortlist May 1: Announcement of Winners NYFEST: International Advertising Awards

May 7-10 Ad Summit Pilipinas

New York, USA

Subic, Olongapo City www.adsummit.ph

----

March 28: Entry Deadline June 3: Awards Night UA&P Tambuli Awards

advertising.newyorkfestivals.com

May 26-27 CMO Asia Summit

----

Hilton Kuala Lumpur

Manila, Philippines

April 5-10 NAB Show: Where content comes to life

www.cmoasiasummit.com

tambuliawards.asia

----

Las Vegas Nevada, USA

March 28: Entries Open June 15-21: Festival Cannes Lions Advertising Festival

www.nabshow.com

----

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May 29 The Asian Marketing Effectiveness & Strategy Awards Singapore

Cannes, France

April 8 adobo 8th Anniversary Party

www.canneslions.com

venue TBA

----

April 14: Awards Gala APAC Effie Awards

March 28: Design Series 2014 adobo Design Awards

Singapore

www.ames.asia

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June 19 Adobo Main Course: Armand Serrano The Mind Museum ----

The Mind Museum

www.apaceffie.com

adobodesignawards.com

----

June 28: Tourney adobo Football Cup 7 Part 1

April 23-24 The Internet Show 2014 & The Mobile Show Asia 2014

Circuit, Makati

Marina Bay Sands, Singapore

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March 28: Awarding Ceremonies adobo Design Awards

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Ayala Museum

www.terrapinn.com

July 8-9 Ad:tech Singapore

adobodesignawards.com

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Suntec, Singapore

----

adtechasean.com

May 5–9: Creative Week The One Show

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New York, USA

July 3: Awards Night D&AD London

enter.oneclub.org/theoneshow

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www.dandad.org/awards14

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adobomagazine

March-April 2014