Shelf Life: Going wild with brave, integrated design in (South) Africa

Louise Marsland (@Louise_Marsland)’s weekly pick of recent product, packaging and design launches:

  • VISI’s “Wild Design” tells us why we should love living in Africa and the World Design Capital of 2014
  • HKLM capitalises on annual report integrated reporting requirements
  • House of Brave’s office redesign, and
  • Chris Pine decodes Armani.

Why do you love living in Africa?

VISI 70 "Wild Design" covers VISI 70 "Wild Design" covers
VISI 70 "Wild Design" covers VISI 70 "Wild Design" covers
Cape Town is the World Design Capital 2014 (WDC2014) and, as with most ‘awards’ like this, it is what we make of it, whether creatives, designers, politicians, social scientists, communities, etc — we have to show ourselves worthy of such an accolade. There’s a host of projects in and things should kick off nicely with this industry’s premier annual event, Design Indaba, next week.

The only magazine to have submitted a project, and be approved, is VISI, published by New Media Publishing. Offering four different covers showcasing Africa in eclectic patterns, VISI magazine kicked off the year with its February/March 2014 edition — its official WDC2014 project. The Wild Design issue, currently on shelf, is based on the hand-cut felt works of Capetonian artist Jody Paulsen, photographed by Nico Krinjo.

In this edition of VISI, “The 20+14 reasons to love our country’s design” includes insights into the global movement of collectible design; Cape Town’s newest international design fair, Guild; an historic timeline of iconic South African designs since democracy; previews of 18 official WDC2014 projects; and highlights.

Visi features and online editor, Nadine Botha, explains that the magazine is proudly South African and proudly African, and one of the only décor mags that places a strong emphasis on design and architecture. “That is what made us a natural fit for WDC2014. We will be living the values of the World Design Capital,” she says.

VISI is also running a Vine competition online where entrants can upload a six-second video on “why you love living in Africa”. Up for grabs is the very last Design Indaba full conference ticket available, valued at R7450!

Cape Town was designated WDC2014 at the International Design Alliance Congress in October 2011. World Design Capitals recognise the value of design thinking, and are dedicated to using design as a tool for social, cultural and economic development.

Designing integrated reporting

HKLM Transnet Box Covers

A shift in investor relations, requiring integrated reporting, has meant that design and branding agencies have a huge role to play in how annual reports are presented to stakeholders.

Integrated reporting requires changing from cumbersome text-heavy reports to succinct ones which make much greater use of tables and graphic representations for conveying information, according to HKLM, which recently picked up awards for its annual report integrated concepts and design.

HKLM director, Julia Bouie Leuner, says the group’s haul, of four top places at the recent Chartered Secretaries Southern Africa (CSSA) /JSE Limited Annual Report Awards and its seven silver Graphis awards in the 2013 annual report competition, is clear evidence of a seismic shift in the approach to corporate reporting.

“HKLM has led from the front in advocating change in the way annual reports are structured and these awards demonstrate the effective outcomes of our approach,” she says.

In the CSSA awards, HKLM took home the top spot for its integrated reports for Merafe Resources, Eskom, Transnet and Cotlands in the Small Cap, State-Owned Enterprises and NGO categories respectively; it also won seven silver Graphis trophies for its reports for the Development Bank of South Africa, Cotlands (2011 and 2012 reports), WBHO, Transnet, South African Airways and 1time Holdings.

Leuner adds: “As producers of annual reports, we have a major role to play as educators and influencers in directing the changeover to integrated reporting. The new order of investor relations, as determined by King III, demands transparency, honesty and communication, and the challenge is for companies to learn how to communicate the concept of shared value with their stakeholders. And that’s where design and branding agencies play a huge role.”

Brave redesigns

House of Brave's newly designed reception area February 2014

New agency on the block, House of Brave (founded in 2012), moved to bigger premises recently and undertook a redesign to “better reflect [its] artistic identity”. It wanted an office space that represents the company philosophy of meeting marketing challenges by creating brave spaces for brands to live and grow.

“As we are in the advertising industry, we needed to invest in offices that reflect our company values and aspirations, attracting best-in-class clients and staff,” says Andrew Shuttleworth, MD at House of Brave.

For a recent start-up agency in the growth phase, Shuttleworth reveals that it approached Fintech to assist it in financing the move and redesign. Fintech has expanded its industry-sector packages and offers businesses finance solutions to set up or revamp offices.

Ironic Armani

Chris Pine, the new face of Armani Code

Giorgio Armani has chosen eye-candy-of-the-moment, actor Chris Pine, to be the new face of Armani Code men’s fragrance.

Pine can currently be seen on screens worldwide as the titular character in ‘Jack Ryan: Shadow Recruit’, directed by Kenneth Branagh. He recently reprised his role as Captain Kirk in the rebooted Star Trek franchise.

Pine’s described by Armani as having “magnetic charm” and the “right amount of irony” on set. He’s obviously the new Chris Hemsworth. Or is that a younger Brad Pitt, but with a personality?

 

Louise MarslandShelf Life by Louise Marsland is a weekly column on MarkLives. Tweet new product, packaging and design launches to @louise_marsland or email her at louise.marsland at gmail.com. Want to sponsor Shelf Life? Contact us here.

Louise has written about the FMCG, media, marketing and advertising industry for 19 of her more-than-25-year career as a former editor of magazines AdVantage, Marketing Mix and Progressive Retailing, as well as websites Bizcommunity.com and FMCGFiles. She currently edits the weekly Wednesday Media & Marketing Page for The New Age newspaper and is the publishing editor of industry trendwatching portal, TRENDAFRiCA, for consumer insight, research and trends in Africa.

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SAARF/MarkLives #Top40TVratings: SONA hits Top 40

by SAARF & MarkLives (@marklives) For the week of 10 February — 16 February 2014, the top five shows from last week remained in place on the SAARF/MarkLives #Top40TVratings Chart, with SABC 1 retaining the top five slots.  The State of the Nation address, as broadcast on SABC 2, made it onto the Top 40 this week.

Satellite dishOn average, 4.8% of adults, or 1 909 433 adults, (aged 15+ who watched TV from 10 — 16 February 2014) watched the State of the Nation address on on SABC 2.  SONA achieved a share % of 18.88% from 10 February — 16 February 2014 on SABC 2.

This weekly roundup of South Africa’s TV audience viewership, a collaboration between the South African Audience Research Foundation (SAARF) and MarkLives, reveals the best-watched shows of the week before, where it ran and how many South Africans tuned in to watch.

We offer two tables, the first covering all households — free-to-air viewing (the various SABC channels and e.tv) as well as the DStv platform — and the second charting the best-watched shows on the DStv network of channels only.

SAARF/MarkLives #Top40TVratings Chart: 10 February — 16 February 2014

National (include all households — free-to-air viewing and DStv platform)

National Total Indv (excl guests) Live + VOSDAL
Counter Description (grouped) Channel Level 1 Level 2\Variable (r) AMR % AMR SHR %
1 GENERATIONS SABC 1 Soap opera Local 20.4 8 174 346 67.32%
2 NGEMPELAH SABC 1 Drama Drama 15.9 6 389 656 51.89%
3 AMAZA SABC 1 Drama Drama 14.4 5 776 079 47.89%
4 LOXION LYRIC SABC 1 Drama Drama 12.9 5 168 966 42.65%
5 INTERSECTIONS SABC 1 Variety Variety 12.6 5 034 951 44.94%
6 MUVHANGO SABC 2 Drama Drama 11.7 4 672 794 42.17%
7 TASK FORCE(DRAMA) SABC 1 Drama Drama 9.9 3 961 614 36.06%
8 TRANSFORMERS e.tv Children’s programs Children’s programs 9.2 3 698 575 42.60%
9 POWERBALL SABC 2 Variety Variety 8.8 3 520 824 37.00%
10 LESILO RULA SABC 2 Drama Drama 8.6 3 449 422 33.12%
11 XHOSA NEWS SABC 1 News News 8.2 3 284 730 30.79%
12 WWE SPECIALS: ROYAL RUMBLE e.tv Sport Wrestling 8.1 3 254 897 46.07%
13 ZULU NEWS SABC 1 News News 8.0 3 204 395 29.51%
14 SCANDAL e.tv Drama Drama 7.4 2 979 273 28.57%
15 GA RE DUMELE SABC 2 Sitcom Sitcom 6.8 2 744 356 30.55%
16 LADUMA SOCCER BUILD- UP SABC 1 Sport Football (soccer) 6.7 2 684 303 25.57%
17 EKASI OUR STORIES:A WAN-NA-BE e.tv Drama Drama 6.6 2 664 434 25.39%
18 90 PLEIN STREET SABC 2 Drama Drama 6.2 2 473 641 31.54%
19 ABSA PREMIERSHIP MAMELODI SUNDOWNS VS AJAX CT SABC 1 Sport Football (soccer) 6.1 2 432 487 25.41%
20 FRIENDS LIKE THESE SABC 1 Variety Variety 6.0 2 417 118 28.64%
21 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 5.9 2 376 048 23.56%
22 SINGLE GALZ SABC 1 Sitcom Sitcom 5.9 2 363 253 24.05%
23 WWE WRESTLING RAW e.tv Sport Wrestling 5.9 2 347 078 30.10%
24 THE LOVE GURU e.tv Movies Comedy 5.8 2 335 647 22.96%
25 RHYTHM CITY e.tv Drama Drama 5.7 2 283 514 27.89%
26 NONG SEAKALADI SABC 2 Sitcom Sitcom 5.7 2 274 706 26.74%
27 ZIYAWA SABC 1 Drama Drama 5.7 2 266 102 23.97%
28 MR BOX OFFICE SABC 1 Sitcom Sitcom 5.4 2 175 516 22.95%
29 ABO MZALA SABC 1 Sitcom Sitcom 5.4 2 153 764 24.85%
30 MUVHANGO -R SABC 1 Drama Drama 5.4 2 146 416 45.47%
31 LOTTO DRAW LIVE e.tv Competition Competition 5.2 2 104 133 21.57%
32 CUTTING EDGE SABC 1 Actuality Actuality 5.1 2 061 393 26.20%
33 THE LAST SONG SABC 2 Movies Drama 5.0 2 018 818 26.56%
34 NEWS e.tv News News 5.0 2 001 879 22.01%
35 GENERATIONS -R SABC 1 Soap opera Local 5.0 1 999 065 44.42%
36 GENERATIONS -O SABC 1 Soap opera Local 4.9 1 978 943 32.67%
37 REAL PEOPLE e.tv Advertisement Advertisement 4.9 1 955 480 26.28%
38 LIVE AMP SABC 1 Music Music 4.8 1 941 413 20.18%
39 7DE LAAN SABC 2 Soap opera Local 4.8 1 936 795 23.99%
40 STATE OF THE NATION ADDRESS 2014 SABC 2 Actuality Actuality 4.8 1 909 433 18.88%

 

DStv platform only

Market Target Activity
DStv Total Indv (excl guests) Live + VOSDAL
Counter Description (grouped) Channel Level 1 Level 2\Variable (r) AMR % AMR SHR %
1 GENERATIONS SABC 1 Soap opera Local 13.1 1 528 170 43.47%
2 MUVHANGO SABC 2 Drama Drama 7.9 919 155 27.71%
3 INTERSECTIONS SABC 1 Variety Variety 6.9 804 655 25.19%
4 AMAZA SABC 1 Drama Drama 5.0 585 504 15.59%
5 SCANDAL e.tv Drama Drama 4.6 531 829 16.54%
6 ZULU NEWS SABC 1 News News 4.4 509 895 15.42%
7 POWERBALL SABC 2 Variety Variety 4.3 501 419 17.30%
8 NGEMPELAH SABC 1 Drama Drama 4.2 493 132 13.60%
9 LESILO RULA SABC 2 Drama Drama 4.1 472 045 15.96%
10 RHYTHM CITY e.tv Drama Drama 4.0 465 711 16.30%
11 LOXION LYRIC SABC 1 Drama Drama 3.7 435 589 12.89%
12 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 3.7 429 321 14.84%
13 NEWS e.tv News News 3.7 427 590 13.98%
14 7DE LAAN SABC 2 Soap opera Local 3.6 420 953 14.93%
15 XHOSA NEWS SABC 1 News News 3.6 417 057 12.62%
16 VODACOM SUPER RUGBY 2014 SHARKS VS BULLS SuperSport 1 Sport Rugby (all) 3.6 416 405 13.45%
17 WWE SPECIALS: ROYAL RUMBLE e.tv Sport Wrestling 3.6 415 257 17.12%
18 ISIBAYA Mzansi Magic Variety Variety 3.6 413 878 17.10%
19 GA RE DUMELE SABC 2 Sitcom Sitcom 3.3 382 323 14.41%
20 TASK FORCE(DRAMA) SABC 1 Drama Drama 3.1 364 611 10.78%
21 TRANSFORMERS e.tv Children’s programs Children’s programs 3.0 350 127 12.68%
22 STATE OF THE NATION ADDRESS 2014 SABC 2 Actuality Actuality 3.0 343 970 10.95%
23 VODACOM SUPER RUGBY 2014 CHEETAHS VS LIONS SuperSport 1 Sport Rugby (all) 2.9 340 905 13.15%
24 NUUS SABC 2 News News 2.8 328 620 10.95%
25 GENERATIONS -R SABC 1 Soap opera Local 2.8 326 587 23.01%
26 ABSA PREMIERSHIP KAIZER CHIEFS VS MARITZBURG UNITED SuperSport 4HD Sport Football (soccer) 2.6 307 328 8.73%
27 EKASI OUR STORIES:A WAN-NA-BE e.tv Drama Drama 2.6 302 174 9.31%
28 WWE WRESTLING RAW e.tv Sport Wrestling 2.6 301 324 10.89%
29 MUVHANGO -R SABC 1 Drama Drama 2.6 299 674 20.57%
30 LIVE AMP SABC 1 Music Music 2.5 296 562 10.73%
31 SINGLE GALZ SABC 1 Sitcom Sitcom 2.5 293 787 8.74%
32 PASELLA SABC 2 Magazine Magazine 2.4 283 455 8.36%
33 FRIENDS LIKE THESE SABC 1 Variety Variety 2.4 277 713 9.66%
34 SOCCER ZONE SABC 1 Sport Football (soccer) 2.3 273 184 8.52%
35 NONG SEAKALADI SABC 2 Sitcom Sitcom 2.3 272 631 10.99%
36 ABSA PREMIERSHIP MAMELODI SUNDOWNS VS AJAX CT SABC 1 Sport Football (soccer) 2.2 259 579 8.79%
37 SPEAK OUT -R SABC 2 Actuality Actuality 2.2 254 639 11.72%
38 SES/TSW/SEP NEWS SABC 2 News News 2.2 252 133 7.38%
39 OLYMPUS HAS FALLEN M-Net Movies Movies 2.1 248 363 7.87%
40 BINNELAND kykNET Soap opera Local 2.1 247 910 8.50%

How to read the tables:

AMR% refers to the number of people in a target market who were watching an event ie programme, expressed as a percentage of the population for that demographic: “On average, 16.3% of adults aged 15+ who watched TV from 28 Jan-3 Feb 2014 watched Society on SABC 1”.

AMR is the number of people in a target market watching a specific event ie programme per minute, expressed in absolute figures: “On average, 1, 541, 066 adults aged 15+ who watched TV from from28 Jan-3 Feb 2014 watched Society on SABC 1”.

Share % (SHR %) is the share or proportion of the available audience (people watching TV at that time) that a specific channel/programme has achieved at that time: “Society achieved a share % of 52.59% from 28 Jan- 3 Feb 2014 on SABC 1″.

saarf 150SAARF is the name by which the South African Audience Research Foundation is familiarly known. SAARF’s main objective is to direct and publish media audience and product/brand research for the benefit of its stake-holders, thereby providing data for target marketing and a common currency for the buying and selling of media space and time. SAARF has thus the responsibility to measure the audiences of all traditional media such as newspapers, magazines, radio, television, cinema and out of home media.

 

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Ad of the Week: I see a different Brand Soweto

by Oresti Patricios (@orestaki) Three Soweto residents named Vuyo Mpanthsa, Justice Mukheli and his twin brother Innocent, decided to do something about the unfair image Soweto has accrued with a project they call, “I See a Different You”. This isn’t, strictly speaking, an advertising campaign, but it has so much to teach marketers that it is worth looking at.



City and nation branding

I See a Different You — Welcome to Soweto, 10 December 2011
Welcome to Soweto, 10 December 2011. Source: iseeadifferentyou.tumblr.com.

Cities and nations spend millions of rands trying to change the way people see them. I come from the Simon Anholt school of marketing. The founder of the Anholt-GfK Roper Nation Brands Index, Anholt rightly believes that a lot of nation ‘branding’ can be a waste of money; it’s what countries do that most influences how they are perceived. As Anholt often says — nations get the image they deserve.

But we also know that people are reductive and use shortcuts to form the perceptions they have of a place. Let’s take (for instance) Soweto. How many people around the world are still stuck with the perception of Soweto that was perpetuated around the world in the ‘76 riots? Or think of Soweto as a poverty-riddled shanty town?

Here are some quotes about Soweto I’ve collected recently from global news brand to see how they describe the sprawling area that is some 30 kilometres from Johannesburg, that is as big as Jozi and is home to close on 1,5 million people.

“… Soweto, the poverty-stricken Johannesburg township that was a stronghold of support for the anti-apartheid struggle…” (CNN.com)

“There is no single narrative, I found, about modern Soweto. Yes, the shopping mall was gleaming, but across the road were some down-at-heel buildings and bored-looking youths slouching against piles of tyres, seemingly unable to shop if they wanted to.” (The Guardian)

“A new, five-star hotel overlooks a tract of the squalid, plumbing-deprived homes. Restaurants and inns cater to foreign tourists, but local schools are so bereft that some students cram into vans before 5 a.m. to get a better education in distant communities.” (Fox News)

Same formulaic definition

I See a Different You — Bara bridge, Soweto, 3 February 2014
Bara bridge, Soweto, 3 February 2014. Source: iseeadifferentyou.tumblr.com.

Internationally, Soweto has retained much of the negative perceptions it accrued during apartheid years because of news media that have hung onto a reductive and careless image created by fairly lazy global media. It’s much easier to perpetuate an existing image, to latch onto the same formulaic definition that other media use, than to investigate the reality on the ground.

As a result, as a destination brand, Soweto has been tainted by the way it’s perceived by remissive global media.

Why has this happened? People are lazy thinkers, and would rather ‘pigeonhole’ information than go to the effort of digging deeper. We often scoff at foreigners who don’t like to engage with the cognitive dissonance of considering, for example, that Africa has many poor people, yes, but it also has billionaires, entrepreneurs and creative geniuses. But sometimes we, too, are guilty of the same thing.

And when it comes to thinking, people—for the most part—are very binary. Things are good or bad. Not many people appreciate the cognitive dissonance that complexity brings.

Soweto is not just one place

I See a Different You — Kliptown, Soweto, 12 December 2011
Kliptown, Soweto, 12 December 2011. Source: iseeadifferentyou.tumblr.com.

Similarly, when it comes to brands, people’s thinking is normally “black-and-white”. Either a brand is good or it’s bad. But we know that Soweto is not just one place — it’s a sprawling city-within-a-city, home to rich and poor, with a rich history of both civil unrest and realised potential.

But how then can people’s perceptions be changed? What’s up with Brand Soweto and how can Soweto show the world what it is?

Enter the intrepid trio of Sowetan youths.

“I See a Different You is a project that we started as a passion project which was cool and… very close to our heart,” explains Innocent in an Adlip interview on YouTube, continuing: “It’s all about portraying the world the way we see it.”

Quirky juxtaposition

It started as a photographic project in December 2011, with the three friends taking pictures in Soweto, using themselves as models, with a quirky juxtaposition of fashion and Sowetan streets. Later on they expanded into other areas, such as Alex[andra] and downtown Joburg.

But these are not your average snaps done over with an Instagram filter.

Each shot is carefully composed, with close attention paid to lighting and styling. One shot has two of them sitting on a wooden bench in the middle of a Soweto street, their snappy outfits framed by a deep blue sky and picturesque painted houses. In another shot, they pose in Marshalltown on a bright yellow road construction divider, the yellow street lights casting an eerie glow over everything. It’s arty, without being pretentious — and self-effacingly ironic at the same time.

I See a Different You — Dhlamini, Soweto, 9 January 2012
Dhlamini, Soweto, 9 January 2012. Source: iseeadifferentyou.tumblr.com.

The photos were posted on a microblogging/social network site known for photo-sharing.

“Then it got legs”

“We first launched our project on Tumblr,” says Innocent Mukheli, “which was the hip thing happening, and then it got legs and so a lot of people picked it up. And then we launched it on Instagram, Twitter, Facebook…”

To date, the I See a Different You Tumblr site has garnered 50 000 followers, while the pro-Soweto ‘campaign’ has acquired over 12 000 on Instagram and, last time I checked, it had over 4 700 Facebook Likes.

But for the trio, the attention the project has garnered didn’t stop with social media: they were approached by clothing retailer Markham to do a shoot using their unique style, for store shopfront visuals and print material.

“Actually it surprised us,” exclaims Mpanthsa in the AdLip interview, “because we didn’t think it was going to go this far; when we started, it was a hobby.”

Ideal fit

I See a Different You — Markham 2012 behind the scenes Instagram
Markham 2012 behind the scenes. Source: Instagram.

The style of the self-appointed brand ambassadors for Soweto is an ideal fit for the Markham target market: touted as southern Africa’s largest men’s clothing retailer, Markham has become more hip and trendy in recent years, embracing “street fashion” movements such as mixing smart and casual — such as jeans worn with a blazer. It was a smart move for the retailer to get behind this trend.

More recently, the trio have had the opportunity to travel, and continue to produce its quirky take on life in other African countries… letting the world see Africa through less jaded eyes.

This could be just the tip of the iceberg in terms of a change in Soweto’s image, both locally and abroad. And it proves once again that great things can come from small beginnings.

Check out I See a Different You on

Read more:

 

Oresti Patricios

Ad 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 info@ornicogroup.co.za.


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Fair Exchange: Why predictability is a critical brand characteristic

by Erna George There are so many definitions of a brand; one I particularly subscribe to is one I found on www.brandeo.com: ‘the sum of all the associations, feelings, attitudes and perceptions that people have related to the tangible and intangible characteristics of a company, product or service’.

Erna GeorgeBranding is like a person’s character

In short, a brand or branding is a way for consumers to recognise what you are or what you offer. I liken this to a person’s character.

Now, if your family, friends, colleagues have always experienced your response to emergencies and stress as calm and composed, the day you crumble and flap will be the day they are confused and anxious. And, if the next time your response to a similar situation is again different — possibly laissez faire — they will not trust their current perceptions of you and sit you down to ask if you are okay.

A level of predictability is what makes others feel safe; it is something they can depend on.

This is exactly what a brand does; otherwise, we might as well pack products in a white cardboard box and identify its contents in black Arial font. The exchange for the customer’s money and continued patronage is the delivery of this consistency.

A frequently asked question

A recent business trip to Swaziland with Ms C, a colleague, made me ask myself a question I ask quite regularly):

If it’s obvious that brand consistency is a desirable quality, why do we still encounter so much inconsistency in the world of brands?

One travel agent was responsible for both our bookings.

At the City Lodge in Johannesburg, where we stayed the night before connecting to Swaziland, Ms C simply stated her name, her booking was located and she was handed her room key in seconds. I gave my name, and waited before being asked for my voucher because there was no booking for me. Eventually, my booking revealed itself and I was given access to my room.

At checkout the next morning, I handed in my keycard and was left waiting for minutes on end before being told “thanks and goodbye”; Ms C received her account for review and signature, again within seconds of doing the same.

No satisfactory answer

Given we had been booked by the same travel agent, I asked why Ms C’s experience (which I have had each time previously at City Lodge) was slick, trouble-free and comprehensive, while mine was not. Of course, there was no satisfactory answer.

The issue is that City Lodge stands for home-away-from-home care, a proposition that felt very implausible the night before when it appeared there was no room at the inn, and again the next morning, given that two people checking in and out at the same time and booked by the same travel agent had two completely disparate experiences.

Then there was Avis in Manzini. I handed in my voucher, my booking was located and I received a detailed and friendly explanation of how the insurance works, what the excess is, rate per km, contact numbers etc.

Astounded

I was astounded — in seven years of renting from Avis in South Africa and its neighbouring countries, never before had I encountered such thoroughness. Same brand, same iconography, same cars, same friendly culture — but a new and improved one that really did live up to the ‘We Try Harder’ slogan.

Our hotel in Swaziland was proudly branded as a “Sun” hotel; expectation was high and, when my credit card was swiped to secure funds, the amount reserved matched the brand image so I was reassured. Off we went for dinner in the hotel restaurant but, when I wanted to sign the bill to my room as I have done in many Sun hotels before, I was told I needed to pre-pay (that is, load the account) before I can do so. Interesting.

Then I called housekeeping to request that an iron be brought to my room. This was not an option. I could either pay for housekeeping to do the job for me or take the elevator down to the first floor and iron my clothes myself in the communal ironing room. Even more interesting.

I acknowledge that hotels have different procedures but, when co-branded or endorsed by a well-known brand, a certain level of experience is expected. If not delivered, the level of confusion and impact on the brand’s credibility is unreal.

In summary, one trip plus two people plus three brands and each brand interaction delivered a differently anticipated experience.

Consistency

The only reason (in my mind) to buy McDonald’s is the consistency. I know it is not going to taste like a gourmet wonder but that is not the brand promise — and experience. Hence, I do know, whether I am in London or Cape Town, what the basic menu items are, what the turnaround time is and what the Quarter Pounder will taste like.

When a Nando’s ad appears on TV, I expect that there will be some type of cheeky and humorous innuendo.

I hear a specific tune and, like Pavlov’s dog, I expect to see a certain brand.

Brands teach us what to expect and non-delivery leaves a gap.

Brand promise

Branding is how the promise is recognised by your customers and this is not only about a logo. Everything from the logo, tone of voice, language, sales experience, product quality and people delivers the brand. And managing the brand across all touchpoints and all outlets and channels is critical. This builds a consistent differentiated brand image and persona, and this is what builds a connection to the brand. These perceptions lead to trust and drive consumer choice and confidence.

So, if your ads promise a great experience, it is critical to ensure consistent delivery. Why?

  • Your offer becomes the standard by which all your brand and agency team delivers — the more it is delivered, the more clear it is and your proposition is delivered
  • Your offer stands for something clear and compelling in consumer’s minds (as long as it matches, from advertising communication to packaging to sales)
  • Your consumer loyalty and brand advocacy grow

Driving consistency keeps the brand team on track and helps consumers navigate this world more simply. All fair, all round.

Erna George is the business director heading up quality research at brand development and marketing insight consultancy Added Value. She works with diverse brands and categories — from FMCG, alcohol and agriculture to financial services and entertainment — in countries across many geographies, including South Africa, Mozambique, Nigeria, Kenya, India, Philippines and Brazil. She contributes the monthly “Fair Exchange” column about business relationships and partnerships in adland to MarkLives.

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#trendMARK: Sustainability — more of a truth than a trend

a trendMARK  feature by Shauneen Procter (@procter101) For the longest time the starting point of most businesses has been: “How much money can I make?” There’s nothing wrong with making a healthy profit, but capitalism that placed too much emphasis on shareholders and not enough of an obsession with customers, employees or the environment can be blamed for the horse-meat scandals and price-fixing collusions of 2013.

The tragedy is that business doesn’t have to be like this. It’s possible to make money and to be ethical. In fact in the future the two recycleare going to go hand in hand. If you want to know how sustainability will play out– take a look at our food chain, and at how consumers feel about what they put in their mouths.

Food is one of the most intimate products available on the marketplace because we literally ingest it, and rely on it for our survival. “When surveyed, most shoppers say that, on key ethical food issues, they want their supermarket to make those choices for them, before the product even reaches the shelf,” says Kath Dalmeny speaking on behalf of Sustain, a global alliance of organisations that work together to promote the health and welfare of people, animals and the environment.

This makes sense because when one walks into Woolworths or Pick ‘n Pay there’s the expectation that these retail brands will make the right choices for us. That they are taking care of the world while putting food on our plates.“The more responsible of the major supermarkets are now making principled and cost-effective moves to ensure the sustainability of all of the fish they sell, to reduce the environmental footprint of products, and to pay fair prices to farmers in poor countries,” says Dalmeny.

Sustainability is a complex issue. Let’s take fishing as an example. The United Nation’s Food and Agricultural Organisation report indicates that marine life is being seriously overexploited. The report states that some 87% of the world’s fish stocks are overfished, and this is already showing in stores in the rapidly escalating cost of fish.

While most local food retailers look at sustainability from a generic or broad-ranging perspective, Woolworths has [alongside other programmes] instituted a sustainable fisheries practice since about 2008.

This has seen it procure all its seafood from responsible farming operations, and from sustainable fisheries, and its operations are certified by independent organisations like the Marine Stewardship Council (MSC) and the WWF-SA’s Southern African Sustainable Seafood Initiative (WWF-SASSI). For time-sensitive consumers what this means is that Woolworths is underscoring its position of trust by doing the right thing, an d then elegantly communicating this in store, and through an innovative campaign with Masterchef Australia finalist Hayden Quinn, who is a Fishing for the Future Ambassador.

If you buy fish at Woolworths you’ll know that it doesn’t come cheap – the cost is a definite premium over sea food you’ll buy at other retail stores. But consumers who can afford it will buy it because they want a guilt-free purchase. These shoppers want the comfort and kudos of being indirect environmentalists. It’s their new comfort food.

What’s smart about the Woolworths campaign is that aside from being sustainable, it integrates neatly into the retailer’s Masterchef sponsorship, and its drive to deliver premium, quality produce that’s fresh.

This is in keeping with global brand trends – The Guardian reports that both Sainsbury and Unilever have integrated sustainability as the strategic axle of their operations. “Environmental sustainability is starting to be seen as more than an optional extra,” Duncan Williamson,a food policy manager for the World Wildlife Fund told The Guardian.“There are increasing numbers of businesses who are seeing the environment as core to their future business models.”

Back in South Africa, Bean There Coffee Company has made sustainability its key differentiator, and the narrative for its brand. South Africa’s first roaster of Certified Fairtrade Coffee, Bean There’s founder – Jonathan Robinson – discovered the ‘fair trade’ model over ten years ago. This set Robinson on a journey through Africa to source coffee that tastes brilliant, but more importantly offers producers a fair payment for their effort.

The focus for Robinson is personally sourcing single origin coffee and encouragin gsustainability, empowerment and community development. Bean There brings the coffee back home, and roasts it at artisanal coffee houses in Jozi and Cape Town.

What this means is that when you drink a cup of the coffee, you’re not just savouring an exclusive taste experience, but supporting fairly traded, small batch farming of single origin coffee in places in Africa like Ethiopia, Tanzania and Kenya.

Trend Watch talks about this big trend for 2014 as guilt-free consumption. “Growing numbers of consumers can no longer escape an awareness of the damage done by their consumption: to the planet,society, or themselves,” states Trend Watch in its report for 2014. The trend watchers say that consumers will seek status, but that the ‘Guilt-Free Status’ will be the “ultimate indulgence in 2014.”

I’d like to think of sustainability as more of a truth than a trend. Doing good business where you grow with your producers and reward them well; looking after your employees; delivering the best products and services to your customers; whilst simultaneously protecting the environment – isn’t that just good business sense?

 

This feature first ran in trendMark, the discerning trends resource for African marketers and corporates. Read or download the full magazine via Issuu. For a PDF copy, click here.

— Shauneen Procter is a founder member of Idea Engineers, a brand, advertising, social media and reputation management agency that engineers bespoke marketing solutions for companies in a complex, socially networked world. Procter is an advertising veteran who started her career at Grey Phillips in the ‘80s. She was the founder of Sorcery Advertising, voted by clients as the “Best Local Advertising Agency”. A champion of sustainability, Procter is an investor in smart new businesses, a mentor to emerging brand talent, and an iconoclast who eschews awards but believes in building value and respect.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every three work days. Sign up here!

Design Annotator: Whimsical illustrations, hard-hitting art and exploding bicycles

10and5logosmall1by Uno de Waal (@Unodewaal) On Design Annotator this week, we’ve got:

  • Artworks by Gabrielle Alberts, from her current exhibition at Brundyn+
  • ‘Greetings from South Africa’, a sketchbook by Mieke van der Merwe
  • Prints of exploded bicycles from the exhibition ‘South African Bicycle Builders’
  • ‘The Hungry Games’, a new series of illustrations by Driehoek
  • A webcomic by Jono Hall called ‘Salmon-Wrestling in the Yemen’
  • Spoek Mathambo’s first music collaboration with tribal communities
  • A recent TVC for KFC — ‘Tastes Like Home’
  • A guide on tickets for Design Indaba 2014
  • Everything you need to know about the XooXity Festival
  • Guru in Parktown North, Jozi — a great place to work out of office

ART, ILLUSTRATION & PHOTOGRAPHY

Gabrielle Alberts

Gabrielle Alberts, This Is Where I Leave You

Multidisciplinary artist Gabrielle Alberts just opened a new exhibition at Brundyn+, called This Is Where I Leave You.  It’s her first solo exhibition since completing her Masters in Fine Art at Michaelis School of Fine Art.

“I’ve always known that I’m into art. I can’t remember an exact date when I realised what art is and that I love it, but I’m still trying to figure out how to make money successfully by purely doing what I love. I think that is something that one can learn everyday and constantly improve on,” Alberts tells us.

Read the full interview with Alberts.

‘Greetings from South Africa’ — a sketchbook by Mieke van der Merwe

Mieke van der Merwe, Greetings from South Africa

Illustrator and artist Mieke van der Merwe has recently completed an illustrated sketchbook about South Africa for The Sketchbook Project, a global, crowdsourced art project spearheaded by the Art House in Brooklyn, New York.

About her sketchbook, Mieke says: “I chose the theme ‘Greetings from South Africa’ to introduce American readers to South Africa and to give them a glimpse of what it is like to live here. Most of the drawings consist of my travels through the Klein Karoo during my December vacation, architecture, South African products and all the things that make me, me.”

Check out Van der Merwe’s entire sketchbook.

Exploded bicycles

Exploded bicycle print from 'South African Bicycle Builders', an exhibition of locally built bicycle frames curated by Nic Grobler & Stan Engelbrecht

Photographic prints of deconstructed bicycles from South African Bicycle Builders, an exhibition of locally built bicycle frames curated by Nic Grobler and Stan Engelbrecht.

See two more exploded bicycle prints here.

The Hungry Games

The Hungry Games by Driehoek

The Hungry Games is a series of work surrounding nostalgic games and food by Driehoek, an illustration collective consisting of Megan Bird and Lizanne Visser. The duo describe themselves as “two kids who like drawing, a lot” but what they didn’t mention is that they’re also incredibly good at it.

Over and above than the skillful execution, the work that Driehoek creates is vibrant, light-hearted, whimsical and full of character — much like the women themselves.

Find the rest of The Hungry Games here.

Salmon-wrestling in the Yemen

Jono Hall: Salmon-wrestling in the Yemen 3

Salmon-wrestling in the Yemen is a new and hilarious webcomic by Bouffant director and creator of The Foodhall, Jono Hall.

See more of Hall’s comics here.

ADVERTISING

Spoek Mathambo’s first music collaboration with tribal communities

Vodafone Firsts celebrates people doing amazing things for the #First time by bringing together technology and human endeavour.

As part of this initiative Vodafone has given Spoek Mathambo the opportunity to achieve his own incredible feat, which he did in the form of his first musical collaboration with South African tribes.

Read more about the collaboration and listen to the track.

KFC ‘Tastes Like Home’ TVC

A newly released commercial for KFC, directed and shot by Kim Geldenhuys in Bangkok, seeks to show that, no matter where you are in the world, you can find a taste of ‘home’ thanks to KFC’s 15 000 outlets in over 105 countries.

The ad follows a homesick South African girl who has emigrated to Thailand with her mother, where she finds it difficult to assimilate into her new environment. A new friend of hers helps her with the homesickness by taking her to a KFC where she gets “a taste of home”.

See some behind-the-scenes shots from the making of the commercial.

GOOD TO KNOW

Design Indaba 2014 | Ticket options

Design Indaba 2014

Even though the ship has sailed on getting tickets to the actual conference, there are plenty of other things to see and do when it comes to Design Indaba, including the Expo, FilmFest, Simulcast and Music Circuit.

Here’s everything you need to know to make the most of Design Indaba 2014.

XooXity Festival of Art, Technology and Music

XooXity Festival of Art, Technology and Music

In May 2014, Hilltop Live will be hosting the first-ever multigenre, electronically mashed-up festival in South Africa: XooXity.

The festival will consist of multiple stages for music and performances from local and international acts, the broader vision being that XooXity will gradually take over the entire cityscape with many installations, films, state of the art stage design, visuals, activations and art pieces.

Find out more about XooXity and tour details.

Out of Office: Guru

Out of Office: Guru

Guru in Parktown North, Johannesburg, feels a lot like the quintessential ’90s sitcom coffee shop — the Central Perk for a different group of Joburg regulars.

It is busiest between 7am and about 8:30am. For this daily hour-and-a-half rush, the place is bustling with the pre-work crowd all getting their caffeine fix for the day. From 8:30am onwards, things quieten down and Guru becomes the unofficial shared office for a regular group of freelancers working out of office.

Read more about Guru and see some images of the space here.

 

Uno de Waal

Design Annotator is a regular column on MarkLives featuring the top design work from South Africa’s biggest online creative showcase, Between 10 and 5, which is curated by publisher Uno de Waal (@Unodewaal).

 

 

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The Dissident Spin Doctor: What your comms policy reveals about you

by Emma King (@EmmainSA) So, how is your corporate communications policy structured? Is it free and open, or is it rigid, sluggish and fear-inducing? Because, watch out, the way that you communicate, both internally and externally, says a lot about you to the outside world.

(And thinking that you don’t have a communications policy, by the way, is delusional — you make decisions, whether consciously or unconsciously, on how to manage the flow of information, and that paints a picture for the outside world.)

Emma KingFascinating insight

Over the years, I’ve been privileged enough to see the inner workings of many businesses — from huge listed corporates to small start-ups. And working within, or helping define, their communications policies, both internal and external, has been a fascinating insight.

Because the way that they communicate to each other and to the world outside says a lot about the way that they treat people, and more often than not, the way in which those at the top treat those at the bottom.

If your corporate comms policy is restrictive and encourages blame-passing with everyone running scared, chances are the whole company operates like that. And chances are, high up in the business, there’s a team of megalomaniac bullies who operate by keeping people tightly in line through keeping them fearful.

Correct?

Alternatively, if your business allows its employees to contribute opinions, to be empowered, and to freely access information, I would place bets on you having an innovative and exciting leadership team, and an open, inclusive culture.

DA/Agang merger debacle

I was mesmirised watching the recent DA/Agang merger debacle. Never mind the backtracking at the end, the first warning lights were flashing when it emerged that followers of Ramphele were just as surprised as the rest of the world when the announcement of her ‘defection’ to the DA came (sort of) out of the blue.

How the hell had they decided to have a press conference to announce the news when high-ranking members of her support team — who had invested time, money and their loyalty in their belief in her — were not informed, let alone consulted on the decision?

Let’s take a moment of silence to consider the awkwardness of the poor soul managing the @AgangSA Twitter handle who, up until minutes before the press conference, was vehemently denying the ‘rumours’ that their leader would be joining the opposition.

And then the confused and conflicting messages floating back and forth that followed it in the week after? Well, there’s not much chance of any way out of a sticky solution after all of that.

Even if the Agang leadership tried to go back and pretend nothing had ever happened, how could the rest of Rampehele’s team, her strongest supporters, not feel betrayed, let down and patronised? And if that’s how your own team feels, there’s not much chance that the rest of the big bad world would be any better.

Sacrificial lamb

Then there’s the companies I have seen that bleat and moan when their customers are turning away because they think that the business is impersonal, aloof and a bully. And yet, when faced with minor complaints or enquiries, they ignore them, fob them off with automated replies, or send some poor quivering junior out to be the sacrificial lamb.

Funny, that.

So, have a think and take a good look at your business. If you are not empowering your employees to be your biggest supporters, aren’t you missing a trick?

Emma King (@EmmainSA) is head of PR at The Jupiter Drawing Room (Cape Town). She contributes the monthly “The Dissindent Spin Doctor” column on PR and communication issues to MarkLives.com.

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Letter from NY: To sell or not to sell?

Matthew Bullby Matthew Bull (@StixBull) Last week, we were made an outrageous offer to sell our agency.

We are having to think long and hard about this because it will have a massive effect on our futures — the people of The Bull WH, our clients and the industry at large.

So I have done a parallel forecast: what happens if we sell, and what happens if we don’t sell.

Don’t sell

We retain complete control of our company and its philosophies. Meaning we can decide who we want to work with, the kind of work we want to do without the pressure of unrealistic financial reporting, and the kind of furniture we want the agency to have.

We can invest the money we make into the agency and its people — this includes putting money into work we believe in that our clients can’t afford, inspirational training, the most exciting new equipment, new ventures and, of course, wonderful adventures into the unknown. Or, as others call them, parties.

We have fully committed people driven to building a long-lasting company that one day, perhaps, their children can work at. As opposed to people committed to maximising short-term profits to ensure they receive a large earn-out.

We can say what we like about the state of the industry and how much we loathe the fact that it is, by and large, controlled by people who have no interest in it but only have an interest in how much money they make out of it.

We can give bonuses and increases to people, even though we only made a 16% margin and are forecast to only make a 19% margin next year.

Most importantly, we don’t have to report to someone who knows how to add but can’t plus anything.

Sell

We’ll be rich beyond our wildest dreams.

Even though we’ll be miserable for the next five years as we pinch and punch every single dime we can into the company, we’re getting lots and lots and lots of money.

We’ll spend approximately 40% of our working months preparing reports and on conference calls with the company’s new owners, discussing our financial performance and devising ways of increasing the margin. Because that, at the end of the day, is all that matters. Rich, rich, rich.

We won’t be able to talk to the press without permission from the chief liason officer at our new owners, so we won’t be able to tell the world we think clients are being manipulated and ripped off by large conglomerates who are charging them for people who don’t work on their business but rock up at meetings. Especially pitch meetings. However, we will get to go to those meetings driven in the back of a limo having just flown first class from the city we’ve decided to spend the summer in.

We will be able to invest more into our website, stating our beliefs and philosophies, although we will also have to invest more time into consoling our people who are furious with us because we are not actually abiding by those principles because we can no longer spend money on developing our product or company because we really need to increase the margin. Because it’s the right thing to do. After all, we’re running a bloody business, not an art studio, dammit.

We will definitely be going to Cannes this year and so will our chief financial officer because, well, he’s the reason we’re there, isn’t he? Oh, and sea-facing rooms in the Carlton is a shoo-in thanks to the huge discount we’re getting because we’re now owned by a huge multinational financial conglomerate. (No, we haven’t sold to the Cannes Awards itself.)

Happily, we’ll be redecorating the agency as we move into our new midtown offices. It’s going to be really eclectic as we’ve a choice of four collections to choose from — all previously owned by other agencies within our powerful multinational group.

We will have to take a bath after every client presentation in the knowledge that we are selling them work we know they’ll buy but we don’t know will work. However, it will be a bubble bath and there will be a glass of champagne alongside it.

Conclusion

This is so hard to decide. On the one hand, we’ll have f**k you money. On the other hand, we’ll never be able to tell anyone to f**k off ever again.

Your advice would be welcome.

Matthew Bull (@StixBull) is a partner at The Bull-White House in New York. Before that, he served as chief creative officer/chairman of Lowe & Partners/Lowe Bull and chief creative officer at Lowe Worldwide. Matthew contributes the regular “Letter from New York” column to MarkLives.

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Smart Africa TV: Mo Abudu on the long road to launching Ebony Life TV

by Russell Southwood (@BalancingActAfr) In this interview, Mo Abudu, CEO of Ebony Life TV, talks to Michelle Garforth-Venter at DISCOP 2013 about the long road to launching her channel and licensing the Desperate Housewives format from Walt Disney.

The interview covers:

  • her early career and what it taught her about doing things with others;
  • the original show with M-Net;
  • the balance of local and international content on the channel;
  • the number of people working on the channel;
  • her views on production budgets;
  • and the licensing of Desperate Housewives.

Smart MonkeyRussell Southwood is the founder of Balancing Act and the web TV channel Smart Monkey TV, and has been an analyst in telecoms, internet and broadcast in Africa for the last 14 years. Smart Monkey TV aims to capture the energy at the crossroads between African culture and technology. MarkLives is syndicating content from Smart Monkey TV on a weekly basis for the column “Smart Africa TV”.

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