Headspace: Marketing to moments — emotion, purpose & effectiveness

by Tenielle Maris. The definition of the customer journey has manifested as a plethora of infographics, funnels and explanations, all of which endeavour to plot out the crucial points for brands to connect with audiences. It goes without saying that mobile and social media have pervaded and shaped the traditional customer journey, irrevocably altering attention spans.

Consumers have instant access to products, services, information, experiences and even reviews, and their demands have evolved into something far more complex and convoluted than we could have imagined. Instant gratification has become a movement that brands need to join, or else they will be left behind.

The pursuit for ‘more’

To add to this dynamic, tech advancements have provided consumers with the platform to perpetually evolve their needs and change their minds. Jeff Bezos, founder of Amazon, sums this up perfectly: “Customers are always beautifully, wonderfully dissatisfied, even when they report being happy and business is great. Even when they don’t yet know it, customers want something better.”

Brands and retailers need to be finely attuned to their audiences’ evolving needs, to ensure that whatever is being put out there is not only relevant but provides a valuable solution to a specific pain point in their lives that cannot easily be replicated.

The problem with that is that no longer is it as simple as creating a one-of-a-kind product, service or experience to hold someone’s attention. Oh no. Consumers are simultaneously on the hunt for brands that understand them as individuals and enrich their lives in some shape or form, and you had better be giving them those things if you plan on keeping them.

Identifying moments

Never has there been a better time to pinpoint the most-opportune moments to make your brand hard to resist in the eyes of your audience, something that Google has mastered through identifying micro-moments.

According to Google, “The consumer decision journey has been fractured into hundreds of tiny decision-making moments at every stage of the ‘funnel’—from inspiring vacation plans to buying a new blender to learning how to install that new shelf.”

By understanding when people are most susceptible to be influenced by brands, marketers and advertisers are armed with the insights to create hyper-targeted and relevant content to connect with audiences on much deeper levels.

More than a moment in time

“While consumers will seek to speed through some experiences, and slow down to savour others, one constant objective remains: to extract maximum value from every moment.” — trendwatching.com

There’s no doubt that these moments present the most optimal opportunities to reach audiences and to make an impact; however, we need to take this a step further: we need to execute work that demonstrates an understanding that each moment is so much more than a stepping stone to buying a product or take action, and rather a critical component in the overall consumer-brand experience.

Getting it right

L'Oréal YouCam MakeupL’Oréal is breaking ground in recognising shopping behaviour and complementing it with content that demonstrates a deep understanding of its audience. The brand’s makeup collections have been integrated in the AR beauty app, YouCam Makeup, which is now accessible to shoppers when browsing in-store. By recognising that shoppers stand in stores, looking for inspiration online and on social platforms, the app makes it possible to instantly discover inspiration and to navigate the range: creating an enhanced makeover experience and a seamless consumer journey simultaneously.

In the ever-demanding world that we live in, we need consumers to want to actually opt in to hearing what we have to say to them. As advertisers and marketers, we need to pause to connect with consumers in ways that go beyond reaching them at the right time and place. We need to ensure that what we have to say is not only engaging, but meaningful and relevant or we will miss the opportunity to make an impact.

If we want to be ready for those moments, we need to continually strive to leverage powerful insights and reinvent ways to create value for consumers. In so doing, we stand to create more meaningful and memorable journeys with our brands.

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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Ad of the Week: 1Life shows this is no goodbye

by Oresti Patricios (@orestaki) 1Life’s agency, House of Brave, once again presents an emotive story that touches on the essence of life (and death).

Life insurance is really about offsetting the consequences of death. It’s the question everyone asks at some point: If you die, how do your dependants carry on living without hardship? So it’s inevitable that talking about life insurance leads to thoughts about the day we ‘shuffle off this mortal coil’, to quote Shakespeare’s Hamlet (in the famous “To be, or not to be” speech).

Insurance in general is often described as a grudge purchase, and life insurance more so, because you are basically investing in the eventuality of your own demise, which, let’s face it, is not something most of us want to even think about. Often, life insurance is marketed with scare tactics: “If, God forbid, something should happen to you, what will happen to your family?” The negative message preys on people’s fears, rather than pointing to the positive benefits of the product.

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For those who can, and do, invest in life-insurance products, a more-positive motivation is that you are investing in the future, for the benefit of your dependants and descendants. 1Life takes this positive spin and tells an uplifting story with a cinematic commercial, created by House of Brave and Jono Hall of Darling. The ad takes the form of a ‘mini-movie’ story that transitions between the present and the past, from one person’s point-of-view.

The story starts with an elderly man arriving at a hospital. In voiceover we hear his voice as he thinks back on his life. “One day I will have to say goodbye…” he says, as he enters the hospital.

The scene transitions back in time, and we see him as a younger man in his place of work. “Goodbye to loyal friends and faithful companions,” he continues, as the younger version of the man climbs into a truck and greets his dog, who’s been waiting for him in the cabin.

The flashback montage reveals that the man is a truck driver who’s travelled throughout the country. He thinks of the things he will have to say ‘goodbye’ to: “To butter on hot toast … goodbye to the dreamers and the changers … goodbye to the teachers and the future-makers …” Throughout, we are treated to scenes from the man’s life as a trucker — eating at a truck-stop, waving at people at the side of the road, and looking at passing scenery across South Africa.

This is all intercut with shots of the older man as he finds his way through the hospital. The impression one gets is that maybe he is ill, and contemplating his imminent demise, given the nature of the narration.

The flashback sequence ends with him as the successful owner of a trucking company. Then, one day, he is opening letters and he gets a postcard with an English postage stamp. This is the link to the present day scene: the hospital he is walking through is in England.

Eventually he arrives at a ward, where a young woman is in the bed. His voice-over says, “One day I will have to say goodbye, but not today.” The man smiles as the woman greets him. Presumably this is his daughter or daughter-in-law, because she smiles proudly and lets him lift up the new-born child she has been holding. “Today, I say hello,” his voiceover says, “to all the future holds.”

He beams as he holds up the child and as the final line is heard, the text appears on the screen: “For all the future holds”. This is followed by the 1Life logo, and the byline, “Advice, planning, life.”

The cinematography and colour palette move between a cool blue palette, for the present day, to warmer tones for the past. The soundtrack is underscored with a simple ballad that has a familiar, nostalgic feel to it.

1Life and House of Brave have taken what could be quite a negative sell, and turned it on its head, with a positive message that encourages us to look beyond ourselves and consider the one thing we can leave behind — our legacy.

Great to see a life insurance advert that’s all about life!

Credits

Agency: House of Brave
Executive creative director: Vanessa Pearson
Strategists: Rob van Rooyen, Nicole Solarsh, Martjie Louw, Stefanus Nel
Copywriters: Stefanus Nel, Vanessa Pearson, Martjie Louw, Nicole Solarsh
Account management: Ewald Lombaard
Agency art director Martjie Louw
Agency producer: Saffron Doran
Art director/stylist: Keenan McAdam
Brand representative (client): Zamahlasela Gabela
Director of photography: Brendan Barnes
Film production company: Darling Films
Director: Jono Hall
Editor: Evy Katz
Music & sound composition: Hey Papa Legend
Performers: Emmanuel Mpanza, Norman Kone, Thandixolo Mpanyo
Post production: Left Post Production
Producer: Liz Dahl
Final mix: Lorens Persson, 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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The Real McCoy: Confidence vs arrogance in marketing, comms

by Sean McCoy (@TheRealMcCoyTRM) No cage-fighting mentality that excites boxing ring fans is likely to prevail in the team sport of business.

The psychology of sport is a well-researched and intriguing part of human performance. Whether it is the loneliness of the long-distance runner or the collective dynamic of an international rugby team, the complexities of human thinking, attitude and outlook are a critical part of both individual and team performance. The mental demands of staying ahead of the competition require extraordinary conditioning and capacity to deal with the pressures of game performance, media intervention, sponsors and the needs of fans — sometimes loyal to a fault and, at other times, brutal in their expectation of nothing short of victory, followed by yet another victory. In the words of the classic Nike campaign, “You don’t win Silver, you lose Gold.”

Confidence and arrogance

The debate around what constitutes confidence and what resembles arrogance will likely forever remain unresolved and the area gets grey in the world of sport. Watching the antics of footballer Cristiano Ronaldo as he celebrates yet another incredible goal is in stark contrast to witnessing tennis player Roger Federer hold up another Wimbledon trophy and breaking the male tournament record in the process. While the former is all showmanship and flamboyance, the latter is an expression of humility, groundedness and a clear statement of family values embedded in sports performance. Both are incredibly marketable sportsmen and have amassed wealth that often belies the reasonable person’s view of what is justifiable in terms of earnings. But which style is most appropriate or relevant?

Some individual sports border on the cusp of brash arrogance in order to survive. Take a look at the recent media briefing on the clash between boxers Floyd Mayweather and Connor McGregor, and it is clear showmanship of an extreme kind, as 11 000 people gathered at the media event alone to witness what some would regard as the barbaric sport of boxing, a modern-day version of two contenders in the 21st century Colosseum equivalent. Much like the legend Muhammed Ali, there is no modesty on display here. Contrast this again with our very own Branden Grace, who hails from George, breaking a golfing record for shooting a round of 62 at the British Open, as the first-ever golfer to do so at a major — oblivious to the fact at the time and shrouded in complete humility.

Whether you accept arrogance as necessary in the world of sport or not, the issue here is that sport success demands and rewards this in some cases, and a lot of fans thrive off the sheer contest, competition and raw talent on display. Style is in the hands of the individual and it appears as though there is room for both in the global sport arena.

Is business any different?

By its nature, business is a team sport and while it celebrates individual excellence, it demands a collective effort among talented and similarly motivated and confident individuals. The team is naturally much larger in most cases and a lot more complex in composition, but the confidence to engage, perform and stay ahead of the pack is equally relevant.

Individual leadership plays a critical role in this equation. As former Uber CEO Travis Kalanick may testify, arrogance and brash behaviour are not a winning formula and are unlikely to last as a sustainable solution, even among incredibly talented and visionary entrepreneurs. Steve Jobs was reportedly arrogant to an extent, or at least misunderstood by many and was a very difficult person to work with. That he achieved incredible innovation and results through people is beyond debate, and he clearly balanced any perceived arrogance with an amazing vision and eye for excellence.

South Africa has a significant list of entrepreneurs and business leaders who have done extremely well, with incredibly different styles. Sol Kerzner was tough to work for and arrogant, according to some, whereas Sipho Nkosi at Exxaro was one of the warmest and engaging executives you could hope to meet, in spite of significant wealth and a very senior role as a captain in the mining industry. In the state-owned space, Gill Marcus transitioned from Absa to the South African Reserve Bank with aplomb and her quietly strong disposition is sorely missed in the current fiscal environment.

Situational leadership prevails

In Johannesburg, Herman Mashaba has had to take a quantum step from the early background of humble-entrepreneur-turned-successful-businessman into the nasty world of politics and take some bold positions in the process. He doesn’t strike one as arrogant at all but he has clearly been required to make some unpopular statements in a tough political environment that requires balanced perspective and treading some challenging waters, as is so often the case in business, where myriad stakeholders with a spectrum of needs resemble the baying fans in demand of a victorious outcome.

Perhaps more telling in business is that one doesn’t easily reset the league or stage a rematch a few months later. Business, by its nature, carries far-reaching consequences and requires a steady hand.

There is clearly no-one-size-fits-all in either business, politics or sport. However, I would argue that, in the long run, talent and leadership that are humane, people-centric and modest will ultimately prevail. After all, life is too short to spend with someone preoccupied with only themselves and victory at all costs.

 

Sean McCoyDr Sean McCoy, MD and founding member of HKLM, is a prominent figure in the branding arena, with his expertise centered on client service, brand strategy and business development. He contributes the regular “The Real McCoy” column focusing upon internal branding to MarkLives.

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Shelf Life: #DontLetThemDisappear — elephant taken off Amarula label

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

  • Amarula and FCB Cape Town fight ivory trade
  • South Africa’s first craft-gin club: The Gin Box
  • eBay and MallforAfrica take Africa to the US

Amarula Trust leads global campaign

Advertisers say that it is often the simplest ideas which are the most powerful, and the new global campaign from the Amarula Trust, one of the leaders in the fight against ivory poaching, is a fitting example.

Amarula label without elephantThe African elephant is on the brink of disappearing, with one elephant killed every 15 minutes for its ivory, creating the very real possibility that the elephant could disappear by 2030. The Amarula Trust and WildlifeDirect in Kenya joined forces last year to raise awareness on the plight of the African elephant and a global #DontLetThemDisappear campaign was launched.

To illustrate this harsh reality, cream liqueur Amarula, in partnership with ad agency FCB Cape Town, has decided to remove the elephant from its label to illustrate the impact of ivory poaching to consumers. An online film released on YouTube in July also shows the reality of poaching and the “behind the scenes” story of how ivory gets to consumers.

Says Saramien Dekker, Amarula global brand development manager, “Amarula shares a close relationship with the African elephant — it’s not just our icon; we have always had a special bond with these magnificent creatures as the marula tree and its fruit contribute enormously to the well-being of the elephant and the very existence of Amarula. Removing the elephant from our logo signifies our commitment to the fight against ivory poaching and saving the African elephant from extinction. If we don’t raise awareness to stop the ivory trade, elephants will disappear — just like the one our label.”

Spearheading the campaign is Dr Paula Kahumbu, CEO of WildlifeDirect and renowned global expert in the field of elephant conservation, who will visit SA in September.

amarula.com • Facebook • Twitter
fcb.com/location/cape-town • Facebook • Twitter • Ramify

 

Gin fever

While SA has certainly caught gin fever, it might come as a surprise that there are now more than 75 local gin brands being produced by 50 local gin distillers dotted around the country. This is the background for the launch of SA’s first craft gin club, The Gin Box.

The Gin BoxGlobal growth of gin has increased year on year, accelerating dramatically for the past three years, with new consumers and product innovation the driving forces behind the sector’s international success. SA has the benefit of a massively diverse flora that provides botanical ingredients unlike anywhere else in the world, rooibos and fynbos being among two of the most common examples. This, together with a local appetite for entrepreneurship, has seen many distilleries popping up, crafting often adventurous, small batch gins to satisfy any palate.

Says Jean Buckham, founder of The Gin Box, “Gin has long been enjoyed in South Africa and, for decades, we have been drinking many imported British gins, because, up until recently, we had never really ‘South Africanised’ it. In addition, it had always been drunk with a simple tonic, but it could be adapted and made more original by adding hints of flavour, garnishes like pomegranates or rosemary, through to even changing the colour of the gin.”

Members of The Gin Box will receive, on a monthly, bi-monthly, quarterly or ad hoc basis, a box showcasing a small batch craft gin with unique tonics that accompany the gin and handpicked gourmet food items that complement the taste journey of the month.

theginbox.co.za • Facebook • Twitter

 

eBay for Africa

Global commerce player, eBay, and MallforAfrica, an African global e-commerce and m-commerce platform, have announced a strategic partnership to further boost the sale of handmade African products into US.

eBay powered by MallForAfrica

 

MallforAfrica and eBay will now provide Africans, starting with Nigeria, Kenya, Ghana, South Africa and Rwanda, with a new platform to sell their one-of-a-kind artisan products. The inventory will be showcased on the MallforAfrica store on eBay.com, allowing sellers to expand their businesses and increase brand awareness. Product categories will include fashion, art and collectibles, jewellery, and clothing. Expansion into other categories and additional African countries should occur in upcoming months. To ensure quality, the Africa Made Product Standards (AMPS) has been created to provide consumers with the assurance that products meet an international standard in quality.

Says Chris Folayan, CEO of MallforAfrica, “As someone who grew up in Africa, became an entrepreneur, and who currently does business in Africa, I know first-hand the importance of cross-border trade and having the opportunity to expand a business internationally.”

Shipping partner DHL will be responsible for all shipping needs.

mallforafrica.com • Facebook • Twitter
ebayinc.com • 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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Big Q CMOs: Is there any more room in the C-suite?

by MarkLives (@marklives) Is there a new C-suite executive on the horizon? Is it time to redefine the role of the CMO, possibly by agreeing that the roles of CMO and CTO are aligning and need some level of collaboration? And can this result in more-effective growth strategies for organisations? We asked a panel of key industry executives for their take. Next up are Wendy Bergsteedt of Coronation Fund Managers, Yegs Ramiah of Sanlam and Glenn Gillis of Sea Monster.

Once tasked with managing communications and brand, the modern CMO’s role has been expanding to include technology, data and impact (ie sales and the bottom line). Where this is not the case, anecdotal evidence suggests shorter tenures, and a loss of prominence and clout at board level.

Wendy Bergsteedt

Wendy BergsteedtWendy Bergsteedt (@wendalux) is group head of marketing at Coronation Fund Managers, following a 16-year tenure across the advertising and financial services industry.

Is there any more room in the C-suite? It’s predictable to expect new titles being thrown into the mix in an attempt to ensure business relevance in relation to the ever-changing consumer landscape. The constant add-ons create a crowded house and makes agility very difficult. chief technology officer, chief cloud officer, chief security officer, chief information officer, chief marketing officer, chief risk officer… too many chiefs, perhaps?

In the digital age, our biggest differentiator will be agility in decision-making and in our rapid responses to consumer behavioural changes. The latest role addition to the C-suite, the chief digital officer (CDO), is meant to map a clear path to business digitisation and is also referred to as the ‘transformation chief’ in many global organisations.

The typical approach to digital transformation kicks off with grandiose goals of becoming a digital businesses overnight, often forcing an unnatural evolution in organizations, postulating that everyone becomes a digital genius in record time. Ironically, the best evolutions take place when there are less people involved in decision-making, with a clear relation between digital tech and the organisation’s plans.

Technology should be seen as an enabler of strategy, rather than the strategy itself, so growing the C-suite may not be the answer for everyone. Instead of an obsessive focus on driving technological advancement, we should be setting our gaze on achieving our own unique strategic digital objectives. Our own unique focus will ultimately drive the evolution of marketing and C-suite roles, which may not resemble the status quo but can efficiently deliver to organic digital growth. Objectives that span across acquisition drives, entry into new markets, seamless customer journey development or driving business efficiency will each demand a different approach to structure.

Whether it’s the CMO or CIO spearheading the digital evolution, the focus should remain on the holistic technology ecosystem and how data, consumer insights, research and distribution feed the bigger business agenda. Our ultimate goal as marketers should be to drive a collaborative approach with existing stakeholders.

 

Yegs Ramiah

Yegs RamiahYegs Ramiah joined the Sanlam team at the end of 2012 as chief executive of Sanlam Brand. Yegs is responsible for group brand, corporate affairs, marketing and communications at Sanlam.

In my view, the shift in the role of the CMO is real. There is more consolidation and integration of roles within marketing and technology. Savvy organisations understand it’s not the business structure that counts but rather an evolving proposition to clients. Clients need to have a voice at ‘the exco table’ and it’s the responsibility of the CMO to ensure that they’re at the centre of all discussions and decisions.

I believe technology is essential but not a differentiator. Marketing will always be about connecting with people. Clients want the option to talk to someone when they chose to, as well as the option of using tech, so understanding clients and addressing their needs appropriately is what is key. Clients don’t differentiate, for instance, between a tech company and a financial company; they expect the same levels of service, irrespective of who they deal with.

Marketing has to lead the organisation to be responsible, to help change consumer behavior and help clients to make the right choices. We need to understand the role we need to play in their lives and do exactly that. Growth will come from us analysing big data, gaining real insights and being relevant in the client’s life by offering a better client experience. And this comes from understanding our evolving role.

 

Glenn Gillis

Glenn GillisGlenn Gillis is CEO of Sea Monster, which specialises in 2D animation and the development of engaging games for work or play. Glenn’s passion and experience lie in the creative industries; in serious gaming, and animation; and in the building of international knowledge-intensive businesses.

For me, marketing has always been about the total customer experience and the total value proposition that exists between communities, users, customers and the organisations themselves.

If marketing is under pressure, it’s because it too narrowly defined its own purpose in the world. If you go back to basics, it’s not about data, it’s not about any of these new-fangled terms; it’s still about the same thing and that is who your user is, how you are creating value for them, how they are finding ways to connect with the organisation.

So, yes, we were lucky as marketers because we could use advertising exclusively, and then did we get lazy? Did we forget that we properly need to measure returnable investment and that a lot of the models that underpin advertising and effectiveness are no longer valid?

So, if your CIO is eating your data for breakfast, then you only have yourself to blame because true strategy has always been driven by measurement, both quantitative and qualitative measures.

I don’t think there’s a new C-suite member; I think the answer is a marketer who’s gone back to their original purpose of what marketing is actually about, not simply communications and one-way communication. In many organisations, marketing departments have become marketing service departments; they misunderstand the nature of the word “strategy”, which is a long, clear process that ultimately drives values.

Go back to the four basic Ps: what are they doing about price, place and product? They’ve not run towards those holistic offerings but have just been focusing on the promotion element, and that is a marketing services business.

See also

 

MarkLives logoLaunched in 2016, “The Big Q” is a regular column on MarkLives in which we ask key industry execs for their thoughts on relevant issues facing the ad industry. If you’d like to be part of our pool of potential panellists, please contact editor Herman Manson via email (2mark at marklives dot com) or Twitter (@marklives). Suggestions for questions are also welcomed.

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Cheri Yase Kasi — ubuntu in action

by Kim Penstone. Almost every new agency that opens its doors wants to shake things up. The rallying call is for change, the aim to break free from the bonds of ‘how it’s always been done’. Think different, be different, do different. But very few actually do. Enter Cheri Yase Kasi, which directly translates as “the girl from the township”, now based in Morningside, Johannesburg, which is determined to break the old mould.

The cracks are already showing.

Cheri Yase Kasi directors
Cheri Yase Kasi directors: Sunshine Shimabo, founding director; Mandla Mazibuko, ECD; and Tumi Mohube, strategy director.

Doing it herself

Founded in July 2015, this independent black-owned and -run agency started its life as a one-woman show, starring the aptly named Sunshine Shibambo. Fresh from the corporate world of SAB, and disillusioned by the wider marketing industry’s continued lack of insight into the black consumer market, she decided that, if she wanted to make a change, there was only one sure-fire way to do it — herself. “I resigned on my birthday and started the business one month later, on the couch, with a laptop and a cellphone and a car,” she says.

Six months later, having secured contracts with the likes of Ndalo Media, Unilever partner Jalibird, and Tiger Brands’ Fattis and Monis, she hired her first employee, Meredith Jones — who actually approached Shibambo and offered her services, having heard about her via the industry grapevine and believing that this ‘girl from the township’ had the potential to make a real difference in an industry that remains dominated by white, upper-class men (and some women).

You need to meet Shibambo in person to understand the magnitude of her ‘sunny’ personality and her ability to inspire and enthuse the people around her while simultaneously making them feel part of something that is bigger than the sum of what they do.

360 approach

Although Cheri Yase Kasi started out specialising in the events, experiential and social trending fields, where Shibambo had developed an impressive reputation, it soon became apparent to her that her clients needed a more 360-degree approach, and she was determined to provide. Shibambo’s two business partners, Tumi Mohube and Mandla Mazibuko, followed closely thereafter, when Cheri Yase Kasi — much to everyone’s surprise — won the Castle Lite contract.

“I knew by then that I needed people who were brave, who could tackle anything in the marketing and media world, who had worked in the corporate and advertising world and understood how it operates, but who were also prepared to do what it takes to go it alone,” Shibambo says. “While the three of us had never worked together before, our work lives had always interlinked. They were an obvious choice.”

Mohube, who honed her marketing skills over eight years at SAB working on brands including Castle Milk Stout and Peroni, took on the role of strategy director at Cheri Yase Kasi; while Mazibuko, who has 15 years’ experience in the advertising world, most notably as creative group head at Jupiter Drawing Room, wears the hat of creative director. Mazibuko is the only exception to the woman-only rule in the agency.

Big plans

Incredibly, Shibambo admits to not knowing what she wanted to achieve, at first. There was no business plan, no big audacious goal. But that has changed, and the agency that is emerging from the dreams of this township trio has solid beliefs and big plans. Part of this clarity may be attributed to the agency being selected alongside nine other SAB suppliers for a pilot three-month incubation programme, which has seen AB Inbev invest over R1m in support, not to mention the mentoring, and coaching from some of the country’s top marketing minds.

“As an industry, we are seasons behind,” says Mazibuko. “This is Africa. Why do we follow European and American rules? We need to speak African, do African, be African. It’s time for change.”

Mohube elaborates: “The bigger, established agencies are driven by seasoned creative directors, who obviously bring with them huge experience. But the stark reality is that these (mostly) white men are out of touch with the marketplace. They simply don’t understand the audience; the demographics, the cultures, the sub-cultures.”

Age-old marketing conundrum

It’s South Africa’s age-old marketing conundrum. Do you have to have lived a while or walked a mile in your consumers’ shoes, in order to understand them? Can a 50-year old white, male creative director who has lived his whole life in Constantia ever create communication that really speaks to an 18-year-old black kid born and bred on the streets of Soweto?

Isn’t that what consumer research is for? Or are the gaps in this country just too big to bridge with an online questionnaire?

Cheri Yase Kasi believes that it has a built-in advantage because it instinctively understands the audience — its cultures and subcultures and communities; the languages and slang; the customs and conventions; the family structures and substructures; the frustrations and confusions of living dual lives in and out of the townships and suburbs; the struggle to make it, and the pressure to make it all worthwhile… The agency also believes that there is only one way to redress this lack of understanding — and that’s to bring more black skin into the game. It has a policy to only work with black, predominantly female, suppliers.

“The only way to empower people is to give them the opportunity”

Many may balk at this. But Shibambo stands firm: “I know how hard it is to make it in this industry, as a black person. To overcome the preconceptions that I’ve only made it this far because of the colour of my skin, not the quality of my work. To ensure that I’m always, always on time, so that no one can make jokes about operating on African time. I also know how hard it is to make it as a woman, in a male-dominated environment, where you often have to work twice as hard to earn half as much. The only way to empower people is to give them the opportunity. To turn them on. We have been fortunate enough to have been given that opportunity, and we are committed to using this opportunity to open doors for others.”

Interestingly, other agencies have started using Cheri Yase Kasi to vet new suppliers trying to break into the industry. So the strategy is working.

Mohube adds that it’s also not only about supporting fledgling companies, but also communities: “We are here, not only because we are brave, but because we had others behind us, supporting us. So we believe it is important to support these people, too.”

Ubuntu in action

Both Mohale and Shibambo moved back when they started up. Their mothers even helped them cover staff salaries, when cash flow couldn’t cope. In fact, the entire agency’s families have been roped in at some stage or other. “We pull in moms and their church friends to help us pack goodie bags. We employ pensioners, which gives them a sense of pride. Third-year students get some work experience. Township kids get a little extra cash. And sometimes a first glimpse of what’s possible for a kid from the township.”

It sounds like ubuntu in action. A truly African way of operating.

Shibambo concludes, “A big part of my dream has become to improve the lives of people around me, whether directly by turning them on or giving them a foot in the door, or indirectly just by showing them that it can be done. Anyone can change the world, even this Cheri Yase Kasi.”

It’s an agency worth watching.

 

Kim PenstoneKim Penstone is a freelance journalist, specialising in marketing, media and advertising. Over the past 15 years, she has worked for a variety of leading marketing industry publications, including Marketing Mix, Marketingweb and Brand Magazine, and in her freelance capacity contributes regularly to specialist titles, such as Brands & Branding, AdFocus and MarkLives. She has recently started a blog, www.runlikeamom.co.za, which is completely unrelated to the marketing industry.

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

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

BRCSA TV Ratings July 2017 primetime e.tv

Source: BRCSA July 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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Cover Stories: Thoughtfulness in design (25 August 2017)

by Shane de Lange (@shanenilfunct) In honor of diversity, expression and freedom, this week’s Cover Stories seeks to erode political tyranny, voracity and dictatorship, specifically the brand that was exhibited by North American president, Donald Trump, recently. Attempting to embrace those creative efforts that revolt against any form of ignorance, oppression and totalitarianism, we include two iconic publications which showcase design perspectives and approaches in protest against any embargo placed upon free thought and critical thinking.

  • Destiny (Heritage Issue) — print
  • Eye Magazine — print
  • Mark Magazine — online/print
  • Sniffin’ Glue — iconic
  • Staffrider — iconic
  • The New Yorker, Time, The Economist — print

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

Destiny (South Africa), Heritage Issue, August/September 2017

Destiny, Heritage Issue, August-September 2017 - Esther Mahlangu

As a high-end magazine catering to a predominantly female market, Destiny couldn’t have chosen a better ‘cover girl’ for its latest issue, setting a new standard for pluralism in the publishing industry. Deeply rooted within Ndebele culture, South African artist Esther Mahlangu is a picture of gracefulness. Sadly, not as well-known locally as she is abroad, Mahlangu is perhaps most-popular for her ‘art car’ commissioned by BMW, which formed part of a limited series alongside other huge names such as Andy Warhol, David Hockney and Frank Stella. She wears her traditional attire with dignity, showing that this gogo lives and breathes her heritage. Highlighting this cultural icon on the cover is a radical way to celebrate the end of Women’s Month in SA; themed the Heritage Issue, kudos must go out to the editorial team for having the vision to make this cover happen — a respectful sentiment in support of cultural diversity, representation and identity.

 

The New Yorker (US), 28 August 2017
TIME (US), 28 August 2017
The Economist (US), 19–25 August 2017

Trump officially blows, after more than a week of public outcry related to his delay and inaction towards the Charlottesville attacks. After a lengthy bout of silence, his dismal pushback placed equal blame on counter-protestors for the concerning events that were clearly caused by a white supremacist rally, suggesting the president’s support for the far right in the US. In the wake of these events, further emphasising his perceived sympathy for the American far right, Trump tweeted the importance of the statues that honor Confederate leaders, which are the root cause of these attacks. This follows a previous week of warmongering against North Korea.

Trump has an uncanny inability to hold back, unscripted. His lackluster response towards the Charlottesville rally is succinctly portrayed in three covers that went viral over the past 10 days, each depicting the president in some way related to white supremacy, on the precipice of quasi-imperialism. The cover for the New Yorker, titled “Blowhard”, illustrated by David Plunkert, is particularly noteworthy in this regard. Representing Trump as an inept lone sailor blowing into the punctured and tattered white sails, resembling a Ku Klux Klan mask, of a flimsy black raft navigating his morally barren, ethically devoid social, political and economic seas.

With all the physical and psychological divisions in America now chillingly apparent, these covers capture a pivotal moment in history.

 

Eye Magazine (UK) #94, volume 24, 2017

Speaking in terms of diversity and expression, variety being the proverbial spice of life, Eye is a graphic design journal tailored for critically informed visual culture junkies, taking the notion of multiplicity and pluralism to the next level in its 94th issue. Paul McNeil and Hamish Muir of MuirMcNeil studio were commissioned to create 8 000 distinctive covers. To this end, the studio created 10 ‘seed’ files, each containing iterations of letterforms drawn from the word ‘eye’, with fixed increments in three layers, each set in a variation of MuirMcNeil’s TwoPoint or TwoPlus typeface systems. Recalling Dietmar Winkler’s classic 1969 poster design for an MIT computer programming course, each layer is displaced laterally and spaced proportionately using letter spacing and typesetting traditions. Printed digitally on an Indigo 10000 press, these covers depend on HP Mosaic software, which allows for variable data printing that resizes, rotates and alters the colour of the artwork, based on the 10 ‘seed’ files, and finally cropped it to make a diverse amount of final cover designs.

 

Online

Mark Magazine

As a Futurist bi-monthly architecture magazine, Mark is noted for thwarting convention and eroding conservatism, specifically in the context of the built environment. The latest issue reminds one of Mess-Mend (1923), a classic cover design by Russian artist and designer, Alexandre Rodchenko, who was one of the original founders of the Russian Constructivist movement. True to the revolutionary nature of Constructivist design traditions, the use of layout, photography and typography supports a well-contextualised aesthetic and ethical template. The magazine is particularly successful at creating synergy between its print and online iterations with a masthead that speaks in an architectural tone of voice, beautifully designed, standing strong on both the top-third of the printed cover, and above the fold on the landing page of the website — consistently implementing clear design and art direction across multiple platforms.

 

Iconic

Staffrider (South Africa), Volume 1, Issue 1, 1978

Staffrider, volume 1 no 1, March 1978

Taking its name from township slang describing the manner in which black youths travel on overcrowded trains, either situated on roofs or hanging from the sides of carriages, Staffrider is an iconic South African cultural magazine. With its daredevil approach, Staffrider focused predominantly on black writing and art in SA. From its base in Johannesburg, publishing between 1978 and 1993, the magazine took an anti-apartheid stance, expressing black culture and history through poetry, short stories, art, graphics and photography; all situated outside the institutionalised norms of the apartheid regime. Challenging establishment and censorship, Staffrider advocated non-racialism, written in English as opposed to Afrikaans; it was a soapbox for black creatives who could easily have been overlooked by racially biased publishers, constructing a relevant voice in protest against racial and cultural segregation and oppression.

 

Sniffin’ Glue #1 (UK, 1976)

Deriving its name from a song by the Ramones called “Now I Wanna Sniff Some Glue”, Sniffin’ Glue and Other Rock ‘N’ Roll Habits was a subversive monthly punk zine first published in 1976. Commonly referred to as Sniffin’ Glue, this fanzine stands as an important historical reference for the original punk movement in the UK during the late ’70s, canonised by the famous cover for the “God Save the Queen” 7” by the Sex Pistols. At the time, punk was too underground and anti-establishment to attract much attention from the mainstream press. Fanzines, following a resourceful DIY anti-aesthetic, were often the only sources of information about the movement, specifically, the bands that contributed to the movement who often burnt out as quickly as they started. Printed using the crude Xerox machines of the time and quickly staple bound, Sniffen’ Glue is often referred to as the Bible of British Punk. Short-lived, embodying the spirit of punk, this zine was only published for about a year but, nonetheless, became a pivotal record for one of the most-prolific anti-establishment movements in history.

With headlines written in thick felt-tip pen — a quirk that was later appropriated by the contemporary Metal Band System of a Down on the cover to its 2002 album “Steal This Album” — Sniffin’ Glue stayed true to its rebellious roots and anarchic personality. The publication barely had any semblance of writing skill or journalistic talent, with grammatical errors, poor spelling, random, almost non-existent layout, and littered with slang and swearwords on every spread. All this gave Sniffin’ Glue its immediacy and urgency, effectively displaying the zeitgeist of poor, low-income, blue-collar youths in Britain at the time. The original approach and language of this publication disproves the misconception that links punk to white supremacy. Doing so would be a shallow and superficial reading to say the least. If anything, extreme right-wing movements are far too conservative to digest the levels of critical thinking and free thought that Sniffin’ Glue advocated. Punk challenged social norms with efforts, once seen as taboo, which could rather be seen a possible remedy to the established, destructive and corrupt power structures that are dominant today.

 

 

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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Brand Culture: Intertextuality in a modern world

by DK Badenhorst (@BrandCultureSA) Symbols don’t have meaning on their own. Consider simply a mark on a wall. A simple scrape that maybe stands out more than the next. It is difficult to see it as something that is meaningful, which is why it is, in the first place, difficult to see, even as a symbol. There is no real meaning behind it. From the indexical point of view, we may say that this is a symbol of a piece of steel passing against the wall but, other than that, it’s not a real trace of anything. When this scrape, however, is recognisable to the point that you would know if you saw it somewhere else, it becomes interesting.

If you then see it in a different context, your brain starts to look for a pattern. You look at the surroundings and start scouting for other markers in order to figure out what the pattern is. The context of the one somehow influences the other.

Intertextuality in its formal sense refers to how one text influences another. That is to say, when one piece of text reappears somewhere else and brings its meaning with it. They reference each other in order to build richer meaning. I like to stretch this definition to a more abstract place that stands beyond simply referencing texts. If we step beyond it, we may see how text is simply one way in which we communicate meaning, orientate ourselves and, ultimately, believe things. How this eventually ends up as belief structures is an interesting process but, for now, I’d like to focus on the coming and going between intertextuality and creating new meaning.

adidas Originals

Advertising leverages this a lot as it is often a small piece of communication that has to land a lot of meaning. It’s therefore useful to reference other pieces of communication in order to get more messaging into a smaller space. One commercial that’s done a great job in recent months is the first adidas Originals commercial.

I’ve written about this TVC before and noted how the ad that adidas made was a more-accurate depiction of the brand when compared to what was essentially a crowdsourced piece. This is what we expected but, in terms of intertextuality, the lines are not as clear-cut. But, before we go further, let’s take another look at the commercial in question.

It is loaded with references and, from one point of view, there’s almost a sense of irony in the idea that it calls itself original. The commercial open on an ominous low tone before it reveals “My Way” by Frank Sinatra. From there on in, there are references to The Dude’s trip, the Birth of Venus and Harley Quinn. The commercial has an eerily nineties/noughties feel to it and, while it does not copy and paste, it certainly borrows from our collective past.

Intertextuality seems to be everywhere

Those who feel the ad deserves its awards will be irritated at this point. I’ve even dealt with this irritation in person as I tried to have discussions on this issue. For the record, then, I feel it’s almost worth stating that I also believe it deserves all its awards. It’s a beautifully made piece that sucks you into the world of adidas Originals. The point is also not to say that the commercial is the underbelly of creativity that tries to parade around as something cutting edge. The point, rather, is to ask: “What are we seeing here and why is this so popular today.”

This phenomenon is nothing new. We see it in media all the time, most notably in cinema. A face in Hollywood and a man with his sights on the highest office is Dwayne “The Rock” Johnson. Say of him what you will but there is no denying that his reputation is one that stretches far and wide. What is interesting is that his rapid rise is built on an ability to cantilever one strength to another. The movies he has been appearing in have also, to various degrees, been examples of sequels or reboots which, in turn, rely entirely on intertextual references.

Is this good or bad?

“Good” or “bad” are generally not terms that I like to use. “Does it work or not?” is more interesting. Does intertextuality work? Then we ask: What are we trying to do. Last year Scenario magazine published an article that looked at how we view the future and the fundamental shift we see is that we no longer see it as a bright place we are all heading to but, rather, as a disaster coming at us. This shift is fundamental as it takes us from the explorative- to a victim-space. We’re no longer the agents of change; instead we’re the victims of previous generations.

So, while Hollywood might feel it is a sure bet to simply remake old movies (that is the common explanation), I find this unsatisfactory. I prefer the idea that culture is shifting at a deeper level and believe that this offers us a far better understanding of the future. Yes, it makes business sense to remake old movies but why is this true? You may just as easily argue that new fresh ideas would sell.

The answer might lie in the reassurance we find in cultural iconography of the past. Nostalgia has been known to have a positive effect on mental wellbeing — an assumption that supports the more-psychoanalytic point of view that we need to know where we are from (or have culture) if we are going to be anyone at all.

Imagine the shift in our experience of the future as the difference between an excited group of explorers heading to discover the world to a group of explorers under attack from wild animals. The optimistic, the former, will carry with them what they need, and they will, in the process of discovery and amazement, shed more and more of what they are. They will embrace the learning and change who they are. The latter will, however hoard, hold on to who they are and almost take stock of what they are and what they can do to defend themselves.

The world is hoarding

In cultural terms, it feels as if the world is hoarding — which means that intertextuality makes more sense. It also takes us out of that boring old rut that simply says “they don’t make music like they used to”. T2 Trainspotting, while a sequel, takes a look at what we’ve been doing for two decades. Baywatch (2017), silly as it is, also has different stereotypes in it and gives the piece the comical context it deserves.

Bringing up old symbols and memorabilia from the past is in itself an old trope; it is, in some sense, what a charm is. During difficult times, it reminds us where we are from so that we can move forward. Humans are cultural; if we’re not from somewhere, we’re no one. There is a sense of optimism in this. When the current economic and political road strikes us as bit divisive and, ultimately, destructive, it’s great to look back and say: “We are not doomed; we are not so different; we are The Dude, we are The Suicide Squad and we are Frank Sinatra doing things his way.”

Brands are cultural iconography, communication tools and almost a language in itself. Human society has shifted over millennia but the notion of marking ourselves is still here. Only, instead of paint stripes across our cheeks, we have The Three Stripes on our feet, down our legs and on our hats. It can divide or unify. Common culture or paradigm culture is a powerful and unifying force. If our current culture seems to be too fragmented, it might not be a bad idea for brands to look back to see what we were using to communicate when the future felt like a different place.

 

DK BadenhorstDK Badenhorst (@BrandCultureSA) is head of strategy at Cape Town ad agency, 140BBDO, and brings cultural context and long-term trend insights to brand communication through cultural insight and semiotics. He contributes the monthly “Brand Culture” column, exploring the value and meaning interaction between brands and society, to MarkLives.com.

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Africa Dispatches: Macharia’s Afrofictionism reinvents Africa

by Charlie Mathews (@CharlesLeeZA) Powerful, arresting, and alive with colourful imagination, Osborne Macharia is a whirlwind disruption who forces people to confront and change their perceptions of Africa and Africans. A self-taught commercial artist based in Nairobi, Kenya, Macharia calls his style of photography “Afrofictionism”.

Macharia explains that Afrofictionism is an independent, narrative style of photography that highlights three key principles —culture, fiction and identity — which he uses to blur the borders of reality and fantasy through the medium of storytelling: “Afrofictionism creates a powerful platform to convey important messages on topics like gender abuse, ivory poaching, FGM [female genital mutilation], albinism, dwarfism, minority groups and care for the elderly.”

Africa Dispatches caught up with Macharia to find out more about who he is, how he got to where he is today, and what advice he has for other young creatives who want to change the world.

Africa Dispatches: Who are you?
Osborne Macharia: I am a storyteller and identity creator, born and based in Nairobi, Kenya, out to change how the world perceives Kenya and Africa in general, through this style of photography known as Afrofictionism.

https://www.instagram.com/p/BRLzx86Bo5F/?taken-by=osborne_macharia

https://www.instagram.com/p/BRbWCoAhsMR/?taken-by=osborne_macharia

AD: Why photography?
OM: I never paid attention to photography up until 2010 when I came across the work of photographer Joey Lawrence. I came across his series from Ethiopia and that just sparked a feeling in me that resonates with me till today. At first you set out shooting anything and everything until you get the urge to create your own style, which I set out to do, and this has stuck with me ever since.

AD: When you first started taking photographs, what was the experience like?
OM: The first moments were actually frustrating and confusing as I didn’t know what I was doing. I was teaching myself using tutorials and there never seemed to be a relation between what I was learning and the images I was producing. With time I learnt to take it a day at a time. My first camera was an entry-level DSLR: a Canon 1000D.

AD: How did you grow your skills?
OM: I am self-taught and my advice to anyone getting into photography is to explore and teach yourself the basics. In this age, everything you need is available online. Yes, there will come a time when you will begin to specialise and grow and need to learn the next step, and that is when you seek help through internship, mentorship and workshops. These early stages of self-exploration help in defining your style and creating your identity, as opposed to copying someone else’s style. Research, day and night.

AD: Why do you use photography to tell stories?
OM: There is so much negative stereotyping when it comes to this continent. Fiction has been my most-effective tool of changing that narrative. In my fantasy worlds, I’m able to create positive and uplifting perceptions without any limits and restrictions. I imagine a different world altogether. It’s interesting how, when peoplhttps://www.instagram.com/p/BRLzx86Bo5F/?taken-by=osborne_machariae discover that my work is fictional, they do not want to accept that, as they have already connected with the characters in a real-world setting. I do get a number of emails and calls from people across the world, asking how they can get in touch with the people in the photos. This shows that there is indeed a longing to see and hear something good coming out of the motherland.

https://www.instagram.com/p/BRLzpGMBrOF/?taken-by=osborne_macharia

https://www.instagram.com/p/BRbV7q0BQxK/?taken-by=osborne_macharia

AD: Tell us about your latest series, ‘Magadi’.
OM: When I was invited to come for Design Indaba, I felt it would be nice to launch a project in Cape Town. At that particular time I was going through my portfolio and I came across an image I took in 2011 of a model dressed in bright and vibrant print fabric holding a spear, and the idea of doing the same, using elderly women, came to mind.

The hardest part of all my projects is creating the story, but luckily for this one I cracked it that very day. I shared it with my mum concerning the angle of FGM [female genital mutilation] since at that time she was working for an NGO that advocates for an end to this act. She was excited. We started producing it and then launched it in Cape Town.

The women were really really happy. Most of these women live in informal settlements in various parts of Nairobi and the fact that we took them out of the city for two days and catered for their needs was such a joy to them. As with all my projects the best part is seeing the reactions of the subjects when they get to see their photos.

AD: How do you use computers to supplement your work?
OM: I use an iMac as a major part of my workflow. I grew up in the digital age and never got to shoot film so the ‘digital darkroom’ is what I know best. Knowing how to use editing software has become an integral part of any photographer’s workflow. This being said, overreliance on retouching as opposed to getting things right on camera has also become too common, especially in the advertising industry in Kenya. I’m a believer in getting 80% of your final image on camera and the touch ups in post.

https://www.instagram.com/p/BRLz0QEBb0V/?taken-by=osborne_macharia

https://www.instagram.com/p/BRbV_j8B507/?taken-by=osborne_macharia

AD: Do you see yourself as a change agent?
OM: I believe I am and so are other young photographers who are working very hard to change this perception. This is something I am passionate about and with time I would like to extend this by creating other stories in other parts of the continent.

AD: How has photography changed your life?
OM: It has been life-changing indeed. I studied architecture and I do not believe if I had gone ahead and practiced I would have been able to get feel the same impact that I do feel now. I’ve met many people and travelled to places I never imagined I would have.

AD: What role has the internet played in terms of getting your work noticed?
OM: A major role I have to say. It all started in 2014 when I created a body of work with my new style and posted it on Behance. I posted about six different works with the same style and my views on Behance rose from 6 000 to 250 000 views within six months in 2014. To me this was absolutely mind-blowing. Their reception was so positive that I knew I was on the right track. I began getting emails regarding work for hire and exhibitions in different parts of the world.

Definitely the digital space has changed how we showcase our work to the rest of the world. For anyone wanting to get noticed, style is everything. Create your voice through your style and anyone in the world will be able to hear it.

https://www.instagram.com/p/BRLzubRhE_4/?taken-by=osborne_macharia

https://www.instagram.com/p/BRbV9y9hOKB/?taken-by=osborne_macharia

AD: Who are you currently working with?
OM: I am currently on a three-month project with Coca Cola and am working on three personal projects that I want to release before the end of the year. (Macharia also uses creative teams for his work — see the credits for Magadi below.)

AD: What are the biggest challenges that you’ve overcome?
OM: I guess as of right now the biggest challenge that I have overcome has become my biggest strength — being a voice in a country and continent where nothing good is seen to come out from. We are always striving to get to the point where people can say ‘something good is happening in Kenya/Africa’ since the negative seems to outweigh the positive.

AD: Your biggest learnings?
OM: My biggest learning has been the power of collaboration. I work with some of the most-gifted professionals in this industry, right from the stylist/props master (Kevo Abbra), hair designers (Corrine and Richard) and makeup artist (Valary). These are individuals who are hungry to do good work and to enjoy the process while making it.

AD: The best advice anyone’s given you?
OM: Think global, act local.

Find Macharia at Behance and k63.studio.

Read more

Credits for Magadi

Photography: Osborne Macharia
Props/styling/production: Kevo Abbra
Styling assistant: Paul Kyalo
Makeup artist: Valary Mdeizi
Jewelry: Jackie Chirchir
Hair stylist: Richard Kinyua, Corrine Muthoni
Assistants: Victor Ndalo, Emmanuel Thuo

 

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, she is a contributing editor to MarkLives.com through her monthly “Africa Dispatches” column.

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