#AgencyFocus: Jellyfish diving deep in South Africa

by Carey Finn (@carey_finn) Durban may not be the first place that comes to mind when discussing digital marketing hubs in Mzansi, but Jellyfish is hoping to change that. Operating out of KwaZulu-Natal since 2005, the digital marketing agency has experienced significant growth in recent years; it has expanded to Joburg (where it snapped up ClickMaven last year) and is looking to build a presence in Cape Town, too, while increasingly targeting blue-chip brands.

Managing director Tim Lombard, who has been with the agency since 2014, says that Jellyfish’s South African arm has evolved into a full-service digital affair from its basic beginnings as a paid-media operation centre. The agency forms part of a global network of offices, with counterparts — and shared capabilities crews — in the UK and US.

“Engine room”

“In Durban, it started off as an operation centre for Jellyfish globally,” Lombard explains. In a nutshell, he says, a paid-search employee in the UK was looking to return to South Africa, Durban specifically, and proposed that the company resource out of the country for certain operational tasks, particularly on the PPC side of things. A positive response led to locals being trained in paid media and providing support to global teams, with the exchange rate helping to make it feasible.

“It just evolved from there,” says Lombard, to become “the engine room” for Jellyfish South Africa, with the majority of the agency’s 60-odd employees calling it home base (among them newly appointed creative director, Ross Makepeace). “And now we’re starting to see blue-chip clients talking to us,” he adds.

As of June 2018, Investec has tasked the agency with handling its paid-media and analytics work, joining a client stable that includes Pietermaritzburg-based FMCG company, Willowton Group; RE/MAX; Mr Price; and, as of last month, Truworths. The services delivered to each brand vary, with the two apparel retailers being what Lombard terms “technology clients” that see Jellyfish providing the Google marketing stack and working with them to implement the solutions throughout their businesses.

Tim Lombard
Tim Lombard

The addition of these large companies over the past year has helped the agency shift gears. “Before, we were dealing with much-smaller types of clients,” says Lombard. “But we cut our teeth and got to understand the market a little better.” Some of the new business has come through pitch processes, with other parts referred by Google; Jellyfish has a close relationship with the search giant as a DoubleClick Certified Marketing Partner and Analytics 360 Suite (together now known as Google Marketing Platform) reseller. Lombard says that the partnership allows the agency to provide both technology and strategic consulting solutions, as well as training.

Challenges

Despite year-on-year growth of 100% since 2014, Jellyfish still faces a few challenges — one of which is, as an independent agency in a landscape dominated by a handful of names, not always being the first to roll off the tongue when it comes to complex digital work, says Lombard. “We’ve got to work quite hard,” he says. “We’re like the dark horse in the room; the one nobody really knows about, but are intrigued about nonetheless.”

Another difficulty, Lombard says, has been bridging the gap between the kind and level of digital services required as standard in the UK and US markets and what was, until recently, expected (or not) here. “That’s been a challenge for us, because, without wanting to seem arrogant, we have provided a process of working which was, I think, more advanced than what local guys were doing,” he explains. “But some of those guys have caught up; they speak a different, evolved language which has been good to see, because [as a country] we’ve trailed behind our European and American [industry] counterparts in terms of digital expertise, both on a client and agency side. Over the last two years, I think there’s been a radical uplift in knowledge from the clients.”

Jellyfish Durban exterior

With global best practice central to the agency’s work, one of its goals for the coming months is attracting more blue-chip clients and providing them with a full digital suite of services. “We’ve got the ability to create the elements for campaigns and to create the strategy, messaging and creative,” says Lombard. “We’ve got the technology backbone to be able to get insight from data points, and we’ve got the ability, based on our heritage, to make those campaigns actually perform. So, we’re looking for clients that want to work with an agency that can provide the holistic, full-digital journey solution — not just social media or just PPC.” He says that the agency will also be focusing on enhancing its technology solutions.

“In-housing”

Another key area, based on what the agency has seen in the UK and US, may be “in-housing”, says Lombard. “I think a trend we’re going to start seeing is big companies in-housing their marketing solutions. We’ve got a consultancy division of Jellyfish that works with big brands to help them implement their own in-house marketing teams. We provide the training, the resourcing, the entire structure for them, and we plug in our own areas of expertise where necessary, slowly but surely empowering those companies to perform some of the tasks themselves. We see that as a big opportunity.”

Also on the agenda is bolstering the Joburg office, with a focus on the client-facing side of operations. At the end of the year, the Gauteng team will be moving to new premises on the top floor of the Rosebank Link building, in line with what Lombard says is a network-wide emphasis on strategic locations (Jellyfish’s London office is housed in The Shard). Lombard says that the tiny Cape Town office, which is currently staffed by just a handful of employees, will be next on the to-do list.

Awards, too, could be more of a focal point in the future, with Jellyfish named as a finalist in the Drum Awards earlier this year.

Jellyfish logo
jellyfish.netRamify

  • Office locations: Durban, Joburg, Cape Town
  • Revenue band: R40–60m
  • Staff count: 60
  • Key clients: Willowton Group, Investec, RE/MAX, Mr Price, Truworths, Husqvarna, andBeyond
  • Key services: Full service digital, including Google Marketing Platform access & training, data-driven creative services, advanced analytics, in-housing.

 

Carey FinnCarey Finn (@carey_finn) is a writer and editor with a decade and a half of industry experience, having covered everything from ethical sushi in Japan to the technicalities of roofing, agriculture, medical stuff and more. She’s also taught English and journalism, and dabbled in various other communications ventures along the way, including risk reporting. As a contributing writer to MarkLives.com, her new column “#AgencyFocus” is an ongoing weekly series updating the market on agency performance, including business performance, innovation, initiatives, the work, awards and people.

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SA TV Ratings: e.tv — primetime top 20 for Aug 2018

by MarkLives (@marklives) The hottest primetime shows on e.tv in South Africa revealed: TV ratings for August 2018.

e.tv August 2018

BRCSA TV Ratings August 2018 primetime etv
Click to enlarge to view clearly.

Source: BRCSA August 2018

In 2016, the Broadcast Research Council of South Africa (BRCSA) changed its policy about giving away TAMS and now only monthly reports, highlighting the top 20 or 30 primetime shows on several popular channels, are available.

 

Broadcast Research Council of South AfricaThe Broadcast Research Council of South Africa (the BRC) is a non-profit, industry body that was incorporated in 2015 to cater to the audience research needs of the radio and television industry in South Africa.

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Book Extract: Growing Greatness — Pepe Marais on business = being, too

MarkLives is running five extracts from Joe Public United founding partner Pepe Marais‘s first book, “Growing Greatness — A Journey Towards Personal and Business Mastery”, over the next few weeks. Here’s the last, “A business is a being too.”

Growing Greatness book coverby Pepe Marais (@pepemaraisThe famous primatologist and anthropologist, Jane Goodall. stated that, just as we are Human Beings, so too are cats Cat Beings, cows Cow Beings and monkeys Monkey Beings. This statement rang true to such a degree that I could not help but wonder whether it would also stand to reason that a business could be classified as a Business Being too — living organisms that grow organically through life with all the challenges that it throws at them.

It is my deepest belief that, just like every human being on this planet has a greater reason for being here, so too does every single business. But since most people are not aware of their own greater purpose, few business leaders would ever find the authentic and fundamental reason for the existence of their business. Yet many businesses manage to grow to spectacular heights, creating immense shareholder value. But how many manage to create real value for the world at large? How many leaders will become household names outside the confines of their own corporations? How many businesses succeed in changing the world?

Back in 2009, I was invited to give a talk in Lesotho at a conference of one of our then-largest clients. It had also invited a second guest, a well-known motivational speaker. I remember the evening after the conference, standing around the fire in the boma with the board of directors, when the motivational speaker suddenly leaned over to the CEO and asked, “So, tell me, what does your company stand for? What is its greater reason for being?”

The CEO thought about this strange question for a while and, with a slight touch of embarrassment, replied, “I don’t actually know.” I was completely taken aback. Here was one of the best leaders I have ever dealt with lacking clarity as to why his business existed — what his business stood for. And if he had no clarity, how would any of the close-to-900 staff in his employ have any idea why they went to work?

This chance question around a fire in a boma far from home would bring the point home to me. None of the businesses we engage with daily have any idea why they exist as a business, other than to deliver a product or a service in order to create revenue, and thus profit, for its shareholders. What’s the real benefit to the world in that?

Having been on a personal two-year journey of self-discovery at that stage, this little experience was a business turning point for me because I realised that we, too, had no idea what Joe Public stood for. We had no clear strategy, nothing to hang our proverbial hat on. There was no deeper point of view that we could base any communication on, if we ever had to do an advertising campaign for our own business. What was our unique and distinctive selling proposition? The only aspect we were clear on was that we were making advertising.

I was quite astounded that something so basic could be so blatantly absent.

Within a year after that defining ‘boma moment’, we had defined what Joe Public stood for in one word: Growth. The starting point, as always, was one word. Yes, that tiny little one-word purpose at the core of each person on this planet is seemingly also present at the core of each business. And, once uncovered, it has the power to better our world irrevocably. Like a little pebble thrown into the sea on one side of an ocean, it will create a ripple effect that could wash ashore on the other side of the world. All you need to do is find the pebble of your business from which will spring the key strategy for its future.

See also

 

Pepe Marais August 2018Pepe Marais (@pepemarais), founding partner of Joe Public United, officially launched his first book, “Growing Greatness — A Journey Towards Personal and Business Mastery”, on 27 August 2018 in Cape Town and on 29 August in Johannesburg. Filled with scribbles from the mind of an adman, the book inspires innovation, creativity and showcases the entrepreneurial spirit. Through his growing awareness of what purpose means in both business and personal terms, Pepe points the way to growing your own greatness. Published by Tracey McDonald Publishers, “Growing Greatness” is available in print and electronic format from leading bookstores.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

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Media Design: Ambassadeur, Fact, WIRED, 032c

Shane de Lange (@shanenilfunct)’s weekly analysis of media design — both past and present, print and online — from South Africa and around the world:

  • Commercial print: Ambassadeur is an independent journal hell-bent on the revival of culture in South Africa
  • Iconic: Fact was a quarterly focused on dissent, a magazine that would print stories that others wouldn’t during the ’60s in America
  • Independent print: WIRED documents how it defined changes caused by the digital revolution over the past 25 years since its inception
  • Online: 032c advocates the production of culture, nurturing youth culture in particular, in world that increasingly devalues it in favour of unsustainable consumption

Find a cover we should know about? Tweet us at @Marklives and @shanenilfunct.
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Print

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Ambassadeur (South Africa), issue #2, 2018

Ambassadeur, issue 2, September 2018This column aims to support media that produces culture, as opposed to simply consuming it. Ambassadeur is a local, independently produced journal focused on art, literature, fashion and travel, published annually in English and Afrikaans versions. The journal aims to converge various creative spaces in South Africa, including features about artists and writers from the rest of the continent. The objective of every issue is to present a collection of established and emerging creatives, supplemented with content about noteworthy travel destinations — all to produce cultural material.

The second edition of the magazine is retrospective in its approach, purposefully placing contemporary perspectives on the backburner; it chooses, rather. to reflect upon and revive orthodox creative approaches, ironically suggesting new ways of seeing for current art and literature. Notably, this issue features a photo-essay in collaboration with Gucci, inspired by “Sewe Dae by die Silbersteins” (Seven Days at the Silbersteins), a novel by South African writer, Etienne Leroux, first published in 1962. Fashion, literature, art direction and photography amalgamate here, and the cover is a photograph of model, Pierre Rossouw, from the photo-essay, taken by editor, Derick Muller.

Ambassadeur’s third edition promises yet another collaborative photo-essay with Gucci, inspired by André P Brink’s 1963 magnum opus, The Ambassador. This issue will be launched on Friday, 28 September 2018. Details are available on ambassadeur.co.za. RSVP: kontak@ambassadeur.co.za

 

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   WIRED (US), 25th anniversary issue, September 2018

Wired, 25th Anniversary issue print and online, September 2018

Innumerable technological advancements have fundamentally altered the path of the human condition over the past 25 years, so much so that many, including myself, are hailing the dawn of the post-human condition. WIRED is no stranger to these changes; the publication has helped to define them, specifically in the context of the digital revolution, detailed in the magazine’s original manifesto — all of this while most mainstream media remains largely ignorant towards technological evolution and its powerful influence over culture and civilization.

WIRED has defined the positive, approaching the intricacies of contemporary media optimistically, and the negative, exposing the powers that are destroying media and erasing culture, within the context of the digital revolution. For its 25th anniversary, it’s compiled a celebratory issue, an ode to the principles established in its manifesto, and selected 25 icons nominated to be the most-involved people related to the changes caused by the digital revolution over the past 25 years. In turn, each icon has had to nominate an icon or iconic exponent that they see influencing the following 25 years. A rad conceptual foundation for a WIRED issue, thanks to the creative direction of Sarah Fallon, a long-standing editor there.

Notably, the cover design and resultant art direction, which flows over nicely onto WIRED’s website, is a contribution from the title’s founding creative directors, John Plunkett and Barbara Kuhr. Another impressive feat is a contribution from political scientist, David Karpf, who read every volume of WIRED and delivered an article titled “25 Years of Wired Predictions: Why The Future Never Arrives” that reveals a ‘history of the future’ as represented by WIRED from 1993 to 2018.

Online

¯\_(ツ)_/¯   032c (Germany), September 2018

032c, online September 2018 and print, issue 34, summer 2018Given the variety of socio-political, environmental and economic issues globally, one would not be wrong to assume that humanity, and resultantly the planet, is on the edge of the edge. Contributing to this, the production of culture is far outweighed by the consumption of it. This is a critical point that will not go away until people become more conscious, responsible, critical, observant, creative and accountable. 032c is an online publication that attempts, in some small way, to balance the scale between production and consumption, placing emphasis on key branches of culture: art, design, craft, discourse, etc.

In particular, 032c focuses on contemporary culture and youth culture, a vibrant and energetic space that a few have criticised for lacking any clear sense of identity or form of representation, and therefore having no culture or history (in the making). An age-old debate indeed, and somewhat tiring. However, empathy is an important conduit for the production of culture (something that is sorely lacking today) and, arguably, the media and technology of the digital age, albeit pivotal to the improvement of our modern lives, seem to only succeed in fueling greater apathy, distancing and disconnection among people, especially amongst the youth, in turn feeding more consumption. This is more than a crisis; it’s a depression, as people no longer take pride in what they do, nor do they feel a resolute sense of purpose or rootedness. Odd that media designed to connect people can have such a distancing and disillusioning effect. This point is proven by the theme for the latest issue, #34, titled “The Big Flat Now”.

032c approaches this situation with tact and taste, artfully, to contribute to contemporary culture, even though the magazine is an apparel brand. With a production and research centre based in Berlin, 032c studies how a brand can contribute to contemporary culture, with findings and insights made available online and in the form of a biannual printed magazine (what 032c calls its “manual for freedom, research, and creativity”). This may be perceived as a self-serving exercise on behalf of 032c, but surely if more brands made more attempts like this, the world would be a better place, and not in limbo, or a state of borderline devolution?

 

Iconic

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Fact (US) 1964–1967

Fact, volume 1, issue 1964 and Fact archive online, September 2018During the ‘60s, The New York Post prohibited any mention of Fact, and The New York Times regularly published contentious material about the publication. The fact is, Fact magazine should have been called The Taboo Times. A quarterly journal published between 1964 and 1967, it prided itself on its controversial content, particularly its criticism of power structures, institutions and certain social constructs in society. It was the first major magazine to publish reprehensible subject matters, exemplified by the first issue, which featured a first-person account on the effects of LSD. One shouldn’t underestimate the immense value of criticism and free-thought, and Fact was no stranger to this, so much so that the Nobel Prize-winning biologist, Hermann J Muller, even contended that the title performed a much-needed role in society.

The magazine was edited by Ralph Ginzburg, who was also the father of Eros and Avant Garde magazines and who worked alongside co-editor Warren Boroson. Fact was on a crusade to find truth, to defy the norm and subvert convention, which included rebellion against its own readers and investors and not only the usual suspects such as religious institutions, corporations and governments. As such, Fact was a quarterly focused on dissent, a magazine that printed stories that no other magazine would.

Fact had no advertising, allowing the editors the freedom to investigate and critique sacred institutions. Avoiding the propagation of political liberalism and the exercise of intellectual authoritarianism, Fact delivered articles derived from personal experiences and scientific research more in tune with the realities of the time. These articles rested upon common themes that were prominent during the ’60s, including: the double-standards and paranoia surrounding anti-communism in the US, the neglect of the public sector within the US economy, ‘press mess’ (aka fake news, or unethical, dishonest journalism), the protection of ill-informed consumers against predacious corporations, sexual liberation, and psychology.

The historic art director, Herb Lubalin, who worked primarily on Eros magazine at the time, was given free rein to design Fact. He found the perfect balance of image and text, and designed a large-format publication that was readable and legible. Each article faced a select piece of illustration, and he curated every issue with its own illustrator. Lubalin’s work for Fact won him the Award of Excellence from the Society of Publication Designers in 1964 and 1965, and has led to countless imitators ever since. At its peak, Fact had a circulation of 250 000, attracting important contributors such as Bertrand Russell, Mary Hemingway, Irwin Shaw, and Dr Benjamin Spock to name a few.

Mention must be made of the online archive for Fact, a website that allows access to the entire legacy of the magazine.

References

 

 

Shane de LangeShane de Lange (@shanenilfunct) is a designer, writer, and educator currently based in Cape Town, South Africa, working in the fields of communication design and digital media. He works from Gilgamesh, a small design studio, and is a senior lecturer in graphic design at Vega School in Cape Town. Connect on Pinterest and Instagram.

Media Design, formerly Cover Stories and MagLove, is a regular slot deconstructing media cover design, both past and present.

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#TheInterlocker: Just do it • LGBTQ+ • No more releases • Pitch charges

by MarkLives (@marklives) Tlhogi Ngwato shares insight into Nike’s latest campaign; Sam Swaine advocates doing away with press releases; Kevin Seturumane pushes for more authentic representation; and Michelle Cavé tackles the thorny issue of charging for PR proposals. Bond, connect, engage, involve, join — welcome to The Interlocker!


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Tlhogi NgwatoTlhogi Ngwato’s pick

Nike campaign: Just Do It
Why intuitive marketing is not the future — but a prerequisite to success

I have always found myself fascinated by reputation management as a science and the growing ability by companies to either get it right or so terribly wrong, especially since the advent of social media.

Numerous conversations on this topic have been had and I expect they’ll evolve over time with newer and more “woke” generations to come. However, at the moment, intuition plays a massive part in the roll out of successful communication campaigns. The finesse of our words and their benevolent intentions to garner affinity and sales will go completely unnoticed if they aren’t associated with poignant moments and/or issues in our society.

This finesse lies in how to make something taboo devilishly good and difficult to ignore, and this is what “intuitive marketing” is about and how reputations are birthed.

Over the years, there’ve been some brilliant campaigns by brands (Nando’s and Adv Thuli Mandonsela; OMO South Africa and reimagining gender roles; and Spurs and The Flag Bearer) but never one that holds so much meaning in a time where brands and the bloodline of these brands are required to be vulnerable and affected by the times in order to address contentious societal issues such as racism, gender politics and transformation.

Much like its Colin Kaepernick campaign slogan, “Believe in something. Even if it means sacrificing it all. Just do it.” Nike just did it and, before we could even catch our breath, it went out with an extraordinary piece starring Caster Semenya. In that moment for many, the penny dropped because it was immediate, localised for greater resonance and aspirational!

https://youtu.be/6UW-VgxlIZI

Despite the backlash, there are some key lessons to be learnt and applied to our daily work and lives. Nike has understood the following:

  1. It’s all about connection: selling products and services is not a sterile and objective process. It involves people, emotions, history and luck. And, so, connection with oneself and connection to the company, client and product are key.
  2. There’s more that influences your sales than you can imagine — listen and respond to your environment.
  3. Face your fears and your fear of success!
  4. Be inspired by the times!

After all’s been said and done, Nike has achieved both sales and a reputation in better shape than before. In the words of Warren Buffet:

“We can afford to lose money — even a lot of money. But we can’t afford to lose reputation — even a shred of reputation.”

— Tlhogi Ngwato is PR director at On Point PR

 

Sam SwaineSam Swaine’s opinion

What do you mean, no press release?

I’ve always wondered how PR functioned as a discipline before we were graced with the internet, instant mails and mobile phones. So I Googled (another modern intervention) and was directed to Wikipedia, an online resource of infinite knowledge. Here’s what the search engine threw back.

Public relations was established in the 1900s and was first practiced by religious evangelicals and Victorian reformers, specifically factions condemning the shackles of slavery. I believe its origins may be traced to ancient tribes and other touchpoints in history, eg political campaign displays have been found in the ruins of Pompeii and Arabia. Or how about the publicity stunt that was The Boston Tea Party? It made global headline news, it made history and is still referenced today.

Fast forward to the 20th century, when PR was reliant on the postal service, couriers and telegrams that were succeeded by the telex and fax machines. We may once have been hamstrung by technology but the media industry now faces far more challenging issues — audiences are losing faith in print while publishing stables are carving up editorial teams. Advertising budgets have been cut, and online and print medias have had to graciously accept all cash injections to fund their offering. It doesn’t end there; journalists have been beaten into submission and have had to compromise their editorial integrity to accommodate advertorials, purchased double-page spreads and Google Display ads. This has had a knock-on effect on PR as earned space is scarce, competition is deadly and opportunities for inclusion have slimmed; ergo, our communication strategies have to be elevated to impossible perfection. The landscape is bleak.

But we’re a resilient lot and have tailored our services to suit unpredictable climates. The most-popular and by far the most effective is the smoke and mirrors approach of ‘non-marketing’.

Fact: people want to buy into a lifestyle, not a specific product; journalists desire creative freedom, not a brand assault. The magic trifecta that pole vaults over the barriers of editorial authenticity, client satisfaction and PR success is informality, integrity and bonhomie. We’ve entered the age of the maverick — be gone, press releases — away with over-styled product shots and the dreaded follow-up call.

Some of the most-successful campaigns that aren’t afforded the luxury of a budget have resorted to more-industrious means of exposure. A genius example overheard in the locker room was an evening hosted by a brand, with the only form of communication an invite and an RSVP.

Cue the CMO milling about incognito, chatting to all and sundry apropos nothing, a couple of PR bodies peppered in the crowd and the rafters packed with journalists and select influencer custodians. Yes, guests knew who put the spread on but the motif of the evening wasn’t an education campaign; it wasn’t about brand awareness or lavish activations; it was a gathering of hardworking professionals with a common interest and relaxation in a welcoming environment, tipple and grub in hand. The agency sent out a “thanks for attending”, the guests emailed for more information and the AVEs shot the lights out.

We’ve run the traditional PR marathon and all parties are exhausted; it’s time for rule-bending and addressing communication through emotional connection, simpatico and human resonance.

— Sam Swaine (@samswaine) is the group account director of Scout PR & Social Media

 

Kevin SeturumaneKevin Seturumane’s pick

why we need stronger lgbt+ representation in advertising
i-d.vice.com

The LGBTQ+ community is agonisingly under-represented in advertising. Many brands within PR choose to stay away from this space because of authentic representation vs exploitation of the minority group. Others fear they’ll lose customers by getting into ‘political territory’ and also feel that there is a big disconnect when it comes to using members of the LGBTQ+ community in influencer campaigns. Writer Greg French gives us insight around the misrepresentation:

  • There has been progress in LGBTQ+ representation but clients are still falling short
  • Reputational risk plays a big role in PR; clients and brands worry about associating themselves with this community because of how vocal they are with regards to equal rights
  • From a crisis-communication perspective, there’s a disconnect as clients don’t believe in what the individuals who are members of this community stand for but, because of popularity, clients choose to use them in campaigns and can’t deal with whatever backlash they do get
  • Representation in PR is both scarce and heavily reliant on outdated and damaging stereotypes
  • Brands are still failing those who don’t conform to a binary gender concept
  • PR practitioners need to push the boundaries. Fear needs to be eliminated when advertising to the LGBTQ+ community as the best work always comes from a place of openness, not from fear.

— Kevin Seturumane (@KevyKevSA) is a marketing assistant at Joe Public United

 

Michelle CavéMichelle Cavé’s opinion

Charging for PR proposals
MarkLives

Should PRs hold onto our trade secrets until it’s paid for, or should we accept that providing strategic proposals is the cost of doing business?

I’ve found myself in a catch-22 situation of late. As the founder of a boutique PR agency, I manage and implement all activities of the business, and have truly come to understand the concept of “time is money” over the past three years. This has been acutely emphasised when dealing with too many prospect clients who want meeting after meeting, followed by a PR proposal, sometimes even committing to formalising the PR partnership, before taking the strategic roadmap — which could quite easily be implemented in-house, or by a cheaper or preferred competitor — and literally avoiding all future contact via phone or email.

As a new agency trying to secure a sustainable future, I’ve found it difficult to define what I should shouldn’t include in my proposals — especially when, more often than not, budgets aren’t even disclosed upfront. My dilemma is that, the less detail I provide in a proposal, the more the client might end up thinking that I don’t really know the job. In contrast, the more information I provide, the greater I’m at risk of giving away my 20+ years of knowledge and ideas for free.

But, in order to afford myself a better chance of being awarded the business, I’ve invested many hours researching, liaising with suppliers and/or relevant media and preparing detailed proposals with a strategic approach and supporting tactics. Basically, giving away my intellectual property in the hopes that the prospect would see the value and appoint me.

Following a string of proposals submitted to no avail, I sought out some advice from a mentor who is a respected key player in the telecoms sector and posed the question to a global PR industry group on LinkedIn…. [continue reading]

— Michelle Cavé (@brandfundi) is a PR consultant & the founder of Brandfundi

 

MarkLives logoLaunched in 2018, The Interlocker is a monthly newsletter (available as a regular column on MarkLives, too) in which we ask a handpicked selection of PR execs to each select ONE feature, news article or research report (accessible online) that they believe would benefit their peers to read and why. Sign up here!

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Fair Exchange: Challenges with shifting from agency to client-side

by Erna George (@edgeo23) While chatting to an ad agency colleague recently, we were lamenting the often-encountered mindset of wanting to pop between spaces to progress or to move to ‘sexier’ tasks and territories. Our stories reflect two things: hard work is fairly key to progressing faster; and, while the concerns and considerations for agency and client-side are similar, there are distinct differences that must be taken into account when considering a shift between the two worlds.

Not a simple shift

Experience across both is a great asset but don’t make the mistake of assuming it’s a simple shift. There are two key challenges with the move from agency to client that, while not insurmountable, must be considered before making a move.

The first is that an agency offers a breadth of experience and learning across multiple brands and categories (with an in-depth understanding on the agency focus area) while, in brand management, you have to get to a depth of understanding on only one or a couple of brands — and you have to know these inside and out, which requires focus, patience and scratching well beneath the surface to understand drivers of cost and growth. This is not everyone’s cup of tea.

The second is that, for agency work, you need a strong level of expertise in your area, and assimilating needs bundled in a high-service approach client side requires commercial capability (thinking and application) — and numbers or commercialisation aren’t necessarily a universal passion.

Success and failure

I’m not by any means suggesting that agency people have no depth to contend with. Think of it this way… the depth required to thoroughly comprehend the creative process, the media landscape, finished art, traffic, ad production etc is what a marketer needs across multiple brand facets. In discussions with a brand person itching to progress, my advice is to fully understand the value chain and its contributors. Knowing how it’s made (and cost contributions of labour, ingredients and processing) and where it’s made (are there synergies with other products or impacts on distribution?), in addition to trade costs and cost of marketing, is a core focus. Knowing that the global oil or wheat price is increasing, placing pressure on margins or on requirements for a PI or requiring product reengineering will make a difference between success and failure.

While some areas may be tedious, this comprehensive view of the value chain is one of the key ways to impact the P&L so that price and cost-saving initiatives are done with respect to maintaining the integrity and growth of the brand. Similarly, understanding the ship to trade process, costs and how to influence this is key to landing successful, sustainable launches and gain trade support for promotions.

Ultimately, this means that management from behind a desk is never going to change the world. Know the teams within these structures so that getting buy-in and impacting change are made simpler.

Commercial responsibility

In brand-management roles, commercial responsibility starts almost at day zero, from tracking sales and shares and calculating impact or ROI of promotions. These are given equal weight to the imagery and brand communication aspects. When I asked a new brand manager (just joined from an agency) to download the brand, they started with the latest launch and support comms. Given their history, this was completely understandable, so I remained patient and let them free wheel on the items that excited. When I asked about pack and customer contributions to revenue and market shares, they said, “Oh, I don’t know that off-hand.”

Similarly, sitting in a Nielsen presentation, I turned to a junior team member who I know is keen to be promoted soon and asked the top-selling variant in their brand and they said they would have to get back to me.

Marketers, you have to be commercial beings. While the look and feel are very important, how it impacts and how it will operate within the market is the measure by which you are judged. Absorb the figures so you have credibility. Know for certain that brand marketing is both a left- and right-brain function. You are lost without a keen balance between creative that impacts and the calculation of that impact. If you do not know your P&L ie what GP, NP, sallies and tallies are or how to impact these, find out before making the move to brand team.

Foundation

While these may sound like the boring sides of the role, these aspects are the foundation to good business practice and sound brand growth. The value chain and commercial depth are actually empowering as you can be in control of your brand’s destiny. Love the numbers and learn to work with them, and you will unlock more growth because you have interrogated where the best places to unlock growth are. This also provides a strong base to discuss brands with executive board members and could unlock a future career in general management.

So, if anyone wants to choose marketing or shift from agency to brand side:

  1. Learn the numbers: maths plus a strong appreciation for accounting is key (your P&L must be your friend)
  2. Spend time with the finance, procurement, manufacturing and sales teams, as the value chain has a critical impact on the 7 Ps
  3. Learn the rules so you know how to break (or shape) them properly (in brand worlds, learn the critical contributors so you know how to impact for optimal profitability).

 

Erna GeorgeAfter starting at Unilever in a classical marketing role, Erna George (@edgeo23) explored the agency side of life, first as a partner at Fountainhead Design, followed by the manic and inspiring world of consultancy at Added Value. She has returned to client-side, leading the marketing team in the Cereals, Accompaniments & Baking Division at Pioneer Foods. Her monthly “Fair Exchange” column on MarkLives concerns business relationships and partnerships in marketing and brandland.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Market Research Wrap: SA media, entertainment outlook to 2022

Cheryl Hunter (research at marklives.com)’s weekly wrap of the latest market and consumer research:

  • Blurred reality
  • Innovation not enough
  • Bad bots

Convergence across Africa

2018 pwc SA E&M outlook launch presentation - segment overview
Click to enlarge to view clearly.

Africa’s entertainment and media industry has entered a third wave of convergence, with the borders that once separated the entertainment and media (E&M), technology and telecommunications industries blurring in a world that is rapidly digitising. This is according to PwC’s “Entertainment and media outlook: 2018 — 2022: An African perspective” released this week.

The outlook study is a comprehensive source of analyses and five-year forecasts of consumer and advertising spending across five countries (South Africa, Nigeria, Kenya, Ghana and Tanzania) and 14 segments — internet, data consumption, television, cinema, video games, esports, virtual reality, newspaper publishing, magazine publishing, book publishing, business-to-business (B2B), music, out-of-home (OOH) and radio.

By 2022, total E&M revenue in South Africa is expected to reach R177.2bn, up from R129.2bn in 2017. Internet (access and advertising) is expected to grow at a compound annual growth rate (CAGR) of 11.3% over the forecast period to reach R91.2bn, up from R53.4bn in 2017. Internet advertising will greatly exceed TV advertising in terms of growth, leading the way with a 13% CAGR over the forecast period to reach R9.4bn and overtake TV advertising spend in 2022.

Says Vicki Myburgh, PwC Southern Africa entertainment and media Leader, “The pace of change isn’t going to let up anytime soon. New and emerging technologies, such as artificial intelligence and augmented reality, will continue to redefine the battleground. In an era when faith in many industries is at [an] historically low ebb and regulators are targeting media businesses’ use of data, the ability to build and sustain consumer trust is becoming a vital differentiator.”

The report shows that advertising in the E&M industry has been mostly affected by SA’s economic environment, with cautious growth of just 1.9% year on year. An improvement is expected to 2022, with a 3.3% CAGR bringing total advertising revenue to R41.5bn, from R35.3bn in 2017. New technologies and devices such as AI, VR and AR (virtual and augmented reality), voice-based smart home devices and virtual assistants look set to drive innovation in online advertising on a global scale in the coming years.

After a breakthrough year, SA’s total esports revenue is forecast to rise from R29m in 2017 to R104m in 2022, a CAGR of 29%. A host of high-profile events in 2017 helped to propel esport further towards the mainstream, and a number of similar events have been and are being held this year.

Newspapers and magazines will see revenues decline over the next five years. In 2017, total newspaper revenue fell by -2.9% to R8.6bn. The forecast for the years ahead is for decline at -4% CAGR. By 2022, SA total newspaper revenue is expected to drop to R7bn.

Music events still draw large crowds, with ticket sales set to see an 8.0% CAGR to 2022, helped by major tours from popular crowd-pulling acts in 2018.

Download the full report (9.38MB pdf). For more info, go to PwC South Africa.

 

WE Brands in motion 2018 infographic
Click to enlarge to view clearly.

SA brands have to take a stand

The second iteration of WE Communication’s Brands in Motion 2018 research shows South Africans have higher expectations than their global counterparts, with consumers insisting on both ethics and innovation. WE South Africa’s Sarah Gooding Kobus gave Market Research Wrap her key insights for the local market.

Carried out among more than 25 000 consumers and B2B decision-makers across eight global markets, the survey covered eight categories, and 90 brands. One of the most-astonishing revelations is that even brands which are perceived to be highly innovative simply won’t make the grade anymore.

The number of South Africans who insist on the ethical use of technology while still maintaining customer-centred innovation is an overwhelming 99%. And where brands are unable to ensure their own ethical use of technology, 95% of South Africans believe governments should step in. The message is clear: innovation alone is no longer enough.

Major brand names such as SAP, KPMG, McKinsey and Steinhoff — institutions that would previously have been perceived as untouchable — have tumbled from grace in SA. The result is that citizens have radically transformed their views on the role of brands in society.

At the same time, the wildly fluctuating rand-dollar exchange is testament to the high degree of uncertainty, largely as a result of developments around land reform and growing concern in the midst of the China-US trade wars. It’s perhaps why the study shows that 65% of South Africans are looking to brands to provide stability in this climate of uncertainty.

When it comes to how brands handle important issues in this increasingly unstable climate, this expectation is even greater, with 87% of SA respondents indicating they expect brands to take a stand.

Sixty-three percent 63% of South Africans expect tech to help brands be more sustainable (16% more than the global average) and 72% expect brands to deliver an online experience that enables them to assess products and services, compared to the global average of just 52%. With an increasingly powerful middle class expanding its purchasing power, greater than ever numbers of South Africans are experiencing first-hand the ability of tech to transform their daily lives for the better.

Winning SA consumers over under the current operating conditions is a tough ask. The good news, however, is that by using clear insights around the forces driving customer perceptions, brands may begin to harness their motion in relation to these disruptive forces.

Download the full report (40.7MB pdf ). For more, go to WE.

 

 

Bots kill customer experience

Forrester logoAutomated internet traffic is on the rise, largely due to software programs called bots; although some facilitate data sharing and customer engagement, many are tools that malicious attackers use to break into apps, steal revenue, and expose intellectual property. According to a new Forrester report, bad-bot traffic is degrading app performance and corrupting data used to make critical customer engagement decisions.

Buy the full report at Forrester.

 

Cheryl Hunter

Cheryl Hunter (@cherylhunter) has written for the South African media, marketing and advertising industries for more than 15 years. A former editor of M&M in Independent Newspapers and contributor to Bizcommunity, AdFocus, AdReview and the Ad Annual, she has also produced for various television networks and currently consults on communication strategy and media liaison. She now does the new weekly “Market Research Wrap” column for MarkLives.com.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching

Young, Gifted & Killing It: Kutlwano Ditsele

by Veli Ngubane (@TheNduna) This month we profile Kutlwano Ditsele (@thafilmaka), the founding partner and creative producer of Seriti Films. He is a born storyteller from Rustenburg who loves music as much as films.

Kutlwano Ditsele with Seriti logo in backgroundVeli Ngubane: First things first: The Herd. I’m a fan; tell us more about how that project came about and your highlights?
Kutlwano Ditsele:
Thank you. The Herd is the first project that I produced under my own company Seriti and, although it is my eighth show to be involved in, I have to say it is my favourite. It came about maybe four months after Seriti was launched; we had gone to pitch a few ideas at Mzansi Magic and we knew that we wanted to make a show about a young woman who steps into the shoes of her father and takes over a very patriarchal business. Needless to say, we went back and forth about 12 times over a period of four months, pitching different versions of it until (as it happens) our head writers, Lebo Mogashoa and Gwydion Beynon, found the crux of the story and we finally got commissioned. My highlight was sitting with the entire cast and crew on episode one and experiencing them seeing it for the first time. That night was magical.

VN: Where are you from and how has your background influenced your work?
KD:
I was born in Rustenburg but have never lived there. My mother lived in Mafikeng and worked at Bop TV during that ’80s era. The romantic in me likes to believe that this is where my love for storytelling comes from? I have just always loved telling stories; as a youngster I collected VHS tapes where other kids collected toys. So, I would say I’m influenced by every movie I have ever watched.

VN: Okay, please explain what you actually do and how an average day looks for you?
KD:
I’m a founding partner at Seriti Films, so my first role is that of business owner which is, of course, the hardest. I’m also a creative producer/show runner along with my partners, which in a nutshell means that the entire creative of a show runs by me. So, from the beginning. it will be from selecting which writers will write the show, then selecting directors, then co-creating the look, from selecting cameras, what colours our world will be, what the music will sound like, the casting etc. What I love most about Seriti is that I have solid partners who share the love of creating, so it’s an awesome collaborative process.

VN: Tell us more about Seriti Films?
KD:
So Seriti Films is a production company that has three managing directors in myself, Thabang Moleya and Leanne Kumalo. We have a silent partner, Kundayi Munzara, who is key in us getting the business side in check. The business is divided in to three divisions, Commercials, Drama & Film and Entertainment. In the past year, the commercials and drama have had substantial growth with commercials for Brothers For Life, Ford, Vodacom, Wimpy to name a few and the drama with The Herd for Mzansi Magic and two more dramas (that I can’t mention yet) commissioned. Entertainment is still building and we hope by first quarter of 2019 it will be running.

VN: Why do you think the industry is struggling with transformation?
KD:
People are just not willing to let go of what they know. I can’t speak for everyone but, certainly, from what I have seen there is a huge trust deficit between races. I’ve been in spaces where people are often not willing to just trust that a new black person is capable of doing the job that the white person has been doing for 20+ years. There are obviously many reasons and, in truth, this entire interview could be just on transformation.

VN: What advice do you have for young people wanting to break into the industry?
KD:
You have to be resilient, the WORLD as a whole is a hard place to be and it does NOT owe you any favours. Once you understand that, be focused on what it is you want, be dedicated to your craft; if you want to be a writer, then write a page every single day, read a script, read a book, especially in the moments when you don’t have work and are trying to break in. Know that the miraculous phone call you are waiting for that is going to get you off your sofa is not coming. You are NOT going to win the lotto. You have to get up every single day and work towards YOUR dream in as many small ways that you possibly can.

VN: What community initiatives and mentorship programmes do you have and how can young people work with you?
KD:
With all of our productions, both commercials and long form, we take on interns in different departments and, when those interns show promise, they are often employed and put on a salary. We have out of those internships come out with a director, writer and production coordinator. If they email their CVs to sithembile at seriti dot tv,then we will do our best to respond to all.

VN: Where and when do you have your best ideas?
KD:
Strangely, when I’m in transit, be it in my car, on a train or plane. Somehow my mind becomes creative in those moments. Then when I get home late [at] night, it crystallises into a clear thought. But the genesis is always in transit.

VN: What have you learnt about yourself as a result of running a business?
KD:
“Put a dog in a corner and you will find out what kind of dog it is.” That saying is my journey. I really didn’t know what kind of business man I would be until I did it. It has shown me leadership (which I always had) in a way I never knew I could lead. It is the most-challenging journey I have ever been on but I wouldn’t trade it for anything in the world.

VN: Tell us something about yourselves not generally known.
KD:
If I wasn’t in film, I would probably be involved in the music business somehow. Not as an artist but like music creative director. I LOVE MUSIC as much as I love film.

VN: What exciting projects are you working on at the moment?
KD:
We are on production for a new action drama for Mzansi Magic and in development for my first film that I will be directing. Thabang is also in development for two feature films, Ernest Nkosi is also developing a film and, of course, our commercials division is also quite busy waiting for that Avatar brief, though. ?

VN: Please would you supply two or three pieces of work you have been involved in?

 

Veli NgubaneVeli Ngubane (@TheNduna) entered the world of advertising with a passion after completing his BSocSci (law, politics and economics) at UCT and a post-graduate marketing diploma at Red & Yellow, where he’s currently advisory board chairman. He also sits on the IAB’s Transformation & Education Council, is a DMA board member and has judged Loeries, Apex and AdFocus. He is the Joburg MD and founding partner of the largest black-owned and -managed full-service agencies in the country, AVATAR. He is also co-founder of M&N Brands, which is building an African network of agencies to rival the global giants. In his monthly column “Young, Gifted & Killing It”, he profiles award-winning, kick-ass black creative talent in South Africa.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Gestalt: Cultivating a customer-first culture for success

by Leeya Hendricks (@LeeyaHendricks) Customer-centricity is a long-standing goal and claim of organisations across the board. Many understand that it is first and foremost a cultural issue, and they value the central role of employees in achieving it. Yet few have truly mastered it. They proclaim the customer king but fail to create the culture that make their customers feel valued at every touchpoint and, in the process, fall further and further behind competitors that have solved the problem.

So, what are the blockages keeping organisations from actually manifesting customer-centricity, not merely strategising about it? Conversely, what are the success factors of those that have attained it?

Strategic navel-gazing vs cultural context

Problems frequently arise when organisations are too entangled in strategy and not enough in fostering the appropriate culture to support the implementation of its strategies. That is to say, culture is given lip service in vision and mission statements but, when it comes to employee behaviour — the very expression of an organisation’s cultural identity — the values and principles it wants to promote are given short shrift.

As a result, strategy can’t be implemented successfully, and such organisations should start thinking about getting everyone singing off the same hymn sheet and working towards the same customer-centric goals.

Where failure in execution starts

A few examples illustrate how closely the successful fulfilment of organisational strategy hinges on culture, and how important it is to inculcate organisational values and behaviours into all employees from the start.

Take project implementation: If the various task owners in a large project are allowed to pull off in different directions because KPIs aren’t mapped to customer-focused objectives, the project goals can’t possibly be realised.

Or data: We may have more customer data now than ever before but, without the shared inclination to want to understand the data and use it to best customer-supporting effect, it can’t inform the organisation’s goals or its attainment of them.

How it flows

So how may a customer-focused strategy successfully be infused into culture?

The only way for culture to flow through the organisation is for the board and executive to drive home the values and principles that made the organisation a force to be reckoned with in the first place.

This must start at recruitment, continue with induction and be repeated often afterwards, to keep creating and refining the organisational DNA that will determine its success. When this succeeds, adherents are made, who become the strategy’s best exemplars and advocates.

Model examples

But even before your first employee is recruited, the board’s mindset has to be right. It’s a great responsibility. Employees are aspirational and emulate the top team’s behaviours. And if that’s the case, they may as well be shown the desired behaviours!

To this end, leading organisations develop leadership behaviours and employee competencies which embody their brand values and are linked to customer needs. Exhibiting those behaviours and competencies right at the top and cultivating them lower down ensure the organisation and its employees live and breathe customer-centricity.

Boards and executive teams further regularly assess whether their behaviours align with the organisation’s original customer-first brand vision. This, in turn, is encouraged across the organisation to ensure the continuing development of a truly customer-oriented culture.

Listen and do

With or without a customer-centric culture, many companies take the opportunity to listen to their customers by carrying out customer-satisfaction surveys. They have few qualms about approving a budget for these, as it allows them to assess the organisation’s performance along key customer touchpoints, but many then balk at investing more time and money on improvements, citing a “lack of resources”.

This can’t be a cynical ploy to pull the wool over shareholders’ eyes — at least not one with much survivability. Instead it often points to a misalignment between the company’s desire to be customer-focused and a culture that is lacking in the behaviours and competencies that support this.

The opportunity

In bridging the gap between listening to customers’ desires and delivering on those desires lies enormous opportunity. More focus should fall on functional strategies and capabilities within marketing and customer care to remediate an excessive focus on strategy and theory, and to start co-creating a customer-first culture for success.

References

 

Leeya HendricksLeeya Hendricks (@LeeyaHendricks) is a designated chartered marketer, global marketing strategist, digital driver and a Women in Tech leader. She holds a BA degree in fine arts, a BA honours degree in brand marketing management and is currently completing her MBA. She is now director of customer first marketing at ORACLE UKI, responsible for driving customer success through customer advocacy, and building strategic partnerships focused on emerging technology and the changed customers’ buying behaviour. Leeya contributes the monthly column “Gestalt”, about putting customer first for sustainable business success, to Marklives.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

The CX-Files: Customer don’ts that brands mustn’t make

by Julia Ahlfeldt (@JuliaAhlfeldt) Keeping customers happy should be the no. 1 priority of the brands they buy from. Yet, this isn’t always the reality. Here are my don’ts that every brand shouldn’t do.

1. Don’t be creepy

While every online brand worth its salt is pumping budget into online media spend, remarketing and experience personalisation, it can get a little Big Brother for customers-to-be. Unless they work in a marketing agency, they’re unlikely to understand why a brand they were once thinking about suddenly pops up on every site they visit.

Following a potential customer around the web or sending an email after they’ve abandoned their shopping cart can be intrusive, considered creepy or down right weird.

Making sales is essential to any business’s sustainability, but marketing too hard can come at a cost. Instead of stalking would-be customers and going overboard with ‘just for you’ products, take a step back and put yourself in their shoes: sometimes they just want to shop around or browse before they buy. Let them.

2. Don’t misunderstand millennials

The mysterious consumers that every brand is trying to woo. Among their many mythical personality traits is that they are eco-warriors and love to support a worthy cause. While this may be true, so it is too of older consumers: According to the InMoment 2018 CX Report, while 58% of millennials care, so do 55% of gen Xers and 51% of baby boomers. Don’t give them credence they don’t always deserve.

Another big don’t is to think that they only shop digitally. The truth is they’re omnichannel creatures who spend their coveted disposable cash both at bricks ’n mortar and ecommerce stores. That said, they are more likely to have a lower threshold for hassles and appreciate shopping experiences that are simple and easy.

Finally, remember that millennials are a generation, not a segment. Yes, there are often themes of consumer behaviours that vary between age groups, but these generational groups aren’t homogeneous. To design a great customer experience, understand the customer’s point of view, which is multifaceted and goes far beyond age.

3. Don’t be a robot

Despite the rise of robotic responses from brands on social media, consumers sometimes want to talk to a human. When they do choose to make contact, it’s most likely because they have a complicated query that requires skilled assistance or they’re seeking a human connection with the brand. Be ready for this and invest in staff training and knowledge upskilling to deliver the desired experience — or become the brunt of a bad joke on social media.

4. Don’t get the basics wrong

Being aesthetically pleasing and on-trend in store is one thing. But, no matter how cool the tech or how trendy the product, at the end of the day, consumers want their purchases to work properly. No amount of flashy gimmicks will cover up sub-par products; brands from banks, electronics, insurance to retail must make sure they’ve got the basics covered. Only then should they wrap them up in fancy bells and whistles.

5. Don’t peacock

Avoid the hype. Big-budget campaigns may make brands look exciting, fashionable or game-changing but, if they can’t live up to this at the till point, they’ve just baited consumers to buy from them. No one likes to be ‘had’.

Consider banks. Most are guilty of peacocking. While an aspirational and inspirational ad can positively position a brand, make sure it is also rooted in reality.

6. Don’t disrespect the customer

Customers don’t like it when they feel a brand doesn’t value their business. At a bare minimum, customers want (and probably deserve) a baseline level of respect. The next step is acknowledgement. Customers like to be recognised for their loyalty and can get annoyed if it is not reciprocated by the brands they buy from. Relationships are a two-way street; if the customer feels neglected or wronged, they might just walk away.

 

Julia AhlfeldtJulia Ahlfeldt (@JuliaAhlfeldt) is a certified customer experience professional (CCXP). For more must do’s and don’ts on how to keep customers returning again and again to buy from your brand, listen to her podcast, Decoding the Customer. She contributes the monthly column “The CX-Files”, which looks at current issues from a CX perspective, to MarkLives.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

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