Cover Stories: Thoughtfulness in design (22 September 2017)

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

  • Chronic — local/print
  • The New York Times Magazine, The New Yorker, The Atlantic, TIME  — international/print
  • Delayed Gratification — international/print
  • Finweek — local/print
  • Flat File — online
  • National Geographic — iconic

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Print

Finweek (South Africa), 21 September–4 October 2017

Finweek, 21 September–4 October 2017With a clean layout comes a clear message about clean energy, promoting the economic potential of electric cars. More debate is needed in the public sphere about alternate energy sources and how we can ween ourselves off of our addiction to dirty fossil fuels, and the latest issue of FinWeek at least attempts to do so.

Despite the delay tactics of South Africa’s power utility (Eskom) and it’s much-publicised failure to implement an already developed cleaner-energy plan, our country is on par with the global plan to curb dirty energy. A greater demand for clean energy will create a sustainable future that is beneficial to a greater number of people, economically and environmentally.

The message implied by FinWeek’s cover, its use of green type and the clean white background with the electric car charging in the foreground is an extremely important one. Here’s to the end to delay tactics and profit-driven choices in favour of dirty energy that benefits nobody but those making the choices. This ‘boom’ can happen.

 

The New York Times Magazine, (US), 17 September 2017
The New Yorker, (US), 18 September 2017
The Atlantic, (US), October 2017
TIME (US), 25 September 2017

Collage - The New York Times Magazine 17 September 2017, The New Yorker 18 September 2017, The Atlantic October 2017 and TIME 25 September 2017There is more than enough pressing, newsworthy content for America’s most-prominent magazines to write about. Four notable publications cover the four main topics from the past week, including the looming nuclear crisis between America and North Korea (New Yorker), the wake of the most-devastating hurricane to hit the US state of Florida and the Caribbean region in decades (TIME), a world superpower sinking in more way than one thanks to president Donald Trump (The Atlantic), and the ongoing attempts by the Russian government to destabilise targeted nations by spreading confused and fabricated propaganda and manipulating the media (The New York Times Magazine).

Perhaps the latter, this past weekend’s issue of The NYT Magazine, has the most-provocative cover, crafted by American Illustrator, Mike McQuade. The cover communicates how the Kremlin uses confusion as a weapon, and how the Russians are pioneering a new form of information war using its vast media network. In using a form of collage, and his distinct manipulation of typography, imagery and illustration, McQuade communicates a relationship between the notions of confusion and disruption by superimposing an image of a news anchor over a partially revealed flat red background, exposed by portions of the top image being ripped away in much the same way posters are in urban spaces. A kind of erasure, the message is amplified: “confusion is a weapon”.

 

Chronic (South Africa), Issue 17, September 2017

Chronic, Issue 17, September 2017 - Robert MugabeThe Chronic is a Pan-African quarterly gazette published by Cape Town-based Chimurenga. Using a newspaper format, due to its versatility and malleability, The Chronic delivers critical thinking and writing about all matters relevant to the African continent.

The front page of the latest issue displays Zimbabwean president, Robert Mugabe, dressed in attire more suited to a farmer’s outfit and holding a farming hoe, with a bold headline stating: “We make our own food”. Immediate conclusions aside, this issue aims to complicate questions about food insecurity in Africa, dissecting its scarcity on a continent that is represented as a desperate and disparate place. Food is turned into a site for debate, resisting stereotypical connotations about Africa and exposing systems meant to feed people as mechanisms that create the circumstances for starvation, deprivation and strife.

 

Delayed Gratification (UK), Issue 26, 2017

Delayed Gratification, Issue 26, 2017The rawness of street culture meets the vibrancy of youth culture, mixed with the authenticity of sturdy journalistic principles in Delayed Gratification. The quarterly magazine prides itself on rigorous long-form journalism, supported by tasteful design and art directed visuals, with each cover sporting an original artwork by an established international artist. In opposition to news that blindly follows the fast pace of modern, mediated living, Delayed Gratification supports the notion of slow journalism, which considers stories that matter in hindsight a while after the event in order to report a more-accurate final analysis.

The most-recent cover for issue 26 showcases an artwork by American street artist, Pose. Titled “Mirror”, the artwork exhibits the influence of original pop artists such as Robert Rauschenberg and James Rosenquist, and the postmodern works of Jeff Koons. So, too, Pose displays a penchant for collage, pastiche and fragmented imagery, similar to US-based artistic collaboration, Faile, and South African artist, Asha Zero.

 

Online

Flat File (US), Issue 10, Jun 2016

­Collage - Flat File No 10, 1 June 2016

Flat File is an online publication with no print edition, showcasing one exemplary and historic sample of graphic design per issue, taken from the Herb Lubalin Study Center’s collection at The Cooper Union in New York. The point of this publication is to cultivate an appreciation for, and connoisseurship of, the commercial and graphic arts — from packaging and editorial design, to illustration and typography, among other classic pieces. Didactic in its approach, Flat File aims to unravel the timeless narrative underlying each work, sharing invaluable information about important design contributions that designers should know about, and that society at large needs to be aware of.

The latest post focuses on the work of Swiss graphic designer, Fred Troller, celebrating the golden age of pharmaceutical design with the work he did for Geigy Chemical Corporation (currently known as Novartis). The Geigy examples here are informed by the Swiss style of the post-World War II period, and the international typographic style that resulted from it, which remains influential today.

 

Iconic

National Geographic (US), Volume 1, issue 1, 22 September 1888

Collage - National Geographic vol 1 issue 1, 22 September 1888, vol XXVII no 1 and vol 229 no 5National Geographic magazine printed and published its first issue on 22 September 1888, 129 years ago, as an effort to broaden public knowledge and distribute information about natural history and the environment in an accessible manner eight months after the National Geographic Society was established. Initially comprised of 98 pages, costing 50c, volume 1, no. 1 of National Geographic was published with a chestnut brown cover, and bland typography and layout to say the least, sans its now iconic yellow border, which was only introduced in 1910. Long-form and copy-heavy, there was no photography in the magazine until 1905, as opposed to its current form primarily known for its photographic prowess.

An interesting mention from recent issues of National Geographic is a cover designed by South African graphic designer, typographer and illustrator, Jordan Metcalf, who skillfully crafted a typographic execution for volume 229, no. 5 of National Geographic (titled the Yellowstone edition). Metcalf exhibits his mastery of typography while framing a painting by Austrian panoramist, Heinrich Berann, commissioned by the National Park Service. This issue is a layered investigation into the complex landscape of America’s famous Yellowstone National Park. The cover effectively frames the underlying narrative of the issue and illustrates the important heritage and history of the park, imbuing a sense of awe and significance — especially in a time of widespread global warming, where nature is increasingly placed under pressure caused population growth, urbanisation and industrialisation, making the existence of American national parks such as Yellowstone evermore crucial.

 

 

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: DStv — primetime top 30 for Aug 2017

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

DStv August 2017

BRCSA TV Ratings August 2017 primetime DStv

Source: BRCSA August 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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An introduction to BEE in the advertising industry

by Jarred Cinman (@jarredcinman) Few topics cut to the heart of the South African soul as powerfully as black economic empowerment (BEE). While we have all become comfortable with the term, the idea that contemporary South Africans are charged with the redress of decades — even centuries — of inequality remains a difficult and divisive one.

Going back in time and removing prejudice from our laws and society is not an option we have. Therefore, we must systematically intervene in the lives of those who were disadvantaged and give them some kind of requisite advantage now. If this is done right, we should be able to look more like a society where racism did not artificially hold people back.

Since the end of apartheid in the mid-’90s, a series of BEE (sometimes called broad-based black economic empowerment or BBBEE) laws, charters, codes and other mechanisms have been introduced by successive ANC governments. The laws have become more sophisticated, with clear intention to distribute the gains more broadly, rather than simply handing the country’s wealth to a new, differently coloured elite. As a result of this evolution in the laws, BEE is now a very complex animal. In the advertising industry, the latest BEE code is called the MAC Charter (Marketing Advertising & Communications), which prescribes a set of practices aimed at the transformation of this industry in line with the country’s overall BEE plans.

Why is it important?

Before I talk about what the charter says and how to approach meeting these codes, I want to talk about why it is important to do so.

The first and simplest reason is that it’s going to become more and more difficult to do business in South Africa without the requisite BEE rating. The system is designed to reward bigger companies for awarding work to smaller companies with good BEE scores. This laddering model means that regulators really only have to worry about those at the top of the food chain.

The second reason is that being a representative company, with diversity woven into the fabric of your business, is what’s going to enable you to succeed in a diverse country. You cannot market to people you don’t know and never see and with whose lives you have no meaningful connection.

Thirdly, a more-equitable country is a more stable country. We are one of the most-unequal countries on earth, with black people disproportionately represented at the bottom of the economic pyramid. Of course, the issue of wealth is separate, and separately complex to that of race but, because black people are particularly disadvantaged and the majority of the population, BEE laws create upliftment of the poor at the same time.

Lastly, there is a moral imperative for those who own the economy, and have the means, to try and set the balance right. There is considerable anger — I see it in the advertising industry as sharply as anywhere — that, more than two decades after the end of apartheid, the predominant faces in boardrooms are white ones. White people still dominate and control the advertising business in ownership, management and employment equity. As with many other issues raised here, there is a deceptive complexity to this problem. Advertising is not equally regarded along with medicine, engineering or law as a suitable career by all cultural groups. But that ends up being a detail, not a core consideration.

There is a simple truth that sits at the heart of every industry and most businesses in our country: if you are white, you had an unfair chance of being in control, even if you were far too young to be complicit in the apartheid regime itself.

The MAC Charter in brief

Over the next few articles I will be addressing some of the aspects of the charter in more detail. This, however, is a brief overview.

There are six main areas that the charter asks all business to address. These are:

  1. Ownership (who owns the business)
  2. Management control (who runs the business)
  3. Skills development (what you are doing to advance the careers of youth, your staff and the community)
  4. Enterprise and supplier development (what you are doing to advance new and small businesses in your ecosystem)
  5. Socio-economic development (how your business is improving the society as a whole)
  6. Responsible social marketing (a little unclear at this stage but seems to be about the degree to which your business contributes to marketing practices that make society better)

Notice that the emphasis here is wide. Although not all of these are equally weighted, this charter (like many BEE codes) seeks to do more than simply change the colour of your workforce. At its most ambitious, it wants you to deeply transform your business both internally and as a citizen of the marketing industry, and the country.

There isn’t space here to go into all of these in much detail but here are the key facts you need to know about them.

1. Ownership

Somewhat controversially, the MAC Charter expects all businesses in this sector to be 40% owned by black people by 2019 (at the moment the target is 25%). Ownership here means actual voting shares.

This poses severe problems for some of the global networks that have purchased South African agencies in recent years, and a lot of work will need to be done to meet this target in some cases.

2. Management control

This area of scorecard measures how much of the business is managed, day to day, by a diverse range of people. Bear in mind that the charter calls for representativeness — not simply colour. That means it rewards a mix of people matching the population makeup of the parts of the country you do business in (as well as gender).

Cleverly, the charter looks at all levels of the business for management diversity — from the board down. Simply employing lots of black interns is thus not a way to tilt the scorecard in your favour. (Bear in mind, these are scorecards — the higher your score, the better your “BEE level”. So for each of these measures, you can score between 0 and a maximum number of points, with a minimum acceptable level specified).

3. Skills development

One of the real focal points of the MAC Charter is the development of skills. More specifically, the government wants to create a glide path for young people, disabled people and other people with poor opportunities into the formal work sector.

A current problem with skills development is that most points are awarded for training with an accredited training provider, while only some points are set aside for informal or unaccredited training. Finding good accredited providers, particularly in the digital part of the industry, is not easy and I’m excited by the IAB SA initiative to create an industry accreditation system that will broaden the pool of providers if it succeeds.

4. Enterprise and supplier development

On par with the impact of getting young people employed is the impact of helping small, black-owned (particularly black-women-owned) businesses to start and become economically active. Points are awarded here for helping small businesses — with money or other assistance — to start. And points are also awarded for graduating these businesses to become suppliers of yours.

This area also included what is known as “preferential procurement” — the ladder mechanism referenced above, where you earn more points for giving business to suppliers with higher BEE ratings themselves.

5. Socio-economic development

Also known as “CSI”, this area is what most people will be familiar with: when business do outreach into communities. It is important to note that simply “doing good” is not enough to earn points here (helping out at an animal charity is not regarded as a BEE contribution). Any charities or organisations you assist should be aligned to helping people improve their lives.

6. Responsible social marketing

It remains to be seen what this part of the scorecard will evolve into. At the moment, the industry is interpreting this in two ways: either as doing “ethical advertising” [complying with the Advertising Standards Authority (ASA) of South Africa standards] or as contributing to the industry by being involved in industry bodies.

~~~

That, in a nutshell, is the MAC Charter. I want to emphasise that two things are needed to get to a good BEE level. One is a lot of painstaking, hard work in understanding the charter and meeting the points requirements across the board. The other is a deep and passionate belief that BEE represents transformation for the betterment of our society and our economy.

There are no tricks here. Either you embrace diversity at every level and in every aspect of your business, or you are operating at odds with the reigning desire to redress the imbalance. And, I would argue, at odds with what is right.

By the way, when I gaze around our mostly white management team, I am reminded that we still have a lot of work to do ourselves. But the contributions we have made in other areas are deep and real, and countless lives have been improved through them. And many more can be if we work in concert as an industry to breathe life into the codes.

See also

 

Jarred CinmanJarred Cinman (@jarredcinman) is a longstanding member of the South African digital industry, having founded one of the first professional web service firms, VWV, in 1995 and the chair of the Interactive Advertising Bureau (IAB) South Africa until 2016. These days, Jarred is co-chief operating officer at VML Y&R Africa Group.

“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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Young, Gifted & Killing It: Zwelethu Radebe

by Veli Ngubane (@TheNduna) When it comes to being young, gifted and killing it! you don’t need to look much further than Zwelethu Radebe (@ZwelethuRadebe). For the past three years, he’s been directing commercials for local and international agencies and clients in nine countries across Africa and Europe. His accolades include best short film awards at international festivals in Zanzibar and Durban for The Hangman, which he wrote and directed. At just 27, he’s now film and commercial director at Egg Films.

Veli Ngubane: Tell us more about yourself: where did you grow up and what did you want to be when you were growing up?
Zwelethu Radebe: I was born in Diepkloof, Soweto, and later grew up in the West Rand with my family. I always thought I’d be an athlete or an entrepreneur like my father.

VN: How did your passion of filmmaking start?
I would have never thought I’d be a filmmaker growing up. However, I saw myself fascinated by the video-game movie sequences that play before the game starts; I think that was the beginning.

VN: How does an average day look like for you?
ZR: LOL; I don’t have average days. I take things as they come but I’m constantly creating, which means writing, writing, writing. Treatments for the next TV commercial I’m pitching on or prepping a TV commercial document, or rewriting film screenplays. I create for a living.

VN: You are passionate about telling African stories. Tell us more about the innovative and thought-provoking film you created — The Hangman. What inspired you tell this story?
ZR: The Hangman explores the identity of a young man, Khetha, whose father abandoned him and his mother at a young age. Working now as a warder on death row, Khetha meets his father in the prison. He learns the truth of why his father left them, which alters everything he thought he knew about the day he left. I wanted to tell a story that looks at the family dynamics of living during apartheid and what the issues or challenges were from a domestic point of view, rather than the armed struggle.

VN: Do some of the stories you tell have anything to do with your own experiences?
ZR: Yes, they do. I think everything I write or direct will require my own life experience to execute or create. The films I make may not be directly related to my experiences but I always find a truth to add to them from my own life. This always allows the work to be more authentic, which is what I strive to achieve in all my films.

VN: What’s your take on international film producers coming to South Africa and taking advantage of ideal film locations? Is this impacting the South African film industry in positive/negative way?
ZR: I have no issue with foreign filmmakers coming to shoot our beautiful locations. Films shot in South Africa that benefit foreign territories have been able to create, execute, market and distribute. There is a lot of learning we can take from that; it clearly shows that our stories, locations and facilities are world-class and bankable. So what’s stopping us from doing the same?

VN: What is your philosophy in life that influences your creative work?
ZR: It’s my faith in God and the ability to use my talent to create impactful work that can affect others in a positive way.

VN: You create award-winning work; what has been the key to your success?
ZR: I don’t think there is a formula. I think it’s hard work, perseverance and never taking your eye off the vision or dream you have for your life. I believe hard work should be enjoyable, not just strenuous.

VN: What is your ultimate career aspiration?
ZR: I’d love to win an Oscar one day, not for the accolade but for the positive impact it would have on my people. Africa needs more to celebrate and I want us to celebrate our stories through cinema. That’s what I would like my legacy to be.

VN: Any interesting hobbies/second jobs/bits of information that make you pop as an individual?
ZR: I’m a professional laugher. I laugh about stupid stuff; I think I overdo it at times. I have a problem of laughing at moments when I should be serious. So, if anyone knows of a doctor I can see for this, please let me know. I’m being serious. LOL.

VN: What films have been the most-inspiring or -influential to you and why?
ZR: The Thin Red Line: so poetic; it really brought me close to the humanity of war.

Amores Perros: I loved the unique narrative structure and how the film explored causality — how we are all connected and how we’re subject to the consequences of our choices.

The Silence of the Lambs: unforgettable performances. Anthony Hopkins. I mean, come on.

VN: What makes a film great for you? Are there certain qualities that make a film better for you?
ZR: Sometimes we get so caught in the movie-making craft that we forget about the story. Story is everything. Without a great story, there can never be a great film. Of course, characters are also essential, so you need good actors to bring them to life.

VN: What do you feel is missing in entertainment today?
ZR: I don’t think there is anything missing; with so much on offer, it really isn’t hard to find something entertaining.

VN: Local is lekker: in a few words, convince South African to support more local films.
ZR: It’s like getting behind your national team in sports. Even if you don’t like the sport, it’s a sense of nationalism or pride for our nation’s stories.

VN: Tell us something about yourself not generally known.
ZR: I drink a lot of tea.

VN: What exciting projects are you working on at the moment?
ZR: I’m currently working on a new Playboy fragrance commercial. I’m also wrapping up rewrites for my feature film debut, Imbuka, based on the The Hangman short film.

VN: What advice can you give to people wanting to get into the business?
ZR:  Don’t forget to enjoy the journey.

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

Strongbow ad

Mastercard ad

See more options at https://eggfilms.tv/south-african-commercials-director/zwelethu-radebe/.

 

Veli NgubaneVeli Ngubane (@TheNduna) entered the world of advertising with a passion after completing his BSocSci (law, politics and economics) at the University of Cape Town and a post-graduate marketing diploma at Red & Yellow, where he also currently serves as advisory board chairman. He is the chief creative officer and founding partner of one of the fastest-growing agencies in the country, AVATAR. A full-service marketing agency with digital at the core, its clients include Brand South Africa, FOX Africa, National Geographic, SAA and Chevron. Veli hails from Kosi Bay in the rural KwaMhlaba Uyalingana area of KZN. In his monthly column “Young, Gifted & Killing It”, he profiles award-winning, kick-ass black creative talent in South Africa.

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All the Pendoring 2017 finalists revealed!

by MarkLives (@marklives) Twenty-seven South African advertising agencies have produced 98 finalists for the 2017 Pendoring Awards. Leading the pack is Joe Public with 13 finalists, followed by Red September and The Odd Number, each boasting eight finalists, and Mortimer Harvey with seven finalists.

Tertiary institutions racked up 25 finalists, with Northwest University leading with eight finalists, followed by Stellenbosch Academy of Design and Photography, Vega School of Brand Leadership (Johannesburg and Pretoria) and AAA School of Advertising (Johannesburg and Cape Town), each producing four finalists.

As in the past, the category Radio Communication produced a bumper crop of 102 entries. Television, Cinema and Video Communication saw significant growth, posting 86 entries, followed by Print Media with 33 entries. This year, tertiary institutions contributed 79 entries in the various student categories.

Tickets for the gala event at Vodacom World, Midrand on Friday, 27 October 2017, are now available from Corrie le Roux at corrie@vibrantmedia.co.za or +27 (0)11 880 5202.

Pendoring finalists

Television/Cinema Commercials with a production budget exceeding R1m

Title:
Agency:
Advertiser:
Language:

Afkophoender
Joe Public
iWyze
Afrikaans

Die Reis
Mortimer Harvey
RCL Foods
Afrikaans

Hilux Taaier-er
FCB Johannesburg
Toyota
Afrikaans

Silly Spender
Ogilvy & Mather Johannesburg
MultiChoiceDStv
Zulu

Vat die Stof my Bra
Black Khaki
BUCO Hardware Buildware
Afrikaans

Television/Cinema Commercials with a production budget under R1m

Title:
Agency:
Advertiser:
Language:

Everybody Knows
7Films & Y&R South Africa
Western Cape Government
Afrikaans

Campaign: Netnuus – RolSaam
Lucan
NetNuus
Afrikaans

Pocket
7Films & The Make Beautiful Agency
Channel O
Zulu

Krieket
Lucan
NetNuus
Afrikaans

Television, Film & Video Communication: Internet Video

Ag Shem
Ogilvy & Mather Johannesburg
MultiChoiceDStv
Zulu

Television, Film & Video Communication: TV Trailers and Content Promos

Curriebeker – Maak die dierwakker
Studio Zoo
SuperSport
Afrikaans

Television, Film & Video Communication: Branded Content Video

Ekwou nog sê…
BRAND et al
AVBOB
Afrikaans

Getroud met beleggings
Red September
Ecsponent
Afrikaans

Television, Film & Video Communication: Music Videos

Francois Van Coke – Mensdom
Passing Trains
Francois Van Coke
Afrikaans

Television, Film & Video Crafts – Animations

Curriebeker – Maak die dierwakker
Studio Zoo
SuperSport
Afrikaans

Television, Film & Video Crafts – Best use of Licenced Music

Die Reis
Mortimer Harvey
RCL Foods
Afrikaans
Television, Film & Video Crafts – Cinematography

Die Reis
Mortimer Harvey
RCL Foods
Afrikaans

Vat die Stof my Bra
Black Khaki
BUCO Hardware Buildware
Afrikaans

Television, Film & Video Crafts – Direction

Die Reis
Mortimer Harvey
RCL Foods
Afrikaans

Everybody Knows
7Films & Y&R South Africa
Western Cape Government
Afrikaans

Campaign: kykNET Dis Tyd
Clearwater
kykNET
Afrikaans

Pocket
7Films & The Make Beautiful Agency
Channel O
Zulu

Television, Film & Video Crafts – Editing

Die Reis
Mortimer Harvey
RCL Foods
Afrikaans

Television, Film & Video Crafts – Original Music and Sound Design

Nuus wat jykanvertrou
Lucan
Netwerk24
Afrikaans

Television, Film & Video Crafts – Performance

Die Reis
Mortimer Harvey
RCL Foods
Afrikaans

Campaign: kykNET Dis Tyd
Clearwater
kykNET
Afrikaans

Silly Spender
Ogilvy & Mather Johannesburg
MultiChoiceDStv
Zulu

Television, Film & Video Crafts – Special Visual Effects

Campaign: iWyze takes control when you can’t
Joe Public
iWyze
Afrikaans & Zulu

Television, Film & Video Crafts – Writing

Die Reis
Mortimer Harvey
RCL Foods
Afrikaans

Campaign: kykNET Dis Tyd
Clearwater
kykNET
Afrikaans

Vat die Stof my Bra
Black Khaki
BUCO Hardware Buildware
Afrikaans

Original Afrikaans

Campaign: Digicape Apple products and services
Ninety9Cents Communications
Digicape
Afrikaans

GeCell C
FCB 1886 & FCB Cape Town
Cell C
Afrikaans

Genuine Parts – Moenie die noodlot tart nie
FCB Johannesburg
Toyota
Afrikaans

Campaign: kykNET Dis Tyd
Clearwater
kykNET
Afrikaans

Vat die Stof my Bra
Black Khaki
BUCO Hardware Buildware
Afrikaans

Communication Design: Brand Identity & Collateral Design – Creative use of Paper

Title:
Agency:
Advertiser:

UNICEF Babas
Red September
UNICEF

Communication Design: Brand Identity & Collateral Design – Direct and Promotional Mail

Title:
Agency:
Advertiser:

AFGRI Hologram
Red September
AFGRI

Communication Design: Brand Identity & Collateral Design – Identity Programmes

Zander Opperman – Instagram Famous
Jana + Koos
Zander Opperman

Communication Design: Brand Identity & Collateral Design – Logos

MESH Logo
Jana + Koos
MESH Club

Communication Design: Brand Identity & Collateral Design – Posters and Billboards

Campaign: Die toepvirtuinmaak
Abnormal Group
Gardening with Babylonstoren

Communication Design: 3D & Environmental Design – Package & Industrial Design

Keldermeester-versameling
Just Design
Lanzerac

Communication Design: Motion & Digital Graphic Design

AFGRI Hologram
Red September
AFGRI

Communication Design: Motion & Digital Graphic Design – Broadcast Design and Graphics

MTV Base Africa Channel Rebrand
Fort
Viacom/MTV Base Africa

Communication Design: Design Mixed-Media Campaign

UNICEF Babas
Red September
UNICEF

Communication Design: Design Crafts – Illustration

MESH Craft – Gin and Juice
Jana + Koos
MESH Club

Zam-Buk Pocket-sized Heritage
J. Walter Thompson Johannesburg
Zam-Buk

Digital & Interactive Communication: Websites or Microsites – Website

Title:
Agency:
Advertiser:
Language:

Kreatiwiteit Wil Uit
Etiket
Pendoring 2016
Afrikaans

Digital & Interactive Communication: Mobile Media

Title:
Agency:
Advertiser:
Language:

AFGRI Hologram
Red September
AFGRI
Afrikaans

Digital & Interactive Communication: Digital Crafts – Use of Technology

AFGRI Hologram
Red September
AFGRI
Afrikaans

Digital & Interactive Communication: Digital Crafts – User Experience Design

Kreatiwiteit Wil Uit
Etiket
Pendoring 2016
Afrikaans

Integrated campaign

kykNET Kersfees
Clearwater
kykNET
Afrikaans

The Ridge
Abnormal Group
Craft Homes
Afrikaans

Outdoor & Out-of-Home: Ambient and Alternative Media

Campaign: Bossies oorBaarde
Newton’s Third
Headcase Barbers International
Afrikaans

Campaign: Spasievir die hele gesin
Abnormal Group
Craft Homes
Afrikaans

Raga Bolo Wall Murals
J. Walter Thompson Cape Town
Smirnoff SA
Zulu

Outdoor & Out-of-Home: Direct Mail

AFGRI Hologram
Red September
AFGRI
Afrikaans

Print Communication: Newspaper Advertising

Campaign: Komnader
Joe Public
Mahindra
Afrikaans

Campaign: Spasievir die hele gesin
Abnormal Group
Craft Homes
Afrikaans

Campaign: Same Day Delivery, Same Day Forgiveness
FCB Johannesburg
Netflorist
Afrikaans and Zulu

R.I.P.
Joe Public
Chicken Licken
Sotho

Print Communication: Magazine Advertising

Campaign: Daar wag ‘n beterwerk
Joe Public
PNET
Afrikaans

Campaign: Kopseer
Joe Public
Adcock Ingram
Afrikaans

Print Communication: Indoor Posters

XXXL Chips
FCB 1886
Steers
Afrikaans

Zam-Buk Pocket-sized Heritage
J. Walter Thompson Johannesburg
Zam-Buk
Zulu

Print Communication: Branded Content

Pocket
7Films & The Make Beautiful Agency
Channel O
Zulu

Print Communication: Outdoor & Out of Home Crafts – Art Direction

XXXL Chips
FCB 1886
Steers
Afrikaans

Zam-Buk Pocket-sized Heritage
J. Walter Thompson Johannesburg
Zam-Buk
Zulu

Print Communication: Outdoor & Out of Home Crafts – Photography

Pocket
7Films & The Make Beautiful Agency
Channel O
Zulu

Radio Station Commercials

After Tears
The Odd Number
Brand South Africa
Zulu

Campaign: Valentines
Ogilvy & Mather Johannesburg
MultiChoiceDStv
Zulu & Sepedi

Campaign: Slegte Dag
FCB Cape Town
Blooms Apteek
Afrikaans

GeCell C
FCB 1886& FCB Cape Town
Cell C
Afrikaans

Campaign: Hilux Ahh. Yay
FCB Johannesburg
Toyota
Tswana & Zulu

Campaign: Spaarjouself die drama
Joe Public
Adcock Ingram
Afrikaans

Campaign: Hy het daarvoorgevra
Joe Public
People Opposing Women Abuse
Afrikaans

Campaign: Valentine’s Day Inner Peace
Joe Public
Chicken Licken
Zulu

AmagxabaAngay’zolo
Joe Public
Jet
Zulu

Campaign: Hell’s Kitchen
The Odd Number
BBC Lifestyle
Zulu

POWA Rape News
Joe Public
People Opposing Women Abuse
Zulu

Campaign: Speeltyd
Joe Public
Lovers Plus
Afrikaans

Branded Content – Radio

Zazi Mother’s Day Dedication
Joe Public
Centre for Communication Impact
Zulu

Radio Communication Crafts – Original Music and Sound Design

Genuine Parts Jysal NIE!
FCB Johannesburg
Toyota
Afrikaans

Klink sooshardewerk
BBDO Cape Town
Coronation
Afrikaans

Radio Communication Crafts – Performance

After Tears
The Odd Number
Brand South Africa
Zulu

Campaign: Hilux Hill Assist
FCB Johannesburg
Toyota
Tswana & Zulu

Campaign: Hell’s Kitchen
The Odd Number
BBC Lifestyle
Zulu

The Honeymoon
The Odd Number
Brand South Africa
Sotho

Vat die Stof my Bra
Black Khaki
BUCO Hardware Buildware
Afrikaans

Radio Communication Crafts – Writing

After Tears
The Odd Number
Brand South Africa
Zulu

Campaign: Slegte Dag
FCB Cape Town
Blooms Apteek
Afrikaans

Campaign: Hell’s Kitchen
The Odd Number
BBC Lifestyle
Zulu

The Honeymoon
The Odd Number
Brand South Africa
Sotho

Vat die Stof my Bra
Black Khaki
BUCO Hardware Buildware
Afrikaans

Retail Communication

Campaign: Digicape Apple products and services
Ninety9Cents Communications
Digicape
Afrikaans

GeCell C
FCB 1886 & FCB Cape Town
Cell C
Afrikaans

Campaign: Hoe meersuiker, hoe minder soet
Ninety9Cents Communications
Checkers
Afrikaans

Silly Spender
Ogilvy & Mather Johannesburg
MultiChoiceDStv
Zulu

STUDENTS

Student Television, Film & Video Crafts – Cinematography

Title:
Tertiary Institution:
Students:
Language:

Die Monoloog(short film)
North West University
MonéSchalekamp, Armand Aucamp, Lize-Mari Jooste
Afrikaans

Student Television, Film & Video Crafts – Direction

Title:
Tertiary Institution:
Students:
Language:

Die Monoloog(short film)
North West University
Ricardo Liut
Afrikaans

Student Television, Film & Video Crafts – Writing

Die Monoloog(short film)
North West University
Ricardo Liut, MonéSchalekamp
Afrikaans

Student Outdoor & Out of Home – Outdoor Media

Campaign: IneneAmakrwalaNgamanene
University of Johannesburg
Samantha Achilles, Kwanele Mngomezulu, David Ndodana
Xhosa

Uit die oudedoos
Vega School of Brand Leadership Johannesburg
Melissa Jordaan, Kendra Verbeek
Afrikaans

Student Integrated Campaign

Eksieperfeksie: JislaaikSussie, Tannie Emsie GaanJou Donner
North West University
Annemie Van Vuuren, Linda Kok
Afrikaans

Nie net wit of swart nie
Stellenbosch Academy of Design and Photography
Keagan Clack
Afrikaans

Protesjou Bes: Los die Vuur, Drink ‘n Bier
North West University
Zondré Visagie, Anja Swart
Afrikaans

SuiwerbekSlingersous: RêkJouBêk in JouEieDialêk
North West University
Suné Potgieter, Grace Serfontein
Afrikaans

Student Radio Communication

Net ‘n Tattoe?!
Vega School of Brand Leadership Johannesburg
Christian Botha
Afrikaans

Wife beater
AAA School of Advertising Johannesburg
NokoSetate
Zulu

Student Print Communication

Campaign: Kalklig – Geslag&Gevangenis
Stellenbosch Academy of Design and Photography
Katherine Joubert
Afrikaans

OnsvirJou
AAA School of Advertising Cape Town
Serena-Marié van der Nest
Afrikaans

Campaign: Sarie Marais &Suikerbossie
Stellenbosch Academy of Design and Photography
Sophia Louw
Afrikaans

SWAG
Vega School of Brand Leadership Pretoria
Azraa Kazi
Afrikaans

Student Digital Interactive Communication – Digital Applications; Games and Interactive Tools

Jaco
Vega School of Brand Leadership Johannesburg
Michaela Massey, Saarah Saint
Afrikaans

Student Communication Design – Collateral Design

Herbefore
AAA School of Advertising Cape Town
Serena-Marié van der Nest
Afrikaans

Wild op jouvoorstoep
Stellenbosch Academy of Design and Photography
Susan Duvenage
Afrikaans

Student Communication Design – Logos and Identity Programmes

“Shibit! Soet en SuurGrafiesOntwerper”
North West University
Annemie van Vuuren
Afrikaans

Hustle Baby by Lorna Maseko
Red & Yellow School of Logic & Magic
Rachel Hurry, OlihleLosaba
Zulu

Umoya by DJ Zinhle
Red & Yellow School of Logic and Magic
Nick Pollet, OlihleLosaba
Zulu

Student Communication Design – Package and Industrial Design

Hallo Vreemdeling
University of Johannesburg
Gina Rodrigues
Afrikaans

Student Communication Design – Publication Design

Busy Bee
AAA School of Advertising Cape Town
Danika Treurnicht
Afrikaans

Reviving the “Bantu Symbol Writing” into contemporary visualculture
Greenside Design Center College of Design
Taurai Valerie Mtake
Ndebele

Student Print & Design Crafts – Writing

Campaign: SuiwerbekSlingersous: RêkJouBêk in JouEieDialêk
North West University
Suné Potgieter, Grace Serfontein
Afrikaans

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Graham Lang joins Toronto-based shop Juniper Park\TBWA

by MarkLives (@marklives) Toronto-based agency, Juniper Park\TBWA, has announced that it has hired Graham Lang as its new chief creative officer. Lang, who joins from Y&R South Africa, will lead the agency’s creative output and assist to further grow the business across North America.

Graham LangLang, who will also join TBWA’s Global Creative Core, was selected through a global talent search led by Juniper Park\TBWA CEO, Jill Nykoliation, and Chris Garbutt, CCO, TBWA Worldwide.

“Bringing Graham on board is part of our quest to raise the creative standard and disrupt creative conventions across the globe,” says Garbutt. “The world needs creative solutions now more than ever and Graham is the kind of talent who can bring big ideas and iconic work to clients and make them a reality. Graham, Jill and the team in Toronto are poised to push Juniper Park\TBWA and its clients into a class of its own.”

“I am honored for the opportunity to join an already-strong office that is hungry to lift itself even further,” says Lang. “I love working in and with different cultures, which is why I resonate with the agency’s global mindset. It has a borderless ethos and has the ability to work on business anywhere. I have long admired the work from TBWA so I am excited to learn from and collaborate with some true legends of the game. Most of all I am exited to be working with Jill and her incredibly diverse and talented team in Toronto.”

Juniper Park\TBWA’s client roster stretches across Dallas, New York, Chicago, Los Angeles and across Canada. This includes Nissan, CIBC, eos, Capital Group, Pfizer, GoDaddy, NFL, Vogue International and Virgin Mobile. It is one of three full-service North American offices for TBWA.

See also

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Masterclass Notes: Trends from agencyScope SA 2017 fieldwork

by Johanna McDowell (@jomcdowell) Here are some early observations from the Scopen agencyScope 2017 fieldwork in South Africa.

Scopen, founders and owners of agencyScope — a study of the advertising and marketing industry in 12 countries and now in South Africa — are in the field 1 June–22 September 2017, with five senior researchers interviewing chief marketing officers (CMOs) across SA. These interviews have been at least 45-minutes long on a face-to-face basis and this is the second wave of this research. Our inaugural study, with a smaller respondent base, took place early in 2016 and so our findings are coming out about 18 months later than last year and a few trends have emerged.

[Full disclosure: Scopen Global and Mazole Holdings (the company that owns IAS 100%) have formed a company in South Africa called Scopen Africa. Scopen Global holds the majority of the shares; Mazole is a minority shareholder. Johanna McDowell is a director of Scopen Africa, as is Cesar Vacchiano, Global CEO of Scopen.]

At the time of writing, with several weeks left of our fieldwork among more than 200 leading CMOs of the top 200 companies in SA, some interesting observations have been made in relation to some of the findings from 2016.

1. Incentive payments

SA reported a relatively low incidence in 2016, in comparison to the other countries studied, where marketers pay their agencies an incentive based on performance and results. It seems that this has declined further in 2017 and is largely attributed to the state of the economy.

2. Percentage of expenditure on digital marketing

In the 2016 study, we recorded that marketers were spending their marketing budget as follows:

  • 52%: above the line
  • 18%: digital
  • 30%: below the line

Early estimates for 2017 see the digital portion increasing to as much as 25%. We don’t think that this will be a surprise to agencies as they are all reporting a growth in that sector, but we aren’t sure if overall budgets have increased or decreased. With digital media being far less expensive than traditional media, it may well be that clients are saving money in their budgets by directing more expenditure to digital marketing. So the proportion of digital spend may well be increasing but the actual monetary amounts may not be. It will be interesting to analyse this against actual spend splits when the latest media-spend figures are released later this year.

At 18%, SA was behind by at least 10% of all the other countries studied by Scopen in 2016. Twenty-five percent this year brings SA more in line with China, Spain and Colombia, according to the 2016 study, as digital was accounting for approximately 25% of marketing spend in those countries. No doubt that percentage has also increased.

3. Social media

CMOs are commenting that social media has become a key marketing tool for their brands and services. This is no real surprise, considering the increase in digital expenditure and the increased desire of marketers to be at the forefront of marketing trends, in general. Types of social media used are still to be identified and will be detailed in the full reports once Scopen has crunched the data from the fieldwork. We also believe that social media is being used extensively to amplify traditional advertising campaigns more and more effectively. Plus the use of analytics is proving, time and again, that social media campaigns can work very efficiently.

There was little to no mention of social media in the 2016 study.

4. PR growing in importance

Public relations is growing in importance among CMOs. We wonder if this might be attributed to the following:

  • Cost-saving: PR is very cost-effective
  • Impact: PR again can amplify a marketing campaign and create immediate impact and potential sales lift off — at relatively low cost
  • PR practitioners are more and more versatile, and have tapped into the digital space very quickly and effectively, creating earned media coverage much faster than in previous times
  • PR results can be tracked more accurately — and quickly

In the 2016 study, CMOs commented that their “ideal integrated advertising agency” would include PR services along with media and digital; this was an indication then of the growing importance of PR. It seems that the impact of PR is now being felt and tracked.

5. Desire to participate

Somewhat gratifyingly for SCOPEN, CMOs were very keen to participate in the 2017 study and, although the CMOs were extremely busy, they were not only keen to share their views and opinions but actually called us to participate and referred others on a continuous basis. We were delighted with this level of interest.

Equally, we have many agencies now participating in the study. Part of the data-collection process includes short online surveys among agency professionals and, at the time of writing, more than 250 professionals from more than 80 agencies — advertising, digital and media — had participated in the surveys which essentially ask them to rate agencies, other than their own, on a variety of criteria.

~~~

We are really pleased with the progress this year and the deepening understanding that we are gaining as a result of this study. The first detailed reports and workshop presentations to subscribing agencies will be available from early November, and the summary report (a summary of the trends and findings in general) will be made available by the end of 2017. The summary report is free to marketers who participated in the study. All reports will include comparisons to previous year, as well as comparisons globally.

 

Johanna McDowellJohanna McDowell (@jomcdowell) is managing director of the Independent Agency Search and Selection Company (IAS), which is partnered with the AAR Group in the UK. Johanna is one of the few experts driving this mediation and advisory service in SA and globally. Currently she is running the IAS Marketers Masterclass, a programme consisting of masterclasses held in Cape Town and in Johannesburg. Twice a year she attends AdForum Worldwide Summits.

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Ad of the Week: Burger King gets fancy with le burger

by Oresti Patricios (@orestaki) The Jupiter Drawing Room (Cape Town) and director Mfundo Mkhize of Ola! Films serve up a chicken burger on a silver salver, with a healthy dollop of tongue-in-cheek, for Burger King’s new Tendercrisp offering.

Founded in 1953 as Insta-burger King, the fast-food chain now known as Burger King was set up as direct competition to McDonald’s. As of 2016, Burger King reported it had 15 738 outlets in 100 countries, of which 99.5% are privately owned and operated. Almost all operate under a franchise model. A fairly recent addition to the South African fast-food scene, Burger King opened its first branches here in 2013, three years after it launched in Russia and only shortly after starting in China. Africa is seen as a growing market, with its youthful population and expanding middle class.

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Tendercrisp. It sounds like a contradiction in terms but a good chicken schnitzel should be just that: a crisp and crunchy coating on the outside, juicy and tender on the inside. Stuff one of those into a bun with some salad, cheese and sauce, and you’ve got yourself a chicken burger fit for a king. The latest TV commercial for Burger King (SA) plays on the royal association of the name, and takes it into a realm of fun and quirkiness that’s hard not to crack a smile at.

A young couple is sitting in a Burger King restaurant. The man exclaims, “Man, this new Tendercrisp is fresh and fancy.”

His partner replies: “I know, right. That’s not lettuce, it’s ‘lett-ouce’.”

It’s a made-up word that sounds French and fancy, and this sparks a flight of fantasy for them both. A whip-pan transitions to the man, who is suddenly well-dressed and has a stylish hair and beard. “Freshly cut tomato,” he says, also with a French accent.

The successive scenes all get more fantastical, ending with the man sitting on a bling motorbike, framed by flames, to deliver the line, “Crispy”. The woman is seated on a divan, dressed like some sort of African royalty, with a posh butler in attendance. Her line is, “And how ridiculous is this chicken breast?” — as if in reply to the ridiculousness of the previous scenes. Oh, yes, and there’s a Great Dane too, just for good measure.

Jupiter Cape Town and Ola Films for Burger King Tendercrisp screengrab 02All these scenes take place in the restaurant, with the other patrons carrying on in the background as if nothing were out of the ordinary. The final shot is a close-up of the silver salver the butler has been holding. He lifts the cover to reveal the Tendercrisp burger, fries and drink. The voiceover says, “It’s fresh and fancy. Try the new Tendercrisp.” The price is flashed on the screen, as well as Burger King’s slogan, “Taste is king.”

The soundtrack is an interesting mash-up of hip-hop beats and neo-classical music, giving each scene a unique feel. The overall styling is clean and fresh, and I noticed that the man is always dressed in the blue from the logo, while the woman is always in the complementary red.

This ad sets the brand apart from other fast-food outlets. It establishes Burger King as fun and playful while, at the same time, showcasing one particular product in a unique way. The chicken burger certainly looks fresh and tasty.

The idea of using French accents to create a ‘fancy’ atmosphere reminds me a little of the Wimpy Ad from way back, which created a meme of the catchphrase, “I love it when you talk foreign.” Perhaps some of the lines from this ad will catch on in the same way?

All the same, it’s an entertaining and memorable piece of work that does as much for the brand as it does for the product. Keep it up, Jupiter Drawing Room and Ola! Films. I look forward to more of your quirky humour.

Credits

Agency: The Jupiter Drawing Room (Cape Town)
Chief creative officer: Lucas van Vuuren
Creative director: Kirsten van Papendorp
Art director: Gerhard Pretorius
Business unit director: Nicola Davenport
Senior digital project manager & client service: Ella Blake
Production company: Ola! Films
Director: Mfundo Mkhize
Producer: Murray Macdonald
DOP: Pierre de Villiers
Set, dressing & wardrobe: Claire Gritten
Post-production company: Post Office Post Production
Editor: Josh Borrill
Sound mix: Hannes Burger
Grade: Josh Borril

 

 

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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[CARTOON] The Marketing Mice on Trevor Noah’s triumph

by Charlie Mathews (@CharlesLeeZA) The Marketing Mice bask in the glow of Trevor Noah’s glory.

Marketing Mice 2017 09 19 Trevor Noah Emmy - cartoon

 

Charlie MathewsCharles Lee Mathews (@CharlesLeeZA) is the founder of TheWriters.co.za, a boutique strategy and content shop that helps brands better connect — and engage with — the people who matter most. When not writing, or thinking about human behaviour, Charlie creates The Marketing Mice exclusively for MarkLives.

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Shelf Life: Zeitz MOCAA’s brand ID by M&C Saatchi Abel

Cheryl Hunter (shelflife at marklives.com)’s weekly pick of all things new — product, packaging, design, insight, food, décor and more!

  • M&C Saatchi’s brutal simplicity for instantly iconic museum
  • Yuppiechef goes bricks and mortar
  • Table Mountain Cableway’s Mastercard facelift

M&C Saatchi Abel supports the arts

The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) has opened its doors in the transformed heritage-listed Grain Silo building in the Silo District of the V&A Waterfront, Cape Town. Advertising agency, M&C Saatchi Abel, has cemented its close affiliation by endowing the museum with a permanent photography gallery, the M&C Saatchi Abel Gallery, as well as having created its brand identity pro bono.

The museum will officially open this coming Heritage Weekend (22–25 September 2017), with free entrance for all visitors. However, to control numbers of people within the building, tickets will still be needed for entrance and are available on Webtickets and at the door. The media and VIP opening took place this past weekend.

This public not-for-profit cultural institution is the largest museum of contemporary art in Africa in more than 100 years. Originally a complex storing 40 000 tons of grain and dating back to 1924, its silos and elevator building have been gutted, stripped and repurposed by architect Thomas Heatherwick to showcase thousands of works by artists from Africa and its diaspora.

Globally, the M&C Saatchi brand is synonymous with a love of art. Says Mike Abel, founding partner and chief executive of the M&C Saatchi Abel Group of companies, “We are delighted to be partnering with Zeitz MOCAA, which is the first major museum in Africa dedicated to contemporary art. When the opportunity arose to sponsor a gallery at Zeitz MOCAA, we recognised it as a natural extension for our commitment to South African and African art.”

“We believe that the museum’s branding should acknowledge and reflect the unique heritage of the original building, but should also be true to the powerful originality and diversity of the art that the museum houses,” says Ashraf Majiet, creative director at M&C Saatchi Abel. The resulting solution is ‘brutally simple’: a graphic rendition of the 42 silos represents the original building but is adaptable enough to be interpreted through different colourways, patterns and textures. The concept allows the logo to mirror the dynamic environment of the physical building, as well as the ever-shifting universe of contemporary African art itself. From there, the building’s 42 silos formed the foundation grid for the unique font called Forty Two, which was painstakingly developed for the museum — first by hand and then digitised. This font is used to signpost everything, from toilets to the restaurant.

“The fundamental mission of Zeitz MOCAA, which is to collect, preserve, research and exhibit cutting-edge contemporary art from Africa and its Diaspora, is perfectly aligned with our own mission as an agency — which is to develop and support art, creativity and culture in South Africa and beyond its borders.”

Works by the likes of Mohau Modisakeng, Cyrus Kabiru, Cameron Platter, Zander Blom, Sam Nhlengethwa, Kudzanai Chiurai, Christiaan Conradie, Jody Paulsen and Julia Rosa Clark reveal the agency’s support and passion for South African art and upcoming artists such as Pierre Vermeulen and Ruby Swinney.

M&C Saatchi Africa by Giant LeapLocally, M&C Saatchi Abel’s newly redecorated Johannesburg office also takes its cue from African art and culture: “The agency’s core belief in the role of art as integral to inspiring, challenging and building creative and original thought is reflected in the gallery-like reception areas and then filtered through the remaining three storeys. The Cape Town agency similarly has a wonderful collection of prized contemporary art.” The redesign was done by interior designer agency, Giant Leap.

zeitzmocaa.museum • Facebook • Twitter • Instagram
mcsaatchiabel.co.za • Facebook • Twitter • Ramify
giantleap.co.za • Facebook • Twitter

 

Yuppiechef lands in Cape Town

Just 11 years after ecommerce allowed Yuppiechef to launch its retail business with no stock, staff or expensive rentals, the online store has announced it is investing in brick and mortar — its first store opens at Willowbridge Centre in Cape Town.


Yuppiechef will continue selling online, where it can provide the largest range, delivery across SA, 24/7 convenience and world-class service, but it is no longer convinced that ecommerce is the only channel for retail. It believes that the future of retail is omnichannel, which means a combination of physical stores and ecommerce. South Africans love shopping: spending a Saturday at a mall, meeting friends and eating out. Many also simply prefer the physical shopping experience for certain products — browsing, getting advice and the immediacy of the purchase — which means shops and malls are not going to disappear any time soon.

So, from 1 October, you shouldn’t have to see Yuppiechef as either an online retailer or a physical store; it is now a single retail brand, offering consumers the freedom to interact on their terms, whenever and wherever they are.

The Willowbridge store, designed by interior design company ARRCC, is intended to offer a superb shopping experience, top-quality staff, and the expected world-class products. Beyond that, customers will be able to look at a product online and then come into the store to make a final decision and walk away with a purchase or browse in-store and have orders delivered.

Yuppiechef plans a rollout of stores across South Africa as it plans for the next evolution of retail.

yuppiechef.com • Facebook • Twitter
arrcc.com • Facebook • Twitter • Instagram

 

Cableway rebranding

Tractor Outdoor, in partnership with Table Mountain Aerial Cableway Company, has recently undertaken a complete rebranding of Cape Town’s iconic cable cars, with Mastercard South Africa as a sponsor on cableway branding elements.

Mastercard sponsorship of Table Mountain cable carVoted as one of the New Seven Natural Wonders of the world in 2011, Table Mountain is also one of the most-visited tourist destinations in Africa. The Table Mountain Aerial Cableway Company has, to date, transported over 26m visitors to the summit of Table Mountain. Each of the two cable cars is able to carry 65 visitors every 4-5 minutes, enabling almost 800 visitors to enjoy the trip every hour.

Says Simon Wall, managing director of Tractor Outdoor, “Table Mountain Cableway is one of the most-iconic tourist attractions in the world, and we are extremely pleased and proud to be involved in a project of this size and stature. This brand is synonymously thought of as one of the most attractive and majestic destinations in South Africa, and we look forward to providing a fresh perspective with spectacular, high-impact branding experiences for visitors to enjoy”.

tablemountain.net • Facebook • Twitter • Instagram
tractoroutdoor.com • Facebook • Twitter • Instagram
mastercard.com/za • Facebook • Twitter

 

Cheryl HunterShelf Life is MarkLives.com’s weekly column covering all things new. Notify us of yours at shelflife at marklives dot com. Want to sponsor Shelf Life? Contact us here.

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.

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