Brands & Branding: Analysing the communications of Murray & Roberts

by Nadia Lotze & Kelly Duncan. Sometimes sticking to your guns may cause you to shoot yourself in the foot. We reflect on the reactive crisis management style of Murray & Roberts after a bridge collapsed in 2015.

Unpredictable

Through the eyes of any modern-day business, we live in an inherently unpredictable world. Unprompted and unforeseen natural and manmade disasters occur on a daily basis, but disasters and crisis situations may have a devastating impact on any business. One’s brand reputation is always at risk and therefore it is important for a company to have a proactive, efficient and effective crisis management plan. You have to be highly present and active on various social media platforms and align the organisation with the communication and information it requires from their stakeholders and other members of the public. The organisation needs to ensure that the reputation of the brand is positively managed when disaster strikes.

Gordon Alan Harrison raises important reasons that a crisis has a direct effect on a brand’s reputation. First, a crisis may create a volatile workplace involving financial, legal, or management issues within the organisation. Secondly, when one’s business fosters a highly competitive nature, the signs of a crisis may be overlooked. By not seeing the wood for the trees, it is difficult to correct and prevent further disaster. Social media and all our current media advances speed things up even further, creating a ‘revolving’ information door and therefore adding to one’s organisational stress and crisis. Fast-paced and invasive journalism practices create an environment wherein one cannot lay low for very long; one has to decide rapidly and effectively. If a business does not have a crisis plan, it becomes glaring and obvious (Harrison, 2007).

Effective and proactive crisis management strategies today need to be developed in order to overcome such situations and to promote a favourable reputation. Crisis management involves proactively assessing and addressing vulnerabilities in order to minimise or avoid the impact of a crisis. When a crisis occurs demanding attention from the public, it is extremely important for the organisation involved to communicate effectively.

Pedestrian bridge collapse

Many South Africans remember 14 October 2015, when a pedestrian bridge constructed by Murray & Roberts collapsed over the M1 highway in Johannesburg. Two fatalities, numerous casualties, extreme traffic congestion, copious news reports and a social media communication rush later, it was clear that this type of event is not for a business that is faint at heart. Such a crisis demands a highly effective and progressive crisis management style from any company.

Instead, Murray & Roberts applied a traditional approach as soon as the situation occurred. It sent a spokesperson to deliver a statement, as well as releasing six other statements on 14 and 15 October. Although theoretically there was nothing wrong with its communication, analysis of numerous Facebook and Twitter texts around the event indicate that its statements were received as cold, heartless and routine.

In our time of technological advancement and globalisation, people communicate with one another differently. This expansion and evolution of communication and their media has provided many advantages, but also poses a great threat for brands. Today’s organisations reel under unexpected shifts in the reputation environment, such as the growing presence and importance of web-based participatory media. Inter-connectivity of these platforms, such as Twitter and Facebook, has caused the information and communication of a crisis to become almost unmanageable. The global age, therefore, has placed increasing pressure on organisations to adapt in order to minimise reputational wild horses. An organisation needs to maintain an active social media presence to monitor what other people are saying, defend against damaging opinions and contribute real-time communication and dialogue.

Three important aspects

There are three important aspects of communicating during a crisis.

  1. One should gather and manage the rich and varied bodies of information coming from different sources
  2. Set up a centralised crisis management centre to serve as a platform for all communication during a crisis and
  3. Communicate early and frequently via powerful tools such as Twitter, Facebook and blogs to fill information voids.

Upon investigation into the reputational crisis surrounding Murray & Roberts, it is obvious that its crisis management strategy did not focus on any of these.

According to Timothy Coombs, “crisis experts often talk of an information vacuum being created by a crisis. The news media will lead the charge to fill the information vacuum and be a key source of initial crisis information. This implies that if the organisation involved does not communicate to news agencies or through other media platforms, other people will be happy to do so on their behalf, with the result that other parties might create opportunities for the organisation to be ‘attacked’ by circulating inaccurate information. To avoid such a scenario, a business needs to do proactive crisis management by grabbing the responsibility for being the main source of information” (Coombs, 2007). When the bridge collapsed, social media rumours rapidly spread, claiming that the construction company blamed the accident on weather conditions. Murray & Roberts denied ever making this statement. Sadly, it did not stop the information expanding throughout social media and altering the perception stakeholders had of the brand. Additionally, the lack of social media presence also hindered the brand from communicating effectively. The public expected a more compassionate and truly authentic dialogue from this organisation. Numerous negative opinions spread like wildfire via social media, negatively influencing brand reputation.

Sad lack

Apart from its official website, Murray & Roberts had no other form of digital media communication. Considering today’s technological and social media-driven society and the fact that Murray & Roberts (and its respective associates) did not have any other social media engagement or did not consistently comment on the crisis, conveys the sad lack of a proactive crisis-management style.

Adding insult to injury, Murray & Roberts not only fell short on conventional, as well as digital communication, during the crisis; it obliviously ignored the need for such a strategy. This is evident through that, although the brand released six media statements about the crisis on 14 and 15 October, they were only released on the Murray & Roberts official website. The company assumed that it is the responsibility of the public to search for the imperative information about the crisis and that the obligation does not stand with Murray & Roberts to communicate this through various communication media.

As the saying goes, prevention is better than cure. Had Murray & Roberts had a proactive social media presence and communication strategy, much of the reputation damage incurred from this tragic incident might have been minimised. Although the ripple effect of any crisis is difficult to determine, it is of utmost importance that an organisation effectively plan and develop strategies which include an authentic dialogue through various social media platforms. In today’s volatile and highly opinionated environment, such proactivity will secure and minimise the negative impact a crisis might have on the reputation of a brand.

See also

 

Brands & Branding 2017Kelly Duncan holds a master’s degree in entrepreneurship and is currently a growth consultant specialising in SMEs. She has lectured at Vega School and supervised its honours students with specialisation in brand management and communications. Nadia Lotze is an honours graduate from Vega. She aspires to be a crisis management consultant in Dubai. Research for this article was conducted in the authors’ capacity as honours in brand leadership students at Vega School, a brand of The Independent Institute of Education.

The article first appeared in the 2017 edition of Brands & Branding in South Africa, an annual review from Affinity Publishing of all aspects of brand marketing — consisting of case-studies, profiles, articles and research — which may also be accessed at the brand-new Brands.MarkLives.com. Order your copy of the 2017 edition now!

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Headspace: Connecting with the holiday shopper

by Tenielle Maris. As the end of the year nears, and the contagious anticipation of the holidays along with it, consumers have already begun strategising the smartest way to go about their spending over the festive season.

It’s no surprise that price is one of the most important factors when it comes to Christmas shopping; one only needs to look at the explosion of deep-discounting across retailers over the holidays. However, one cannot overlook the role of emotions in driving shopping behavior — where sentimentality and nostalgia connect with shoppers arguably more so than at other points throughout the year.

Consumer research has shown that nostalgic feelings increase willingness to shop, and that happier people are more likely to spend more money. It is, therefore, no surprise that retailers and brands have been leveraging this insight for the longest of times to get shoppers to buy more from them over the holidays: from vanilla and cinnamon scented aromas and Christmas carols to mesmerising displays of lights, nostalgic and multisensory shopping experiences (from the most rudimentary to the downright theatrical) play a fundamental role in enhancing the mood and behaviour of the shopper.

“When our brains anticipate a reward, we feel greater pleasure than receiving the reward itself. Because of this, we are subconsciously drawn to whatever is building those positive emotions. Make your brand that source of anticipation.” —Forbes, 2016

Sharing the holiday cheer

Holiday time is not just about spending money on gifts for family and friends: according to a 2017 Deloitte study, more than half of respondents said they choose to buy gifts that are indulgences that people may not buy for themselves, and that they perceive Christmas as an opportunity to self-indulge while shopping for others.

In the new-age experience economy, it’s no surprise that experiences are shaping shopping decisions: gift-givers are more frequently sacrificing traditional gifts for entertainment and experiences for others, and they are, simultaneously, spending an increasing amount of their holiday budgets on experiences for themselves.

The omnichannel era

Omnichannel shopping has become the new normal for shoppers wanting to be given the choice of how and when to shop: whether shoppers are first conducting research online before going in store to buy, or first using the in-store environment as a showroom before going online to make purchases, shoppers expect an effortless transition from one shopping environment to the next.

While traditional retailers are focusing efforts on growing their online platforms, ecommerce retailers — such as the beauty-box subscription service Birchbox — have been creating popup stores to provide shoppers with a three-dimensional brand experience, and as an alternative to big bricks and mortar retailers over the holidays.

The rise of new holiday touchpoints

The evolution of holiday-shopping behaviour has paved the way for the development of new shopping tools, and has proliferated new-age shopping journeys over Christmas. Wishlisting tools are being used more frequently by millennials to let family and friends know what they would like for Christmas (to ultimately avoid disappointment under the Christmas tree). In the same vein, shoppers are turning to platforms such as You Tube and Instagram to inform their wishlists and shopping decisions via trusted influencers and vloggers.

Getting it right

As omnichannel shopping plays an ever-important role over the holidays, retailers and brands need to explore ways in which to permeate the feelgood mindset throughout the shopper journey — across all touch points — and not only when standing in-store.

This Christmas, retailers and brands need to leverage what holiday shoppers really want in order to target them with tailored offerings and shareable content that complements their shopping behaviour. By marketing to a specific moment in the shopping journey in a way that incorporates powerful emotional cues and satiates the experience-hungry holiday shopper, your brand stands a better chance at actually making it into the Christmas stocking this year.

References

 

Tenielle MarisTenielle Maris is strategic director at TTL agency, 34°, in Johannesburg. Beginning her career in branding and communications, she has spent the last decade in the marketing industry where she has worked upon big brands spanning the African continent. Having found her passion in understanding what drives human beings to connect with particular brands, her time is spent getting up close and personal with the people whom brands are trying to connect with. Tenielle contributes the monthly “Headspace” column, which unpacks anything and everything that helps marketers and advertisers understand why people connect with brands, to MarkLives.com.

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Cover Stories: Thoughtfulness in design (24 Nov 2017)

by Shane de Lange (@shanenilfunct) Let’s delve into great media design from South Africa and around the world:

  • Iconic: Emigre invented visual communication as we know it today, with the help of digital tools and Macs
  • International/print: Esquire places Star Wars next to Route 66, defining Americana today
  • Local/print: Friends defined a micro-zeitgeist in the South African creative industry
  • International/print: Harvard Design Magazine uses glitch art as a positive metaphor for our current global adolescence
  • Online: Surface looks at the surface of things, while also bringing things to the surface in the context of design
  • Local/print: The Economist portrays the fall of Africa’s most-infamous dictator

Find a cover we should know about? Tweet us at @Marklives and @shanenilfunct.
Pinterest icon Want to view all the covers at a glance? See our Pinterest board!


Print

The Economist (US), 18-24 November 2017

The Economist, 18-24 November 2017 - Robert Mugabe

The issue of the Economist seems to be one of the earliest covers to comment on the historic events that have unfolded in Zimbabwe over the past couple of weeks, leading to the fall of one of the most-publicised and -infamous dictatorships in Africa. So, Robert Mugabe is gone, brought about by what seems to be a well-planned, yet (mostly) peaceful, coup d’état that the Zimbabwean military denies being a coup. And with Mugabe’s departure so, too, his reign of tyranny — or so we hope as his ruling party, Zanu-PF, still governs the country.

 

Esquire (US), December 2018/January 2019

Esquire, December 2018 January 2018 - Adam Driver

An icon of Americana, Esquire is an establishment defining the zeitgeist of America at any given time, particularly within the context of its predominantly male audience. The cover to the December/January issue does so in stellar fashion, clearly referencing classic boxing posters from the ’50s and ’60s, muscle-car branding and advertising, antique hand-lettered signage from old city corner shops, barbershops, diners, cinemas, and industrial/dockside areas — all that presents the American “man at his best”.

If the archetypal, vernacular design and art direction of the cover doesn’t give one a taste for the classic American man, Esquire goes one step further, showcasing another American icon: Star Wars. The cover photograph doesn’t resort to the obvious or the literal when it comes to Star Wars but rather presents actor, Adam Driver, otherwise known as the chief villain, Kylo Ren, in the latest Star Wars sequel, Episode VIII: The Last Jedi (he also previously acted as Kylo Ren in Episode VII: The Force Awakens). This portrait was taken by Norman Jean Roy, known for his work for Vanity Fair, GQ, Vogue, Rolling Stone and Harper’s Bazaar, among other well-established publications.

Driver is truly “a force to be reckoned with”, having landed one of the biggest roles that an actor could hope to ask for in Hollywood. Who else could say that he played the son of Han Solo and Leia Organa, and that he is Luke Skywalker’s nephew and Darth Vader’s grandson? How much more epic, iconic, historic or culturally significant may one get?

 

Friends (South Africa), issues 1 (once-off release), January 2015

Friends, 2015

Albeit a small cultural achievement, with only one published issue, this almost-forgotten local crowdfunded magazine is what the South African design community sorely needs more of. Based in Durban, Friends magazine was introduced as “an occasional”, as opposed to a monthly or quarterly, in January 2015, edited and published by Mathew Keiser (founder of Sol-Sol Menswear) and Louis de Villiers (aka Skullboy). Themed “The Male Daze” this first and only issue featured contributors from SA and abroad, with support from some very talented friends, including Richard Hart and Roger Jardine (Disturbance Studio), Alex Lendrum (HypeBeast), Matt Kay and Nick Mulgrew, to name a few. Friends was an attempt to create an accessible, gratis, limited publication, that had no advertising.

Effectively doing away with all superficial and commercial elements, and avoiding surface appearances, Friends delved deeper into the local and international creative community in search of greater substance. This publication exhibits a mastery of visual communication, effectively experimenting with art direction, graphic design, typography, illustration, layout, and photography; the list goes on. We need more of this stuff in SA.

 

Harvard Design Magazine (US), #44, Fall/Winter, 2017

Harvard Design Magazine, issue 44, 2017

Broadly speaking, the core interrelated parts of art, craft, design and discourse form the bulk of the cultural sphere. An appreciation of each part in relation to the other, in dialogue with a plethora of social, economic, political and historical factors within any given society, arguably makes for a coherent cultural sphere. Harvard Design Magazine (HDM) is a publication that advocates this dialogue, looking further than run-of-the-mill, orthodox happenings within various fields of design and aiming to create discourse that is more-layered, in search of new perspectives. Speaking a language akin to a wholeness-in-design, each issue highlights unexpected avenues from various design fields and connects them, linking seemingly unrelated fields, such as art and science. HDM’s existence is based up dialogue, and building bridges that cross borders between design, human beings, their spaces and places, histories and politics.

The current issue is themed “Seventeen”, which references the year 2017, describing the millennium as teenager presently, divided and temperamental. We can all relate to those teenage years, confused, still figuring out who we are but eager to make our mark on the world. Given all the upheavals around the globe today, much like a teenager, the world is acting on impulse. Young people are key stakeholders within these changes and glitches, and HDM uses this, literally on the cover, as the focus for this issue. The cover recalls early glitch art from the late ’90s, while the magazine’s contents investigate all the evolved narrative blips and design bleeps (technological, social, political, economic et al) that have emerged in the 17-odd years since. Glitch as a positive metaphor, defining our current cultural adolescence.

 

Online

Surface (US), November, 2017

Surface, online and Power print issue 143, November 2017 - Norman Foster

Surface is a dual online and print magazine that focuses on visual communication and media design from across the globe. Founded in 1993 and based in New York, it covers stories that deal with design discourse, mostly surrounding architecture, art, design, fashion, and the like. Ten issues of the print edition are published annually, with each issue dedicated to a particular theme; the website is more immediate, with regular daily posts, the latest design news, and long-form storytelling. Designed in partnership with the Noë & Associates, both online and print are seamlessly integrated, transitioning with synergy from media to medium. Other iterations of the brand include Design Dialogues and Surface Studios. Setting the bar for the relationship between online and print, Surface is an important voice within the global design community, creating a recognisable balance between style and substance, surface and depth.

 

Iconic

Emigre (US), various (#1 and #69 featured), 1984–2002

Emigre, issue 1 1984 and issue 69 2008

There is a short list of usual suspects when it comes to important, canonical publications within the history of design and visual communication. Emigre is undoubtedly one. Published by the world-famous, influential Emigre digital type foundry, Emigre was one of the earliest magazines of its kind to use Macintosh technology, steering the evolution of graphic design towards desktop publishing as we know it today.

Sporadically published between 1984 and 2005, comprising a total of 69 issues, Emigre focused on all things design related, particularly graphic design, photography, and typography. Using unorthodox layouts, edgy articles, and supported by key players in the design community, such as David Carson, Jonathan Barnbrook, Experimental Jetset, Designers Republic, and Rick Poynor (presently The Eye, Design Observer) to name a few, Emigre became an international space for discourse on, and experimentalism in, design.

Although Emigre often invited guest designers and editors, the magazine was predominantly designed, art directed, and edited by Rudy VanderLans and his wife, Zuzana Licko. Early issues investigated designers who went beyond the borders and accepted norms and with a strong sense of internationalism, using an archetypal postmodern aesthetic influenced by the digital tools of the time that still influences designers today. In later issues, Emigre altered its format drastically, going through no less than five incarnations, which included DVDs and CDs nearing the end of its life. The final six issues of Émigré became a little more conservative and focused on textbook execution, adopting a softcover book format and co-published by Princeton Architectural Press. Themed “The End”, the final issue was published in 2005.

 

 

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.

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

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SA TV Ratings: e.tv — primetime top 20 for Oct 2017

by MarkLives (@marklives) The hottest primetime television shows on e.tv in South Africa revealed: TV ratings for October 2017.

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.

e.tv October 2017

BRCSA TV Ratings October 2017 primetime e.tv

Source: BRCSA October 2017

Broadcast Research Council of South Africa

 

The 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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Clicks ’n Tricks: Media, look Google Flexible Sampling gift horse in mouth

by Charlie Stewart (@CStewart_ZA) Publishers are breathing a sigh of relief after Google recently agreed to change the way it displays premium or subscription content in its organic search listings. But their celebrations may be premature.

For the past decade or so, Google has operated a policy called First Click Free (FCF). This was designed as a compromise to ensure that content from subscription publishers — such as Tiso Blackstar’s BusinessLive — features in Google’s index (the paywalls that publishers use to prevent non-subscribers from reading premium content also tell search engine bots not to access the sites).

The policy was supposed to support both parties: the publishers wanted to appear in search results because they needed Google’s traffic to sell ad inventory and they knew that a percentage of people clicking through to their articles would take out a subscription; and Google wanted to show the publishers’ content because it needed a diverse array of information to appear in its listings.

Under the terms of the agreement, Google would crawl and index the content, making it discoverable to searchers, if the publisher agreed to allow any visitor (subscriber or not) to read articles that they accessed directly from the search results. After this free “first click”, the publisher could enforce their paywall if the visitor tried to access additional pages on the site.

There’s a hole in my paywall

Few publishers were happy with FCF because of the gaping hole it left in their paywalls — pretty much any article on any newspaper site could be viewed by googling the headline and clicking on the search result. While publishers could implement a cap to try to prevent this, it was largely ineffective as the cap was greater than the daily average consumption of most visitors (Google required them to allow access to at least three articles per day).

So corks could be heard popping in the fourth estate when Google announced the end of FCF in early October 2017. But the two alternatives it’s offering publishers under its Flexible Sampling programme may not be all they seem.

Metered usage

The first option, metering, is really more of the same. To have their content indexed, publishers need to offer Googlers a number of free clicks per month (the exact quantity may be defined by the publisher). The primary difference between this and FCF is that publishers may limit the number of times a single user gets free content after clicking through from Google (although going incognito will continue to offer cheapskates a way of overcoming this restriction).

Leading us in

The alternative to metering users is to adopt what Google terms “Lead In”. This allows a snippet of the article to appear in the search results — but the publisher has no requirement to provide the full article content free of charge when the user clicks through.

At a glance, Lead In sounds like a no-brainer to publishers. As such, it’s likely to be adopted by most of the existing premium platforms and may persuade a number of advertising-funded free content providers such as News24 to switch to a paygate model. But, when you look at the small print behind Google’s update (and this affects both Metered and Lead-In adoption), the picture becomes more murky and hints at some fairly significant future disruption.

Structured markup

The search giant requires publishers to mark up the content that’ll sit behind their paywall with a machine-readable structured markup code. Google’s been using structured markup for some time now; from a user perspective, it’s great because it allows us to see things such as reviews and product prices in the search results, alongside a basic description of the page contents.

But there’s a strong chance that Google will use data from this code to show that a site requires a subscription in its search results page. That’ll mean the flow of search traffic to premium publishers’ site dries up — after all, if the search result tells you that you won’t be able to read content on the page you’re after, what’s the likelihood of your clicking through?

There’s also a possibility that Google will do to the publishing industry what Apple’s done to the music industry and become a licensed content aggregator. In this scenario, Google will know which publishers have premium content — and it’ll have enough behavioural data on existing subscribers to predict accurately which of its other users have the potential to become future subscribers.

This would make it fairly easy for it to strike a deal with publishers to sell their content for them. Although this means publishers would sign over a significant chunk of subscription revenue, Google’s sheer scale means that many more subs would be sold than currently.

But the scenario presents a troublesome moral dilemma… do we really want the business that controls our advertising budgets to become our editorial overlord as well? I guess we’ll have to wait and see how this one plays out.

As a side note, the requirement to implement structured data is pretty complex — in no small part due to Google’s cloaking guidelines. Each time a publisher makes a structural change to its site, it’ll have to run checks to make sure it hasn’t broken any of the rules designed to prevent cloaking. The probability is that it’ll unwittingly break them all the time. And that’ll more than likely lead to its  site being sandboxed and vanishing from the search results.

Publishers, beware… this gift horse may not be all it seems!

 

Charlie StewartCharlie Stewart (@CStewart_ZA) is CEO of Rogerwilco, a multi-award-winning independent digital agency best known for its expertise with Drupal, SEO and content marketing. A Scot by birth, he moved to South Africa in the early 2000s in his quest to support a winning rugby team — a search he’s reluctantly forsaken. Together with Mark Eardley, he co-authored Business to Business Marketing: A Step by Step Guide, (Penguin Random House, 2016) and may be found on LinkedIn. Charlie contributes the monthly “Clicks ‘n Tricks” column, which looks at how brands are using digital channels to engage their customers, to MarkLives.

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Global Headline Makers: Stéphane Wargnier, France

by Mark Tungate (@MarkTungate) French kids’ wear brand, Petit Bateau, has been in the news recently with a hopping spot that makes a star out of a sweatshirt. Image and communications director, Stéphane Wargnier, talks about the ad and his collaboration with the agency, BETC.

https://youtu.be/KefgQzI6R0Y

In France, Petit Bateau is one of those revered brands that belongs in the sacrosanct territory of childhood. The children’s clothing and underwear maker was founded in 1893, which means that every living generation has worn it, bought it and seen its advertising. Even its agency, BETC, has worked for the brand for more than 20 years.

“The agency has been a driving force,” says Wargnier. “I’d say they’ve always been about two paces ahead of us in terms of where they wanted our advertising to go.”

In common with Hermès

Wargnier himself has been with the brand for more than five years. Previously, he worked at the luxury house, Hermès. Do the two have anything in common? A couple of things, it turns out. “For a start, for a communicator like myself, Petit Bateau has an incredible brand heritage, equal to that of Hermès. After all, it started advertising in the 1920s, when the notion of ready-to-wear fashion did not even exist in France.”

Not only that, he adds, but the advertising was created by the same illustrator, Beatrice Mallet, right up until the 1950s, giving the brand a solid and consistent image. “From the very start, Petit Bateau kids were not children dressed as little adults,” he says. “They’ve always been wild and mischievous. Petit Bateau is the anti ‘mini-me’ brand.”

Ironically, he points out, while grown-up fashion brands have often created clothing for children, Petit Bateau was so popular that it was able to launch a line for adults in 1994.

The other element that Petit Bateau has in common with Hermès is its insistence on quality, he says. “Although it’s an inexpensive brand, it makes clothes for children and babies, so it takes an almost insanely rigorous approach to ensuring that the clothes are soft, they don’t rub, they don’t cause allergies, that there will be zero problems with them.”

Unusually, in a world where outsourcing is the norm, Petit Bateau still employs 1 000 people in its factory in Troyes, in the north-east of France, although it admits that most of its clothes are made in Morocco and Tunisia. In terms of its customers, it is beloved in France and well-known throughout Europe, but it’s second biggest market overall is Japan. “The adult line works particularly well there,” says Stéphane. “They see it as French chic.”

Playing rough

Petit Bateau is top of mind again, thanks to the latest ad from BETC, “a sort of torture test”, as Wargnier describes it, in which a zipped sweatshirt goes through a series of seam-stretching challenges over a day in the life of an energetic little boy. Unusually, the ad is shot from the point of view of the sweatshirt. The music is the 1977 punk hit Ça plane pour moi, by Plastic Bertrand.

“When the agency first came on board, they took this idea of the mischievous kid and ran with it. Everyone in France still remembers a spot from 1996 with a song by Jacques Dutronc, where the lyrics list all the things well-behaved children shouldn’t do, and we see the Petit Bateau kids doing them. The latest ad is in the same spirit.”

For a long while, the brand concentrated on print ads — albeit exceptional ones — as TV viewing had fragmented and the price of an ad break had become prohibitively expensive. Then, three years ago, thanks to the explosion of social media and viral video, BETC decided it was time to return to film.

“They pointed out that everything had changed. Via the web there were ways of reaching the public without spending a fortune and, of course, if you’re going to show wild and turbulent kids, it’s better if they’re moving. Even so, we took something of a risk.”

The result was The Mini Factory, a 60-second epic directed by Patrick Daughters and featuring the music of Herbie Hancock. Kids from the ages of 3 to 103 fell in love with it. Wargnier observes that a far-cheaper viral spot might have generated a few days’ worth of buzz: “But when you make a real film, with high production values, you’re gambling on the fact that people will remember it and cherish it.”

https://youtu.be/wl1xV4-YC8k

The new spot plays a similar role. “BETC have an idea every five minutes, some of which we accept and some of which we don’t. In that respect it’s a real collaboration. This time they came to us with four or five possible scenarios. We chose this one because not only does it show a spontaneous, active little boy but it also demonstrates the quality of the product.”

The ad is almost a music video, and Wargnier confirms that it was edited to match the tempo of the song. “We had another song in mind at first but this one was far better suited to the idea. We wanted to do something fast, with rapid editing. Once you saw it set to the music, it all came together.”

In the digital era, a film must punch above its weight, so there are several different edits — from full-length to a “snackable” version designed for mobile devices — and also a couple of cunning spin-offs. “We planted some cuddly toys in the spot that may become the subject of a virtual treasure hunt later on,” Wargnier reveals.

Naturally, one can also see the sweatshirt that’s the star of the show in the windows of Petit Bateau stores. As a parent, I have to ask: could it really survive everything it goes through in the ad?

He laughs: “I assure you it’s feasible.”

 

Mark TungateMark Tungate (@MarkTungate) is the editorial director of the Epica Awards (@EpicaAwards), the only global creative prize judged by the specialist press. A British journalist based in Paris, Tungate is also the author of seven books about branding and advertising, including Adland: A Global History of Advertising and, most recently, The Escape Industry, a journey through the business of travel. Over his 30-year career, he has has written for leading newspapers and magazines in the UK, France and the US.

This “Global Headline Makers” column, which profiles creative stars making headlines in their home markets, is syndicated monthly from Epica.

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Back2Basics: Things are what they used to be

by Mark Eardley (@mdeardley) In B2B, things are what they used to be. Just listen to The Man.

Next year, an iconic advert celebrates its 60th birthday. Created in 1958 and commonly tagged as “The Man in the Chair”, the ad earned its iconic status because it’s B2B’s equivalent of the apple that apparently fell on Isaac Newton’s head.

The Man in the ChairJust as that falling apple prompted Newton to explain the laws of gravity, The Man in the Chair did the same for the laws of B2B marketing. Like Newton’s exposition of gravity, it writ B2B’s rules in stone.

Things definitely are what they used to be

What The Man is saying may be distilled into three key questions:

  1. Who are you?
  2. What do you do?
  3. Why do you matter to me — the customer?

Those are still the fundamental questions that everyone who influences a business buying-decision wants clearly and credibly answered in terms that are specifically relevant to them.

An ad for all time

The Man in the Chair was conceived by an account executive called Gilbert Morris at the predominantly B2B agency, Fuller & Smith & Ross of Cleveland, Ohio. To illustrate the image of a typical, hard-boiled, no-nonsense businessman that he wanted to feature in his ad, Morris initially posed for the shot himself. It seems the agency reckoned he got the look dead right — that’s him all tight-lipped and menacing in the chair.

In 1999, Advertising Age’s Business Marketing named The Man in the Chair the best business-to-business advert of the 20th century. And, to celebrate The Man’s golden anniversary in 2008, an updated version was staged live by the Business Marketing Association (BMA) in the US.

Getting better all the time

The potent significance of the BMA’s homage lies in how it highlights that, whilet markets change, people change and technologies change, B2B’s fundamentals don’t. It neatly shows that today’s communications wizardry does nothing to alter the fact that you are commercially irrelevant if your markets don’t know who you are, what you do and why you matter — to them.

The ad’s moral is truer now than ever before

Far from losing its relevance over the intervening years, the moral is much more-important today than it was almost six decades ago. That’s because the internet and all its comms platforms have enabled decision influencers to sell to themselves.

They are no longer forced to engage sales people for insights to inform their decisions about the challenges they face and how to address them. They’re discovering for themselves how they want to fulfil those requirements — online and on their own. More than ever before, the moral is that sales now start long before any sales call.

In this accelerating shift from sales engagement to sales fulfilment, the function of selling has been pushed towards the end of the modern buying-decision cycle. Sales teams are no longer bullishly creating orders; they are meekly taking them.

A golden age for B2B marketing has already dawned

Allied to the rise of commoditisation, all of this means that B2B has entered a golden age. A new era has dawned and its advent has — rather perversely — been driven by a negative impact of information and communication technologies.

The increase of Internet-empowered, self-sold influencers means sales-engagement is in decline, creating a vacuum in the decision cycle’s early, sales-triggering phases. Marketing’s engagement with customers and prospects must fill that vacuum — and (at last…?) get really serious about achieving its sole goal: to attract and retain profitable customers.

After all these years, The Man is still teaching his lessons. Modern marketers and the organisations they serve would be wise to learn them.

 

Mark EardleyMark Eardley (@mdeardley) advises B2B companies on how to govern their marketing to attract and retain profitable customers; several of his clients have grown to become market leaders. He is the author, together with Charlie Stewart, of Business-to-Business Marketing: A Step-by-Step Guide (Penguin Random House), which offers practical, actionable advice on how to make marketing make money. Mark contributes the monthly “Back2Basics” column, covering how B2B companies and their agencies should manage their marketing, to MarkLives.com.

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Ad of the Week: Don’t live for money, says Nedbank

by Oresti Patricios (@orestaki) Those clever people at Joe Public United and The Star Film Company have done it again! This week I’m giving the integrated brand and communications group a standing ovation for its superb campaign for the green bank, which aims to get people to use Nedbank’s new banking app.

A mere 10 weeks ago, Nedbank Commercial and Investment Bank took Ad of the Week for its beautifully filmed ‘bird’s-eye view’ commercial. This week, Nedbank must take a bow again for a clever set of ads that work on two levels. The marketing promotes an app that makes banking on a cellphone easier. But it does a whole lot more than that. On a more ‘meta’ level, the videos further the bank’s philosophy of helping people to make better life choices by being interested in more than just money.


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The slogan “I don’t live for money” is the theme that runs throughout the set of commercials. There is a two-minute version, which has been reedited into two 47-second iterations. Plus there are short, 22-second spots to promote aspects of the app. These are more product-specific but use the same scenarios and actors as in the main themed ads.

The longer TV commercials start with a scene of a burly man with dreadlocks, seated at a piano. The soundtrack begins with Claude Debussy’s Claire de Lune. Our protagonist starts jamming but not on the keys; he is tapping out the tune on the wood. “I don’t live for money,” the voiceover says. The scene changes to a young man presenting his female friend with a gift — a hand-decorated pair of shoes. “I live for love,” the voiceover continues.

The rest of the ad portrays different scenarios to illustrate the things that people prefer to live for, rather than money. Each scenario’s theme is described with a simple line of voiceover:

  • “I live for the movement” is portrayed as a group of friends who travel in their van with the final piece of a sculpture, which is being erected in the desert.
  • “I live for freedom, to unlearn and reimagine.” The scene that accompanies this is of a young woman looking at a photo of herself as a dancer in a beautiful pose. She is crying and, when she stands up, the camera reveals that one of her legs has been amputated and she now has an artificial limb.
  • “I live for the empowerment, giving a voice to the voiceless in a safe space where the faceless show face,” depicts a silkscreen shirt printing business. White shirts are having slogans printed on them in bold black lettering.
  • “I live for growth” is a scene of a tattoo artist working on a man’s back. Magically, the tattoo that grows down his back is of tree roots.

Midway through the commercial, the music changes to a modern, driving, dance tune, which inspires a much more frenetic editing pace. Now we see all the scenarios coming together. The sculpture in the desert is on fire as part of some sort of ‘Burning Man’ celebration, with people dancing. The shirts are seen on a variety of models: a woman sports the slogan, “I am all woman”; an albino man’s shirt reads, “Black Excellence”; a grey-haired woman boasts the words, “I am enough”; a young girl in a ballet outfit has the words, “I am the future”. This all flashes by in a pacey montage, including the man from the start playing the piano.

At the end, the pace slows right down again for the final line of voiceover: “I don’t live for money, but it gets me what I live for.” This is followed by a male voice with the payoff, “Manage your money like never before, with the new Nedbank Money app.” This is accompanied by some of the key characters from before using the app on their phones.

The short ads are more straightforward but they sell one single aspect of the app, such as buying airtime for other people with a simple and quick process, or stopping your card, or sending money to someone. In all of these, the same characters from the longer ad are used, which creates a tie-in to the campaign.

The ad is shot with moody lighting, carefully graded to allow for deep blues and greens, without losing warmth in the skin tones. Interestingly, the picture has been framed for a 4:3 aspect ratio, with rounded corners, which is reminiscent of both an older, ‘traditional’ TV set (or an even older Super-8 movie), and more modern apps such as Instagram and Snapchat. The casting is notable, for the sheer variety of people in terms of age, size and even hairstyles. Instead of picture-perfect models, the storylines feature ‘real’ people in all their unusual, eccentric, unconventional and wonderful uniqueness. It’s just part of a layered message that the bank is promoting: that it is inclusive, and celebrates South African culture in all its variety.

What this campaign reveals about Nedbank is that it’s also focused on people by encouraging its clients to save and invest, rather than take out loans. Bravo Joe Public and The Star Film Company, for a campaign that raises the bar and will surely deliver solid returns to Nedbank.

Credits

Brand: Nedbank
Client: Vanessa Singh, Sandrine Prinsloo, Desmond Osman, Rebecca Malekane
Agency: Joe Public United (ATL & digital)
Group chief creative officer: Pepe Marais
Chief creative officer: Xolisa Dyeshana
Creative director: Martin Schlumpf
Art director: Tshepo Mogorosi
Copywriter: Buyani Duma
Group account director: Khuthala Gala Holten, Rachel Motloung
Account manager: Nomsa Sidu
Agency TV producer: Ofentse Moremi, Wendy Botha
Production company: The Star Film Company
Director: PHI (Jonathan Parkinson, Nicole Ackermann)
Director of photography: Adam Bentel
Executive producer: Adam Thal, Ashley Kadish
Music artist: Trevor Simpson
Post-production: Orchestra Blue Post Production
Editor: Graham Smith
Audio: Sterling Sound

 

 

Oresti PatriciosAd of the Week, published on MarkLives every Wednesday, is penned by Oresti Patricios (@orestaki), the CEO of Ornico, a Brand Intelligence® firm that focuses on media, reputation and brand research. If you are involved in making advertising that is smart, funny and/or engaging, please let Oresti know about it at clientservice@ornicogroup.co.za.

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Inside Look: The design behind the Creative#Director book

by Emma Strydom (@emmamaria_s) Before designing this book, Creative#Director, we looked at the title of creative director. What does it mean, what does it look like and how does it feel?

The title and act itself is an oxymoron, a wonderful juxtaposition of two different crafts and skills coming together to be one brilliant crusade. The creative is impulsive and unpredictable, coloured with ideas and busting with possibility. The director is sanity created out of reasonable judgement and ushers of hesitation. Together, these two are the snakes head in the convoy to conjuring extraordinary things.

Creative#Director bookWe wanted this unlikely harmony to be the visual concept of the book. We asked the creative directors to send us photos of themselves, along with the ones we took. They are classic black and white, leaning towards the ‘director’ traits. We then laced them with colour and disorder, the ‘creative’ traits.

We wanted people to linger and indulged in the book, but not only in its valuable contents. On receiving the book, you are met with a soft touch finish that inclines you to stroke over it, to tap over the different textures of gloss and foil inserts.

The first of many electrocutions of the eyes introduces itself, thanks to a generous helping of spot orange. Just before you recover, you encounter a familiar feeling but one totally out of place. A curious matter. Made to resemble that of a potato skin. A potato skin that hosts spot oranges and UV varnishes. It’s smooth sailing from here. Almost smooth. The book is filled with pit stops of sensations. Flaps of stories almost forgotten, shiny finishes that will make you feel protective and colour combos that can make a sober person see double.

The book is an immensely insightful and entertaining journey. The exterior that holds that journey should be an exploration in itself.

See also

 

Emma Strydom and Mike SchalitIn order to inspire the next generation of creative leaders in South Africa, Net#work BBDO has published the Creative#Director (C#D) book — insights into the creative process by 30 of South Africa’s top creative leaders. Beautifully crafted and designed by Emma Strydom, produced by Clinton Mitri and Exhibit Print in the finest of glossy coffee-table book traditions, it’s a riot of provocation and inspiration, edited and curated by Mike Schalit, Net#work BBDO founding partner and CCO, from the responses of 30 creative directors to a few leading questions.

A finer gang of rogues you’ll be hard-pressed to find — they’ve made the Net#work journey infinitely more madcap and magical, building and reinventing brands along the way, and making a difference to bottom lines and society. Some have gone on to become CDs in their own right; some have formed their own agencies; some have simply found themselves; and some are still with the agency today. All proceeds from the special limited-edition book, which costs R995, go towards helping build a library in a disadvantaged community. Donations for the library initiative may also be pledged.

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Headspace: Beyond the solution to lending a helping hand

by Tenielle Maris. In an experience-centric era — where advertisers and marketers are told ad nauseam to create experiential, multisensorial and immersive brand touch points — we need to start looking beyond the gimmicks and entertainment appeal to provide customers with a service experience that actually addresses a consumer pain point, but in a way that goes over and above the call of duty.

As time continues to become a rare commodity for consumers who are increasingly choice-rich and time-poor, so the definition of convenience evolves at a relentless pace with consumers placing an ever-greater emphasis on time-saving products and services.

The brand butler trend, although already introduced a few years ago, encapsulates this very line of thinking:

“Consumers seek brands that can make daily life and mundane tasks easier, faster and as hassle-free as possible. And those who offer help beyond their perceived responsibilities will truly delight consumers.” —Trendwatching.com

Now, in an era where instant gratification is the expected norm, there’s a renewed focus on the notion of ‘serving is the new selling’ and the importance of embracing your brand’s ability to uniquely and efficiently assist its audience. Consumers are increasingly turning to brands and retailers which are on problem-solving missions to reduce pain and increase reward through innovative and pre-emptive supporting services that plug seamlessly into their lives — to facilitate faster decision-making, enhance daily lifestyle needs and save money.

Tech driving brands as butlers

It goes without saying that tech and mobile have been key drivers in amplifying the customer experience through on-demand information that directly addresses a consumer need. One only needs to look at the explosion of apps that assist audiences in ways that we don’t know how we ever lived without: from Starbucks’ in-app functionality to pre-order your coffee wherever you are and Tesco’s shopping app that has been designed to intuitively anticipate shopping needs to North Face’s Snow Report app, which provides outdoor adventurers with weather forecasts, snow reports, driving directions, and maps for global ski resorts, brands are making themselves an integral part of their customers’ lives through solutions that tackle human needs like never before.

An integrated approach

Brands and retailers need to go beyond the app and consider how to extend convenience for a fully integrated omnichannel approach: one that seamlessly demonstrates the brand as a helpful one along each point of the customer journey.

https://youtu.be/t5ElQaVjQZE

Alibaba dominates the e-commerce landscape in China, and the success of the brand giant lies in designing solutions that directly address the challenges faced by Chinese consumers in their day-to-day lives. Through the launch of its app Alipay, the brand has revolutionised the Chinese consumer landscape. Beyond paying for online transactions, the super-app has positioned itself as a global lifestyle tool that may be used to pay any transaction (from taxis to shopping in-store), with additional benefits that continually make life easier, from splitting restaurant bills to booking travel and to even offering financial planning. Now through a partnership with the world payment platform, Adyen, Alipay has been rolled out into stores worldwide to enable Chinese tourists to pay in a way that has become second nature to them.

Taking a page out of IKEA’s book

The IKEA brand is rooted in making lives easier, and it shows in all that the brand sets out to do. Beyond providing audiences with access to home products, the brand provides intuitive solutions to build on its lifestyle proposition in standout ways. In IKEA’s recent Cook This Page campaign, Canadian shoppers were provided with cooking paper recipes during cooking events across stores to make cooking foolproof and to take the fear out of preparing perfect meals.

Brands and retailers that go the extra mile to improve the lives of customers — by tapping into behavioural insights and addressing consumer challenges — offer a next level value proposition that will undoubtedly connect with the hyper-connected and time-strapped consumer more powerfully than ever before.

References

 

Tenielle MarisTenielle Maris is strategic director at TTL agency, 34°, in Johannesburg. Beginning her career in branding and communications, she has spent the last decade in the marketing industry where she has worked upon big brands spanning the African continent. Having found her passion in understanding what drives human beings to connect with particular brands, her time is spent getting up close and personal with the people whom brands are trying to connect with. Tenielle contributes the monthly “Headspace” column, which unpacks anything and everything that helps marketers and advertisers understand why people connect with brands, to MarkLives.com.

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