MarkLives #AdChamps of the Month [Feb 2020]

by Kyle de Waal & Morgan Botha. Welcome to #AdChamps, a new monthly column where two everyday humans (you would probably call us millennials in your client briefs), with a little help from the editors of MarkLives, celebrate the outliers and give their makers some feedback on what we think really works.

What is advertising? Often, to people of our generation, it’s an irritation, the price we pay for downloading a free game or watching another YouTube video. But, every now and again, something hits you straight between the eyes or fills you with a flood of emotion. These are the outliers, those special ads that connect and engage.


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Heal our women and we can heal our land

#AdChamp: Philisa Abafazi Bethu — 365 Days of Activism

These surprising outdoor ads take popular film posters but add a clever twist. The arresting inversion yields a powerful positioning with a compelling message about violence against women. Gender-based violence is a national crisis that affects us all — a social issue that’s reached a crisis point, and is brought to light daily in the news stories we read and fret over. Using culturally familiar film posters to grab the viewer’s attention is a powerful play; we believe this will impact on the psyche of most humans who might see these ads at a bus stop. These posters work because they engage humans on a devastating issue but in a way that’s palatable and accessible.

The 365 Days of Activism campaign aims to show people that this is an everyday issue. Nor is it something we can solve with one month a year of ‘awareness’. We need to be aware 24/7/365 and, if these posters don’t stop you in your tracks and make you really think about the state of violence against women in our country, then nothing will. It isn’t some far-off problem that you avoid watching on the news — it’s in your backyard, it’s happening on the street where you live, it’s happening to your daughter’s best friend. Stop and think about what you can do.

Rating

Thumbs up!  Thumbs up!

Credits

Ad agency: Hero
Brand: Philisa Abafazi Bethu (Heal Our Women)
Executive creative director: Jabulani Sigege
Creative director: Liam Booysen
Art directors: Lutho Baba, Liam Booysen
Copywriters: Tawfeeq Galant, Thato Tiido Mogale, Yusraa Abrahams
Strategist: Luke de Wet
Production manager: Imraan Abader
Client service/managing director: Amanda Lambe
Client: Lucinda Evans</span

‘It’s life, Jim, but not as you know it’

#AdChamp: Capitec — Livin’ It Up game

Capitec - Sea Monster - Livin' It Up screengrabThis adorable animated short ad that we found on the Google Play Store, for a new game that was released by Capitec last year, is a “game-changer”. It’s more than a game; it’s a clever tool to show people the importance of saving money. The takeaway? Be intelligent and use your capital wisely.

It’s great when a bank tries to bring fun into the equation, so big ups to Capitec for helping people like us get cash-clever. This ad positions Capitec as trustworthy and dependable; let’s face it, when the taxman arrives, we’re all going to want a bank that knows money.

However, the game itself is a genius ad. Capitec uses the medium of a fun and easy-to-understand game to advertise its various services: the savings pocket, the incredibly cheap transfer fees (only R8), and that there are no transaction fees. You pick your character, your character’s savings goal, and then get to work taking your cheap flat from drab to fab while working hard (on mini-games) and achieving your savings goal.

Even if you just download this game for fun, after a few hours of playing, you will want to switch over to Capitec as soon as possible. Also, this game might be addictive…

Rating

Thumbs up!  Thumbs up!

Credits

Brand: Capitec
Conceptualisation: Daniele Joubert
Financial education head: Jean Rossouw
Financial education content writer: Sarah Basset
Marketing support: Andre Scheun, Matthew Smit
Animation studio: Sea Monster
CEO: Glenn Gillis
Executive creative director: Wynand Groenewald
Producer: Nicci Gowing
Game designer: Rodain Joubert
Art director: Lara de Groot
UI designers: Tegan Kelly, Simon Toua
Technical lead: Shane Marks
Backend developer: Johannes Ackermann
Developers: Jeffrey Rusch, Kelly McCarter, Ridho Jeftha
3D animator: Abigail Kwan
Animator: Chadley Muller
Community manager: Kaylin Carollisen
Data analyst: Tiaan van Zyl

Stay Alive. Don’t Drink & Drive

#AdChamp: Tops at Spar — A Drinking & Driving Aftertaste

Tops at Spar - TBWA\Hunt Lascaris - Aftertastes collageWe know that ads intended to modify social behaviour may be tough to watch, but changing society is important and Tops at Spar has made a series of mini-movies that should be compulsory viewing for all who partake of intoxicating beverages.

The first things we notice are the incredible design of the bottles in the short films, the haunting music and the clever copy. These ads hit home, hard — but the skilled crafters who made this ad didn’t opt for the obvious. No shock-inducing, explicit images here. Most people living in South Africa have driven past a horrific car crash (the kind that slows traffic to a crawl as people gawk out their windows) and most of us know someone who has been affected by a drunk driver. Instead, the point of this campaign is driven home using the power of the audience’s imagination. These ads demonstrate the awful outcome that drunk driving can have — grief, remorse, and eternal mourning — and everyone can identify with these emotions.

The question the campaign forces us to ask is: “Is drinking and driving worth the pain that you may have to live with for the rest of your life?” Heavy but done differently to the norm.

Rating

Thumbs up!  Thumbs up!

Credits

Brand: Tops at Spar
Project name: Aftertastes
Client contact: Mark Robinson, Jess Nicholson
Ad agency: TBWA\Hunt Lascaris Durban
Executive creative director: Alan Edgar
Creative director & copywriter: Marcelle du Plessis
Art directors: Jonathan Lavender, James Howse, James Lait, Darren Moore, Craig Murie, Daryn Mullet, Jason Gien
Designers: Mike Haakestad, Jonathan Lavender, Craig Murie
Label illustrators: Johann Strauss, Luke Richie, Linda Small
Art buyer: Cyndi Halvey
Production manager: Gina McCulloch
Producer: Heidi Rughubar
Account director: Robyn Buchanan
Brand strategist: Des Jones
PR agency: Magna Carta
PR director: Mary Gearing
PR specialist: Jene Godfrey
Production company: Motion at TBWA
Executive producer: Heidi Rughubar
Post-production VFX: Kunaal Hiraman
Editor: Kunaal Hiraman
Director: Marcelle du Plessis
Recording studio: Motion at TBWA
Sound engineer & sound design: Johan Prinsloo
Voice artists: Shamon Daniel, John Ellis, Jason Mayhew
Music tracks:
End of the World (Arthur Kent & Sylvia Dee)
Vocals: Shamon Daniel
You are my sunshine (Jimmy Davis & Charles Mitchell)
Vocals: John Ellis
Self-confidence. You got it!

The power of understanding

#AdChamp: King Price — Vendor

KIng Price - Freckle - VendaIf you haven’t seen this ad, watch it now for a good giggle (which is why we’re avoiding any plot spoilers).

King Price has a knack for making the terrifying reality of needing insurance accessible, easy to digest, and a whole lot of fun instead of frustrating, confusing, and downright scary sometimes. This ad uses humour to make getting insurance seem less of a chore, grudge or complexity by grabbing our attention and holding it until the end, when we see the brand name: King Price Insurance.

This new campaign is laugh-out-loud hilarious and shows that King Price gets what it’s like to be South African. (It’s learnt a trick or two from Nando’s, for sure!) The ad speaks to how easy it is for us to misunderstand each other and the cultural faux pas that makes living in this country so humanly lovely.

Well done, King Price, for making insurance accessible. For getting us and ensuring that, when it comes to insurance, there’s a brand we know we can feel safe with and understood. We all want our insurance needs to be taken care of, simply and smartly, with a brand we trust.

Rating

Thumbs up!  Thumbs up!

Credits

Brand: King Price Insurance
Ad title: Venda/vendor
Creative & production agency: Freckle
Account director, agency producer & director: Bouwer Bosch
Executive creative director, creative director, copywriter, director, editor & post-production: Bennie Fourie
Concept: Gerrie Cloete
Art director & production art director: Reg Hart
DOP: Brendan Barnes
Stills photographer: Ansu Visser
Music & sound design: Peach van Pletzen
Recording studio: Planet Awesome
Media planners: Xfacta

MarkLives logoWho are Kyle de Waal and Morgan Botha? We are two young-at-heart millennials trying with all our might to break the mould of the stereotypical ‘all millennials are the same…’ because — after all — we’re all just people. Together with the editors of MarkLives.com, we enjoy finding ads worth watching and talking about, and then showcasing them here in our new monthly MarkLives column, #AdChamps.

If you’re involved in making South African or African advertising that’s smart, funny and/or engaging, please let us know at adchamps@marklives.com.

Sign up now for the MarkLives newsletter, including Ramify.biz headlines, emailed every Monday, Wednesday and Friday!

#AgencyLeaders2019: Most-admired ad agency boss

by MarkLives (@marklives) For 2019, James Barty (@jbarts101) has been voted as most-admired ad agency boss in South Africa, with Mike Abel (@abelmike) as runner-up, by South African agency executives.


MarkLives logoEvery year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. These are the results for 2019 and this week we are running the following categories.


The most-admired agency boss

James Barty
Co-founder & CEO
King James Group SA

James BartyNow a four-time winner, James Barty is once again in the top spot, though he says that business highlights were harder for his agency to achieve in 2019. “While we had pockets of success across the group, overall we found business confidence to invest in marketing initiatives lagging previous years,” he says. “The two acquisitions we made, and our organic growth through our current relationships, [were] the best highlights.”

In line with its growth strategy, King James acquired 34° and Cedar SA last year “to effectively transition from a single agency, to an agency group with multiple aligned expertise, to ultimately an independent African network,” says Barty. On the one hand, “Cedar brings a world-class content marketing capability to the group, and dovetails very neatly into extending our current relationships and capabilities. Key to this is a growing internal marketing workstream, which has huge upside potential.”

34°, on the other hand, “adds the grit of passionate shopper marketing expertise to the group,” which Barty says is increasingly relevant to brands in highly competitive retail environments. The acquisition also offers an entry point into Kenya, with action planned for the first quarter of 2020.

On the creative side of things, Barty believes that agency continued to produce standout work, including its efforts for Sanlam, Santam and Corona. “However, our often less-profiled lead generation and performance work has delivered strong effective results where our clients need it most,” he adds.

To stay at the top of his game, Barty makes an effort to “remain a passionate student of whatever is happening in our sector, both locally and internationally”. He believes that this, coupled with a commitment to constant innovation, ensures that one is never settled with the status quo. “But, most importantly, to stay on top, surround yourself with the best talent,” he emphasises. Who, in this category, does he personally admire? That would be Xola Nouse and Sbu Sithole at The Odd Number (no stranger to this poll — ed-at-large].

— Profile by Carey Finn.

Previously: In 2018, it was Barty. Brett Morris, GCEO and GCCO of FCB Africa (now Nahana Communications Group), took top honours in 2017 and 2016. In 2015, Barty was our most-admired agency leader for SA. In 2014, Gareth Leck (see below) and Morris tied for joint honours. In 2013, it was Gavin Levinsohn, then MD of Ogilvy Cape Town. In 2012, our inaugural poll, it was Barty.

 

The runner-up

Mike Abel
Founding partner & CEO
M&C Saatchi Abel Group

Mike AbelFor Mike Abel, 2019 was a year that brought a number of high points — as well as challenges.

Abel names M&C Saatchi Abel’s involvement with the development and creation of the Nelson Mandela Tower of Light as a major highlight for him personally. “What I’ve loved about that is the power of the spirit of Madiba, and being involved in potentially creating something that could have global appeal, meaning and resonance — but is outside the realm of traditional advertising.”

Another standout moment was getting a Grand Prix at The Loeries for the agency’s commentary on the rise of “Afro-tising”, done for Nando’s. Later, at the Financial Mail AdFocus Awards, the agency won Partnership of the Year with Nando’s, as well as Large Agency of the Year.

Abel is also proud of the retail work M&C Saatchi Abel has done for Takealot over the past year, and says that the team has received positive feedback on its work with Nick Mallett for MWEB, too.

Winning Standard Bank was a huge victory for Abel and the agency, and he’s excited about the work to come: “Working on the pitch was a creative highlight for me,” he says. As part of this project, he was delighted to welcome Faheem Chaudhry back into the local fold; Chaudhry moved from M&C Saatchi London to take up the post of managing director at M&C Saatchi Abel JHB in mid-2019.

It was by no means an easy year, though, says Abel [the agency lost Heineken in mid-December last year — ed-at-large]. “It’s a brutal economy right now. We’ve never had the benefit of tailwinds, because we opened our company in 2010, so it’s kind of [been 10] years of dealing with the downturn of the economy, which is very challenging. So [we’re] trying to work very hard to create compelling solutions that deliver results for our clients, and running a company whereby you look after, recognise and reward talent — and invest in growth — when the economic situation is anything but that.”

A focus on problem identification and clarification becomes more important than ever in these trying times, says Abel, and this, together with the adoption of cost-efficient measures, is a strategy he recommends to stay ahead.

— Profile by Carey Finn.

Previously: In 2018, it was Gareth Leck, Joe Public United co-founder and CEO. In 2017, it was Alistair Mokoena, then Ogilvy & Mather South Africa CEO (shortly off to Google South Africa as country manager), and Barty. In 2016, it was Barty and, in 2015, Leck tied with Abel. In 2014, the runner-up was Barty. Leck was runner-up both in 2012 and 2013.

How the poll works

In late October 2019, we invited a panel of handpicked agency executives — in creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired companies and company leaders of various types of agencies. This year we conducted only a national poll, doing away with the two regional polls for Johannesburg and Cape Town. Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll and could choose not to apply these in tight races.

Note: Runner-up(s) are only named if they achieved a good nomination tally, relative to the winner’s position. Contenders are named if they stood out significantly above other nominees but weren’t able to close in on the winner’s tally. The Most Admired Agency of the Year is disqualified from the One to Watch category; votes cast in its favour in this category are discarded.

See also

 

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#DesignIndaba25: Adept killer of complacency

by MarkLives (@marklives) This year, Design Indaba celebrates its 25th edition. A panel of agency and media execs who’ve been regular attendees tackle: What impact has Design Indaba had on the thinking, attitude and leadership of agency and marketing creatives and executives? Has it evolved and inspired you to research new ways of doing and thinking? Has it changed how you perceive the industry? Have there been any personal highlights, and where should the event pivot next — what can it do to add meaning to the industry and to one personally? Next up in our #BigQ panel is Joe Public United‘s Leigh Tayler.

Leigh Tayler

Leigh TaylerLeigh Tayler (@LeighAnneTayler) is the strategy director at Joe Public United. During her career of more than 12 years, she’s worked in just about every imaginable category and has fostered a well-rounded and instinctual approach to strategic thinking that she applies at every level, from big brand concepts to last-mile moments of truth.

After 25 years of Design Indaba, I can only imagine how the event has grown, morphed and evolved, and I wish I could say I’ve been there from the start. Sadly, though, I’m a relative novice when it comes to this event, having only attended a couple of times (although I look forward to changing that in years to come).

Different angle

I also might be viewing this event from a somewhat different angle, as I am not a ‘creative’ in the traditional sense of the word — artist, film-maker, inventor, designer, art director, copywriter — but one in the more-liberal application of the word, for I am a creative strategist (a little oxymoronic for sure).

So, as a novice, and a ‘non-creative’, this event has blown my mind each time I have attended. The gift that Design Indaba has given me (and many others, I’m sure) may be summed up as: opened my eyes, mind and heart.

It has opened my eyes to a world of creativity that I’d never before considered or maybe even knew existed, expanding my interests beyond adland and, ultimately, broadening my mind to think beyond the traditional norms of advertising creativity. It has also opened my heart to the fact that there’s so much opportunity for creativity to solve real problems in the world, and that this isn’t a hypothesis but a truth that’s being lived by many creative individuals around the world.

It’s reminded me why I’ve been right to believe in the power of creativity, because its potential is immense and often underestimated.

As advertising professionals, I wonder if we don’t sometimes become stuck in our ways when it comes to creativity, what it looks like and its role is in the world; this is probably especially true of ‘non-creative’ advertising professionals — like strategists.

Affliction cure

Design Indaba will cure anyone of this affliction. You can’t help but leave the event feeling drunk on ideas and possibilities, optimistic that any problem (big or small) — can be solved — whether it’s Dr William Mapham, the ophthalmologist who developed an app (Vula) that connects specialist doctors to help rural people maintain their eyesight; Thomas Heatherwick and his architectural work that reimagines and repurposes that which already exists into structures that will live on for years to come; or Amna Elshandaweely, who’s leading the charge for African fashion activism and using fashion to create a social effect and fight injustice — and that sometimes things that seem outlandish or puerile may just be the norm of the future.

This event’s biggest impact on advertising, in my humble opinion, is felt in its ability to compel you to step away from that brief, that PowerPoint presentation, that advertising awards’ reel and seek inspiration outside your immediate field of creativity. To expand your horizons and look to architecture, art, tech, science, innovation, and all the types of design for stimuli to feed our thinking and problem-solving.

The more this event can showcase a diverse range of individuals, teams or companies who push the bounds of creative potential to its extremes, the more value it adds to adlanders like me who need to be shell-shocked out of complacency and our thinking ruts.

— MarkLives.com is a proud media supporter of Design Indaba 2020, taking place 26–28 February 2020 in Cape Town, South Africa. Book your tickets online for the main conference or the live simulcast to multiple cities around South Africa.

 

See also

 

MarkLives logoLaunched in 2016, “The Big Q” is a regular column on MarkLives in which we ask key advertising and marketing industry execs for their thoughts on relevant issues facing the industry. If you’d like to be part of our pool of 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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#AgencyLeaders2019: Most-admired creative leader

by MarkLives (@marklives) For 2019, Alistair King (@ALsparkles) has been voted as most-admired creative leader in South Africa, with Ahmed Tilly (@AhmedTilly) and Peter Khoury (@khourster) as joint runners-up, by South African agency executives.


MarkLives logoEvery year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. These are the results for 2019 and this week we are running the following categories.


The most-admired creative leader

Alistair King
Founding creative partner
King James Group SA

Alistair King“It’s been a massive personal year as well as a massive creative year for the agency, for a whole bunch of reasons. Firstly, the [Loeries] Hall of Fame was kind of a key moment in my life and an accumulation of all my years in advertising. Why I mention it is because, contextually, to have won it in a year in which we [were] still firing on all cylinders for me was quite significant. It felt like it wasn’t just a nudge to get out the business and it couldn’t have come at a better time,” says Alistair King, King James Group South Africa co-founder and CCO.

While the agency group has a plethora of industry awards under its belt, King admits that it doesn’t chase awards as a business but is at the mercy of clients. When the latter wish to make advertising, that’s when it gets to make advertising. It’s an ebb and flow, and 2019 was fortunately very busy for the group, says King, despite its fair share of challenges. According to him, probably the most-difficult project in the agency’s history was “A Whole New World” advert for Sanlam Investments. For the team, it was a matter of editing a film with footage not yet shot with music not yet chosen, and this particular journey created a lot of back and forth during client approval.

“It’s normally a very straightforward process. When you get to the editing stage, the ad either hits you or it doesn’t. Emotionally and instinctually, you know whether it’s working or not. We never had that process here until the very last day, when it all just came together. We all nearly cried,” he says.

That emotional and instinctive knowing King mentions comes with experience and, for him, it’s materialises as a flutter in his heart at concept stage. This is when he knows that an idea is good. When he truly knows it is when the anxiety and fear, of his client not going to buy it, hit — not because the idea is too brave for the client in question but because he won’t get to see the idea come to fruition.

According to King, it’s easy to talk about originality as a defining factor but, if it’s original and doesn’t really smack you with an emotive punch, it’s just not working. It’s unique but soulless. For him, the only way to cut through the clutter is to be larger than life — larger than people’s lives. You have to be so in order to be considered by your customers. He would rather have something move him emotionally than poke him intellectually.

— Profile by Sabrina Forbes.

Previously: King took the crown in 2018, 2017, 2016 and in 2015. Chris Gotz, previously Ogilvy & Mather SA CCO, won in 2014 and again in 2013. King took the vote in our inaugural poll in 2012.

 

The joint runners-up

Ahmed Tilly Peter Khoury

Ahmed Tilly
Chief creative officer
FCB Joburg

Peter Khoury
Chief creative officer
TBWA\Hunt\​Lascaris

Ahmed Tilly, FCB Joburg CCO, believes that creativity is more valuable now than ever before. He also believes that people tend to gravitate towards what they know, towards brands that make them feel safe, and towards messaging that make them actually feel something. He highlights the importance of branding by saying that his agency’s ultimate job is to create a specific feeling around a brand that triggers an emotional connection with a consumer, whatever that emotion might be. His job as a creative is to make people feel a certain way and, according to him, creating an emotional response is what creatives should be getting paid a lot of money for.

A large percentage of our purchasing comes from the heart and the gut, the two least-rational parts of any human. Tilly’s constant pursuit is to find the next big idea that is evocative enough to gain the attention of many and contagious enough to generate earned-media coverage. Today, he believes this goal is more exciting than it used to be, what with all the various platforms brands have at their fingertips to tell a story. A story can take multiple formats but communicate the same base message.

Big ideas are more than just advertising for him; they solve problems and, after many years at the creative helm, he believes that he’s exercised his intuitive muscles enough to know almost immediately when an idea is a good one: he gets nervous and excitement with a flutter of unmistakable butterflies in his stomach. This instinct, he says, lives inside the best creative people. It’s hard to learn and even harder to teach: “Intuition is a muscle but unfortunately creative instinct has been undervalued.”

He’s most proud of the Sunlight Since Since Laundry Bar campaign, one done in several South African languages, that speaks to the innate heritage of this bar of soap that almost every South African knows and has had an experience with. “I love that a bar of soap can mean so much to people,” he says. Other key pieces of work are Debonair’s Headless Pizza and Coca-Cola Phonetic Can.

Tilly’s advice to young creatives is to never lose that naivety because it’s in there that the magic sits; it’s in the small window that says “I can do anything and anything is possible.”

— Profile by Sabrina Forbes.

South Africa has much room for growth when it comes to creative communication, says Peter Khoury, TBWA\Hunt Lascaris CCO. While we’re good at storytelling, radio, and TV, he feels we’re lacking in 21st-century thinking: typically, we look at advertising as big idea/campaign/ execution but we should be looking to how first-world countries are packaging their communications. It’s more sophisticated, he says, and they’re getting to grips with categories we haven’t even started to look at.

For him, 21st-century thinking is that everything should be looked at in terms of platforms, formats, and versions. Platform are the communication spaces for your business activity; once you have them set, you then move onto formats. These are able to take on any form, not just campaign rollouts. Eg, a PR campaign can explode into a variety of different formats; it doesn’t have one place to be housed as it can be everywhere. Then, depending on the chosen platform, you create the versions; these are slightly tweaked and optimised pieces of content.

The agency strives to be the cultural engine for 21st-century businesses and its biggest challenge, says, is living up to this promise every day. An example is Breaking Ballet (#BreakingBallet), which won Gold at Clios, Loeries and Cannes Lions over the 2018/2019 awards season. There was no reference point to start with and the campaign changed as the team working on figuring it out right up until the final concept. Khoury believes this is creative thinking in its most-agile form and a good example of platform, format, and version. “Being a disruption company, it’s our mission to make sure we get there. This means taking your clients along with you on things you might not know how to solve, but you just try and experiment and learn,” he says.

Khoury says that the ECD role is evolving all the time. His main aim is to ensure that everyone in his department sit at the crossroads of challenge and support, saying he may challenge them to push past the benchmarks but, without support, this won’t work. The opposite is the same: you won’t grow with too much support.

Khoury’s mindset for 2020 — which he wants to filter throughout the agency and, by default, to his clients — is the balance between the-now-and-the-next. “You’ve got to be focusing on the now; that’s where your bread and butter is. It’s not an either/or decision. The now is the stuff you need to do today; the stuff your clients pay you for. When you live in the-now-and-the-next in a market place that’s changing [at] warp speed, you have to face the now minute-to-minute while the now is materialising simultaneously. It really is about the-now-and-the-next,” he says. For him, this is another 21st-century way of doing things.

— Profile by Sabrina Forbes.

Previously: In 2018, it was Xolisa Dyeshana, Joe Public United CCO. In 2017, it was Ahmed Tilly, FCB Africa joint CCO, and Sibusiso “Sbu” Sitole, The Odd Number co-founder and then creative director (now CCO). In 2016, it was Tilly. Graham Lang, then Y&R South Africa CCO, was our runner-up in 2015. In 2014, it was Pepe Marais, Joe Public founding partner and CCO. In 2013, it was Justin Gomes, FoxP2 ECD. Mike Schalit (Net#work BBDO South Africa), Chris Gotz (then Ogilvy Cape Town), Pete Case (then Gloo) and Tilly (then Black River FC) all tied as runners-up in our inaugural poll in 2012.

How the poll works

In late October 2019, we invited a panel of handpicked agency executives — in creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired companies and company leaders of various types of agencies. This year we conducted only a national poll, doing away with the two regional polls for Johannesburg and Cape Town. Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll and could choose not to apply these in tight races.

Note: Runner-up(s) are only named if they achieved a good nomination tally, relative to the winner’s position. Contenders are named if they stood out significantly above other nominees but weren’t able to close in on the winner’s tally. The Most Admired Agency of the Year is disqualified from the One to Watch category; votes cast in its favour in this category are discarded.

See also

 

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Brands & Branding: Consumer 2020

by Louise Burgers (@retailingafrica) When artist Madonna, at peak fame and disruption in the 1980s, sang about being a “Material Girl”, she was merely reflecting the conspicuous consumption that characterised that decade, notorious as the ‘decade of decadence’:

“‘Cause we are living in a material world
And I am a material girl
You know that we are living in a material world
And I am a material girl.”

This was the heady age, when brands told consumers what they wanted and how they wanted it. This ‘decade of greed’ and ‘age of indulgence’ was driven by the boom in the advertising industry worldwide, the global dominance of multinational brands and the rise of the mega-mall, promising to give consumers everything they didn’t know they needed under one roof.

It was a time of iconic campaigns that fuelled consumer aspirations — think of the Marlboro Man with his macho, adventurous lifestyle; or the iconic Mainstay brand entreaty to change to their brand or “stay as you are for the rest of your life”.

Advertising then was all about getting customers to change who they were, to convince them that they would be more desirable if they wore, drank, smoked, owned, drove a particular brand. How ironic then, that 30 years later, consumers are now telling brands to change their ways and embrace better values in order to become more desirable to an empowered, conscientised consumer, who is increasingly only supporting brands and business that embraces corporate social responsibility and does not harm our planet.

Poster child

The poster child for this new generation — your future consumer — is young Swedish climate-change activist Greta Thunberg, aged 16. Speaking to the global business elite in Davos, Switzerland, in January 2019, she said: “Some people, some companies, some decision-makers in particular, have known exactly what priceless values they have been sacrificing to continue making unimaginable amounts of money. And I think many of you here today belong to that group of people.”

This is Generation Z, and they are the ones that know they have to fix our planet and repair the eco, social and economic problems caused by the last 30–50 years of consumer over-indulgence. They will be actively seeking out brands and environments that support and contribute to finding solutions to solve these challenges.

They are brand-savvy, understand how they are being marketed to, how their data is being harvested and, most importantly, they are connected in a way no other generation has ever been — having grown up immersed in the digital world and with digital lives that far surpass anything most Generation Xers or the Baby Boomers running things, have ever experienced. Armed with these skills, they are empowered to behave in a way as to create the change they want to see in the world — from boycotting brands; calling out corporates that do wrong in their eyes; and amplifying every grievance or cause they have globally.

Purpose first, profit second

For the past few years, I have worked more on economic content from Africa, and the one big difference between innovation and new product and service development on the continent to the rest of the world is that often innovation occurs when individuals need to solve a problem within their communities: purpose comes first, profit second.

Over the past year I’ve been working with non-profits in Africa and, locally in South Africa, with one organisation which is working with young women entrepreneurs on the continent and another which is providing leadership skills to youth at grassroots level in the poorest areas in our country. It struck me that many of these young people I have interviewed and interacted with individually or through the research I’ve written up all want to make a difference in their communities, their country and the world. They have little concept of wealth as many of them have always been poor. Being ‘rich’ does not drive them; making a difference does.

Consumer expectations and purpose-driven marketing have to be at the heart of every major decision by brands and in the retail market today.

Key consumer trends

These are the key consumer trends to take cognisance of right now:

  • Balance and equilibrium are what consumers crave in a world seemingly gone mad. Forbes reports on research from Canvas8 that “people are seeking equilibrium in all aspects of their lives — between humans and technology, brand and personal, global and local”. They want experiences from brands and retailers that help them deal with their reality and make things better, not just escape from it.
  • Consumers want to align with brands that understand their ‘individual uniqueness’ and are inclusive of all gender, sexual orientation and ethnicity — rejecting brands that conform to stereotyping.
  • Responsible consumerism has gone mainstream and particularly younger consumers are actively seeking out brands that “help them make better, more responsible choices”, reports Forbes. This includes authenticity where brands or services help them make sense of fake news surrounding ethical product sourcing and ingredients. Put simply: consumers want brands that tell the truth and have ethics.
  • Social activism is nothing new among the youth, but this generation of Millennials and the younger Generation Z want to associate with brands that take an active stand on societal, environmental and moral issues. Trendwatching.com calls these “Legislative Brands”, where corporate interests use their global power to call for regulatory change to make the world a better place.
  • Mindful consumerism feeds into all these trends, as a return to local sourcing and manufacturing will be seen world-over, according to Global Influences’ business trends for 2020. This trend supports the narrative that, in a world where artificial intelligence and robotics will increase, humans will return to craftmanship, authenticity in products and their cultural roots.

What brands should do

And this is how marketers and retailers need to respond in 2020:

  • In order for brands and retailers to take the lead in the responsible consumerism being demanded by consumers, Forbes quotes Exploration Architecture director, Michael Pawlyn, as saying, “There’s an urgent need to shift from sustainable to a regenerative mindset, going beyond simply mitigating negatives to finding wholly positive ways of existing. Regenerative means having a net positive impact in a myriad different ways, like restoring ecosystems and making people live healthier, longer lives.” It’s all part of the circular economy.
  • The way we need to view food is also changing as healthy eating becomes important as ‘preventative medicine’, too. Consumers want to know what they are eating, what is in their food and where it comes from. And they don’t want it packaged in packaging that will harm the environment. This is a future that is more than giving up our plastic bags at the tills. We are reverting back to markets of old, it seems, where seasonal- and locally sourced produce was sold to consumers who knew exactly where it came from and brought along their own packaging. Already in South Africa, no-packaging stores and sans-packaging fresh0produce sections are being reintroduced.
  • Technology is also enabling the healthier indoors trend, where consumers take comfort in their home environments which are becoming increasingly comfortable with the help of technology, too, knowing that they can have anything they desire delivered to their doorstep at the touch of a button. Our ‘everything at the touch of a button’ society is having a major impact on ecommerce, with same-day service becoming essential.
  • Phygital retail — the convergence of digital and physical shopping — is complete, with retailing becoming more and more an exciting experience that consumers want to be part of. The theatre of shopping will play a bigger role in the future, combined with technology to create immersive shopping experiences that can be shared to create social capital. But make it real — that deep, emotional connection still needs to be present. This is also where augmented reality (AR) and virtual reality (VR) will be used to delight consumers, whether in store or online in AR for the web applications.

This final quote from Thunberg sums up what Generation Z and Generation Alpha, who will follow, want from their leaders, both political and in business: “It is still not too late to act. It will take a far-reaching vision, it will take courage, it will take fierce, fierce determination to act now, to lay the foundations where we may not know all the details about how to shape the ceiling. In other words, it will take cathedral thinking. I ask you to please wake up and make changes required possible.”

All organisations, especially brands, need to evaluate their impact on the environment, on society and culture in general, and how they interact with the communities they operate in, source raw materials from and how they serve their target consumers. Because they will come for you next if it is not in an ethical, transparent way that creates positive change and reduces consumer impact on the environment.

See also

 

Brands & Branding 2019 now available!
Brands & Branding 2019 now available!

Louise Burgers (previously Marsland) is the publisher and editor of RetailingAfrica.com (@retailingafrica), launched in partnership with MarkLives. Louise is a content strategist, editor, journalist and trend curator. She has worked in the FMCG retailing, media, marketing and advertising communications industry in South Africa and Africa, for 25 years as editor of iconic B2B publications such as AdVantage, Marketing Mix, Bizcommunity.com, Bizcommunity.Africa, Biz Trends and Progressive Retailing. She has an MA in strategy and is a passionate Afro-optimist.

The article first appeared in the 2019 edition of Brands & Branding in South Africa, an annual review from Affinity Publishing of all aspects of brand marketing. Find case-studies, profiles and brand news at Co.RetailingAfrica.com. Order your copy of the 25th annual edition now!

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New media portal for retailing, branding industry

by MarkLives (@marklives) Launching today, Monday, 3 February 2020, is Retailing Africa (@retailingafrica), a new B2B news site focusing on the retailing and consumer goods industry in South Africa and Africa, with Louise Burgers (formerly Marsland) as founding editor and publisher.

Burgers has launched and steered some of South Africa’s biggest media brands in the marketing, media, advertising and FMCG retailing industries. She holds an MA in strategy and was editor of various industry trade publications, including Bizcommunity.com and AdVantage, Marketing Mix and Progressive Retailing magazines.

Retailing Africa front pageJournalism & research-driven content

RetailingAfrica.com promises journalism and research-driven content, providing strongly independent, exclusive news, opinion and analysis on one of the fastest-growing and most-sophisticated business sectors in Africa. It will focus on retailers, brands and consumer insight across Africa, including the rise of ecommerce, m-commerce and the middle class, an infrastructure boom to aid logistics, the rapid adoption of technology, and much more. Industry sponsors already on board include Ogilvy South Africa, Apex Visibility, and DUKE.

Comments Burgers, “There has never been a better time to launch a journalism-driven retail-focused new media brand, with the Africa Continental Free Trade Agreement (AfCFTA) promising to be a gamechanger on the African continent over the coming new decade, bringing down trade barriers and creating the biggest trading block in the world. Retail is one of the fastest-transforming industries in the world and Africa has its own unique challenges and opportunities for brands and is, in fact, leading global innovation in many areas through necessity, such as m-commerce, financing and logistics, in particular.”

The new media brand is a partnership with media and marketing industry veteran and award-winning editor, Herman Manson, the founder of MarkLives.com. Manson and Burgers have been colleagues at different media brands for more than a decade; both believe that journalism-driven news is the most-trusted model for the media industry going forward to claw back the credibility of media in this era of ‘fake news’. The success of MarkLives.com is what has spurred them on to launch RetailingAfrica.com.

“Old-school”

“Our experience with MarkLives has proven that media projects practicing old-school journalism can achieve commercial success, contribute to the health of the broader industry it covers and do so in a commercially sustainable way, without compromising its promise of editorial independence to readers, or resorting to click-bait,” says Manson.

“Trade journalism has been left for dead by much of the media industry. We all thought the beat was dead. Now we know it’s not. Expect Retailing Africa to shake up the sector — it is here to disrupt the B2B media landscape. Initial feedback from sponsors and industry players have been overwhelmingly positive and we enter the market at a crucial and transformative time for retailing in Africa.”

As a sister site to MarkLives, Retailing Africa will be promoted to the MarkLives’ readership of 40 000 marketing and advertising agency executives.

 

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#AgencyLeaders2019: Most-admired media agency

by MarkLives (@marklivesFor 2019, The Mediashop (@MediaShopZA) has been voted as most-admired media agency in South Africa, with PHD Media South Africa (@phdsouthafrica) and TMI Collective (@tmicollective) [formerly The Media Image (TMI] as joint runners-up, by South African agency executives. This is the second year of this new category.


MarkLives logoEvery year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. These are the results for 2019 and this week we are running the following categories.


The most-admired media agency

The Mediashop

The MediaShop logoAdopting an intelligence-led strategy in response to the national economic downturn, The MediaShop began its evolution into an integrated marketing and communications agency in 2019, and plans to continue this in 2020. The goal is to be able to offer business solutions beyond media, informed by data and behavioural economics, says Kgaugelo Maphai, The MediaShop Johannesburg MD.

The changes The MediaShop is making have been well-received by clients so far, he says. Reporting gross billings of over R5bn last year, with growth of just over 9% from 2018, the agency counts Nedbank, Famous Brands, MultiChoice, Shoprite/Checkers and Tiger Brands among the key names in its stable.

As part of the shift, The MediaShop in late 2018 established what is described as a human intelligence consultancy, Tirisano Consulting. Tirisano is behind some of the agency’s internal change management processes, and is expected to play a bigger role this year. Additionally, The MediaShop has worked with Innate Motion to deepen its understanding of the people it serves.

“This is the foundation and investment we have made as a business to ensure that we differentiate ourselves, and that we are able to deliver even better results together with our clients in 2020 and beyond,” says Maphai. “Our vision is to be pioneers in revolutionary communication solutions for brands to connect with consumers — we can only achieve this by being in touch with consumers in this diverse society of ours.”

While positive about the long-term economic future of South Africa, he acknowledges the challenges the agency currently faces. “With budgets being constrained, some brands are taking [few] risks and sticking to tried-and-tested methods, and therefore limiting the amount of innovation required to break through the clutter,” he says. “We are not seeing as much creativity as a result, which is unfortunate, because this is when we need it most.”

The agency, which employs over 100 people across the country, will be looking to grow by attracting both new clients and talent in the coming months.

— Profile by Carey Finn.

Previously: Our inaugural most-admired media agency for 2018 was also The MediaShop.

The joint runners-up

PHD logo The Media Image (TMI) logo

PHD Media South Africa

TMI Collective

Familiar faces in this category, PHD navigated expansion both online and in the office in 2019, reporting revenue growth of 27% to boot. After adding Unilever to its client stable the year prior, PHD established a presence on the ground in Durban in February 2019, welcoming 26 new staff members. Further hires over the year pushed the agency’s total headcount to 100.

The people are a primary focus, says Anne Dearnaley, PHD group MD, as a collaborative culture is key to everything PHD does. “Without the great staff that we have, we would not be where we are today,” she says. “It is the constant delivery of great work that keeps our connections to our clients strong, some of whom have been with us ever since we opened Page Three Media in Cape Town 10 years ago.”

Digital growth was another important development for PHD last year, with the launch of an ecommerce offering plus the implementation of artificial intelligence (AI) technology for personalised targeting on social media. Dearnaley says that AI is an exciting area for the business, and one it plans to grow. Key among PHD’s digital clients are Pernod in Africa and Shoprite Africa.

Going forward, the agency will be concentrating on diversified services that deliver ROI for clients, she says. “We have done a number of game-changing econometric studies for our clients, and this drives better and more-meaningful insights that enable greater connections with people, more- targeted strategies and routes to market.” In a fragile, cautious market, with consumers under significant pressure, ROI is key, she says. “Our ability to deliver in this space and advise clients how to optimise spend and exactly what channels and programmes are delivering ROI for them is invaluable.”

— Profile by Carey Finn.

Reporting significant growth in revenue, 21% growth in staff and repositioning of the company brand were three highlights of 2019 for The Media Image. Now employing 45 people and known as TMI Collective (TMI), the agency is focused on developing its people and business both locally and internationally in 2020.

“TMI’s way of standing out is to not phase ourselves with what others are doing in the industry but instead focus on the business partners we are servicing and the teams that make it all happen,” says Lauren Foster, TMI MD. “Our people drive our success; [it’s through] having great people who have developed great partnerships with our clients.”

The agency, which works with Rain, Pam Golding Properties, Virgin Active, Nashua, Woolworths, Motus, Imperial Auto and Bidvest, among other clients, has expanded its footprint into Gauteng, as well as internationally in the US and UK over the past year.

Opportunities still abound, despite the national economic situation being turbulent, marketing budgets being under pressure and skills often being limited, says Foster. “There is a great deal of focus around access to free and fast internet from local service providers, NGOs, and from Google with the launch of Google Station, which is providing free and fast internet to areas around South Africa. These initiatives are going to change how media can help its clients speak to customers more and more in a personalised way.”

— Profile by Carey Finn.

Previously: Our inaugural runner-up for 2018 was PHD.

How the poll works

In late October 2019, we invited a panel of handpicked agency executives — in creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired companies and company leaders of various types of agencies. This year we conducted only a national poll, doing away with the two regional polls for Johannesburg and Cape Town. Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll and could choose not to apply these in tight races.

Note: Runner-up(s) are only named if they achieved a good nomination tally, relative to the winner’s position. Contenders are named if they stood out significantly above other nominees but weren’t able to close in on the winner’s tally. The Most Admired Agency of the Year is disqualified from the One to Watch category; votes cast in its favour in this category are discarded.

See also

 

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The Martini Shot: 6 reasons to join an industry association today

by Bobby Amm. “Why should I become a member or my industry’s association? What’s really in it for me?” Associations may not be everyone’s cup of tea — as the old saying goes, “a camel is a horse designed by a committee” — but I believe there are six compelling reasons why all companies should join associations (and collaborate with their competitors) to achieve their common goals and sustain their business.

#1. Communication and cooperation

Associations are a central point of contact and communication within industries. Their primary goal is to advise, educate and update members of developments that potentially impact their businesses and the wider industry. By bringing competitive companies together in a collaborative way, associations also consolidate strength in numbers, giving members greater influence then they would’ve had if they acted alone.

Associations also provide an invaluable opportunity for networking and getting to know your competitors, clients and suppliers. You are far less-involved and -visible if you opt out.

#2 Industry resources

Associations create all sorts of resources for members to use. These may be guidelines, procedures, standard contracts or template documents, to name a few. These resources create standards and procedures by which the industry works. Were it not for associations, every company would have to create its own resources — at considerable time and expense.

Having a single set of resources is also highly practical as duplication increases confusion and wastes valuable time.

#3. Managing threats

In the hands-on environment of making commercials, there are constant new threats that challenge the industry. These come in many forms but may be divided into two basic groups: those you can control and those you can’t. Industry associations can’t mitigate all risks but can react to those advanced by advocacy groups looking to make life difficult.

This work is best done by a collective which represents an industry, rather than by individual companies that are easily dismissed.

#4. Lobbying for a business- and legislative-friendly environment

One of the most important jobs of industry associations is to lobby for an environment that’s conducive to doing business in a user-friendly way. All too often, government departments or local authorities simply don’t understand the knock-on effect their policies and laws will have on specific industries.

Industry associations are vital to make a case for the industry when this happens. By setting out the unintended consequences and showing the potential losses to the economy and industry jobs, associations can make compelling arguments to government to reconsider their actions.

#5. Creating new initiatives

Much more becomes possible when smaller companies collaborate to create new initiatives designed to improve the way the industry functions or to give members a competitive edge. Aside from sharing ideas and implementation costs, projects initiated by associations often prioritise altruistic aims over big profits.

This can assist industries to deliver on expectations that may fall outside of their core competencies but, nonetheless, form part of their wider mandate. The solutions enable companies to carry on focusing on their businesses while their associations look to the bigger picture and the future.

#6. Sharing financial responsibility

Running an industry association (that isn’t subsidised by government) costs money and, ideally, this responsibility should be shared equally between ALL companies that are eligible for membership and benefit from the association’s work and influence. This is particularly true when it comes to planning for situations that could be detrimental to the future of the industry. By signing up for membership and contributing financially, participating companies are doing their bit to keep the wheels turning. If membership numbers decline, the ability of associations to deliver on their mandates is significantly reduced. At some point, they may even cease to exist at all!

Some people expect industry associations to provide them with immediate tangible benefits and free stuff. While many associations do offer discounts, perks and free-to-use resources, their emphasis is usually more-orientated towards the long-term with issues that tend to reoccur in cycles.

Membership of a trade association is an investment in the future of your industry — if you aim to be around for the long run, isn’t that a good enough reason to join today?

 

Bobby AmmBobby Amm is chief executive of the Commercial Producers Association of South Africa (CPA), the trade association of production companies that produce television, cinema and internet commercials for the local and international market. After a brief stint in journalism, she began her career in the industry at the Consultative Committee for the Entertainment Industry in the early 1990s. She first joined the CPA in 1997 but left three years later to join a production company. After finding that she missed the big-picture perspective of the CPA and the interesting issues which continuously perplex the production industry, Bobby returned to the CPA in 2003. She contributes “The Martini Shot” column monthly, covering developments, trends and insights into the commercial production and film services industries in South Africa, to MarkLives.

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#AgencyLeaders2019: Most-admired for production excellence

by MarkLives (@marklives) For 2019, Bomb (@BombCommercial, @O_GrandJo) and Darling Films (@heydarling_tv) have been jointly selected for production excellence in South Africa by South African agency executives. This is a new category.


MarkLives logoEvery year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. These are the results for 2019 and this week we are running the following categories.


Jointly most-admired for production excellence

Bomb logo Darling Films logo

Bomb

Darling Films

2019 was action-packed for Bomb, with the production company making clear its commitment to telling authentic South African stories and fostering local talent.

Managing director and executive producer Desiree Markgraaff points to Bomb Productions’ retelling of the story of King Shaka kaSenzangakhona, in collaboration with Mzansi Magic, as an example of this focus. “Developing this series has been both exciting and terrifying,” she says. “[We want] to tell this story with the right gravitas and epic proportions, to get the nuances and depth of the real history, the precolonial truth of the time in which Shaka rose to power and built an empire.” Bomb is hoping to move Shaka Ilembe into production this year.

Isibaya is another “highlight project”, she says. “[We’re] able to tell stories daily on primetime TV that showcase the beauty of culture and language, and work with some of South Africa’s finest actors.” Bomb is proud that Isibaya actor, Nomzamo Mbatha, has been cast in Hollywood’s Coming 2 America.

Bomb also released its own feature film, Back of the Moon, which took Best South African Film at the Durban International Film Festival in 2019.

Further cause for celebration was director Justice Mukheli joining Bomb Commercials, according to Markgraaff. “He is a creative force and we are very excited about developing projects with him,” she says. Other key appointments include writers Wendy Gumede and Nomusa Nkabinde, junior producers Sayitsheni Mdaki and Thabo Boom, post-production producer Tracey Williams and supervising director Zeno Peterson.

In the coming months, the Bomb team will be working on the development of two international series, says Markgraaff, to showcase local talent to the world.

— Profile by Carey Finn.

Hard work (and a lot of it) paid off for Darling Films in 2019, with the production house pushing out a series of hard-hitting campaigns, becoming 51% black-owned, and seeing an estimated minimum of 16% growth in billings.

The year prior was tough to top but co-founders and executive producers, Melina McDonald and Lorraine Smit, are pleased with the way 2019 panned out. “We came off an amazing year, the year before [2018],” says McDonald. “We had won Cannes Gold, we had won the D&AD — and all that with our Joburg Ballet campaign that we did in association with TBWA\Hunt Lascaris, which really was a fantastic highlight. But [we did] some magical work [in 2019].” She points to the television commercials Darling created for MTN, in collaboration with the Springboks, as one example.

Smit also draws attention to the three fashion films the production house did for retailer Edgars as another creative highlight. Each film was made by one of Darling’s female directors, who had to get to work quickly — three different angles were carved out of a single briefing, with one production team to be shared. This was a different, exciting way of working, says Smit.

The work that McDonald and Smit felt most strongly about, however, is the #BlameNoMore anti-rape campaign. “It’s quite a shocker but it’s very hard-hitting,” says Smit.

“We want to put our money where our mouth is,” adds McDonald. “We are a female-owned company, 50% of our director base is female, and we are adamant about being progressive.”

Another effort for social good, says McDonald, was the house’s work for 1st for Women around 16 Days of Activism against Gender-based Violence.

— Profile by Carey Finn.

Previously: None. This is a brand-new category.

How the poll works

In late October 2019, we invited a panel of handpicked agency executives — in creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired companies and company leaders of various types of agencies. This year we conducted only a national poll, doing away with the two regional polls for Johannesburg and Cape Town. Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll and could choose not to apply these in tight races.

Note: Runner-up(s) are only named if they achieved a good nomination tally, relative to the winner’s position. Contenders are named if they stood out significantly above other nominees but weren’t able to close in on the winner’s tally. The Most Admired Agency of the Year is disqualified from the One to Watch category; votes cast in its favour in this category are discarded.

See also

 

MarkLives logoSign up now for the MarkLives newsletter, including Ramify.biz headlines, emailed every Monday, Wednesday and Friday!

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