Marketing magazine Hong Kong, March 2017

THE ART & SCIENCE OF CONNECTING WITH CONSUMERS

MARCH 2017

HONG KONG

marketing – interactive.com

#KOL We’ve looked at the numbers – and the price tags.

How influential are influencers really? 從收費定價到 投資回報， 我們以數字全面解構

HK$55

網絡紅人的市場推廣價值。

編者的話

EDS LETTER

WHY WE ARE DUCK-DUCKING INTRUSIVE ADS Editorial Carlos Bruinsma, Editor carlosb@marketing-interactive.com

ひ◙䢮㞾㺹㷃䒪䔇虚

Inti Tam, Deputy Editor intit@marketing-interactive.com Angel Tang, Senior Reporter angelt@marketing-interactive.com Tracy Chan, Bilingual Sub Editor tracyc@marketing-interactive.com Advertising Sales - Hong Kong Sara Wan, Sales Director saraw@marketing-interactive.com Sherman Ho, Account Manager shermanh@marketing-interactive.com Ruby Lee, Account Manager rubyl@marketing-interactive.com Advertising Sales - International Søren Beaulieu, Publisher (Singapore) sorenb@marketing-interactive.com Production and Design Shahrom Kamarulzaman, Regional Art Director shahrom@lighthousemedia.com.sg Evisu Yip, Associate Art Director evisuy@lighthousemedia.com.sg Samson Lam, Graphic Designer samsonl@lighthousemedia.com.sg Events Yeo Wei Qi, Regional Head of Events Services weiqi@lighthousemedia.com.sg Finance Evelyn Wong, Regional Finance Director evelynw@lighthousemedia.com.sg Management Tony Kelly, Managing Director tk@marketing-interactive.com Justin Randles, Group Managing Director jr@marketing-interactive.com

Lighthouse Independent Media Ltd. Printed in Hong Kong by Asia One Printing Ltd. For subscriptions, contact circulations at +852 2861 1882 or email subscriptions@marketing-interactive.com.

COPYRIGHT & REPRINTS: All material printed in Marketing is protected under the copyright act. All rights reserved. No material may be reproduced in part or in whole without the prior written consent of the publisher and copyright holder. Permission may be requested through the Hong Kong office. Disclaimer: The views and opinions expressed in Marketing are not necessarily the views of the publisher. Hong Kong: Lighthouse Independent Media Ltd, publisher of Marketing magazine 2/F, Connaught Harbourfront House, 35-36 Connaught Road West, Sheung Wan, Hong Kong Tel: +852 2861 1882 Fax: +852 2861 1336 Singapore: Lighthouse Independent Media Pte Ltd 100C Pasir Panjang Road, #05-01 See Hoy Chan Hub, Singapore 118519 Tel: +65 6423 0329 Fax: +65 6423 0117 To subscribe to Marketing magazine, go to: www. marketing-interactive.com

When I was a wee little editor-to-be, I remember very clearly an instance where I was sitting in a restaurant with my father, talking about some aspect of business or another, and he smugly quoted who he, in the pre-Google era, believed to have been Henry Ford saying, “Half of the money I spend on advertising is wasted.

The problem is I don’t know which half.”

I’ve always taken this quote with a grain of salt. We can certainly track effectiveness! I would say to myself. Especially in the age of metrics, it’s not rocket science to see which ads lead to click-throughs and conversions. But lately, for every customer that clicks on your ad, another 10 seem to get irreversibly pissed off.

Only four short months ago I wrote about ad-blocking in this very column, but it seems in this incredibly short time period a number of big changes have been happening on this front.

Google has started penalising intrusive ads on mobile. DuckDuckGo – a search engine that promises not to track any of their users’ behaviour and can block ads by default – has gained serious ground. Ad-blocking users have increased by 30% over 2016 and enthusiasts have just stepped up their game to include the “Pi-hole” – a small, easily programmable Raspberry Pi device that blocks all ads and antiad-blocking scripts on an entire network.

Just the other week, I was browsing Reddit (off the job, I promise!) and saw an entire comment thread filled with literally thousands of comments from angry customers who have made blacklists of brands that annoy them with online ads – brands from which they swear they will never buy another product. It should be noted, however, that most of those users didn’t object to ads per se – they objected to malwave in ads and overall obnoxiousness.

Even better, creative ads posted on YouTube as videos still net thousands (if not millions) of views.

So it might not be apocalyptic quite yet, but it certainly wouldn’t hurt to address the elephant in the room and figure out a way to make him less obnoxious before he scares off all the guests.

Enjoy the read.

ᔾᮒổᩚᬗጟ᥸ᣦᛵዯᣥᬧᴗᅗᔾῃᎄ⏧ᔈᑋ␷⟞ 婰屖履⎿䍮⛕虇䜅㟑 Googleⶩ㢹䡪姛虇⁥㹍㹍卹✫ ⢿イ䚷⁴䉉㞾㸌恙⪶䔚䬞䐈䠓捠╴處Ӂ㎠㢘ᾏⓙ䠓ひ ◙幊㞾䠌呀―虇⛞槛㞾㎠ᾜ䥴懢㞾♹ᾏⓙҸӂ ㎠ᾏ䢃⶜憨╴尀ⓙⅰⓙ䜠虇⡯䉉⪶ⵅㄏㄏ╾⁴ 捞〵ひ◙俍㛗Ҹⶳ⌅⢷岪㷑㒖㮨䠓㟑⁲虇嬐䥴懢戲 ‪ひ◙劌㢘㛗◇イ灭㙙䔖╙惘㕪䔖᾵棭桲‚Ҹ⃕㢏 慠虇䜅㢘ᾏ⃜ⴱ㏅灭㙙ひ◙虇ⷀ㢒㢘╵⪥ⓐ⃜ⴱ㏅⶜ ⃯䠓ひ◙䚮┼Ҹ ⢷䥼䥼⋼↚㢗⏜虇㎠䠋姷懝ᾏ䵖杫㝋ひ◙㚣㎹ 䠓㜖䱯虇⃕╹㞾⢷憨灋䥼䠓㟑朢⋶虇憨㝈棱⾁䠋䚮ᾏ ‪捜⪶䠓惘崙Ҹ

Google⾁朚⭚⶜䮊⑤宼∨ᾙ䠓⅄⋴ゞひ◙⃫⎉ ㎁僿Ҹ㖫亱イ㙝DuckDuckGo㐎岍ᾜ彮忳⌅䚷㏅䠓 ₊⃤姛䉉虇᾵╾⁴柊㳱灧尜ひ◙虇⡯军⪶╦㳰慝Ҹひ ◙㚣㎹恮₅䚷㏅⢷2016〃⨭␯ᾘ㎟虇㚾㒐冔⌜㔴⌜ ╁虇㔷⎉亿⶞军ᾣ㙜⃫䶰㞢䠓Raspberry Pi-Holeひ ◙㚣㎹恮₅虇㚣㎹㜃↚佁仰ᾙ䠓㏏㢘ひ◙╙╜ひ◙ 㚣㎹䮚ゞҸ 㢘ᾏ㲰㎠䆞孌Reddit虃䜅䋅㞾⽴⃫㟑朢⁴⪥虄虇 䢚⎿㜇⁴ⓒ宗㌳ㆡ䠓ⴱ㏅䛨宏虇刁䯀ⶖ㏏㢘■⁥↠ 㔷憐佁ᾙひ◙䠓♐䏛⎦⋴灠▜✽虇᾵尢宏㷇ᾜ庋幆 憨‪♐䏛䠓䚱♐Ҹ䋅军虇⇋ㄦ䛨㊞䠓㞾虇⪶⪩㜇䚷㏅ ᾵棭╜⶜ひ◙㢻怺虇军㞾╜⶜⿅㢘䝔㵡╙⅄㚍ㆶ䠓 ひ◙Ҹ 军㢃⬌䠓㞾虇YouTubeᾙ䠓␄㊞ひ◙㄀䏖⁜◇イ 㜇⁴ⓒ宗ҷ䚩厂䠍喻宗䠓䆞孌捞Ҹ ⡯㳳虇ひ◙ᾥ䛛⁜㢹廿⎿㢺彾虇⃕‵ᾜ㍘⶜⛞槛 嬥呴䊰䤈虇㍘⢷ひ◙宙ㇾ⠖廿㏏㢘容ⴱ⏜虇㐍⎉⁳ⴒ 崙ㄦ㸡㢘戲灋㊈⁉宝┼䠓㝈㹤Ҹ 屚亿杀⁙㢮⋶ⵈҸ

SCAN TO SUBSCRIBE

Carlos Bruinsma Editor WWW.M A R K ET I N G — I N T ER A C T I V E.C O M

MARCH 2 017 MARK E TING HON G KON G 1

6

10

12

MARCH 2017 6

Finding greener pastures

10

Ad Watch.

12

#KOL

18

Mob-EX Awards 2017.

38

Who’s winning the PR race to the CE office?

悤橮䋽㊞

ひ◙灭寤

#KOL

㏚㯮⾑⧃㔷ひⓢ弙⪶䓝2017

䐈欥╒戇⁉⋻杫㎿䛴灭寤

18

38

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60 seconds with

ONLINE VIDEO VIEWING HABITS ACROSS ASIA PACIFIC What’s on?

MARKies Awards 2017 What: The MARKies Awards recognises the most innovative, creative and effective campaigns or projects spanning Hong Kong’s entire marketing services industry.

Where: JW Marriott Hong Kong.

When: 20 April 2017.

First job? My first job was a marketing executive for a developer in Toronto, Canada.

Video content is being consumed daily in a variety of ways: ⁉↠⶜嬥槊⋶ⵈ䠓㼗幊㢘⪩䮽㝈ゞ

APAC ‭⪹Ⓩ

Retail Marketing 2017 What: Asia’s leading conference that zeroes in on marketing challenges in the retail industry; from challenges in brick-and-mortar to the pitfalls of online commerce.

Where: Hotel ICON. When: 26 April 2017.

“Imagine if you have a marketer who knows everything about every single one of your consumers.

That’s impossible to achieve with humans, but with AI you can.” Ӂ寵㊂≞ᾏᾚ虇㢘ᾏ⃜⾑ !⧃㔷ひ⁉♰劌―孲㵞↚ !㼗幊冔䠓㏏梏ʫʫ !ᾜ懝虇⁉槭ᾜ╾劌⇩⎿虇 !⃕⁉⽴㠉劌╾⁴Ҹӂ David Sanderson, founder and CEO, Nugit.

Nugit␄愵⁉⌋姛㛎俌婐David SandersonҸ

Idy Wai Head of marketing and communications Savills Hong Kong

CHINA ᾼ⢚

77%

Broadcast TV ひ㘼梊嬥

64%

70% 78%

Free online videos ⋜幊佩ᾙ嬥槊

32%

How did you get into the industry? Riding on my first experience in the property industry, I kept my eyes open for marketing posts in real estate when I first arrived Hong Kong.

Online TV (free) 佁彾梊嬥)⋜幊*

11%

48% 14%

Perks of your current job? The variety I would say. What makes my current job interesting is that we work on creative for both in-house and clients, so there are variety of projects such as corporate events, branding, property brochures, print production and public relations.

What’s the most challenging part of your job? The challenging part of my job is the need to always carry a “can-do” attitude with an enthusiastic approach, and to drive a positive team to deliver projects with tight deadlines … making miracles happen!

If you weren’t in marketing, what would you be? If I wasn’t in marketing, I would love to study at Beijing University in Chinese language and paintings. Besides, I think I have a passion in running a shop with my line of jewellery design.

Online subscription 佁ᾙ嬥槊宑杀㢜⑨

62%

75%

Videos on social networks 䫍″Ⱑ汣ᾙ䠓嬥槊

Traditional TV content is still strong across the region ≂伀梊嬥⋶ⵈ姷䖍⁜䋅テ⑐

1.8hrs

Hours spent watching broadcast TV daily in China ⢷ᾼ⢚虇⁉↠㵞⪸呀⢷孏䢚ひ㘼 梊嬥ᾙ䠓㟑朢

1.7hrs

Hours spent watching online video content daily in China ⢷ᾼ⢚虇⁉↠㵞⪸呀⢷孏䢚佩ᾙ 嬥槊⋶ⵈᾙ䠓㟑朢

ᯧዯᐡጤᓆ៦ᅞ㎠䠓䲻ᾏ₌⽴⃫㞾⢷␯㒎⪶⪩↺⪩ᾏ ⵅ⢿䚱䠋ⷤ⛕㙣₊⾑⧃㔷ひῊ₊Ҹ ᑙᒺዹᒭᅞ㌠䣏⢷㏎⢿䚱姛㫼䠓䲻ᾏ₌⽴⃫伢毦虇 ㎠⎬⎿欨㾾㟑虇ᾏ䢃䛨㊞嗦㏎⢿䚱⋻▇䠓⾑⧃㔷ひ 分⃜Ҹ ᯀᐞጤᓆ᲌ᑗᛵᑊ፵៦ᅩ㎠尜䉉㞾⪩⋒⒥Ҹ㎠⽴⃫㢘 弲䠓⢿㝈㞾䉉⋻▇⋶扷╙ⴱ㏅㭚ㆬ␄㊞虇⡯㳳㢒埤䖕 ▓ゞ▓㮲䠓榔䡽虇⬑ₐ㫼㻊⑤ҷ♐䏛㔷ひҷ㮢䡳ⴲ≂ ⶞⌙ⳟҷ。棱ひ◙媌⃫╙⋻杫Ҹ ᯀᐞጤᓆᛵ᲌ጙ៛⍓៦ᅩ㎠䖍₊⽴⃫䠓㢏⪶㒠㎿Ὶ 埤虇⢷㝋嬐伢⿇Ⅼ㒐ӁCan-doӂ䠓ㅒ㋚╙⶜⽴⃫䠓䍀 尯虇᾵ら䱚ᾏ㚾䯜㬄䠓⢧栙⢷余慺䠓㢮柟⏜ⴛ㎟榔 䡽虇崢⫖忮䠋䚮蘼 ᑙᚤጰᬙᗇᏕᲵᭆ⇚ᛵᾭᅗᓇỒ␋⍛ᠻ↚ᅩ⬑㤫㎠ᾜ ㄭ‚⾑⧃㔷ひ䠓尀虇㎠ㄗ㊂⎿⒦※⪶ⴇⅽ崏ᾼ㜖╙ 俹䛺Ҹ㳳⪥虇㎠⾛㢪劌⪯伢䍮ᾏⵅ⛕〦虇⚽干㎠宼宗 䠓欥檍亊⎦Ҹ

Source: Kantar TNS

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人物專訪

PROFILE

Finding greener pasture s

In response to a growing demand from sophisticated and health-conscious consumers, superfood and organic food are frequently marketed as a key component of overall health and wellness. Inti Tam spoke to Pret A Manger about how the food chain has responded to healthy eaters’ insatiable appetite for the latest food fads in Hong Kong. 样嗦㹷捜⇴う╙檙䚮䠓㼗幊冔厖㝴ↀ⨭虇弔亩橮䏸╙㢘㯮橮♐伢 ⿇嬥䉉㢘䡙⇴う䠓檁橮欥戇ҸInti Tam憯容Pret A Manger虇 㔱宝⢷㔷⺖伯吁檁橮㜖⒥䠓䃽㻐ᾚ虇封憲攥檟も⬑⃤慝▗憌㷑 悤橮䚮㻊䠓橮ⴱ梏㷑Ҹ

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人物專訪

PROFILE

WWW.M A R K ET I N G — I N T ER A C T I V E.C O M

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人物專訪

PROFILE

㢘㯮䚱♐⾁ㄭⶠ㜇㼗幊冔䠓䚮㻊㋚〵虇惘崙㎟䉉⪶ ⪩㜇㾾⁉ᾜ㟑庋幆䠓䚱♐Ҹ柳㢘㯮卂橮虇⃯╾劌‵刌 懝⁴ᾚ䠓檁橮䃽㻐處亯橮ҷ䊰䯏䏸ҷ䊰瀸幹ҷ䚮㯮ҷ 㤫㷐㔡㵡䳘䳘Ҹ 样嗦憨‪㜿厗橮♐䠓㼗幊╙K㍘⾁㎟䉉Ὴ㻐虇 檁橮㫼㢏慠伢㴆ᾏ㲰捜⪶惘⤚Ҹ ᾙ㢗虇咀⢚ᾘ㜖㹊╙㸨ㄚ憲攥〦Pret A Manger 榕㍘憨到強⑱虇⢷欨㾾㔷⎉―⋷㜿䠓ӁNot Just For Veggiesӂ檟✽╙㔷ひ㻊⑤虇⁴慝▗⪶䣍⶜伯吁悤䡗 檁橮㝴䡙⨭␯䠓梏㷑Ҹ 㜿檟✽㕟K⪩懣100㳍䠓亯橮戇㙖虇⌅䡽㮨ᾜ≔ 㞾㎟䉉亯橮冔䠓欥戇檟も虇㢃⾛㢪◇イ㊂㾪ⶠ▒刘 䠓橮ⴱҸ Pret A Manger‭㻁Ⓩ⛕⑨俌䡲㣝呴坜姷䫉處Ӂ ╊〃Pret⃜㝋↺㛵䠓㬑ㆄ亯橮〦╥ㄦ㎟␮虇⌅ㄛ㢃 ㎟䉉⢉⴩〦虇崢㎠↠΅⾛㢪㐙儝☂䠓⋷㜿亯橮␄⃫ ⿅⎿欨㾾Ҹӂ 封憲攥檟も‵ⶖ⌅搔昋䇲⎕〦㛈憯㎟汣毦〦虇

Organic products have shifted from being a lifestyle choice for a small number of consumers to being consumed at least occasionally by a majority of Hong Kong people. Besides organic, other trending diets you may have heard about include vegan, grain-free, gluten-free, raw, juice cleanses … and the list goes on.

As consumption and availability of those emerging foods have both become mainstream, the food industry has recently undergone a transformation.

Last month, British sandwich and salad chain Pret A Manger jumped on this trend, and launched its new “Not just for veggies” menu and campaign in Hong Kong as the chain saw an increasing demand for greener and lighter eating.

With the new menu offering a wider choice of vegetarian options – up to 100 veggie recipes – the restaurant doesn’t only aim to become a vegetarian and vegan dining destination, but also wants to cater to meat eaters who just want to eat a little less meat.

“After the successful launch of Pret’s veggie pop-up in London last year, which has since become permanent, we wanted to bring some delicious new vegetarian innovation to our customers in Hong Kong too,” says Yumi Li, commercial director (Asia) at Pret A Manger.

The restaurant chain has also turned its Causeway branch into an “ambassador shop” 8 M A R K ET I N G H O N G K O N G MA R C H 201 7

Our counterpart s have educated cu stomer s on the organic sector

and thi s will support it s continued development.

to showcase all of the 100 veggie recipes.

Additionally, it turned its signature winecoloured star green to align with the campaign.

With superfoods such as chia seed, coconut yoghurt, avocado, beetroot and quinoa included on the menu, Li proudly says Pret is the first ready-to-eat food chain to offer this kind of trendy food.

To create top-of-mind awareness, the restaurant decided to take a different approach from its long-standing word-of-mouth marketing strategy and roll out a large-scale advertising campaign for the first time.

This included outdoor ads on trams and teaming up with celebrities and influencers on social media to promote the veggie menu.

Doing out-of-home advertising or social media posts might be staples for many brands,

K㍘⋷扷100㳍亯橮檟✽虇᾵欥㲰ⶖ⌅拡五吁䠓㞮㞮 㮨尛㕪㎟伯吁虇⁴拜▗㔷ひ㻊⑤䠓Ὴ槛Ҹ 檟✽戇䚷⫖‭丌ҷ㪿ⳟ 拹ҷ䏪㹈㤫ҷ五啫榼╙ 坫瀴䳘弔亩橮䏸䉉㣟㜨虇㣝呴坜卹巹⢿姷䫉虇Pret㞾 欥ⵅK㍘憨‪䃽㻐橮♐䠓ㅺ檟〦Ҹ 䉉㕟ⓖ䥴▜〵虇封檟も㸉⴩㔰╥ᾜ▛䠓㔷ひ㝈 ゞ虇ᾏ㛈⌅朆῔⁴ℕ㏏㔰䚷䠓╲䨠䍮摆䳥䛴虇欥㲰㔷 ⎉⪶嬞㮰䠓ひ◙ⴲ≂㻊⑤Ҹ 䜅ᾼ⒔㑻梊恙恙怺㏅⪥ひ◙虇᾵厖佁仰五⁉╙ ▜⁉▗⃫⢷䫍″Ⱑ汣ᾙⴲ≂⌅亯橮檟✽Ҹ ⶜ㄗ⪩♐䏛ℕ尹虇ⶳ⌅㞾檟檁㫼虇㏅⪥ひ◙㎥䫍 ″Ⱑ汣ⴲ≂㞾ⵅ⿇ⅎ橾Ҹ⃕⶜㝋㵞〃㐤㛍ⶠ㝋⋼⃜ 㜇⳦幖捠⢷⾑⧃㔷ひᾙ䠓Pretℕ尹虇憨㞾ᾏ↚⪶卌 䠓➦寵Ҹ 㣝呴坜尹處Ӂ㎠↠ᾏ䢃尜䉉虇㍘⶗㹷㐤幖㝋橮♐ 朚䠋虇⁴㕟K⊹幹䠓䚱♐虖⁴╙ⶖ幖捠呀⢷♰⽴怺 ᾙ虇⁴ⅎ䉉橮ⴱ⿅ℕ㢃⬌䠓〦⋶汣毦Ҹӂ Pret ⢷㾾朚㫼厂⁙⾁從⋴䲻ⓐ‣↚〃榼虇封檟 WWW. MARK E TING—IN TE RAC TI VE . C OM

人物專訪

PROFILE

especially for the F&B industry, but for a company which spends less than six digits on marketing a year, it was a bold move for Pret.

“We always believe we should invest in food development to offer high-quality products and spend money on staff so as to create a better in-store experience for diners,” Li said.

But now in its 15th year in Hong Kong, the restaurant believes it can do something more to win customers’ hearts, especially in the digital era.

That’s why the restaurant partnered with famous TV hostess and frequent patron Do Do Cheng to share her food pictures on Instagram for the very first time.

It also appointed a new PR agency earlier this year to handle its media relations.

“We do more media tasting and promotion events to show that we are in tune with customers.”

With 20 stores in Hong Kong, mostly located in commercial districts in the heart of the city, Li says the chain is looking to expand to different areas – it is currently targeting three to four shop openings per year.

While the competition in the organic food retail market is heating up, it doesn’t worry her much. Rather, she thinks natural and organic diets will continue to grow.

“The pie is now bigger … our counterparts have educated customers on the organic sector and this will support its continued development.”

Another reason why Li is so confident about the brand is that about 30% of its food ingredients are exclusively imported from the UK headquarters, such as croissants, bread, salmon, bacon and so forth, which cannot be imitated by its rivals.

Putting so much focus on its product quality, Li says its food costs are the single biggest expenditure of the restaurant, more than the notoriously high rents in the city.

She also believes the upside of its Hong Kong market is the hands-on and flexible operations. For instance, for the “Not just for veggies” campaign, the team started to plan for the Hong Kong launch last September, and in less than six months, it was actualised and kicked off in February.

While its UK head office has laid the groundwork for its development and sent many high-quality ingredients to the Hong Kong WWW.M A R K ET I N G — I N T ER A C T I V E.C O M

Pret’s slogan - “Made today. Gone today”.

Pret㮨㬫⌅䚱♐Ӂ㝴㝴㜿洽㝴㝴㾔ӂ

office, Li says Hong Kong has also “exported” some marketing tools overseas at the same time – such as the red packets.

She says many Chinese tourists will go to a Pret store inside an outlet village in Oxford, and over time it has become a must-go place for tourists so the restaurant gives away red packets to those customers during the Chinese New Year.

As the rest of its UK stores don’t follow this traditional custom, the Hong Kong office will send a considerable amount of red envelopes to the branch.

Li says she has Pret in her blood after she first started working at the company in 2002 as a front-line team member in London for about one and a half years. She then worked in the commercial team at headquarters and worked her way up to become the range and merchandising manager before being transferred to the Hong Kong office after the financial crisis in 2009.

Now working as commercial director, she spearheads the food, marketing and supply chains, and is responsible for new shop types for the business targeted specifically for the local Chinese market.

Its first Chinese store was opened in Shanghai in 2014. Three years in, she says the development of the Chinese market is still at the “early stage” and “challenging”, but the restaurant will stick to its 80/20 rule – 80% of its food consists of the classic beloved products from the UK, while 20% are tailor-made local innovations.

Looking to the future, with more than 400 stores located in the UK, US, Hong Kong, Paris and Shanghai, the British food chain will continue expanding cautiously, with the first restaurant set to open in Singapore in the third quarter of 2017.

も も尜䉉⢷㜇䩋〃⁲虇㍘封㢃Ὴ⑤䯜㬄庞╥ⴱ㏅䠓 㳰 㳰ㅒҸ ⡯㳳虇檟も欥㲰彮伢⿇⋘槶䠓嗦▜梊嬥䵏䡽Ὴ㒐 ⁉ ⁉押婤䕁▗⃫虇⢷Instagramᾙ⎕›⬈䠓橮䏸䋶䏖Ҹ 㳳⪥虇Pret‵㝋⁙〃⎬⭣₊ᾏⵅ㜿䠓⋻杫⋻▇ ℕ ℕ埤䖕Ⱑ汣杫⅑‚⑨Ҹ Ӂ㎠↠ⶖ厘姛㢃⪩䠓≂Ⱑ寵橮╙㔷ひ㻊⑤虇⁴ 槾䫉㎠↠厖槶ⴱ▛㳴Ҹӂ Pret ⢷欨㾾宼㢘 20ⵅ⎕〦虇⪶扷⎕⃜㝋⾑ᾼㅒ ⛕㫼Ⓩ虇㣝呴坜姷䫉虇檟も⾛㢪ⶖ㚃ⷤ厂ᾜ▛䠓⢿ Ⓩ虇䖍㟑䠓䡽㮨㞾㵞〃⨭宼ᾘ厂⡪ⵅ朏〦Ҹ 桥䋅㢘㯮橮♐梅⚽⾑⧃䠓䲅䎼␯␖虇⃕⬈⶜㳳 ᾵ᾜ㙣ㅒҸ䢇╜虇⬈尜䉉⪸䋅╙㢘㯮檁橮䃽㻐ⶖ㢒個 倛㻐姛Ҹ Ӂ⾑⧃䖍㟑崙ㄦ㢃⪶//////㎠↠䠓▛㫼⾁■槶ⴱ 䇛惇㢘㯮檁橮䠓䥴峧虇憨ⶖ㚾㒐⌅㒐倛䠋ⷤҸӂ 㣝呴坜⶜⌅♐䏛⬑㳳㢘ⅰㅒ䠓╵ᾏ┮⡯虇㞾⢷㝋 ⌅ 30虀䠓橮㣟抌㞾ㄭ咀⢚俌扷䓷ⵅ䢃㔴懁╲虇⬑䏪 孡⒔ҷ灄⒔ҷᾘ㜖泩ҷ䋨刘䳘虇⡯㳳ᾜㆤ⌅䲅䎼⶜㏚ 㮰₎Ҹ 㣝呴坜姷䫉虇䛀㝋汧〵捜嬥䚱♐䠓幹捞虇⡯㳳橮 㣟㎟㢻⃣檟も䠓㢏⪶㚾⎉虇㵣欨㾾⎉▜汧㞑䠓䭮捠 㚾⎉㢃汧Ҹ ⬈‵尜䉉虇欨㾾⾑⧃䠓⊹⑱⢷㝋‚‚嬹␪嬹䉉 ╙棗㻊懚⃫虇ℚ⬑⌅⢧栙㝋╊〃Ῥ㢗朚⭚宗␒ⶖNot Just For Veggies㔷ひ㻊⑤イ懁欨㾾虇ᾜ䚷ⓙ〃䠓㟑 朢虇ⅎ劌㝋‛㢗㳲ゞⷤ朚㻊⑤Ҹ 桥䋅⌅咀⢚俌扷䉉⌅䠋ⷤ⫯⴩⦉䪝虇᾵■欨㾾 ⎕〦㕟K寀⪩⊹幹䠓橮㣟虇⃕㣝呴坜姷䫉虇⁥↠‵▛ 㟑■㼆⪥Ӂ惇⎉ӂᾏ‪⾑⧃㔷ひ⽴⌆處ℚ⬑⎸㞾ⶐҸ ⬈姷䫉虇ㄗ⪩ᾼ⢚懙ⴱ㢒╊䏪㺴ᾏ↚䐈干⧃⋶ 䠓Pret朏〦虇ℎ⌅䃇䃇㎟䉉ᾼ⢚㝔ⴱㅔ⎿Ὶ埤虇⡯㳳 封檟も㢒⢷慁㡕㜿〃㢮朢■槶ⴱ㻍䠋⎸㞾Ҹ 䛀㝋咀⢚⌅⁥朏〦㸡㢘戄ㄹ憨↚≂伀兡Ⅶ虇⡯㳳 欨㾾㢒■封⎕〦䠋憐ᾏ⴩㜇捞䠓⎸㞾Ҹ 㣝 呴坜 䲠宏虇⬈㞾㻐嗦 Pret 䠓姏Ҹ⬈㝋 2002 〃␯⋴封⋻▇虇⢷↺㛵㙣₊⏜佩♰⽴亓ᾏ〃ⓙ㟑 朢虇样 ㄛ ␯⋴ 俌扷䠓⛕⑨⢧栙虇␹␪㟘 ⓖ㎟ 䉉 㔰 庋 伢 䖕虇᾵ ⢷ 2009 〃捠夜 ─ 㯮 ㄛ屎㻍 厂欨㾾 愵 ‚埤Ҹ 䖍㟑⃫䉉⛕⑨俌䡲虇⬈帯帻⿅榧橮♐ҷ⾑⧃㔷ひ ╙K㍘敗扷朏虇⁴╙帯帻⶗朏捬⶜㢻⢿ᾼ⢚⾑⧃䠓 ⋷㜿朏〦㫼⑨Ҹ Pret䠓䲻ᾏⵅᾼ⢚⎕〦㝋2014〃⢷ᾙ㼆朚㫼虇 伢懝ᾘ〃䠓㟑朢虇⬈㒖⢷ᾼ⢚⾑⧃䠓䠋ⷤ⁜埤㝋㝸 㢮栝㵄军ᾣ⌆㢘㒠㎿ㆶ虇⃕封檟も㢒⦔㒐⌅80虊20 䠓┮⏖虇80虀䠓橮♐㞾╦㳰慝䠓咀⢚伢⌇䚱♐虇20 虀㞾䉉䜅⢿〵怺宑憯䠓␄㜿䚱♐Ҹ ⷤ㢪㢹ℕ虇憨ⵅ⢷咀⢚ҷ儝⢚ҷ欨㾾ҷ⾃灝╙ᾙ 㼆㙐㢘弔懝400ⵅ朏〦䠓咀⢚憲攥檟も虇ⶖ個倛⁴ ⵸㋝䠓㋚〵㑢ⷤ㫼⑨虇䖍㳲䷛∨㝋2017〃䲻ᾘⳲ〵 ⢷㜿␯⣰朚宼欥ⵅ檟もҸ

MARCH 2 017 MARK E TING HO N G KON G 9

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OPINION

AD WATCH 廣告 點評

Christine Pong Founder Twohundred Limited

HOT: Confession by ZERO PAIN

NOT: The only one from The 1 Card

This seven minute plus video is very well made with good story telling technique and relevant insight. Though it is based on an office romance and cliché relationship scenario, the product and promise remains the core which is admirable. Creative and production team without time constraint tends to get carried away. This one does not sacrifice the brand and product relevancy for the sake of a funny/romantic script, beautiful scenes or memorable script.

This 10 minute plus video is very well made with good cast, acting and script. But I was completely lost as there are so many clues and sideline stories that I missed what it’s all about even with the sign off (maybe it’s just me being unfamiliar with the Thai market). It told an emotional story but failed to link to the brand or product (credit card). This is really frustrating. I cannot even figure out what the lady in the story should have done with the product or it’s the man who should have done something before his passing.

⟰;ᓯ᏿ᅮᒠ∛Ả ⇝ 憨㵄亓ᾒ⎕斧䠓ⴲ≂䏖媌⃫⎉吁虇⁴ㇾㇾ䢇杫䠓㝈ゞ岪慿⌇⤚愵⋻ⴳ㻹䂺㊪ ㉔㛔‚虇䜅ᾼ㢃⁴䚱♐╙⌅㢜⑨㐎岍䉉㛔‚㧇ㅒ虇⇋ㄦ崩寀Ҹ␄⃫╙媌⃫⢧栙 ⢷㸡㢘㟑朢柟⏅ᾚ虇ㄏㄏ㢒⢷㉔㊮埤䖕ᾙ懝䇺虇⃕憨㵄ⴲ≂䏖᾵㸡㢘䉉慝▗㢘 弲虊㻹䂺虊桲ㅧ䠓㉔䵏㎥儝瀦䠓⧃㟾虇军ㆌ䛴㛔‚厖♐䏛╙䚱♐Ὶ朢䠓杫凾Ҹ

⇜;The only one from The 1 Card 憨㵄ⓐ⎕斧ⴲ≂䏖䠓䂣♰ҷ䂣㐏╙␖㢻⣖䢇䜅⎉吁虇⃕⋔㜴戲灋⪩佩亱╙∃佩㛔 ‚虇䢃厂䏖㢺虇㎠⁜ᾜ䥴嗺垕婰干䚩灋坴虃㎥冔㎠ᾜ䌮㈘㹿⢚⾑⧃虄Ҹⴲ≂䏖岪慿 ㊮⁉䠓㊪㉔㛔‚虇⃕䊰㹤厖♐䏛㎥䚱♐虃ⅰ䚷⓰虄㢻怺䚱䚮杫凾虇⵵⢷⁳⁉⫀㢪Ҹ ㎠䚩厂ᾜ㞝䠌⬂Ὴ孡㍘ℎ䚷䚱♐ℕ⇩‪䚩灋虇戓㞾䛆Ὴ孡⢷桱ᾥ⏜㍘⇩‪䚩灋Ҹ

MOBILE CHOICE 流動熱潮 Presented by

Tomy C.C.Choi Principal consultant cccdi ltd.

Digital freshness In the process of organising events and marketing campaigns, it often includes invitation, RSVP, ticket selling and purchasing, attendance registration, handling attendees’ name badges, filling out questionnaires and compiling attendance reports. However, many event organisers are still dealing with these complicated processes manually, which causes the increase in administrative burdens. In fact, in the digital era, there are many online and offline platforms and smart phone software that can help enhance event management and improve efficiency.

Starting from online RSVP, Google Forms is the most popular tool. In 2013, however, Google suspended the Checkout service and canceled the Payment Gateway function as a result of which it fails to support paid events.

As this kind of software has matured in recent years, and expanded to online platforms and smart phones, providing free services and supporting online ticketing and payment gateway to help manage event payment. This can significantly save event preparation time and reduce administrative staff. These event management platforms include Eventbrite, YPlan, ETICKETS.HK and so on. Nowadays, most

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of the platforms and events tend to leverage a QR code as an e-ticket. Participants can save it on their phone after RSVP and don’t have to print out the physical ticket. This is convenient and environmentally friendly since they do not have to worry about losing the ticket.

∋≜ỉ╖ ⢷䷛愵㻊⑤ҷ㔷ひ㻊⑤䠓㻐䮚ᾼ虇⪶⪩㼘╙⎉⾼戏屚ҷ㻊⑤⧀▜ҷ朏䫷幆 干ҷ⎉⾼䷌⎿ҷ▜䏛埤䖕ҷ⛞┆ҷ⎉⾼⧀◙虇⃕⁜㢘ᾜⶠ㻊⑤⁴⁉㏚埤䖕⁴ᾙ俐 䗲㻐䮚虇⨭␯䷛愵㻊⑤䠓姛㛎幖䀟Ҹ⌅⵵虇⢷㜇䩋ᾥ⁲虇ᾜ履⢷佩ᾙ佩ᾚ㢘ㄗ⪩ 。╿ҷ㠉劌㏚㯮恮₅虇㢘␸㜃↚㻊⑤㻐䮚䴰䖕╙㕟ⓖ䷛愵䠓㛗䔖Ҹ ⋗ㄭ⧀▜尹弆虇㢏ひ䉉⁉䥴㞾Google Form㢜⑨虇⃕Google⢷2013〃㠺 ⇫Google Checkout㢜⑨虇╥㼗⢷佩㚾⁧佁杫(Payment Gateway)␮劌虇⡯㳳 㢹劌槶╙⁧㳍㻊⑤䠓梏嬐Ҹ ⃕样嗦慠〃㳳槭恮₅䠋ⷤ㎟䌮虇⪶扷⎕惘䮊朚䠋⎿佩ᾙ。╿╙㠉劌 ㏚㯮ᾙ虇␮劌⋜幊Ὶ檧‵㚾㖃䫷⑨╙⢷佩㚾⁧佁杫␮劌虇⁴ⅎ䴰䖕㛅╥ 㻊⑤㳍榔虇⪶⪶䵏䢐䷛∨㻊⑤㟑朢☛姛㛎⁉㏚Ҹ槭⃋䠓㻊⑤䴰䖕。╿㢘!

EventbriteҷYPlanҷ╙㢻⢿䠓 ETICKETS.HK䳘Ҹ▛㟑⪶扷⎕⇞■⎸䚷QR code㐏姢虇㝋⧀▜ㄛ⃫梊ⳟ䫷┆⢷㏚㯮ᾙℎ䚷虇䊰榗⎦⓿⵵汣䫷虇⶜㝋╒␯冔 ℕ尹㞾㝈ⅎ⌋䘿Ⅼ虇ᾜ䚷ㆤӁ⚣嬚⽵ツ橪虇⋴⚣↡⧃ӂҸ

WWW. MARK E TING-IN TE RAC TI VE . C OM

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OPINION

WWW.M A R K ET I N G- I N T ER A C T I V E.C O M

MARCH 2 017 MARK E TING HON G KON G 1 1

專題報告

FEATURE

WE’VE LOOKED AT THE NUMBERS AND THE PRICE TAGS. HOW INFLUENTIAL ARE INFLUENCERS REALLY?

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WWW. MARK E TING—IN TE RAC TI VE . C OM

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FEATURE

Are influencers really the holy grail of digital marketing, and can they prove their worth on marketing’s balance sheet? Angel Tang talks to brands and agencies to explore this booming scene and the true value of working with KOLs. WWW.M A R K ET I N G — I N T ER A C T I V E.C O M

MARCH 2 017 MARK E TING HO N G KON G 1 3

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FEATURE

The origin of internet influencers or key opinion leaders (KOLs) can be traced back to the heyday of the internet, when we browsed homemade blog posts on Xanga.com, blogger.com and other personal contentsharing platforms for leisure. Soon after, we noticed some bloggers standing out from their counterparts and wheat got separated from chaff, metaphorically speaking.

As social media rose to new heights in popularity, this new breed of digital content creators, especially ones who wrote about beauty, food, travelling, and leisure, quickly stole the limelight in the public arena.

In Hong Kong, for example, internet celebrity Tat Goh has amassed more than 114,000 fans on his Facebook page and 86,000 YouTube subscribers on his channel “UndergroundDV” for his daily live-gaming shows.

His rising fame attracted attention and landed him an opportunity to front Expedia Hong Kong’s digital and traditional commercials. Sponsorships from different brands contribute to him being able to make a full-time living as a key opinion leader. In 2014, he was even appointed vice-president of mobile game developer Ever App. The KOL business is so profitable and promising that former news anchors and both major and minor celebrities are using their public social media accounts to share sponsored and non-sponsored posts to interact with their readers.

And it’s not just booming business for the KOLs themselves; brands are also excited about the new trend. Quickly looking through Hong Kong’s YouTube ads leaderboard shows that the majority of brands have hired familiar online influencers for their ads.

The case for KOLs DBS Bank (Hong Kong) is one of the brands that actively embraces influencer marketing.

It has increased its online and social media budget from 30% to about 50% of its total marketing budget in three years.

Glendy Chu, executive director and head of group strategic marketing and communications, says influencer marketing is not only part of the bank’s overall strategy, but one that has proven quite effective.

Defining KOLs as social media influencers who have a large group of fans who help brands boost social media engagement, she says DBS started testing the waters of influencer marketing with some of its branding campaigns in 2014. She says, eventually, that it “does serve as a smarter way to reach the customers”.

In one of its campaigns, the “Igniting Possibilities Sparking Joy” series, the bank teamed up with local influencers such as Daisy Wong to regularly spread the brand message that everyone should free themselves from their daily hassles, and discover their opportunities at the heart of who they are.

“We decided to ride on the trend when we saw more KOLs in product launches, and we did see its value,” she says.

“Celebrities may help brands to reach mass audiences, but KOLs are different in the way they deepen the reach. While KOLs usually make public their stances and attitudes, their followers usually pursue similar beliefs.

“By selecting the right KOL, we are able to not only cut through the clutter to reach more of the targeted market, but the audiences are also more keen to endorse our brand messages.”

Similarly, Wai Loi, marketing director for Huawei Hong Kong’s consumer business group, said Huawei has invested more of its marketing budgets in social media promotions. It began hiring more influencers as spokespersons for its gadget launch campaigns last year – and it’s seeing good value for money.

In its launch campaign for Huawei P9, the

Like MSG in a bowl of noodles, one or two ‘drops’ of it helps to enrich the flavour, but you wouldn’t add MSG to every bowl of noodles you see. The noodle type and ingredients matter.

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Common approaches in influencer marketing

⃿῅ᡪዷᙬ KOL ᛵᩪựᅗᎵ᩷ửᒣᔾᣞ᎔ᙗ█✪ Xanga.comҷblogger.com╙⌅⁥↚⁉佁尛⃫䉉㼗懲 䠓〃⁲Ҹ 䜅㟑虇ⓩⴱ䠓⺪弆⾁弆䱾↹虖样嗦䫍″Ⱑ汣㟽 ╙虇㜿ᾏ⁲䠓佁ᾙ⋶ⵈ␄⃫冔虇ⶳ⌅㘿⵺㢘杫儝ⵈҷ 檁橮ҷ㝔懙╙㼗朡⋶ⵈ䠓佁㶠㢃慔憮䱓五虇扷₌ⓩⴱ 䠓⋶ⵈ㊗ℕ㊗⎉䣍Ҹ 棯 䢃 㘼Ӂ㏢㯮ӂ㎟ ▜䠓欨㾾 佁仰 五 ⁉ 懣♴䉉 ℚ虇⁥䠓 Facebook ⶗榐㢘弔懝11.4 喻↚崩⬌虇⌅ YouTube 槊 懢 UndergroundDV ‵ 㢘 8.6 喻⃜ 宑 杀冔Ҹ ⁥䠓▜㶲⿅㒗⌅⢷Expedia䠓欨㾾佁ᾙ╙≂伀 ひ◙ᾼ槊槊⎉䖍虇ᾜ▛♐䏛䠓庙␸΅㚾㒐⁥⃫䉉⋷ 分KOL䠓䚮㻊Ҹ ⢷2014〃虇⁥㢃㎟䉉㏚㯮懙㏁⋻▇Ever App䠓 ⏾俌婐Ҹ 憨₌分㫼䠓㛅⋴☛⏜㟾⬑㳳╾孏虇憲ᾏ‪⏜㜿 凭Ὴ㘼╙▜⁉‵朚宼⋻䣍䫍″⿂㏅虇憞懝㘿⵺庙␸ ╙棭庙␸⾥ⳟ虇厖⁥↠䠓崏冔懁姛‡⑤Ҹ 柳佁仰五⁉Ὶ⪥虇♐䏛‵⶜㜿強⑱㊮⎿厗⫽Ҹ䢚 ᾏᾚ欨㾾䠓YouTubeひ◙㔡姛㬫虇ᾜ桲䠋䖍㢘ᾏⓙ䠓 ♐䏛ひ◙抌⎉䖍䌮㈘䠓KOL棱ⳣҸ ⃿ᶲᑀዷᣥᦆᡘᖖ 㞮ⷤ搏姛虃欨㾾虄㢘柟⋻▇㞾䯜㬄憌㓶㄀榎冔䍮摆 䳥䛴䠓♐䏛ῚᾏҸ⢷ᾘ〃朢虇封搏姛⾁ⶖ⌅佁ᾙ╙䫍 ″Ⱑ汣榟䴦ㄭ䍮摆榟䴦俌槜䠓30%虇⨭␯厂50%Ҹ ⌅⦆姛嗲‚⌋桕⢧㔷ひ䳥䛴厖≂宙扷俌䡲㣀ₙ 噽姷䫉虇佁仰▜⁉䍮摆ᾜ≔㞾搏姛㜃汣䳥䛴䠓ᾏ扷 ⎕虇㢃㞾ᾏ↚䢇䜅㢘㛗䠓䳥䛴Ҹ ⬈ⶖKOL⴩儸䉉⢷䫍″Ⱑ汣ᾙ⌆㄀榎␪ҷ㙐㢘 ⪶捞丘企虇╙㢘␸㕟ⓖ♐䏛⢷䫍″Ⱑ汣‡⑤䠓⁉Ҹ⬈ ᾵㒖⋻▇卹2014〃弆虇憩懝ᾏ‪ⴲ≂㻊⑤㾻寵佁仰 ▜⁉䍮摆䠓㷃䀺虇仟㤫䠋䖍憨↚䳥䛴㞾㢃㢘㛗㔴宇 ⴱ㏅䠓㝈㹤Ҹ 封搏姛⢷⌅ᾼᾏ↚▜䉉Ӂ㎟ⷀ䖕㊂佊㛍乍ヸӂ亊 ⎦䠓ⴲ≂㻊⑤ᾼ虇厖䔚慹寸䳘㢻⢿佁仰▜⁉▗⃫虇⴩ 㢮ⴲ㕩㵞↚⁉㍘㚉劺㝴⿇㣮侪虇䠋㔧⋶ㅒ䖕㊂䠓♐ 䏛宙ㇾҸ ⬈尹處Ӂ㢘嬚㢃⪩䚱♐朚⭚弆䚷KOL虇㎠↠㸉⴩ 榕㍘憨到強⑱虇军ᾣ䩉⵵䢚⎿⌅⳧⢷⊈⇋Ҹӂ Ӂ▜⁉㎥㢘␸♐䏛㔴宇⪶䣍虇⃕KOL╾⁴ᾜ▛䠓 㝈ゞ␯㾀厖⪶䣍䠓凾俺ҸKOL憩⿇㢒⋻朚姷懣⁥↠ WWW. MARK E TING—IN TE RAC TI VE . C OM

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FEATURE

Traditional sponsorships ≂伀庙␸

Advertising on influencer platforms such as buying ads on their YouTube channel or paying them for mentioning or reviewing the brand. ⢷佁仰▜⁉䠓。╿ᾙ㐤㛍ひ◙虇ℚ⬑⢷⁥ ↠䠓YouTube槊懢ᾙ庋幆ひ◙虇㎥⁧幊崢 ⁥↠㕟╙㎥灭寤♐䏛

brand tapped Six Dimen Boy, several local Instagram photographers and actor Simon Yam to create visual stories for Hong Kong with the smartphone to highlight the capability of its camera.

Wai says the appeal of influencers just seems more authentic since the message is crafted in their own words and images. Another upside of influencer marketing, she adds, is the brand can track and measure the strategy’s viral power, sentiments of its audiences and digital engagements in real-time to maximise the benefits it receives.

“Take Facebook as an example. We can analyse the post by tracking its clicks, actions and engagements, which helps us better evaluate how effective that particular KOL is to our campaign,” she says.

Vincent Tsui, chief marketing officer at Next Mobile, says brands in Hong Kong have two common approaches when it comes to a partnership with KOLs. On the one hand, brands support KOLs with traditional sponsorships or by buying advertising on their platforms, such as buying ads on their YouTube channel or paying them for mentioning or reviewing the brand.

The real cost of influencer marketing Brands can also pay a higher price to get KOLs to create text, visual or video content for campaigns. The price is either proposed by the KOLs themselves, or by social media agencies, a new concept business that gives brands access to several influencers, celebrities or micro-celebrities in packaged offers.

Another way, he explains, is to share privileged discounts to specific KOL fans, which may help brands track the digital creators’ sales reach.

Sponsorship for each social media post varies from several hundred dollars to HK$100,000 or more, and pricing WWW.M A R K ET I N G — I N T ER A C T I V E.C O M

Hire KOLs as spokespersons to create text, visual or video content for campaigns.

Share privilege discounts to specific KOL fans. 厖䐈⴩䠓KOL丘企⎕›䓷ⵅ㐧㏲

⊀䚷KOL⃫䉉⁲宏⁉虇崢⁥↠䉉㔷ひ㻊⑤ 媌⃫㜖⳦ҷ嬥孉㎥㄀䏖⋶ⵈ

considerations include the KOL’s duties in the partnership, his or her reputation and the scale of the KOLs’ fan base. Under usual practices, the more effort it takes for the KOL to create the original branded content, the more expensive the post is.

“There doesn’t seem to be a clear consensus as to how much it costs,” Tsui said.

“It is impractical as well to standardise the pricing process. Many elements such as partnership details, the brand’s specific initiative or the KOL’s influencing power should be studied when setting a price, but these aspects change over time.”

Stephen Chung, director at boutique agency Secret Tour Hong Kong, agrees that answering how much an influencer should be making for a YouTube video or an Instagram photo is a convoluted matter.

“KOLs are no longer just confined to bloggers or popular Facebook page admins, but also celebrities or printed media outlets who have established social media presences,” he says.

“There are big variations, and the pricing itself changes over time as if it’s the stock market that we are looking at – it is affected by the supply and demand. However, marketers can still judge its cost-effectiveness.”

He says he has witnessed a surge in the cost of influencer marketing over the past two years, and the cost peaked in December 2016.

In an extreme case earlier this year, an influencer agency proposed a whopping HK$800,000 fee for getting a famous entertainment influencer to shoot a video for one day.

“For this budget, we could hire an A-list celebrity or even use that money to create a campaign,” Chung sighed. “In this case, we considered the KOL fee to be too pricey.”

He elaborated that while influencer marketing is not a total stranger to clients, some brands which are new to this still rely

䠓䱚⧃╙㋚〵虇军⁥↠䠓憌样冔憩⿇㢒憌㷑槭⃋ⅰ ㆄҸӂ Ӂ憩懝戇㙖▗懸䠓 KOL虇㎠↠ᾜ≔╾⁴䰐⢜军 ⎉ҷ㔴宇㢃⪩䠓䡽㮨╦䣍虇╦䣍‵㢒㢃㔴╦♐䏛宙 ㇾҸӂ 啾䉉欨㾾㼗幊冔㫼⑨⾑⧃扷俌䡲楚ℕ‵㢘槭⃋ ㊂㹤虇⡯㳳♐䏛慠〃⾁ⶖ㢃⪩⾑⧃㔷ひ榟䴦㐤㛍⎿ 䫍″Ⱑ汣ⴲ≂ᾙҸ卹╊〃弆虇啾䉉凧屚㊗ℕ㊗⪩㄀榎 冔╒厖⌅䚱♐䠋⾒㻊⑤虇᾵尜䉉封䳥䛴䏸㢘㏏⇋Ҹ ⢷啾䉉 P9䠓䠋⾒㻊⑤ᾼ虇封♐䏛戏屚Ӂ䚮㻊⢷ ⋼似䰉朢䠓䛆䚮ӂҷ」⃜㢻⢿Instagram㚬㄀懣⁉ҷ ⁴╙㄀㞮₊懣啾虇屚⁥↠懚䚷封㠉劌㏚㯮虇㑜㚬⁴欨 㾾䉉Ὴ槛䠓㄀≞㛔‚虇䛀㳳䰐槾㏚㯮䠓䢇㯮␮劌Ҹ 楚ℕ姷䫉虇㄀榎冔㢒⁴卹⾀䠓尭宏╙㄀≞媌⃫ ⴲ≂宙ㇾ虇⁳⁉㊮孉㢃␯䢮⵵Ҹ ⬈╗㕟⎿佁仰▜⁉䍮摆䠓╵ᾏ⬌埤處♐䏛╾⁴│ 㟑彮忳╙姰捞䳥䛴䠓ⴲ≂㛗㤫ҷ孏䣍䠓㊮╦ҷ⁴╙佁 ᾙ䠓‡⑤虇⁴䔁╥㢏⪶䠓㛗䡙Ҹ 楚ℕ岑處Ӂ⁴Facebook 䉉ℚ虇㎠↠╾⁴憩懝彮 忳⌅灭㙙㲰㜇ҷ姛⑤╙‡⑤㉔㹐ℕ⎕㤟⾥ⳟ虇㢃⬌ ⢿寤₿封KOL⶜㎠↠䠓㔷ひⴲ≂䠓㎟㛗Ҹӂ ⪈≂Ⱑ䠓⪈≂⑤⾑⑨俌婐ㄟ佲姷䫉虇欨㾾䠓♐ 䏛厖KOL㢘⋸䮽⿇嬚䠓▗⃫㮰ゞҸ ⌅ᾏ虇♐䏛㢒憩懝≂伀䠓庙␸㎥⢷⁥↠䠓。╿ ᾙ庋幆ひ◙ℕ㚾㒐KOL虇ℚ⬑⢷⁥↠䠓YouTube 槊 懢ᾙ庋幆ひ◙虇㎥⁧幊崢⁥↠㕟╙㎥寤履♐䏛Ҹ ♐䏛‵╾㚾⁧㢃汧䠓⊈撱虇屚 KOL 䉉㔷ひ㻊⑤ 媌⃫㜖⳦ҷ嬥≞㎥㄀䏖⋶ⵈ虇⊈㧋⪩䛀KOL卹⾀㎥䛀 佁仰▜⁉⁲䖕⋻▇㕟⎉Ҹ佁仰▜⁉⁲䖕㞾ᾏ䮽㜿厗 䠓姛㫼虇╾⁴⫦檟ヱゞ䉉♐䏛㑪⑮⪩⃜佁仰五⁉㎥ 㞝㞮Ҹ

KOL⒠⋱ᛵ᧣ᏩᑯᏥ 军╵ᾏ䮽⇩㹤虇㞾■䐈⴩䠓KOL丘企⎕›䓷ⵅ㐧㏲Ҹ 憨㢘␸♐䏛憌忳☛宗䴦KOL䠓㔷摆劌␪Ҹ 㵞䵖䫍″⾥ⳟ䠓庙␸捠槜ㄭ」䠍厂ⓐ喻㾾⋒ᾜ 䳘虇⴩⊈䠓冒㋽䵓⢜⒔㑻KOL⢷▗⃫杫⅑ᾼ䠓分帻ҷ⌅ 䥴▜〵☛ヱ≞ҷ⁴╙KOL䠓丘企⁉㜇Ҹ憩⿇媌⃫㛅幊⋶ ⵈ䠓懝䮚㊗呀㟑朢☛乍␪虇㜖䱯䠓㛅幊ⅎ㊗㞑幃Ҹ ㄟ佲姷䫉處ӁKOL䠓㛅幊㮨䀥⃋῝㸡㢘㞝䩉䠓⌀ 峧Ҹӂ Ӂ宼⴩伀ᾏ⴩⊈㝈ゞ΅㞾ᾜ⎖⵵株䠓Ҹ⴩⊈懝䮚 ᾼ虇♐䏛嬐䦣䰅⪩榔⡯亯虇ℚ⬑▗⃫亿䵏ҷ♐䏛䠓⌆

MARCH 2 017 MARK E TING HO N G KON G 1 5

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FEATURE

An influencer is like an independent TV channel.

Marketers judge if the media-buying strategy is costeffective by reviewing the TV ratings, but the ratings themselves couldn’t explain everything.

heavily on agencies to decide how much to pay influencers. An oft-quoted figure based on a poll of marketing professionals conducted

by Tomoson two years ago, tells us that businesses are making US$6.5 for every US$1 spent on influencer marketing, but with more brands adopting the tactic for branding and engagement, the calculations of return on investment of influencer marketing have become more complicated.

As the market grows in maturity, Chung has seen a gradual decline in the cost of influencer marketing between January to March 2017.

“More brands realise that influencer marketing does pay off, but it boils down to what your company is looking for,” he said.

Too much of the good stuff While the above might make it seem like KOL strategies offer a silver marketing bullet, there are concerns in the implementation of KOLs at scale; especially when done indiscriminately.

“Like MSG in a bowl of noodles, one or two ‘drops’ helps to enrich the flavour, but you wouldn’t add MSG to every bowl of noodles you see. The noodle type and ingredients matter,” Chung explained.

“Instead of being overly KOL-centric in campaigns, brands have realised the true role that influencers should play. In synergy with the brand, KOLs help deepen the reach and engagement by identifying and leveraging true brand advocates.”

DBS’ Chu shares similar beliefs: “The trend is moving too fast and marketers have to step back to see a bigger picture,” she said. “Now that we are more experienced with the tactic, we start considering more when hiring an influencer. For example, will the strategy pay off in this particular campaign, or can the KOLs help to deliver our brand message as effectively as we thought?”

Next Mobile’s Tsui suggested marketers learn from their previous media buying experience to decide if the tactic is really worth the price, as influencers are very much like media outlets.

“An influencer is like an independent TV 1 6 M A R K ET I N G H O N G K O N G MA R C H 201 7

channel. Marketers judge if the media-buying strategy is cost-effective by reviewing the TV ratings, but the ratings themselves can’t explain everything.”

The marketing team should first conceive the campaign and then strategise on the distribution of the campaign message across different media channels. In such cases, an influencer is simply one of the “media outlets” to promote the brand message.

“It all goes back to the basics, and the calculation of influencer marketing’s costeffectiveness is more or less the same as evaluating a media outlet,” Tsui said. “The rest of the work goes to effectively leveraging influencers’ viral, engaging and interactive power.”

He added that the “media-buying theory” also justifies the prediction that influencer marketing will continue to grow over years.

“Now, as TV ratings continue to drop, audiences are shifting their focus to the social space, which explains why brands have started turning their heads towards influencer marketing. Hong Kong’s influencer marketing is still at an elementary phrase when compared to China, where social media influencers are already exploring opportunities in live broadcasting, and social media platforms have already developed features to let audiences purchase directly from the influencer. We still have some way to go.”

All that glitters is not gold Moving forward, DBS’ Chu expressed concern over the lack of choices in the influencer market.

“Sometimes you see the same faces at different branding campaigns,” she said.

“In such cases, could the KOLs still deliver the brand messages effectively? The problem is that not many influencers stand out with their personalities and stances from the market, which sometimes leaves us with not as many choices.”

The bank prefers calling their influencers “thought leaders” instead of “KOLs”, as the influencers they co-operate with are not always digital creators.

汣㝈㧗ҷ㎥KOL㢘⪩ⶠ㄀榎␪虇⃕憨‪⡯亯㢒样㟑朢 军崙⒥Ҹӂ 䓷䱚␄㊞⋻▇Secret Tour Hong Kong俌䡲攍㒾 ∠‵㒖虇KOLⷀ㵞㨬YouTube㄀䏖㎥㵞ツJnstagram 䋶䏖䠓㛅幊⴩⊈⛞槛虇╾岑㝱䶰✽╗媖桫Ҹ ⁥ 尹處Ӂ KOL ᾜ ⌜ ⷏ 柟 㝋 佁 尛 ⃫ ⵅ ㎥ 㻐 姛 Facebook⶗榐䴰䖕♰虇‵⒔㑻⾁朚宼䫍″⿂埮䠓▜ ⁉㎥⓿⏆Ⱑ汣Ҹӂ Ӂ⾑⧃䜅ᾼ㢘ㄗ⪩崙⒥⡯亯虇⴩⊈㢻怺‵㢒样嗦 㟑朢军惘崙虇ᾏ⬑到䫷⾑⧃㢒╦K㍘╙梏㷑㏏㄀榎Ҹ 䋅军虇⾑⧃㔷ひ⁉♰⁜╾⎳㝆⌅㎟㢻㛗䡙Ҹӂ ⁥姷䫉⢷懝╊⋸〃朢虇㄀榎冔䍮摆䠓㎟㢻䅏⨭虇 㢃ᾏ〵⢷2016〃12㢗懣厂汧⹿Ҹ ᾏⵅ佁仰▜⁉⁲䖕⋻▇䚩厂㢍㕟⎉⁴㾾⋒80喻 ⪸⊈虇凧屚ᾏ⃜KOL懁姛ᾏ⪸㑜㚬Ҹ Ӂ▛ᾏ₌榟䴦虇㎠↠⾁╾凧屚ᾏ伺▜㞮虇䚩㎥媌 ⃫ᾏ↚㔷ひ㻊⑤Ҹӂ攍㒾∠➕懢處Ӂ⢷憨↚㉔㹐ᾚ虇㎠ ↠尜䉉KOL䠓㛅幊⪹㞑幃―Ҹӂ 桥䋅KOL䍮摆⶜ⴱ㏅᾵棭ⴛ⋷柛䚮虇⃕攍㒾∠㒖 ⏪朚⭚㔰䚷KOL䳥䛴䠓♐䏛虇Ὴ嬐棯⁲䖕⋻▇ℕ㸉⴩ 㢜⑨䠓㛅幊Ҹ 㧈㙩Tomoson⋸〃⏜懁姛䠓ᾏ榔⾑⧃㔷ひ⶗㫼 ⁉⩺屎㥴虇ₐ㫼⢷㄀榎冔䍮摆ᾙ㵞呀1儝⋒虇ⅎ╾庉 ╥6.5儝⋒Ҹ⃕样嗦㢃⪩♐䏛㔰䚷憨䮽䳥䛴懁姛♐䏛 ⴲ≂╙凾俺虇佁仰▜⁉䍮摆䠓㐤幖⡭⧀宗䴦ⶖ崙ㄦ㢃 ␯媖桫Ҹ 样嗦⾑⧃㊗強㎟䌮虇攍㒾∠㒖2017〃1㢗厂3㢗㢮 朢䠓KOL䍮摆㎟㢻⾁憟䃇ᾚ柜Ҹ ⁥尹處Ӂ㢃⪩♐䏛㊞峧⎿虇㄀榎冔䍮摆䠓䩉䏸㢘 ㏏⇋虇⃕⏜㕟⢷㝋⋻▇䠓䡽㮨㞾▵㞝䩉Ҹӂ ᜜ᑑᏜᯗṚ ῜䢚ᾚ佁仰五⁉㢘⬑䍮摆ㅔ㵉㐏虇㉮⢷⪶嬞㮰ⴲ≂ 㻊⑤㟑懚䚷封䳥䛴虇⁜㢘梏嬐䛨㊞䠓⢿㝈Ҹℚ⬑虇ᾜ ╾ᾜ⎕棡五䠑䠌⢿ℎ䚷佁仰五⁉Ҹ Ӂ⬌≞灄橮䠓☂乍虇␯ᾏ⋸䂃☂乍⢉䋅劌㕟ⓖ ☂懢虇⃕ᾜ㞾㵞ᾏ䨦灄抌懸▗㾊␯☂乍虖⃯戓嬐冒㋽ 灄䠓䮽槭☛㣟㜨Ҹӂ Ӂ厖⌅⢷ⴲ≂㻊⑤ᾼ懝㝋ℬ広KOL虇♐䏛㍘⋗― 孲佁仰▜⁉㏏㏽䂣䠓孡吁Ҹ⢷ⓣ▛㛗㍘Ὶᾚ虇KOL䠋 㔧☛凾俺䢮㳲䠓♐䏛㚾㒐冔虇╙␯㾀ⴲ≂㻊⑤䠓㔴 宇棱╙╒厖〵Ҹӂ 㞮ⷤ搏姛䠓㣀ₙ噽΅㢘槭⃋䠓ⅰㆄҸ ⬈尹處ӁKOL強⑱䠋ⷤㄦ⪹ㅺ虇⾑⧃㔷ひ⁉♰ㅔ 榗憏ㄛᾏ㳴╊孏⵮ⴞ孏䠓㉔㹐Ҹӂ Ӂ䖍㟑㎠↠⶜憨䮽䳥䛴㢃㢘伢毦虇‵⢷㑪⑮佁仰 ▜⁉㟑㢘㢃⪩冒捞Ҹℚ⬑虇KOL䳥䛴㞾▵懸▗憨↚䐈 ⴩䠓ⴲ≂㻊⑤虚⁥↠劌▵≞㎠↠榟㢮ᾏ㮲㢘㛗⢿≂ 懣♐䏛宙ㇾ虚ӂ ⪈≂⑤䠓ㄟ佲㒖KOL彮≂Ⱑⓐ⎕䢇⃋虇⡯㳳虇⁥ ら峿⾑⧃㔷ひ⁉♰ㄭ⁴ㄏ䠓Ⱑ汣庋幆伢毦ᾼⴇ兡虇 姰捞憨↚䳥䛴㞾▵䏸㢘㏏⇋Ҹ Ӂ佁仰▜⁉ⷀ≞ᾏ㨬䓷䱚䠓梊嬥槊懢虇⾑⧃㔷ひ ⁉♰㢒憩懝㥴䢚㛅嬥䔖虇ℕ⎳㝆⌅Ⱑ汣庋幆䳥䛴㞾 ▵⌆㎟㢻㛗䡙虇⃕㛅嬥䔖㢻怺ᾜ⁲姷ᾏ⎖Ҹӂ ⾑⧃㔷ひ⢧栙㍘欥⋗㭚ㆬⴲ≂㻊⑤䠓㬑ㆄ虇䋅 ㄛ憩懝ᾜ▛䠓Ⱑ汣㾯懢≂㘼㻊⑤宙ㇾҸ⢷憨䮽㉔㹐 ᾚ虇KOL㞾≂㘼♐䏛宙ㇾ䠓ӁⰡ汣㾯懢ӂῚᾏҸ WWW. MARK E TING—IN TE RAC TI VE . C OM

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“They usually are the informed opinion leaders and the go-to people in their field of expertise, and have strong influencing power on the internet as a trusted source, but they themselves have not actively participated in creating digital content. These influencers resonate with our brand messages on a deeper level, and maximise an emotional connection more effectively.”

Huawei’s Wai saw the same problem, but the brand tackled it by building relationships with the same influencers.

“Instead of buying several sponsored posts on social media, we want to build long-term partnerships with influencers and give them true experiences with the brand,” she says.

“When they truly understand and love our products, they will give so much more in return organically, which makes the whole campaign more authentic and valuable. It just doesn’t work anymore by simply giving them a phone.”

While for Huawei this strategy seems to be working, marketers would do well to keep scaling in mind when approaching a KOL strategy. It can be incredibly labour and costintensive to work with KOLs on creative, striking deals with them and scaling that content across platforms and media outlets.

Siu See, the founder of the Facebook page “Fly For Miles”, provides miles-related travelling tips regularly. With more than 82,000 followers on social media, he knows a thing or two about influencer marketing.

He says brands have started changing their mindsets, and are now requesting him to be more creative content-wise.

“They want more from me in terms of visuals or content formats,” he says. “I believe the increased numbers of influencers in the field has something to do with it.”

Across the pond in the US, meanwhile, poor execution of KOL tactics have led to scandals such as when Scott Disick - a celebrity related to the Kardashians - was caught simply copypasting instructions from sponsor Skinny Tea last May, while video game Youtuber Pewdiepie got his sponsors in hot water for anti-semitic content in his videos late last year.

While it can be argued that the above can be avoided with careful vetting and planning, marketers should be very conscious of the relationship between the content created by the influencer, and what demographic that content appeals to - it has to be in-line with the overall marketing strategy, and identifying simply ‘millennials’ as your target audience is simply not enough for effective influencer marketing WWW.M A R K ET I N G — I N T ER A C T I V E.C O M

How much should you pay for influencer marketing?

Read these tips from marketers: ⁴ᾚ㞾ᾏ‪⾑⧃㔷ひ⁉♰䠓ㅒㄦ處

Idea first, KOL second. Know the KOLs’ roles, and you will know their price. Learn from previous media buying experiences, and view influencers as media outlets.

Consider the partnership details, the brand’s specific initiative and the KOL’s influencing power.

ㄟ佲尹處Ӂᾏ⎖㍘戓┮⦉㢻㳴虇宗䴦佁五䍮摆䠓 ㎟㢻㛗䡙虇㎥⪩㎥ⶠ彮寤₿≂Ⱑ㯮㭚䠓懝䮚槭⃋Ҹӂ Ӂ⌅ㄛ䠓⽴⃫ⷀ㞾㢘㛗⢿✓䚷KOL 䠓㄀榎␪ҷ ◇イ␪╙‡⑤ㆶҸӂ ⁥婫⋔虇Ⱑ汣庋幆䖕履‵⓿峘―㄀榎冔䍮摆ⶖ 㒐倛⨭朆䠓榟㾻Ҹ Ӂ䖍㟑虇样嗦梊嬥㛅嬥䔖㒐倛ᾚ彛虇孏䣍㳲ⶖ⁥ ↠䠓㹷㊞␪惘䮊⎿䫍″䰉朢Ҹ憨ⷀ㞾♐䏛朚⭚惘■ ㄀榎冔䍮摆䠓┮⡯Ҹӂ Ӂ厖ᾼ⢚䢇㵣虇欨㾾䠓佁五䍮摆⁜埤㝋弆㳴栝 㵄Ҹ⢷ᾼ⢚虇䫍″Ⱑ汣佁五⾁⢷朚㑢䖍⧃䢃㘼䠓㯮 懖虇军䫍″。╿‵⾁䠋ⷤ㎟䉉崢孏䣍䢃㔴■㄀榎冔 庋幆䚱♐䠓㾯懢Ҹ㎠↠戓㢘ㄗ懯䠓彾嬐廿Ҹӂ ᷒⚡᡽ឹ ⷤ㢪㢹ℕ虇㞮ⷤ搏姛䠓㣀ₙ噽杫㹷㄀榎冔⾑⧃僉῞ 戇㙖䠓⛞槛Ҹ ⬈尹處Ӂ㢘㟑↨虇⃯㢒⢷ᾜ▛♐䏛䠓ⴲ≂㻊⑤ᾼ 䢚⎿䢇▛䠓棱ⳣҸӂ Ӂ⢷ 憨䮽㉔ 㹐ᾚ虇KOL 劌㢘 㛗 ⢿≂懭⎉㎠↠ 䠓♐䏛宙ㇾ❝虚⛞槛 㞾䖍㟑㢹㢘⪹⪩⁉劌⪯㌠坘 ⌅↚ㆶ╙䱚⧃⢷⾑⧃ᾙ劺䯝军⎉虇㎠↠㢘㟑戇㙖 ᾜ⪩Ҹӂ 封搏姛㢃≍■䯀☋⌅㄀榎冔䉉Ӂㆬ㊂榧娥ӂ军棭 ӁKOLӂ虇⡯䉉厖⁥↠▗⃫䠓㄀榎冔᾵棭⋷㢘⢷佁ᾙ ␄⃫⋶ⵈҸ Ӂ⁥↠憩⿇㞾䌮䥴姛㉔䠓㊞嬚榧娥虇╾⁲姷⌅⶗ 㫼榧⥮虇᾵㞾↚╾棯䠓㼗ㇾℕ䀟虇⢷佁ᾙ⌆㢘テ⪶䠓 ㄀榎␪虖⃕⁥↠㢻怺ᾜ⪹䯜㬄╒厖媌⃫佁ᾙ⋶ⵈҸӂ Ӂ憨‪㄀榎冔⢷㢃㾀ⷳ㲰ᾙ厖㎠↠䠓♐䏛宙ㇾ 䚱䚮⌀溃虇᾵㢃㢘㛗⢿ら䱚㢏テ䠓㉔㊮凾俺Ҹӂ 啾䉉䠓楚ℕ‵䢚⎿▛㮲䠓⛞槛虇封♐䏛䠓孲㸉 㝈㹤⏖㞾厖▛ᾏ↚㄀榎冔ら䱚朆懯杫⅑Ҹ ⬈尹處Ӂ厖⌅⢷䫍″Ⱑ汣ᾙ庋幆」↚庙␸⾥ⳟ虇 ㎠↠⾛㢪厖㄀榎冔ら䱚朆㢮䠓▗⃫杫⅑虇崢⁥↠ㄦ ⎿䢮㳲䠓♐䏛汣毦Ҹӂ Ӂ䜅⁥↠䢮㳲―孲╙✫㊪㎠↠䠓䚱♐虇⁥↠卹䋅 㢒仵‗㢃⪩䠓⡭⧀虇ℎ㜃↚㔷ひ㻊⑤㢃䢮⵵╙㢘⊈ ⇋Ҹ✽✽ⶖ梊尀憐仵⁥↠ᾜ⌜㢘䚷Ҹӂ 桥䋅憨↚䳥䛴⶜啾䉉㢘䚷虇⃕䍮摆⁉♰⢷╒冒 㟑虇嬐㹷㊞䍮摆⁉㏚☛幖䀟ᾙ䠓⎕拜Ҹ Facebook⶗榐Fly for miles䠓␄愵⁉⶞㜾⴩ 㢮㕟K厖橪姛捛㜇㢘杫䠓㝔姛幋⩺虇⢷䫍″Ⱑ汣ᾙ 㢘弔懝 8.2喻▜彮样冔Ҹ⁥⶜㝋㄀榎冔䍮摆⾑⧃卹 䋅䛴䥴ᾏ‛Ҹ ⶞㜾㒖♐䏛⾁朚⭚㛈崙⌅ㅒ㋚虇᾵嬐㷑⁥媌⃫ 㢃⌆␄㊞䠓⋶ⵈҸ Ӂ⁥↠⶜㄀≞㎥⋶ⵈ㧋ゞ㢘㢃⪩䠓嬐㷑Ҹӂ⁥尹處 Ӂ㎠䢇ⅰ憨彮KOL㜇捞⨭␯㢘杫Ҹӂ 慠〃虇儝⢚⾑⧃㢍䠋䚮ᾜⶠ KOL ㎿姢⦆姛ᾜ␪ 䠓挫凭Ҹℚ⬑Scott Disick虃ᾏ▜厖Kardashians䢇 杫䠓▜⁉虄╊〃5㢗娺徱䎕ⶖ庙␸⛕Skinny Tea㕟K 䠓⋶ⵈ㖻⳦懝亨虖军 YouTube ㏢㯮懣⁉PewDiePie ‵⡯ᾙ悘╜䓅⪹⋶ⵈ虇⁳庙␸⛕栆㝋㷃㾀䇺䍀ῚᾼҸ ᾙ慿㊞⪥虇╾憩懝峈㋝䠓⵸㥴☛嬞␒ℕ戎⋜Ҹ䍮 摆⁉♰‵梏␯㾀⶜佁ᾙ五⁉䠓―孲虇⒔㑻⌅⋶ⵈ䐈 吁☛╦䣍虇⁴㭚ㆬⴛ㜃䠓䳥䛴虖╹㝆⴩Ӂⓒ䬶ᾏ⁲ӂ 䉉╦䣍᾵ᾜ㞾㢘㛗䠓㄀榎冔䍮摆Ҹ

MARCH 2 017 MARK E TING HON G KON G 1 7

Judges Hanks Lee

Grant D Smith

Head of corporate communications A.S. Watson Group

General manager Porsche Centre Hong Kong

Choi Fong Marketing campaign manager British Airways Hong Kong

Anna Tehan Senior vice–president, corporate communications Li & Fung

Kelvin Cheng

Hilda Wong

Marketing director Carlsberg Hong Kong

Head of customer experience management Link Asset Management

Wesley Ng Chief executive officer and co–founder Casetify Hong Kong

Alex Hau Director, product development and e–commerce, Asia Pacific Marriott International

Cecilia Yim

Nick Rodd

Marketing director Chow Sang Sang

Menu and marketing lead McDonald’s Asia

Inness Chu Digital marketing and social media manager CLP Power Hong Kong

Peter Larko Head of marketing communications and public relations g Kong g Mercedes–Benz Hong

Glendy Chu

Annie Leung

Executive director and head of group strategic marketing and communications DBS Bank

General manager of customer experience development MTR Corporation

Eric Leong

Patrick Waller

Vice–president – brand marketing and communications Dream Cruises

Vice–president of marketing and e–commerce, APAC OtterBox Hong Kong

Ming Chan

Astor Keung

General manager, brand centre Hong Kong Airlines

Fuels marketing lead Shell Hong Kong

Judy Sun Executive manager, branding and programme services Hong Kong Jockey Club

Jun Dong Regional marketing director g Kong g SK–II, Procter & Gamble Hong

Cynthia Leung

Vincent Leung

General manager – corporate affairs Hong Kong Tourism Board

President SKECHERS Hong Kong

Carmen Jiang

Jeremy Young

Senior director of marketing and communication Imperial Pacific International Holdings

Chief marketing officer, Asia Sun Life Financial Asia

Andrew Lim

Ivan Wong

General manager Innity Hong Kong

Managing director UA Cinema Circuit

WWW.M A R K ET I N G – I N T ER A C T I V E .C O M

MARCH 2 017 MARK E TING HON G KON G 1 9

Best Original Content

GOLD Danone Nutricia Early Life Nutrition Campaign There is a kind of love called Letting Go Brand Aptamil Agencies Havas Hong Kong, X Social Group

SILVER

Best App – Consumer Brand

GOLD DBS Bank (Hong Kong) Campaign DBS Omni – The Perfect Companion for DBS Credit Cards Brand DBS Credit Cards

SILVER

Best App – Content Creation

GOLD CoBo Social International Corporation Campaign CoBo Social – Collecting with Artistry Agency MotherApp

SILVER

L’Oréal Group

A.S. Watson Group

Apple Daily

Campaign Kiehl’s Yearly Plan 2016 Brand Kiehl’s Agency Pixo Punch, part of Accenture Interactive

Campaign PARKnSHOP Mobile App Brand PARKnSHOP Agency Mtel

Campaign Reasons of being Apple Daily’s Fan

BRONZE DBS Hong Kong Campaign New Chapter Retirement Planning Agency Havas Hong Kong

2 0 M A R K ET I N G H O N G K O NG MARC H 201 7

BRONZE

BRONZE

Circle K Convenience Stores (HK)

M+, West Kowloon Cultural District Authority

Campaign OK STAMP IT Brand Circle K Agency PHD Hong Kong

Campaign M+ Sigg Collection Exhibition

WWW.MARKETING INTERACTIVE.COM

Best Location–Based Marketing

GOLD

Best App – Hospitality and Travel

GOLD

Best App – Targeted Demographic

GOLD

Lan Kwai Fong Group

Ocean Park Corporation

Nan Fung Group

Campaign LKF Play – Monster Mash

Campaign Ocean Park Hong Kong App Agencies Four Directions, Hong Kong Broadband Network

Campaign ORI Complete Inspired Lifestyle Brand ORI Agency Mediacom Hong Kong

SILVER

SILVER

SILVER

Danone Nutricia Early Life Nutrition

Tsz Shan Monastery

CreditCheck

Campaign Support Breastfeeding for a Healthy Generation Brand Nutricia Agency Havas Hong Kong

Campaign Svāhā App Agency GreenTomato

Campaign CreditCheck App Agency Mtel

BRONZE Sun Hung Kai Real Estate Agency Campaign apm iRobot Reward Hunt Brand apm Agency cccdi.

2 2 M A R K ET I N G H O N G K O N G MARC H 201 7

BRONZE Hong Kong Tourism Board Campaign Reposition of My Hong Kong Guide mobile app Agency Mirum Hong Kong

BRONZE FWD Life Insurance Company (Bermuda) Campaign FWD Drivamatics – The First Telematics App in Hong Kong Brand FWD

WWW.MARKETING INTERACTIVE.COM

Best App – Finance

GOLD FWD Life Insurance Company (Bermuda) Campaign FWD Drivamatics – The First Telematics App in Hong Kong Brand FWD

SILVER

Best Mobile Advertising Platform

GOLD

Best App – Social

GOLD

Apple Daily

AIA International

Campaign Apple Daily Action News App Agency Next Mobile

Campaign AIA Vitality Weekly Challenge Brand AIA Hong Kong Agency GreenTomato

SILVER

SILVER

Manulife

Pixels

A.S. Watson Group

Campaign ManulifeMOVE Brand ManulifeMOVE Agencies Dentsu, HeathWallace

Campaign Pixels Mobile Ad Marketplace Mobile Rich Media

Campaign WeSmile Agency Prizm

BRONZE

BRONZE

DBS Bank (Hong Kong)

Vpon Big Data Group

Campaign DBS Omni – The Perfect Companion for DBS Credit Cards Brand DBS Credit Cards

Campaign Vpon Big Data Mobile Advertising Solutions

2 4 M A R K ET I N G H O N G K O NG MA R C H 201 7

BRONZE CoBo Social International Corporation Campaign CoBo Social – Collecting with Artistry Agency MotherApp

WWW.MARKETING INTERACTIVE.COM

BRANDED CONTENT Digital platforms have allowed insurance companies to offer the convenience of self– service insurance but rarely do they go beyond the product–centric approach and play an active role in their customers’ lives.

Acknowledging customers’ evolving expectations and responding to the challenges the insurance industry now faces, Manulife

has successfully increased awareness among millennials – over half of MOVE members are aged between 18 and 35. The campaign has also improved brand consideration among its target audience.

Armed with the success of the app’s first release in mid 2015, Manulife rolled out key updates in 2017 with enhanced functions and an improved user experience. The new version makes it even easier for everyone to experience ManulifeMOVE – by opening it to the public,

Ⅼ根⋻▇䖍㟑╾憩懝㜇䩋。╿㕟K㝈ⅎ䠓卹␸Ⅼ根 㢜⑨虇⃕ㄏㄏ抌㞾⁴䚱♐䉉ᾼㅒ虇ㄗⶠ劌⪯⶜⌅ⴱ㏅ 䠓䚮㻊䚱䚮䯜㬄䠓㄀榎Ҹ ―孲⎿ⴱ㏅ᾜ㝆崙⒥䠓㢮㢪虇᾵㍘⶜Ⅼ根㫼䡽⏜ 棱卷䠓㒠㎿虇ⴞ⎸仟▗␄㜿。╿厖⼓㜿䠓⾑⧃㔷ひ 䳥䛴虇⁴◇イ捜嬥⇴うҷ乍憩䭠㐏䠓Yᾥ⁲虃╗䯀ⓒ䬶 ᾥ⁲虄虇᾵ⶖ♐䏛⴩⃜䉉⌅䡽㮨╦䣍䠓⇴うⅬ⇴▗⃫ ⪴⃃Ҹ 坘嗦✓䚷╾䰎㏃㐏姢虇ManulifeMOVE憩懝炢 ⒄Zᾥ⁲㼗幊冔ら 䱚⇴ う䚮㻊兡㋲ℕ㕪╥Ⅼ幊㐧 ㏲虇イ榧⁥↠㐤⋴⇴う㻊␪䚮㻊Ҹ䠊宧␯⋴㎟䉉㢒

MANULIFEMOVE MOTIVATING MILLENNIALS TO MOVE ManulifeMOVE 鼓勵千禧世代投入健康活力生活

combines an innovative platform and an industry–disrupting marketing strategy to engage the health–conscious, tech–savvy Generation Y, also known as millennials, and position the brand as their target audience’s health and wellness partner.

Leveraging wearable technology, ManulifeMOVE inspires Generation Y consumers to lead active lifestyles by providing incentives for them to adopt healthy habits.

Upon taking up an eligible policy, customers can sync data from their Fitbit or Misfit fitness tracker to the ManulifeMOVE mobile app and then track their progress against set step goals.

By reaching these goals, MOVE members can enjoy premium discounts of up to 10% upon renewal for their next membership year.

ManulifeMOVE sets measureable and achievable goals and sends a clear campaign message – the more you move, the greater the premium discount you can enjoy.

The app delivers regular, engaging digital experiences through motivational messages and gamification features, making the app fun, personal and memorable for users.

Within a year of its launch, ManulifeMOVE WWW.MARKETING WWW.M A R K ET I N G — IINTERACTIVE.COM N T ER A C T I V E.C O M

anyone can use the app to track their fitness progress against set activity goals.

In addition to Fitbit and Misfit trackers, the new app is now compatible with the iOS Health app and Apple Watch. This enables the company to launch a new and more attractive sign–up offer: new MOVE members have the opportunity to own an Apple Watch for a privileged price and can then earn bonus premium discounts by hitting designated activity goals to help cover the initial cost.

Manulife is the first insurer in Hong Kong and Macau to release a dedicated app for Apple Watch, offering seamless integration between ManulifeMOVE and the world’s most popular smartwatch. This latest enhancement to the app demonstrates the company’s commitment to helping customers integrate MOVE into their lifestyles and live more healthily.

By rethinking what insurance means to customers and responding to their changing needs and expectations, Manulife is able to facilitate a healthier lifestyle for people across Hong Kong and Macau through a programme that combines wearable technology and innovative thinking.

♰ㄛ虇MOVE㢒♰╾憞懝Fitbit Flex㎥Misfit Shine 㠉劌懚⑤㏚⿅宧撓⌅㻊⑤捞㜇㙩虇᾵ⶖ㜇㙩▛㳴厂 ManulifeMOVE㏚㯮㍘䚷䮚ゞ虇⁴憌忳⌅㵞㝴䠓姛廿 㳴㜇Ҹ㢒♰ⴛ㎟㵞⪸。⣖㳴㜇䡽㮨虇ⅎ╾ⷀ▗幖㧋Ⅼ ✽㝋ᾚᾏⅬ✽〃〵›㢘汧懣10%䠓Ⅼ幊㐧㏲Ҹ ManulifeMOVE宼䱚―╾姰 捞 ╙╾ ⵵䖍䠓䡽 㮨虇᾵≂懭⎉ᾏ↚㞝䩉䠓宙ㇾʟʟ╹嬐㻊⑤捞㊗ ⪩虇ⷀ╾䔁ㄦ㊗⪶䠓Ⅼ幊㐧㏲Ҹ封㍘䚷䮚ゞ憩懝⌆ 炢⒄ㆶ䠓宙ㇾ╙懙㏁⒥䠓␮劌虇⴩㢮㕟K⌆◇イ␪ 䠓㜇䩋汣毦虇ℎ⌅崙ㄦ㢘弲ҷ↚⁉⒥ҷ⁴╙⁳䚷㏅ 桲ㅧҸ ManulifeMOVE㔷⎉ᾏ〃⋶虇㎟␮㕟汧―ⓒ䬶ᾥ ⁲⶜♐䏛䠓尜峧虇弔懝ᾏⓙ䠓 MOVE㢒♰〃烰⁚῝ 18厂35㴁Ὶ朢Ҹ封ⴲ≂㻊⑤‵㕟汧―䡽㮨╦䣍䠓♐ 䏛冒㋽䮚〵Ҹ ㌠坘封㍘䚷䮚ゞ⢷2015〃ᾼ欥䠋㎟␮虇ⴞ⎸⢷ 2017〃㔷⎉⌆∨⨭テ␮劌╙⼓㜿䚷㏅汣毦䠓⋷㜿懁 ⒥䏗ManulifeMOVE宗␒虇᾵ⶖ⌅㏚㯮㍘䚷䮚ゞ朚㛍 ‗⋻䣍ᾚ悘ℎ䚷虇崢㏏㢘⁉抌劌⁴悤沕䚮⑤䠓㝈ゞ 憌忳卹⾀䠓㻊⑤捞虇㢃ⵈ㞢汣毦⎿ManulifeMOVEҸ 柳―Fitbit Flex╙Misfit Shine㠉劌懚⑤㏚⿅⪥虇 㜿䠓㍘䚷䮚ゞ䖍㟑⌋ⵈiOSӁ㻊⑤宧撓ӂ㍘䚷䮚ゞ╙ ╾㍘䚷厂㠉劌㏚擅Apple Watch虇䉉ⴱ㏅㕟K㢃⌆◇ イ␪䠓㜿㢒♰⊹㉯Ҹⴱ㏅╹梏⴩㢮ⴛ㎟Apple Watch ⇴怺宧撓䠓㒖⴩㻊⑤䡽㮨虇ⅎ╾䔁›䓝幭☛Ⅼ幊㐧 ㏲虇⊈⇋䢇䳘㝋庋幆Apple Watch䠓幊䚷Ҹ ⴞ⎸㞾欥ⵅ⢷㾾䅂⋸⢿⾑⧃㔷⎉Apple Watch ㍘䚷䮚ゞ䠓Ⅼ根⋻▇虇憞懝ⶖManulifeMOVE宗␒厖 ⋷䖒㢏╦㳰慝䠓㠉劌㏚擅ⴛ儝仟▗虇憨↚㢏㜿䏗㢻 䠓㍘䚷䮚ゞ⵵徟―封⋻▇厃␪⿺␸ⴱ㏅㐤⋴㻊␪䚮 㻊䠓㐎岍Ҹ 憩懝捜㜿ㆬ冒Ⅼ根⶜ⴱ㏅䠓㊞儸虇᾵⡭㍘ᾜ㝆 崙⒥䠓ⴱ㏅梏㷑╙㢮㢪虇ⴞ⎸憩懝ᾏ↚仟▗╾䰎㏃ 㐏姢ҷ␄㜿ㆬ似╙␄㊞⾑⧃㔷ひ䠓宗␒虇䯜㬄炢⒄㾾 䅂⋸⢿䠓⪶䣍㐤⋴㢃⇴う䠓䚮㻊㝈ゞҸ

MARCH 2 017 MARK E TING HON HONG G KON G 2 5

Best App – Food and Beverage

GOLD

Best In–App Advertising

GOLD

Danone Nutricia Early Life Nutrition

Danone Nutricia Early Life Nutrition

Campaign Metabolismpedia Brand Nutrilon Agency Havas Hong Kong

Campaign There is a kind of love called Letting Go Brand Aptamil Agencies Havas Hong Kong, X Social Group

SILVER Pizza Hut Hong Kong Management Campaign The True Meaning of Christmas Joy Brand Pizza Hut Hong Kong Agency Havas Hong Kong

BRONZE

SILVER

Best E–commerce App

GOLD A.S. Watson Group Campaign PARKnSHOP Mobile App Brand PARKnSHOP Agency Mtel

SILVER

DBS Bank (Hong Kong)

DBS Bank (Hong Kong)

Campaign DBS Omni – The Perfect Companion for DBS Credit Cards Brand DBS Credit Cards

Campaign DBS Omni – The Perfect Companion for DBS Credit Cards Brand DBS Credit Cards

BRONZE

BRONZE

MeokBang Korean BBQ & BAR

AIDS Concern

Hong Kong Television Network

Campaign Storellet x MeokBang: GOT7 Special e–Stamp Campaign Agency Storellet

Campaign Kuk Fa Cha Agency Havas Hong Kong

Brand HKTVmall

2 6 M A R K ET I N G H O N G K O NG MA R C H 201 7

WWW.MARKETING INTERACTIVE.COM

WWW.MARKETING INTERACTIVE.COM

MARCH 2 017 MARK E TING HON G KON G 2 7

Best Customer Engagement App

GOLD

Best Insight–Driven Mobile Campaign

GOLD

Best App – Creative Design

GOLD

AIA International

Airbnb

Hong Kong Television Network

Campaign AIA Vitality Weekly Challenge Brand AIA Hong Kong Agency GreenTomato

Campaign The Launch of Host Recruitment Agencies Innity Hong Kong, Starcom, Near

Brand HKTVmall

SILVER

SILVER

SILVER

Sun Hung Kai Real Estate Agency

Danone Nutricia Early Life Nutrition

M+, West Kowloon Cultural District Authority

Campaign apm iRobot Reward Hunt Brand apm Agency cccdi.

Campaign Metabolismpedia Brand Nutrilon Agency Havas Hong Kong

Campaign M+ Sigg Collection Exhibition

BRONZE

BRONZE

BRONZE

DBS Bank (Hong Kong)

Link Asset Management

ESDlife

Campaign DBS Omni – The Perfect Companion for DBS Credit Cards Brand DBS Credit Cards

Campaign Link Park & Dine App

Campaign WeVow

2 8 M AR K ET I N G H O N G K O N G MA R C H 201 7

WWW.MARKETING INTERACTIVE.COM

WWW.MARKETING INTERACTIVE.COM

MARCH 2 017 MARK E TING HON G KON G 2 9

Best App – Property

GOLD

Best Mobile Solution – Events

GOLD

Sino Group

Estée Lauder

Campaign Sino Club Digital Transformation Brand Sino Club Agency Pixo Punch, part of Accenture Interactive

Campaign RitualiTea Virtual PR Experience Brand Origins Agency SapientRazorfish HK

SILVER New World Development Company Campaign Artisanal Living

BRONZE Sun Hung Kai Real Estate Agency Campaign apm mobile Brand SHKP apm Agency cccdi.

30 M A R K ET I N G H O N G K O N G MA R C H 201 7

SILVER L’Oréal Group Campaign Kiehl’s Yearly Plan 2016 Brand Kiehl’s Agency Pixo Punch, part of Accenture Interactive

BRONZE Harbour City Estates

Best Mobile Team

GOLD Mtel x A.S. Watson eLab

SILVER Pixo Punch, part of Accenture Interactive

BRONZE DBS Bank (Hong Kong)

Campaign “We’re all Smurfs!” Art Exhibition @ Harbour City Agency CMRS Digital Solutions

WWW.MARKETING INTERACTIVE.COM

WWW.MARKETING INTERACTIVE.COM

MARCH 2 017 MARK E TING HON G KON G 31

Best Mobile–Based Launch/Relaunch

GOLD

Best App – Branded Content

GOLD

AIA International

AIA International

Campaign AIA Vitality Weekly Challenge Brand AIA Hong Kong Agency GreenTomato

Campaign AIA Vitality Weekly Challenge Brand AIA International Agency GreenTomato

SILVER Danone Nutricia Early Life Nutrition Campaign Metabolismpedia Brand Nutrilon Agency Havas Hong Kong

BRONZE

SILVER Ocean Park Corporation Campaign Ocean Park Hong Kong App Agencies Four Directions, Hong Kong Broadband Network

BRONZE

DBS Hong Kong

Nan Fung Group

Campaign New Chapter Retirement Planning Agency Havas Hong Kong

Campaign ORGANIC LIFESTYLE OF SIMPLICITY Brand ORI Agencies Cre8PLUS, KITCHEN

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Best Reform of App

GOLD Apple Daily Campaign Reasons of being Apple Daily’s Fan

SILVER Ocean Park Corporation Campaign Ocean Park Hong Kong App Agencies Four Directions, Hong Kong Broadband Network

BRONZE Hong Kong Television Network Brand HKTVmall

WWW.MARKETING INTERACTIVE.COM

Best Use of Interactive Media

GOLD

Best Use of Limited Budget

GOLD

Ocean Park Corporation

AIDS Concern

Campaign Ocean Park Halloween 2016 Agency Dentsu Media HK

Campaign Kuk Fa Cha Agency Havas Hong Kong

SILVER

SILVER

Best Use of Mobile Integration

GOLD Pizza Hut Hong Kong Management Campaign The True Meaning of Christmas Joy Brand Pizza Hut Hong Kong Agency Havas Hong Kong

SILVER

L’Oréal Group

Aveeno

L’Oréal Group

Campaign Kiehl’s Yearly Plan 2016 Brand Kiehl’s Agency Pixo Punch, part of Accenture Interactive

Campaign Aveeno Grand Launch Campaign 2016 Agencies Innity Hong Kong, J3

Campaign Kiehl’s Yearly Plan 2016 Brand Kiehl’s Agency Pixo Punch, part of Accenture Interactive

BRONZE

BRONZE

A.S. Watson Group

Boutir

Campaign WeSmile Agency Prizm

Campaign Boutir Collect Chinese New Year Flower Market Campaign with Digital Map Agency RedSo

WWW.MARKETING INTERACTIVE.COM

BRONZE Danone Nutricia Early Life Nutrition Campaign There is a kind of love called Letting Go Brand Aptamil Agencies Havas Hong Kong, X Social Group

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Best Use of Rich Media

GOLD

Best User Experience

GOLD

Most Innovative Mobile Site

GOLD

Ocean Park Corporation

Link Asset Management

MGM Macau

Campaign Ocean Park Halloween 2016 Agency Dentsu Media HK

Campaign Link Park & Dine App

Campaign Mobile website: Mlife.mo

SILVER Danone Nutricia Early Life Nutrition Campaign There is a kind of love called Letting Go Brand Aptamil Agencies Havas Hong Kong, X Social Group

BRONZE

SILVER Manulife

L’Oréal Group

Campaign ManulifeMOVE Brand ManulifeMOVE Agency HeathWallace

Campaign Kiehl’s Yearly Plan 2016 Brand Kiehl’s Agency Pixo Punch, part of Accenture Interactive

BRONZE

The Pulse

Ocean Park Corporation

Campaign The Pulse of Love Agency New Media Group

Campaign Ocean Park Hong Kong App Agencies Four Directions, Hong Kong Broadband Network

34 M AR K ET I N G H O N G K O NG MA R C H 201 7

SILVER

BRONZE Danone Nutricia Early Life Nutrition Campaign There is a kind of love called Letting Go Brand Aptamil Agencies Havas Hong Kong, X Social Group

WWW.MARKETING INTERACTIVE.COM

Most Innovative Use of Mobile

GOLD

Most Innovative Use of Mobile Technology

GOLD

Most Responsive Mobile Campaign

GOLD

Maxim’s Caterers

Maxim’s Caterers

AIA International

Campaign Mooncake Attack!

Brand Maxim’s Snowy Mooncake Agency Maxus Hong Kong

Campaign Mooncake Attack!

Brand Maxim’s Snowy Mooncake Agency Maxus Hong Kong

Campaign AIA Vitality Weekly Challenge Brand AIA Hong Kong Agency GreenTomato

SILVER Danone Nutricia Early Life Nutrition Campaign Metabolismpedia Brand Nutrilon Agency Havas Hong Kong

BRONZE FWD Life Insurance Company (Bermuda) Campaign FWD Drivamatics – The First Telematics App in Hong Kong Brand FWD

WWW.MARKETING INTERACTIVE.COM

SILVER

SILVER

Nan Fung Group

Hong Kong Express Airways

Campaign The Ori Dream Home Moment Brand ORI Agencies KITCHEN, Cre8PLUS

Campaign HK Express 3rd Birthday: Stay Three, Stay Free Agency Secret Tour (HK)

BRONZE Mercedes–Benz Hong Kong Campaign Mercedes–Benz Campaign Brand Mercedes–Benz Agency Pixels

BRONZE Circle K Convenience Stores (HK) Campaign OK STAMP IT Brand Circle K Agency PHD Hong Kong

MARCH 2 017 MARK E TING HON G KON G 35

BEST OF SHOW – BRAND 㢏ℂ姷䖍⪶䓝ʠʠ♐䏛

Danone Nutricia Early Life Nutrition has taken home the coveted title of Best of Show – Brand at Marketing’s Mob–Ex Awards 2017 in Hong Kong.

Its three specialised healthcare brands, Aptamil, Nutricia and Nutrilon, grabbed three gold at the awards for Best In–App Advertising, Best App – Food and Beverage, and Best Original Content; five silvers for Best Location–Based Marketing, Best Use of Rich Media, Best Mobile– based Launch/Relaunch, Most Innovative Use of Mobile, Best Insight–Driven Mobile Campaign; and two bronze for Best Use of Mobile Integration and Most Innovative Mobile Site.

Aptamil’s “there is a kind of love called letting go” campaign was aimed at boosting brand awareness and to be a socially recognisable brand that stands by mothers by promoting “one–step–ahead” parenting.

The brand engaged targeted audiences through a resonating video, a “call for sharing” from parents on social media, and regular informative content that supports mothers on the campaign site to encourage repeat visits.

Through contextual media drivers, visitors were directed to the right content based on their browsing behaviour.

The campaign successful attracted audience to visit the site. On top of that, media outlets 36 M AR K ET I N G H O N G K O NG MA R C H 201 7

mentioned the campaign and created much impressions.

For Nutricia’s “support breastfeeding for a healthy generation” campaign, it harnessed a multi–platform strategy, including online, social media and an on–site nursing room at a baby expo to support breastfeeding mothers, which differentiated the brand through engagement.

The brand also extended its social activity by encouraging users to upload their photos with their children to the website gallery and the baby expo digital panel.

On the other hand, Nutrilon’s “Metabolismpedia” campaign stood out with its ability to introduce complicated scientific content in a light–hearted way.

The seemingly complicated content was broken down into a relevant content format as well as easily understandable graphics and icons in different targeted channels, including parenting sites and social media, which allowed mothers to receive useful information about metabolism during breaks.

The campaign also released a series of interactive science–inspired games in digestible sizes to educate mothers on how a healthy metabolism benefits babies. The website successful aroused mothers' attention to the issue, attracted them to the site, and referred them to the product page.

ῖᨬᨏᢱᔪᗉ᏷ᘒᑴᴞ⒠⌊᝸ᅳᣍᵁᅴᑺᢿፊᎽᑋ ҿMarketingӀ桫尛厘愵䠓Ӂ㏚㯮⾑⧃㔷ひⓢ弙⪶䓝 2017ӂ榡䓝䬽ᾙ㬽䔁Ӂ㢏ℂ姷䖍⪶䓝ʠʠ♐䏛ӂ䠓 㴙㬽Ҹ 封桕⢧㝦ᾚ䠓ᾘ⪶⶗㫼⇴う♐䏛 Aptamilҷ岍 ⊹劌╙Nutricia虇⎕⎴⢷㢏ℂ㍘䚷䮚〞⋶僽ひ◙ҷ㢏 ℂ檟檁㍘䚷䮚〞╙㢏ℂ┮␄⋶ⵈᾘ↚仓⎴庞ㄦ捠 䓝虖⢷㢏ℂ⴩⃜⾑⧃㔷ひҷ㢏ℂⵛⰡ汣㍘䚷ҷ㢏ℂ㏚ 㯮䚱♐䠋⾒虊捜㜿䠋⾒ҷ㢏␄㜿㏚㯮㍘䚷╙㢏ℂ㺭 ㈘䉉㢻㍘䚷䮚ゞ‣↚仓⎴庞ㄦ搏䓝虖⁴╙⢷㢏ℂ㍘ 䚷䮚ゞʟʟ␄㊞宼宗╙㢏ℂ㏚㯮⢧栙⋸↚仓⎴庞ㄦ 搔䓝Ҹ Aptamil䠓ҿ㢘ᾏ䮽㊪虇╺㛍㏚Ӏ㔷ひ㻊⑤㝷⢷ 㕟ⓖ♐䏛䥴▜〵虇憞懝ⴲ≂Ӂ榧⋗ᾏ㳴ӂ䠓剁⋡㝈 ゞ虇㎟䉉ᾏ↚䉉ⱌⱌ㕟K㚾㒐䠓䫍㢒⋻尜♐䏛Ҹ 封♐䏛憩懝ᾏ烲㏲⁉ㅒサ䠓ㄽ梊㄀ҷℕ卹䏅㵜 䠓⎕›☋丁ҷ⁴╙⢷ⴲ≂佁䱨ᾙ䉉ⱌⱌ↠㕟K䠓⴩ 㢮幖宙⋶ⵈℕ◇イ䡽㮨╦䣍Ҹ憞懝㉔㟾Ⱑ汣⿅榧虇 佁䱨㢒㧈㙩容ⴱ䠓䆞孌姛䉉イ⶝⁥↠⏜ㄏ䢇杫䠓 ⋶ⵈҸ! 封㔷ひ㻊⑤㎟␮⏉䅏佁䱨䠓䆞孌捞Ҹ㳳⪥虇ᾜⶠ ≂Ⱑ⧀⶝憨榔㔷ひ㻊⑤虇⿅ℕ㢃汧㡬⋘䔖Ҹ 军NutriciaӁ㚾㒐㵜 櫄⚉⇴う㜿ᾏ⁲ӂ㔷ひ㻊 ⑤㔰䚷―ᾏ↚⪩。╿䳥䛴虇⒔㑻佁仰ҷ䫍″Ⱑ汣ҷ⁴ ╙⢷ⲿ⋡ⓩ孌㢒宼䱚䖍⧃櫄⚉ⴳ⁴㚾㒐櫄⚉㵜 䠓 ⱌⱌ虇憩懝凾俺⁳♐䏛劺䯝军⎉Ҹ ♐䏛㢃ⶖ䳥䛴ゅ⃇厂䫍″㻊⑤ᾙ虇戏屚䚷㏅ⶖ卹 ⾀厖⳸ⳟ䠓▗䋶ᾙ悘⎿佁䱨䛺す╙ⲿ⋡ⓩ孌㜇䩋。 ╿Ҹ ╵ᾏ㝈棱虇Nutrilon䠓ӁMetabolismpediaӂ㔷ひ 㻊⑤⁴ᾏ䮽悤沕䠓㝈ゞ⁚仈媖桫䠓䭠ⴇ⋶ⵈ虇⡯军 ⪶╦㳰慝Ҹ 䢚⃋媖桫䠓⋶ⵈ⢷ᾜ▛䠓䡽㮨㾯懢ᾙ㑕孲䉉䢇 杫䠓⋶ⵈヱゞ虇⁴╙㞢㝋䖕孲䠓⢥ヱ╙⢥㮨虇⒔㑻剁 ⋡佁䱨╙䫍″Ⱑ汣虇崢ⱌⱌ↠⢷₠ㇾ㢮朢㛅⎿杫㝋 㜿栂⁲岬䠓㢘䚷幖宙Ҹ 封㔷ひ㻊⑤㢃䠋⾒―ᾏ亊⎦悤沕䶰✽䠓‡⑤䭠 ⴇ⛮䠋懙㏁虇㛨⶝ⱌⱌ⇴う䠓㜿栂⁲岬⶜ⲿ⋡㢘⃤ 䡙埤Ҹ 封佁䱨㎟␮◇イᾜⶠⱌⱌ⶜Ὴ槛䠓杫㹷虇᾵◇イ ☛ⶖ㻐捞イ⶝⎿⌅䚱♐⶗榐Ҹ

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BEST OF SHOW – AGENCY Ӂ㢏ℂ姷䖍⪶䓝ʠʠ⁲䖕⋻▇ӂ

Havas Hong Kong took the cake for the most awarded agency at Marketing’s Mob–Ex Awards 2017 in Hong Kong.

The agency bagged Best of Show – Agency with five gold, six silver and five bronze.

Most of the prizes were awarded for the agency’s commendable work on the Aptamil, Nutrilon and Nutricia campaigns, three brand names under Danone Nutricia Early Life Nutrition (Danone group), which was also awarded the title Best of Show – Brand. Other campaigns for AIDS Concern, Pizza Hut Hong Kong Management and DBS Hong Kong also received notable awards.

The title came after the agency showcased its effective use of channels to cut through the market, especially through social conversations, where it attracted many eyeballs and inspired engagement. The social awareness it drew from campaigns helped boost overall effectiveness across all channels.

For the “there is a kind of love called letting go” campaign that the agency launched for Danone group’s Aptamil, marketing efforts included a resonating video, a “call for sharing” from parents, and regular informative content that supports mothers on the campaign site to encourage repeat visits.

The video recorded more than 3.5 million views, and prompted more than 50,000 responses on Facebook and 60,000 shares.

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Thousands of mums joined the discussion on social media to reinforce the importance of one–step–ahead parenting. Similarly, the agency released a parody video of a well– known Hong Kong TVC classic on social media in the AIDS Concern “Kuk Fa Cha” campaign, and incorporated the campaign message, “get an early check for AIDS” in a light–hearted way to generate social awareness. A tour activation, the “Kuk Fa Cha vending machine”, was launched to accompany the online campaign, with different outreach and engagement activities incorporated to further engage the target audience through real–life interactions.

For Pizza Hut Hong Kong Management’s “reignite the true meaning of Christmas joy” campaign, the agency tapped into the Christmas season by adopting a 360–degree media and in– store strategy under the themes of “DIY Christmas gift tutorials” and “Cantonese Christmas songs”, successfully creating mass awareness among families and the millennial target groups.

In DBS Treasures’s “new chapter retirement planning campaign 2016”, the agency engaged an affluent audience comprised primarily of people aged 35 and over by inviting influencer Daniel Chong to be the campaign spokesperson, who shared his wisdom and gave tips to achieve early retirement. The campaign spanned across print, digital content marketing and social media to maximise its exposure.

₫រ጗ᣍᵁᑋᆃMarketingᆄ◫⅂⓴␈ᛵᆋ፯⍶ᏕᲵ 㔷ひⓢ弙⪶䓝2017ӂ榡䓝䬽ᾙ㎟䉉䔁䓝㢏⪩䠓⁲䖕 ⋻▇Ҹ 封⋻▇⡙㑻‣捠ҷ⋼搏ҷ‣搔虇⡯军⑖⫹Ӂ㢏ℂ姷 䖍⪶䓝ʠʠ⁲䖕⋻▇ӂ䠓㴙㬽Ҹ 䂱⮐⩺㌠坘䉉懣劌亟慹⾛‭䚮☌㝸㢮䍮檙♐ 虃欨㾾虄㢘柟⋻▇㝦ᾚᾘ↚♐䏛 Aptamilҷ岍⊹劌╙ Nutricia㏏㏢憯䠓∠⎉㔷ひ㻊⑤军⫹ㄦ⪶⪩㜇䓝榔虇 ㄛ冔㢃▛㟑䔁榡Ӂ㢏ℂ姷䖍⪶䓝ʠʠ♐䏛ӂҸ军䂱⮐ ⩺䉉杫㎆㊪䁚ҷ欨㾾ㅔ⑬ⴱ䴰䖕㢘柟⋻▇╙欨㾾㞮ⷤ 搏姛㏢憯䠓⌅⁥㔷ひ㻊⑤‵䔁ㄦ⪩↚捜嬐䓝榔Ҹ 劌⪯庞ㄦ㢏汧㬽崌虇⋷⡯封⋻▇㢘㛗懚䚷ᾜ▛䠓 ⴲ≂㾯懢ℕ⿺␸♐䏛㏢⋴⾑⧃虇ⶳ⌅㞾憩懝䫍″⶜尀 ℕ◇イ╦䣍㹷㊞╙炢⒄╒厖Ҹ⌅㔷ひ㻊⑤㏏䎼╥⎿䠓 䫍㢒杫㹷虇㢘␸㕟汧㏏㢘㾯懢䠓㜃汣ⴲ≂㛗䡙Ҹ 䂱⮐⩺䉉懣劌桕⢧⬅丘♐䏛Aptamil㔷⎉䠓ҿ㢘 ᾏ䮽㊪虇╺㛍㏚Ӏ㔷ひ㻊⑤虇䜅ᾼ⒔㑻ᾏ烲㏲⁉ㅒサ 䠓ㄽ梊㄀ҷℕ卹䏅㵜䠓⎕›☋丁ҷ⁴╙⢷ⴲ≂佁䱨ᾙ 䉉ⱌⱌ↠㕟K䠓⴩㢮幖宙⋶ⵈ虇⁴◇イ╦䣍ᾜ㝆捜媖 容⛞Ҹ 封ㄽ梊㄀⌀撓ㄦ弔懝350喻㲰䠓孏䢚㲰㜇虇᾵⢷ Facebookᾙㄦ⎿弔懝5喻↚⡭㍘╙6喻↚⎕›Ҹ懍ⓒ ↚ⱌⱌ⢷䫍″Ⱑ汣ᾙ䠓宝履虇␯テ―♐䏛㏏㔷ひ䠓剁 ⋡㝈ゞ䠓捜嬐ㆶҸ ▛㮲⢿虇封⋻▇䉉杫㎆㊪䁚䠓Ӂ啙呀㥴ӂ宗␒⢷ 䫍″Ⱑ汣ᾙ㔷⎉ᾏ㵄㖭䲠㄀䏖虇封㄀䏖㛈佷卹欨㾾ᾏ ↚伢⌇梊嬥ひ◙虇᾵ⶖӁ╙㝸㔴╦㊪䁚䝔䝔㵡㾻寵ӂ 䠓宙ㇾ夜⋴⌅ᾼ虇⁴悤沕㖭䲠䠓㏚㹤㕟ⓖ䫍㢒杫㹷Ҹ 䉉拜▗佁ᾙひ◙虇封⋻▇‵㔷⎉ᾏ↚Ӂ啙呀㥴卹 ⑤常干㯮ӂ⽰憃㻊⑤虇䜅ᾼ⒔㑻ᾜ▛䠓⪥ⷤ╙╒厖㻊 ⑤虇憩懝䖍⵵䚮㻊䠓‡⑤懁ᾏ㳴◇イ䡽㮨╦䣍Ҹ 军䉉欨㾾ㅔ⑬ⴱ䴰䖕㢘柟⋻▇㔷⎉䠓Ӂ捜㒍凥尤 㳰㮑㊞儸ӂ㔷ひ㻊⑤ᾼ虇䂱⮐⩺㔰╥―ᾏ↚360〵䠓 Ⱑ汣╙〦⋶䳥䛴虇⁴Ӂ凥尤䬽䏸DIY㛨ⴇӂ╙Ӂ乄尭凥 尤㳛ӂ䉉Ὴ槛虇㎟␮⢷凥尤䵏㢮朢◇イ⪶捞ⵅ〼槶ⴱ ╙ⓒ䬶ᾥ⁲䡽㮨╦䣍䠓杫㹷Ҹ 军⢷㞮ⷤ巟䡪䖕帰䠓Ӂ䲻‛⁉䚮㔷ひ㻊⑤2016ӂ ᾼ虇䂱⮐⩺戏屚―䫍㢒▜⁉唙⇘ㅯ㙣₊ひ◙⁲宏⁉虇 ■孏䣍⎕›⌅䖕帰㠉㋶╙懣㎟㕟㝸憏₠䡽㮨䠓ㅒㄦ虇 ㎟␮◇イ⎿Ὴ嬐䛀35㴁╙⁴ᾙ⁉⩺仓㎟䠓ⵛ婤䡽㮨 ╦䣍Ҹ封㔷ひ㻊⑤懚䚷⎉䏗ҷ㜇䩋⋶ⵈ╙䫍″Ⱑ汣䳘 ᾜ▛㾯懢虇⨭␯㡬⋘䔖Ҹ

MARCH 2 017 MARK E TING HON G KON G 37

結語

LAST WORD

WHO’S WINNING THE PR RACE TO THE CE OFFICE? 䐈欥╒戇⁉⋻杫㎿䛴灭寤

38 M A R K ET I N G H O N G K O N G MA R C H 201 7

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結語

LAST WORD

As a PR professional, this is the first time I’ve seen chief executive candidates run for the city’s top job actively driving a PR strategy.

Whether you think they are doing a good or bad job, at least they’re doing something on their PR. Let’s be clear, this is purely my PR analysis of the CE election candidates – it has nothing to do with my personal political stance, nor is it an attempt to pick the winner. My interest is analysing the current PR strategies and activities from a professional perspective.

John Tsang The excellently mustachioed former financial secretary, John Tsang (or at least his team), is employing a bottom-up strategy in an effort to highlight his relatability within the general public.

He’s doing this with a two-pronged approach: • Differentiation: Showcasing his personal characteristics to differentiate himself from other candidates, such as showing his kung fu and fencing skills when he appeared on the cover of a local sports magazine.

• Digitalisation: Tsang is the first candidate to launch a crowdfunding campaign. (We know Obama did this a decade ago, but it’s still a good effort/new strategy for a HK candidate).

The results so far have justified his strategy.

His popularity rate is the highest among the candidates. On social media he stacks up well with more than 190,000 likes on Facebook and more than 22,000 followers on Instagram. He has also secured millions of dollars in donations towards his campaign.

Carrie Lam On the other hand, Carrie Lam’s strategy is a top-down approach with her campaign showcasing her capability through: • Strong network of leaders: Lam has shown her network strength, welcoming Hong Kong bigwigs at her press conference to show their support for her campaign.

Kevin Lam Director/head of business development – Greater China Sinclair Communications

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• Key message reinforcement: Proestablishment publications such as Ta Kung Pao and Wen Wei Po continuously report the key message that she has been endorsed by Beijing.

If Facebook was the key tool to assess the success of this campaign strategy generally with Hongkongers, Lam isn’t doing too well, receiving 2,200 angry reactions within five hours of launching her Facebook page. In recent polls, her popularity rate is also shown to be lower than Tsang’s.

PR analysis So, why has Lam’s campaign strategy not worked to date? Simply put, they are sending the wrong message to hit the wrong target audience on the wrong communication platform. Take the example of her recent video on Facebook – in a very “marketing style” she is shown learning how to use Facebook.

From the perspective of the people she is trying to win over, most of them already know how to use Facebook and would see this as both out of touch and outdated.

Wanting to show you are willing to learn something new is great; perhaps focusing on something current such as learning how to Snapchat and then snap-chatting would have been better received. Even better would have been aligning with the key message of having a “strong network” and posting a video of the candidate meeting Mark Zuckerberg (or at least the head of Facebook in Hong Kong).

Perhaps Lam’s campaign team questions why they should bother with a public PR campaign, given that so few can actually vote for the CE anyway.

As a PR professional, I know that a wellplanned and implemented PR strategy is the best way to gain endorsement from the public, helping in turn to increase legitimacy and, more importantly, enabling a candidate to know more about the community and make better public policy.

ᓆᠥዯᑀ᫵Ổፊ⚆ዷᤍᅗ᱑៦ᔾᣌᑿᡒᗭᒭ៝ᜳᘸ ╒戇⁉䯜㬄懚䚷⋻杫䳥䛴ℕ␸戇Ҹ 䊰履⌅姷䖍㞾⬌㞾⩭虇厂ⶠ⁥↠⢷⋻杫⽴⃫㝈 棱ᾚ懝⽴⪺Ҹ 欥⋗嬐䄓㾔ᾏ灭虇㎠亣么ㄭ⋻杫孡〵⎕㤟▓䐈 欥╒戇⁉䠓㎿䛴虇厖㢻⁉䠓㛎㹊䱚⧃䊰杫虇‵棭➦ 寵ㄭᾼ戇⎉庞ⵅ虇㎠㝷⢷⁴ㄭ⶗㫼孡〵⎕㤟䜅⏜䠓 ⋻杫䳥䛴╙㻊⑤Ҹ ᴜᝎ᷒ ⁴Ӂ沜 沩 㢍ӂヱ 巰 䫉 ⁉ 䠓 㢍 ⅙ 啾虃㎥ 厂 ⶠ ⁥ 䠓 ⢧ 栙虄虇㳲 㔰 ╥ ᾏ ↚ 䛀 ᾚ 军 ᾙ 䠓 䳥 䛴虇厃 ␪ ⷤ 䫉 ⁥ ⶜ 㟽 儔 ⪶ 䣍 䠓 杫 㹷Ҹ⁥ 㔰 䚷ᾏ ↚ 桨 䴰 烙 ᾚ 䠓㝈ゞ處 • !厖䣍ᾜ▛處ⷤ䫉⁥䠓↚⁉泔␪虇⢷⌅⁥╒戇⁉ᾼ 䰐⢜军⎉虇ℚ⬑䠊ᾙ汣剁桫尛ⶐ棱虇ⷤ䫉⁥䠓 ␮⪺╙␜㙙㐏姢Ҹ • !㜇䩋⒥處㢍⅙啾㞾䲻ᾏ↚㔷⎉䣍䷛㻊⑤䠓╒戇 ⁉Ҹ虃㎠↠䥴懢⫶⾃欻⢷ⓐ〃⏜⾁伢憨㮲⇩虇 ⃕⶜㝋欨㾾䠓╒戇⁉ℕ尹虇憨⁜䋅㞾ᾏ↚⬌➦ 寵虄Ҹ ⎿䡽⏜ 䉉 㳱虇⌅ 䳥 䛴䢇䜅㎟ ␮Ҹ㢍⅙啾䠓⁉ 㶲 ⢷ ▓ ╒戇 ⁉ Ὶᾼ㞾 㢏汧䠓Ҹ⢷䫍 ″ Ⱑ汣 㝈棱虇⁥䠓 Facebook ⶗榐亾䯜弔懝19 喻↚崩⬌虇Instagram ‵㢘弔懝 2.2 喻▜憌样冔虇⁥‵䉉⌅䲅戇㻊⑤䎼╥ ⎿㜇䠍喻⋒䠓㓟㳍Ҹ ᚩ⋨፸ᤫ ╵ᾏ㝈棱虇㤦 押㢗⮴䠓䳥䛴㞾㔰 ╥䛀ᾙ军ᾚ䠓㝈 ゞ虇⬈䠓䲅戇㻊⑤憩懝⁴ᾚ㝈ゞⷤ䫉⬈䠓劌␪處 • !テ ⪶䠓⁉劗㎥榧娥佁仰處㤦押㢗⮴ⷤ䖍⎉⬈䠓 テ⑐⁉劗佁仰虇⪩⃜㢻㾾捜䩔⁉䏸⎉⾼⌅㜿凭 䠋⾒㢒᾵㚾㒐⬈╒戇Ҹ • !␯テⴲ≂捜嬐宙ㇾ處⪶⋻⧀╙㜖Ⓘ⧀䳘嬹ら⏅ 㻍⧀䱯ᾜ㝆⧀⶝⬈⾁䔁⒦※尜╾䠓捜嬐宙ㇾҸ ፊ⚆ፍᚯ 䉉⃤㤦押㢗⮴䡽⏜䠓䲅戇䳥䛴⃋῝ᾜ⪹㎟␮虚䶰✽ ⢿尹虇⁥↠⢷撾尳䠓。╿ᾙ■撾尳䠓䡽㮨╦䣍䠋憐 撾尳䠓宙ㇾҸⷀ⁴⬈㢏慠ᾙ悘⎿ Facebook 䠓㄀䏖 䉉ℚ虇封㄀䏖⁴ᾏ䮽棭⿇marketing 䠓㝈ゞⷤ䫉⬈ ⬑⃤ⴇ兡ℎ䚷FacebookҸ ㄭ㤦⪹㊂䎼╥㚾㒐䠓儳仓孡〵ℕ䢚虇⁥↠⪶⪩ 抌㍑ㄦ⬑⃤ℎ䚷 Facebook虇⡯㳳㢒尜䉉㳳厘Ӂ桱 ⢿ӂ╙懝㟑Ҹ㊂姷䖍卹⾀槧㊞ⴇ兡㜿‚䏸㞾⬌‚虇 ㎥冔㍘ⶖ䊵灭㛍⢷䖍⁙㻐姛䠓‚䏸虇ℚ⬑ⴇ兡ℎ䚷 Snapchat虇䋅ㄛⶖ䏖㵄㛍⎿ Snapchat ㎥㢒㢃╦ 㳰慝Ҹ䚩厂㢃⬌䠓⇩㹤虇ᾙ悘ᾏ㵄厖㣀⋚₾㧋虃㎥ 厂ⶠ㞾Facebook䠓欨㾾帯帻⁉虄㢒棱䠓㄀䏖虇拜▗ ⌅㙐㢘Ӂテ⑐⁉劗佁仰ӂ䠓ヱ巰Ҹ ㎥冔㤦押㢗⮴䠓䲅戇⢧栙㢒⛞虇╜㳲╾⁴╒␯ 姛㛎朆ⴧ戇厘㐤䫷䠓⋻䣍⁉⩺ⶠῚ╗ⶠ虇⁥↠⃤呵 嬐呀ㅒㆬ⢷⪶䣍⋻杫ⴲ≂㻊⑤ῚᾙҸ ⃫䉉ᾏ▜⶗㫼⋻杫⁉♰虇㎠㞝䠌乍ㅒ䳥␒╙⵵ 姛䠓⋻杫䳥䛴虇㞾䔁ㄦ⋻䣍尜▛䠓㢏ℂ㝈㹤虇ㄭ军 㢘␸㕟汧尜╦ㆶ虇㢃捜嬐䠓㞾崢╒戇⁉㾀⋴―孲䫍 Ⓩ虇⁴⏅⴩㢃ℂ䠓⋻⌀㛎䳥Ҹ

MARCH 2 017 MARK E TING HON G KON G 39

職埸

CAREERS

JOB SHUFFLE ⁉‚崙⑤ David Brain, president and CEO of Edelman’s Asia Pacific, Middle East and Africa business, has left the company because of personal reasons. This follows 13 years in the company where he was in charge of 24 offices across 13 markets, and more than 1,500 employees. His announcement coincides with a restructuring of the regional leadership team, with North Asia’s CEO Bob Grove taking the newly created title of APACMEA chief operating officer.

DANNY MOK STEPS UP AS CEO OF DDB CHINA 唺䌨㋗⎉₊DDBᾼ⢚Ⓩ 欥⾼⦆姛ⴧ

Richard Tan, president and CEO of DDB China group, has stepped down from his role, while Danny Mok, former CEO of Leo Burnett China, took over the role effective from 20 February 2017. Tan has more than 26 years of experience in the communications industry, including 17 in China. Mok has more than two decades of experience in the industry, working both agency and client-side in Shanghai and Hong Kong. In 2013, Mok decided to jump out of the agency industry and took up a new challenge at CSL as chief marketing officer. Two years later, Mok returned once again to the agency world, taking up the position of CEO for Leo Burnett China, but left the agency last November.

㊪ㅆ㢋‭⪹ҷᾼ㤀╙棭㻁Ⓩ俌婐⌋欥⾼⦆姛ⴧ David Brain ⦉㝋↚⁉┮⡯⾁桱分Ҹ⁥㛗␪㊪ㅆ 㢋13 〃虇帯帻䴰䖕13 ↚⾑⧃䠓24 ↚愵‚埤☛弔懝 1,500 ▜♰⽴Ҹ⁥䠓桱₊㳲⇋封⋻▇捜仓⌅Ⓩ⥮䴰 䖕⢧栙Ҹ㊪ㅆ㢋⒦‭Ⓩ欥⾼⦆姛ⴧBob Grove ⶖ 㔴₊㜿宼䱚䠓‭⪹ҷᾼ㤀☛棭㻁欥⾼䍮懚ⴧᾏ分Ҹ

James Wong has joined PHD Hong Kong as strategy director from Zenith Malaysia. In his new role, he will work closely with the account management teams to develop integrated communication strategies for clients. He has more than 10 years of experience in the advertising and media industry and has worked across multiple client categories such as oil and gas, financial institutions, fashion, telecommunications and FMCG. James Wong 桱朚欻ℕ嬎‭⵵␪Ⱑ汣虇␯⋴ PHD 欨㾾㙣₊䳥䛴俌䡲Ҹ⢷⌅㜿分⃜ᾙ虇⁥ⶖ厖 ⴱ㏅䴰䖕⢧栙余ⵕ▗⃫虇䉉ⴱ㏅⏅⴩伫▗≂宙䳥 䛴ҸWong ⢷ひ◙╙Ⱑ汣姛㫼㙐㢘弔懝ⓐ〃伢毦虇 㢍㢜⑨⪩↚姛㫼䠓ⴱ㏅虇⬑䦂㹈╙⪸䋅㶲ҷ捠夜㯮 㭚ҷ㟑婬ҷ梊宙╙ㅺ憮㼗幊♐Ҹ

Malcolm Thorp (left) has joined IPG Mediabrands Hong Kong as head of media investment. He takes charge of the agency’s partnership portfolios and investment strategies across the client base. Meanwhile, Kate Wong and Penny Chow (right) joined the agency as business directors. The two business director placements were introduced to lead some of the agency’s long-standing relationships, including Coca-Cola and Johnson & Johnson.

Malcolm Thorp虃⽵虄⾁␯⋴IPG Mediabrands Hong Kong虇㙣₊Ⱑ汣㐤幖Ὴ䴰虇帯帻埤䖕封 ⋻▇厖ⴱ㏅䠓▗⃫宗␒╙㐤幖䳥䛴㫼⑨Ҹ厖㳳▛ 㟑虇Kate Wong╙Penny Chow虃▂虄␯⋴封⋻▇ 㙣₊㫼⑨俌䡲虇帯帻⿅榧封⋻▇厖╾╲╾㮑╙テ䚮⋻ ▇䳘朆㢮ⴱ㏅䠓▗⃫杫⅑Ҹ

Former FCB general manager Jocelyn Tse has joined J. Walter Thompson Hong Kong as head of strategic planning.

Over the course of her career, she was planning director at Ogilvy & Mather Group, Hong Kong; associate planning director for TBWA Shanghai, where she was lead planner for McDonald’s China; strategic planner at Leo Burnett Hong Kong and strategic planner at DDB Worldwide Hong Kong. ⏜ⓩ懣⪶㯚俌伢䖕 Joselyn Tse␯⋴㠉⮐㿾懫 欨㾾虇㙣₊䳥䛴嬞␒Ὴ䴰Ҹ⢷⌅分㫼䚮㼾ᾼ虇⬈㢍 㙣₊欨㾾⫶儝桕⢧䠓䳥␒俌䡲ҷTBWAᾙ㼆⏾嬞 ␒俌䡲⌋瀴䜅⑭ᾼ⢚Ⓩ㫼⑨䠓欥⾼嬞␒⾺ҷ㣝⫶ 帬亜欨㾾䠓䳥䛴嬞␒⾺ҷ⁴╙DDB Worldwide欨 㾾䠓䳥䛴嬞␒⾺Ҹ

DDB桕⢧ᾼ⢚Ⓩ俌婐⌋欥⾼⦆姛ⴧ栂₁兿桱分虇 ⏜㣝⫶帬亜ᾼ⢚欥⾼⦆姛ⴧ唺䌨㋗㝋2017〃 2㢗 20㝴弆㔴㢎⌅分⃜Ҹ栂₁兿⢷憩宙姛㫼㙐㢘弔懝 26〃䠓伢毦虇⌅ᾼ17〃⢷ᾼ⢚⽴⃫Ҹ唺䌨㋗㙐㢘 弔懝 20〃䠓姛㫼伢毦虇㢍㢜⑨ᾙ㼆╙欨㾾䠓⁲䖕 ⋻▇╙ⴱ㏅䱾Ҹ2013〃虇唺䌨㋗㸉⴩徂⎉⁲䖕⛕ 姛㫼虇᾵␯⋴CSL㙣₊欥⾼䍮摆ⴧ虇慝㔴㜿䠓㒠 ㎿Ҹ⋸〃ㄛ虇唺䌨㋗⌜㲰捜慣⁲䖕⛕姛㫼虇⎉₊㣝 ⫶帬亜ᾼ⢚欥⾼⦆姛ⴧ虇⃕㝋ᾙ〃11㢗桱分Ҹ

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