The Ad Contrarian: Adland — salespeople or sociologists?

by Bob Hoffman (@adcontrarian), San Francisco Bay Somewhere along the line, the ad industry decided that advertising should be about consumers, not products.

This unnoticed and unremarked-upon mutation has had a profound impact on the nature and effectiveness of what we do.

adcontraFirst effect

The first effect has been to transform us from salespeople to sociologists. Of course, we don’t like to call what we do sociology (too down market); instead, we like to call it “cultural anthropology” (much more lyrical.)

So, along with our friends in the market research world, we have developed all kinds of cultural cliches which we lean on: Baby Boomers are this, and Millennials are that, and Gen Xers are the other thing, therefore…(INSERT QUESTIONABLE ASSERTIONS HERE.)

Instead of spending our time looking for imaginative advertising concepts about products, we spend our time developing dubious “insights” about consumers. Our sociological cliches form both the basis of these “insights” and the justification for them.

We’d all agree

Of course, if these insights actually helped us create more effective advertising and sell more stuff, we’d all agree that progress has been made.

Sadly, however, it is pretty widely recognised that advertising has become a less powerful force, not a more powerful one. If our metamorphosis from salesmen to sociologists had been a constructive thing, we would expect the opposite.

There are surely a lot of other reasons for advertising’s loss of efficacy — media fragmentation, clutter, and talent erosion among them. But I think we would be mistaken to believe that our ascension from the uninspiring role of salesmen to the lofty ranks of cultural anthropologists hasn’t been a factor.

Shallow generalities

Most of the “insights” we develop as a result of our sidewalk sociology turn out to be shallow generalities that have little to no effect on our ability to move more peanut butter.

In fact, a nice idea about a product is usually a much more powerful marketing asset than a majestic theory about the nature of mankind.

The Ad Contrarian is Bob Hoffman (@adcontrarian), the author of The Ad Contrarian and 101 Contrarian Ideas About Advertising.

This column has been republished from his blog The Ad Contrarian.

Ad of the Week: Where’s my name? #ShareACokeZA

by Oresti Patricios (@orestaki) Coca-Cola is the global brand that proves time and again that it knows its market well. But, more so, it really understands how to connect with that market. Just in time for summer, when the pressure to grow market-share is on, Coca-Cola has launched an astute, bright campaign that makes its customers the hero of its marketing.

Since the beginning of November 2013, South Africans have been able to buy cans and bottles that have the wording “Coca-Cola” replaced with 600 of the country’s most common names. Produced by Draftfcb with Velocity Films, the television commercial (TVC) that goes with this #ShareACokeZA campaign is called “Share a Coke with Bobby”, featuring a gorgeous black-and-white border-collie-cross-pit-bull.

Draftfcb TVC for Coca-Cola South Africa: “Share a Coke with Bobby”

Flown in with her trainer from Los Angeles for the shoot, the clever-cross-collie’s real name is Jules but she plays Bobby in the commercial movie, where the dog searches for a can or bottle of Coke with ‘his’ name on it. (The actress may be a female, but for the sake of simplicity I’m going to go with “him”.)

Set in downtown Johannesburg

Share a Coke with Bobby TVC screengrab 1The ad is set in downtown Johannesburg, and the producers elected to use local youngsters instead of actors, and this tactic really works well.

“Coke as a brand is all about authenticity,” says Jonathan Deeb, executive creative director on the shoot, in a movie about the making of TVC. He continues: “And when you’re talking to young people, you can’t pull the wool over their eyes. So, when it came to casting, we found real people who are brands within their own right… really cool, genuine, authentic young kids who have just got something going on.”

Share a Coke with Bobby TVC screengrab 2The various “kids” create a colourful backdrop for the main story, which is Bobby’s quest for his eponymous bottle or can of Coke. Bobby travels throughout the city, going from one Coca-Cola scenario to the next, hunting for the elusive bottle. En route between the fridges and cooler boxes, he encounters hip-hop crews and puppeteers, skateboarders and a rooftop pool-party.

“That’s not my name”

The music used in the TVC is “That’s not my name” by garage-punk-pop band, The Ting Tings. (If you’re a music aficionado, you’ll know that The Ting Tings are a UK band which had a hit in 2008 with that very likeable tune.)

It’s a catchy song, and the lyrics resonate with Bobby’s search, because everywhere he looks there are cans and bottles with names on — just not his. At the same time that Bobby’s on the hunt, we get to see the young people enjoying the fun of finding their name on a Coke.

Bobby wanders through hair salons, restaurants… up and down stairs, until finally he arrives on a rooftop where a small group of dogs are gathered — yes, it’s a dog party! Bobby turns around to see his name up in lights on the Coca-Cola billboard. Excited by this, Bobby does a twirl and a jump, and all the other dogs celebrate with him. It’s pure fantasy, but at the same time it’s endearing and heart-warming.

Unique South African interpretation

The campaign was run in several European countries and the UK in June, but the interpretation in this ad is unique, and a credit to South African creatives. The Draftfcb team consisted of chief creative officer Brett Morris, ECD Jonathan Deeb, creative director James Cloete, art director Nkgabiseng Motau, copywriter Mukondeleli Ralushayi, producer Vanessa Borthwick, and group account director Struan Bourquin. Velocity’s director was Greg Gray, the DoP was Paul Gilpin and the editor Ricky Boyd.

In addition to the TVC, the Coca-Cola Facebook page features an app that allows you to make a “virtual” can with your name on it, which is helpful if your name is unusual, like say, Oresti.

Coca-Cola is also hosting events in five provinces, where you’ll be able to go and have a customised can made. These events seem to have been successful overseas, showing that consumers enjoy interacting with this brand, and that this brand is very good at building upon the relationship.

Another way to interact

The hashtag #ShareACokeZA is also being used by people posting pics of themselves (or their pets) with their personalised Coke on Twitter or Instagram. No prizes are being offered — it’s just another way for Coca-Cola customers to interact with the brand.


 

There’s a “behind-the-scenes” short film as well:


Coca-Cola shows how it’s done with a smart interactive campaign that will doubtless drive good sales this summer.

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

Fair Exchange: Unilever, P&G and the rise of the corporate brand

by Erna George Over the past few months, I have noticed that corporate brands are increasingly being featured in campaigns marketing the product or ‘consumed’ brand. Whether a surreptitious inclusion or blaring endorsement, this phenomenon is an interesting addition to the branding landscape.

Erna GeorgeGains and wins

But what does the consumer gain from this? What do the product and corporate brands win in this equation?

Back in my Unilever days, the use of corporate brands was usually limited to activities such as corporate social responsibility, the annual report or for recruitment advertising, especially when the company owned strong product brands and especially for FMCG brand owners.

An exception to the rule were vehicles; here, the corporate brand was also the motherbrand and always linked with the sub-brands: Toyota Corolla, Ford Cortina and Fiat Uno, for example.

Oft-cited reasons

Some reasons most often cited for the separation were:

  • The individual product brands were strong and no-one wanted to split resources (budget)
  • Consumers didn’t know (or possibly wanted to know) of the existence of the corporate brand, what it stood for and that it made so many products
  • Marketers were concerned that integrated or dual branding could confuse consumers
  • If something happened to damage either the corporate or the individual brand, the other brands in the stable could be negatively impacted.

In that last-mentioned point is, for me, a clue as to why corporate brands are playing more active roles today. Consumers now want the whole story. They demand more transparency. And, given that when things go wrong they go wrong publicly, a strong corporate brand with integrity can provide a level of comfort, reliability and simplicity that was needed less in the relatively uncluttered and more trusted days of old.

Let’s examine two FMCG giants activating the corporate brand above-the-line and integrating it into the individual product branding in different ways: Unilever and P&G.

Unilever: the whisper

Unilever started the journey a while ago, and has integrated its corporate brand with its product brands using what I term ‘a whisper’ approach. There is no loud voiceover or big cut-away on screen; just a simple little dropdown white tab on the top right of the screen that surreptitiously but clearly appears. It’s like a seal of approval endorsing the product brand and story as one of its own.

As each of these brands represents quality and a clear proposition, Unilever has become associated with trusted brands and has been given a voice and connection with the consumer beyond the CSI projects. In turn, it will become the seal of approval signifying trustworthiness, especially for new brands it would like to introduce.

This is critically important on the African continent, where we see so many counterfeit goods and many broken promises. A clear parent brand offering this security blanket is what consumers yearn for and will help differentiate Unilever brands.

P&G: the yell

Maybe I do not watch enough TV, but only recently have I seen the P&G activity. It is what I would describe as a YELL!

At the end of the usual ad (to be honest, I can’t remember the brand I was so distracted by the end shot) appeared a white screen with a large P&G blue logo and a booming voiceover, “Brought to you by P&G”. The contrast between the tone of the product ad and this yell was disconcerting, and over-shadowed the product.

The crazy thing is that P&G was one of the early adopters of driving integration of the corporate umbrella brand with its powerhouse of consumer brands — think the 2010 Olympics campaign ‘Proud Sponsor of Moms’.

Benefits

The benefits of linking the corporate and product brands include:

  • Facilitating product acceptance and making choices easier for consumers
  • Potential cost-efficiencies with more bang-for-buck on each rand spent across the stable
  • Rallying employees behind a common purpose
  • Moving marketing firmly into the boardroom and on the agenda of senior management.

Whether you choose to whisper the association or yell the connection will depend on both brands’ personalities. Being true to both is critical, while other key points are that the relationship is made clear, each brand builds and borrows positively on the other, and together they deliver a clear and unique experience for all stakeholders. Then the move will make business sense and sense to the market.

Think about:

  1. What does the corporate brand stand for? What is its personality and how does it link to the product brands?
  2. How well-known is the corporate brand to each stakeholder group (especially if you select TV as the medium to convey the link)? This will impact upon how you introduce it. Does it need a brand promise payoff line or is it known so a simple logo will do the trick?
  3. What is the approach to introduce the link and does it fit the parent and product brand personae and strategies? Is it about yelling or whispering your way into the integration?
  4. Consumers want this conversation to happen and, if you don’t do it, it will happen anyway. The way it is executed will have an impact on the product image and the corporate. Get it right.

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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The Dissident Spin Doctor: Four steps to avoiding a reputational s**tstorm

by Emma King (@EmmainSA) Over the past month, the industry has been atwitter with whispers about hummingbirds and tales about errant Loeries. All very exciting for us armchair critics as we sit back with our popcorn and pontificate about how we would have handled it differently.

But once we’re in that seat, when the proverbial shit hits the fan, what would we do differently?

Emma KingJust don’t

Well, first of all, as I would tell clients facing a reputational crisis, don’t get into that position in the first place.

Often I’ve been asked to develop a statement or response to an issue in the media by a desperate client wanting to hush something up, but I truly believe that a business needs to looks at why the issue has blown up, and make real business changes to rectify it.

At the end of the day, it doesn’t matter how many Band Aids you put over a festering wound, if you don’t sort out the problem at the source.

Set in stone

Nevertheless, sometimes a business does get caught in turmoil — whether its own fault or not — and there are some hard-and-fast rules we share that are pretty much set in stone.

In these cases, ducking, diving, getting aggressive and pointing the finger at others can only do harm. It looks shifty and is, in any case, distasteful.

“But what,” I’ve been asked, “should a brand do, if they have done something wrong? Should they admit to it, or try to deflect the attention?”

Never, ever lie

Well, the first is never, ever lie. You WILL be found out and then the consequences are even worse. Human nature is such that is can forgive an error — but it’s much harder to forgive someone who lies or who doesn’t take responsibility for what they have done. Nothing is more disdainful than someone who tries to lie to get out of a situation.

There are some simple things that should be done which have proved, time and time again, to be more effective ways of dealing with a reputational storm.

  1. First of all, don’t do it! A business with a strong reputation (which always effect the bottom line), is one that doesn’t cover up dodgy business practices.
  2. Always accept responsibility and admit to what has been done wrong — the whole truth!
  3. Apologise! Humbly.
  4. Explain what you are doing to fix it. And then do it.

Sounds simple? It is.

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.

Design Annotator: Fresh student meat & SA’s newest sex zine

by 10and5logosmall1Uno de Waal (@Unodewaal) In our roundup this (particularly exciting) week, we bring you:

  • The launch of our Fresh Meat Graduate Series — the best resource for finding top-quality talent in our talent-scarce marketing world; and
  • The rest of our Nokia Lumia Nothing Else Comes Close group exhibition — we’re releasing the work each week and the feedback has been fantastic.
  • Design Annotator might seem a bit slanted towards the petrolheads this week, we apologise, but the design from Dutchmann, Traffic and Whippet is just so damn good!

Fresh Meat: Lize-Marie Dreyer

Lize-Marie Dreyer: Final poster

It’s been a busy and productive year for Lize-Marie Dreyer.

Earlier this year, she won the inaugural Portfolio Night Johannesburg 2013 All-Stars competition, part of a global event where the best of the advertising industry’s present meet the best of the years-to-come; she was one of the 13 creatives approached by Essie Letterpress to contribute to its annual letterpress calendar, 2014 Artist Almanac; and she caught our attention again with the catalogue she designed for Cool Capital 2014.

Now she kicks off our 2013 Graduate Series, Fresh Meat, with the fantastic poster above, a Q&A, and a look at her final project.

See more of Dreyer’s work.

Follow our creative graduate series.

Made in Maboneng: The Whippet Cycling Co.

Whippet Cycling Co.

Emile Kruger is the man behind The Whippet Cycling Co. From the repurposed container in which the shop and workshop are housed to the custom bikes he builds for customers, Emile’s approach is all about repurposing and rebuilding what already exists into something new that can be enjoyed again.

We like this idea, as well as his super-slick bikes.

More pictures from The Whippet Cycling shop.

Made in Jeppestown: Studio Studio

Studio Studio

Studio Studio is the recently opened space of photographers Chris Saunders and Justin McGee. The two teamed up to make real their shared longtime dream: owning their own mixed-purpose inner-city studio space.

Since before its official launch, Studio Studio has been gaining a reputation as the new place in town.

Saunders and McGee tell us more about Studio Studio.

The Bookmarks 2013 | The winning work

The Bookmarks 2013 app cover

Congratulations to all the winners at The Bookmarks 2013!

Here’s a list of the Bookmarks winners and a look at what earned them a pixel or few.

Introducing: Traffic Magazine

Jaguar2 by Warren van Rensburg

Traffic Magazine, a new publication by creative agency Infiltrate Media, is a digital quarterly celebrating the art of the craftsman, the passion for vehicles and the related culture and lifestyle.

Inspired by the likes of Vanity Fair and Intersection, the team behind Traffic aims to bring together the best photographers and writers to celebrate the relationship between man and machine.

Get your free copy of Traffic Magazine.

Kaapstad Kinsey | A sex ‘zine by Lady Skollie

Kaapstad Kinsey

Cape Town’s Lady Skollie is launching her first-ever sex ‘zine, Kaapstad Kinsey.

Laura Windvogel, aka Lady Skollie, is well known as a stylist, film photographer and artist. She paints what she calls “slightly offensive watercolors”, which explore sexuality and how people react to the depiction thereof.

See more work from Windvogel.

Dutchmann presents The Vicious Cycle

Dutchmann presents The Vicious Cycle

On the cusp between form and function, The Vicious Cycle is a collaboration between retired frame-builder Duncan MacIntyre and composite specialist Anton Dekker, facilitated by Dutchmann.

Partnering the characteristics of great design and functionality, South Africa’s most accomplished bicycle frame builder MacIntyre — whose work dates back to the early ’70s for competitive brands and his own marquee label ‘Gemini’ — came out of retirement to collaborate with Dekker on the special limited edition of 10. Dekker runs a specialist composite workshop producing bespoke components for brands such as Porsche, Lamborghini and Ferrari.

A collector’s item for premium enthusiasts, The Vicious Cycle is hand-built using original MacIntyre frames, Dekker Tri-spoke wheels and select contemporary components.

More pictures from The Vicious Cycle.

Nothing Else Comes Close with the Nokia Lumia

Our partnership exhibition with Nokia has kicked off in earnest and the content for the Nothing Else Comes Close exhibition is rolling out smoothly.

We’ve released work from Amy Scheepers, Sherilea Gaspar, Brian Molepo and Andrew Berry so far, with more work being released in the week. We are also hosting regular hangouts with the photographers in the campaign — follow us on Twitter and Facebook to know when it’s happening.

Below is some of the work released so far. All images have been taken on the Nokia Lumia 1020.

Please remember to RSVP for the exhibition on 29 November 2013 in Johannesburg — space is limited!

Amy Scheepers

Sherilea Gaspar

Brian Molepo

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) who is also a social strategist.

The big surf brand wipeout

By Andrew Warren The “big three” Australian surf brands have found themselves in choppy financial waters.

Billabong, one of Australia’s most iconic surf brands, confirmed a $386 million refinancing agreement with US consortium Centerbridge-beach-girls-surfOaktree Capital Management acquiring a 40% share, guaranteeing the struggling brand’s short-term future after it posted an $859 million loss last financial year.

Like Billabong, public surf company Quiksilver has reported declining revenues, asset write-downs and growing losses, recently announcing third-quarterly earnings had declined 84%. Privately-owned Rip Curl has also been in profit free-fall. In mid-2012 Rip Curl founders Brian Singer and Doug Warbrick engaged Bank of America Merrill Lynch to help source a prospective buyer for the brand. The planned sale was abandoned in March with a lack of interest at the asking price of $400 million.

The current woes are a long way from the heady days of the 1990s and 2000s, which saw each of the big three surf brands aggressively pursue international expansion and high-profile sports sponsorship deals.

So, why have the Big Three surf brands found themselves struggling? And what is the way to calmer waters?

Heady ride, then dumped

Each of the big three had grown embryonically in the 1970s alongside the rising popularity of the beach and surfing in Australia and California. The people running each business were avid surfers themselves and brands established strong credibility within surfing subculture. Billabong, Quiksilver and Rip Curl clothing came to symbolise surfing’s laid-back, counter-cultural values, equally consumable by non-surfers that identified with the lifestyle.

The 1990s and 2000s saw Quiksilver and Billabong aggressively acquire emerging youth labels (DC Shoes, Rossignol Skis, Element, RVCA, Dakine, Mrs Palmers surf gear, Nixon watches) to consolidate market share. The brands’ integrated business operations by funding new retail stores, buying-up existing chains and standardising design. Between 2005 and 2011 Billabong purchased some 600 retail outlets; 150 of which have closed in the last 12 months. Large department chains have also featured prominently and agreements with surf brands were intended to facilitate greater access to non-surfing consumers.

The companies’ fortunes further rode on a re-organised World Championship Tour which included highly publicised surfing events on every inhabited continent. Snowboarding and skateboarding rose to greater prominence and complemented the values already imbued in the surf brands. New and highly profitable markets emerged in Europe and Asia.

Regaining their “cool”

Yet, as the big three surf brands grew so did a disconnect between global commercial ambitions on the one hand, and maintaining local subcultural credibility on the other hand. Ironically commercial success has also been the source of their troubles.

The big three have lost their “cool” with young people – their core demographic. Exposed to increasingly fast fashion cycles the Big Three have been unable to move expensive, out-of-fashion clothing.

What then does the future hold for the surf business?

The big three are now attempting to reconnect with this ‘core’ by creatively refocusing their brands. You can now order ‘custom’ designed clothing from Quiksilver. Rip Curl has begun playing-up a “craft” association and the ‘authentic’ nature of their surf products – tracing back to the company’s custom surfboard manufacturing roots.

More sustained efforts to reconnect with core consumers might involve re-focusing on design and clothing styles distinctive to local markets. Such an approach worked well for Billabong in South Africa during the early 2000s when surf shop owner Cheron Kraak received a licence from Billabong founder Gordon Merchant to design and manufacture clothing locally.

In 2005 Kraak helped Billabong win a fashion award as the most popular female youth brand in South Africa. Billabong bought back the licence in 2007, started supplying stores with generic designs and sales in the country have since tanked. Opportunities also exist to grow online retail, which currently makes up around 10% of the big three’s overall sales.

But what appears increasingly probable is that at some point in the future the big three will themselves be acquired by larger retail corporations. The case of Volcom is instructive.

Volcom began life from Southern California’s surf/skate subcultures in 1991 and grew rapidly in the early 2000s using the slogan “Youth Against Establishment”. In 2005 the brand floated on the New York Stock Exchange. However, by 2011 Volcom had seemingly reached growth limits and was acquired for $607 million by French luxury fashion conglomerate Kering (formerly PPR). After delisting Volcom, Kering re-energised the brand by increasing funding to select action sports events and athletes. Volcom is now outperforming the big three, with sales growth for the first half of 2013 increasing 19%.

Space to grow

Despite the wobbles in the Australian market, the global demand for surf-styled apparel is expected to remain strong and there are some useful lessons among some of the newer entrants.

Hollister, a spin-off of US retailer Abercrombie & Fitch has successfully moved into surf clothing and retail in the last decade. And smaller, culturally engaged brands are also emerging. One example is the Byron Bay label, Afends. Afends has experienced dramatic growth in the last three years, trading in loud, edgy apparel sold through independent stores supplemented by a strong online presence. The brand has a growing following amongst young surfers and skaters in Australia and California and shuns advertising in the usual surf media outlets. The problems being experienced by the Big Three has actually created space for the growth of creative, independent surf brands, thanks to the reduced threat of acquisition.

Problems facing the large surf brands such as Billabong are a reminder that doing business in surfing is volatile and inherently risky. But the big three will survive in one form or another. The challenge for them and other emerging brands is to maintain subcultural credibility.

— Andrew Warren does not work for, consult to, own shares in or receive funding from any company or organisation that would benefit from this article, and has no relevant affiliations.

The ConversationThis article was originally published at The Conversation.
Read the original article.

Tech Law: What the tobacco ad ban can teach the liquor industry

by Paul Jacobson (@pauljacobson) The Minister of Social Development, Bathabile Dlamini, gave a briefing on the proposed Control of Marketing of Alcohol Beverages Bill, in September 2013 which began with the following introduction:

Paul JacobsonOn Wednesday, 18 September 2013, Cabinet approved that the Control of Marketing of Alcohol Beverages Bill should be gazetted for public comment. The intention of the Bill is to reduce the exposure to the advertising and promotion of alcohol.

The harmful use of Alcohol has significant negative impacts on individuals, families, communities, the economy and the country as a whole.

The State has a responsibility to protect the health and well-being of all South Africans. Section 27 of the Constitution requires the state takes reasonable legislative and other measures to protect the health and wellbeing of everyone.

Research indicates that alcohol advertising influences behaviour negatively. It fosters positive beliefs about drinking and encourages young people to drink alcohol sooner and in great quantities. A study of 20 countries over 26 years found that alcohol advertising bans do decrease the consumption of alcohol.

A Lancet review of effectiveness of interventions to reduce alcohol-related harm lists comprehensive advertising ban on alcohol as one of the three most effective methods to reduce alcohol-related harm.

This proposed legislation has many in the liquor industry concerned for a variety of reasons which include the impact on the industry itself as well as on areas where the industry have an impact, a significant area being sports-related advertising. The Bill doesn’t seem to have been released for public comment yet so it isn’t possible to assess the Bill’s likely impact or regulatory framework but legislation governing tobacco products advertising may present a useful preview of what could lie ahead.

The Tobacco Industry May Be a Helpful Comparison

The Tobacco Products Control Act (as amended) established a fairly restrictive framework within which the tobacco industry has been forced to become fairly innovative in order to maintain public awareness of important issues regarding their products. To a large extent they are simply not permitted to market their products so the emphasis has shifted themes that are largely independent of their products. It is a fascinating space because the challenge is complying with the legislation which leaves very little room for doubt while exploring themes which they may not have considered previously.

The key section of the Tobacco Products Control Act is section 3(1)(a) which states the following:

No person shall advertise, or promote, or cause any other person to advertise or promote, a tobacco product through any direct or indirect means, including through sponsorship of any organisation, event, service, physical establishment, programme, project, bursary, scholarship or any other method.

This section includes two key terms which you have to understand to appreciate the section’s scope: “advertisement” and “promotion”.

 ‘Advertisement’ in relation to a tobacco product: ‘means any commercial communication or action brought to the attention of any member of the public in any manner with the aim, effect or likely effect of─
i) promoting the sale or use of any tobacco product, tobacco product brand element or tobacco manufacturer’s name in relation to a tobacco product; or …

ii) Being regarded as a recommendation of a  tobacco product

Includes product placement.

(c) excludes commercial communication between a tobacco manufacturer or importer and its trade partners, business partners, employees and share holders and any communications required by law.’

What does promotion mean?
‘the practice of fostering awareness of and positive attitudes towards a tobacco product, brand element or manufacturer for purposes of selling the tobacco product or encouraging tobacco use, through various means, including direct advertisement, incentives, free distribution, entertainment, organised activities, marketing of brand elements by means of related events and products through any public medium of communication including cinematographic film, television production, radio production or the internet’. The word ‘promote’ has a corresponding meaning.

Here is another way of presenting the parameters:

TPCA definitions.010.png

Failure to comply with these prohibitions is a criminal offence and is accompanied by a fine of up to R1 million.

In the 2012 British American Tobacco South Africa (Pty) Ltd v Minister of Health case, the Supreme Court of Appeal was asked to permit British American Tobacco South Africa to engage in certain one to one communications:

The appellant, a tobacco manufacturer conducting business as part of the British American Tobacco Group, which has a business presence in 180 countries throughout the world, was concerned about the impact the amendment would have on its ability to communicate one-to-one with consenting adult consumers of tobacco products, if the impugned provision were interpreted as extending to one-to-one communications between itself on the one hand, and consenting adult consumers of its products, on the other.

The information the appellant wished to impart to consenting adult consumers of its tobacco products includes the following:

a. packaging changes, which communication will generally be aimed at ensuring that the consumer is aware that the changes to the package are authentic and that an illicit trade package is not being purchased;

b. brand migrations when a product line is discontinued (ie the brands that are most similar in taste and other characteristics to the discontinued product);

c. product developments, which may, for example, be driven by legislative requirements (eg reductions in tar or nicotine levels) or may be made in order to ensure that the product is protected against illicit trade;

e. the launch of new products and new types of products, such as snus;

e. that a particular tobacco product is less harmful than another tobacco products; and

f. other distinguishing features of a particular tobacco product.

The Court considered a number of constitutional challenges to the legislation’s broad prohibitions and upheld them, rejecting BATSA’s appeal from a lower court. This case is a fascinating read. It explores commercial free expression and policy considerations as grounds for legislation such as this. It also raises a number of factors which could distinguish tobacco advertising bans from alcohol product advertising bans in a hypothetical constitutional challenge to the Control of Marketing of Alcohol Beverages Bill down the line.

What this means is that tobacco companies simply can’t advertise or promote their products at all. There isn’t much room for interpretation or any loopholes to exploit. It also means that tobacco companies have to shift their emphasis to communications which don’t reference their products, product branding or anything along those lines. So what are these companies talking about if they can’t talk about their products? We’re seeing more emphasis on community development through sustainable tobacco farming practices and rural community upliftment in the process. Interestingly, there is also quite a bit of information about the risks of smoking and the products’ composition (these companies can reference tobacco products as long as they don’t mention branded products, brand elements or encourage tobacco use).

In many ways, the legislation appears to have achieved many of its goals. We see tobacco companies becoming more transparent about the risks smokers (and potential smokers) face and how smokers can stop. They highlight the industry’s positive impact on small communities that engage in related farming activities (certainly designed to improve perceptions about the industry but still beneficial to communities that rely on income from their farming activities) and they help smokers understand how the legislation works and what it prohibits.

An interesting theme that has emerged from discussions I’ve had with representatives from one of the tobacco companies is an adult’s right to make an informed choice to smoke and to be ok with that. This is more than a little controversial because it implicitly encourages an adult’s choice to smoke but it is a valid consideration. I am not smoker and I am probably hypersensitive to smoking and do whatever I can to keep my children away from smokers to avoid the impact of second hand smoke but, as a former girlfriend once pointed out to me, many adults are aware of the risks and make a conscious choice to smoke and their right to choose should be respected. A sense of guilt seems to blanket many tobacco company employees and many smokers. The legislations forces smokers to huddle outside more than 20 metres from an entrance to a building. Modern smokers are implicitly ostracised and that may be an unstated goal of the legislation. In its affidavit supporting the Department of Health’s response to British American Tobacco South Africa’s appeal, the Minister pointed out that the legislation’s objectives are as follows:

  1. First, to stem and prevent the growing incidence of tobacco usage, particularly by youth;
  2. Second, to reduce the numbers of existing smokers;
  3. Third, to ensure that those who had stopped smoking, did not begin smoking again; and
  4. Fourth, to protect non-smokers from being exposed to second hand smoke.

Perhaps a sense of being ostracised is instrumental in achieving some of these objectives but I wonder at what point consenting smokers’ right to dignity overrides such an approach?

What Could This Mean for the Alcohol Industry?

The Tobacco Products Control Act emerged from a complex social and health policy framework and although the Control of Marketing of Alcohol Products Bill may not have quite the same overhead, we could see similar advertising restrictions imposed (this is pure speculation as we will likely only have clarity on the regulatory framework once the Bill approaches its final form). If these restrictions resemble those in the Tobacco Products Control Act, we could see virtually every means of advertising or promoting alcohol beverages being prohibited.

What does this leave the liquor industry with? For one thing it means no more sponsorships and branded events, let alone lifestyle advertisements implying how sophisticated, cool or attractive consumers will be if they purchase and consume these beverages. Will the liquor industry be able to point to how vineyards in the Cape help boost local communities as the tobacco companies have pointed to local tobacco farmers? Perhaps. What interests me is whether respect for consumers’ informed choice to consume alcohol could come to the fore and whether consumers could find themselves similarly ostracised, even implicitly, and whether the liquor industry will find a voice as an advocate for informed choices made by competent adults? Much of this will likely be shaped by the nature of the proposed regulations going forward.

Another interesting question is what role social media could play in helping the liquor industry remain relevant in a more intensely regulated environment on the social Web? I suspect that the social Web will be instrumental for the liquor industry going forward but it will have to shape its engagement with consumers very carefully bearing in mind the regulatory environment it is about to find itself in. This is one area where digital agencies developing campaigns and strategies for liquor companies are going to have to integrate very tightly with their legal teams to develop new compliant campaigns. Digital agencies simply won’t be able to function effectively if they are divorced from meaningful and informed legal and compliance input. The alternative may be missed opportunities to engage with consumers in potentially different ways which may not be apparent to digital marketers ignorant of legal and compliance nuances.

The only thing that is clear at the moment is that this is going to be a fascinating space to watch.

Also see: Framing the alcohol advertising regulation debate by Herman Manson

Paul Jacobson (@pauljacobson) is the founder and director of Web•Tech•Law/CC BY-SA 2.5

Magazine of the year and the 2013 MPASA PICA winners list

2013 MPASA PICA winners list:

EDITORIAL PUBLISHING EXCELLENCE AWARDS:

Columnist of the Year – Consumer:
Adam Cooke – “Man to Man: a series of columns” – Men’s Health, Media24

Columnist of the Year – Business-to-Business:
Peter Major – “Stop Blaming the Past” – SA Mining, Times Media

Columnist of the Year – Customer:
Darrel Bristow-Bovey – “Home Alone” – Fresh Living, John Brown Publishing

Feature Writer of the Year – Consumer
Elizabeth Donaldson – “Voices on a Train” – Joburg Style, Ballyhoo Media

Feature Writer of the Year – Business-to-Business
“A Lost Generation?” by Wessel Ebersohn, Kathleen Ebersohn & Mbali Dlamini – Debate, Debate

Feature Writer of the Year – Customer
Janine Stephen – “Spot the Dog” – High Life, Cedar Communications

Profile Writer of the Year – Consumer
Erns Grundling – “Suidwes se Storieman” – Weg!, Media24

Profile Writer of the Year – Business-to-Business
Hanna Barry – “Leading Lloyd’s” – RISKSA, COSA Communications

Profile Writer of the Year – Customer
AJ Opperman – “Hulle Noem Haar Liewe Verna” – Taalgenoot , ATKV

Health and Wellness Writer of the Year
Gordon Laws – “King of the Fat Guys” – Men’s Health, Media24

Travel Writer of the Year
Will Bendix – “The Alchemy of Gambia” – ZigZag, Media24

Non-Professional Writer of the Year – Consumer
Annerie du Plooy – “Ter Gedagtenis aan Henk” – SARIE, Media24

Non-Professional Writer of the Year – Business-to-Business
Vincent Kuo – “The Art of Civil Engineering” – South African Institution of Civil Engineering

Non-Professional Writer of the Year – Customer
Michael ’t Sas-Rolfes “Hunting Safaris’ Future” – Wildlife Ranching, AgriConnect

Designer of the Year (Layout of the Year) – Consumer
Robert Cilliers and Clinton Jurgens – “A Bunch of Real Losers” – Men’s Health, Media24

Designer (Layout) of the Year – Business-to-Business
Michelle du Pisani – “Uncomfortable Familiarity – the Bredasdorp Reality” – Debate, Debate

Designer (Layout) of the Year – Customer
Craig Baxter – a series of designs – High Life, Cedar Communications

Photographer / Photojournalist of the Year – Consumer
John Ferraz – “The Invisibles” – Joburg Style, Ballyhoo Media

Visual Production of the Year – Consumer
Crystal Birch and Jonathan Taylor – “Triple Threat” – FHM, Media24

Visual Production of the Year – Customer
Tina-Marié Malherbe, Dirk Pieters, Marianne Burke – “Fade to Blue” – Plascon Spaces, New Media Publishing

OVERALL PUBLISHING EXCELLENCE AWARDS:

Philip Tyler Trophy – Launch/Relaunch
VISI – New Media Publishing

Youth Market
TOTEM – John Brown Media

Annuals, Directories, Product Guides and Special Editions
SARIE FOOD – SARIE KOS, Media24

Supplements
“Boerekos” – Landbouweekblad, Media24

Online Solution
www.sarie.com – (SARIE), Media24

360 Degrees of Innovation
LEGiT, The Publishing Partnership

CUSTOMER PUBLISHING EXCELLENCE AWARDS:

Retail & Consumer Goods
Woolworths TASTE – New Media Publishing

Leisure & Lifestyle
Private Edition – The Publishing Partnership

Education, Health, Conservation, Safety and Security
Wild – TIP Africa Publishing

Financial and Other Professional Services
JSE – Highbury Safika Media

Customer Cover of the Year
High Life (May 2013 Cover), Cedar Communications

BUSINESS-TO-BUSINESS PUBLISHING EXCELLENCE AWARDS:

Professional Services
RISKSA – COSA Communications

Essential Services
Sea Rescue – The Publishing Partnership

Resource-Based Industries
The Dairy Mail – AgriConnect

Construction, Engineering and Related Industries
earthworks – Young Africa Publishing

Business-to-Business Cover of the Year
RISKSA – COSA Communications (October 2012)

CONSUMER PUBLISHING EXCELLENCE AWARDS:

General Interest (Male & Female)
SARIE – Media 24

International General Interest (Male & Female)
Men’s Health – Media24

Special Interest (Male & Female)
Longevity – Aegle Wellness

International Special Interest (Male & Female)
ELLE – Times Media

Décor, Crafts, Food and Gardening
SARIE KOS – Media24

Consumer Cover of the Year
VISI (Issue 64) – New Media Publishing

Consumer Magazine Largely Free Distribution
Joburg Style – Ballyhoo Media

EDITOR OF THE YEAR AWARDS:

Editor of the Year – Customer
Robbie Stammers of The Intrepid Explorer – Insights Publishing

Editor of the Year – Business-to-Business
Andy Marks – RISKSA, COSA Communications

Jane Raphaely Consumer Editor of the Year
Michélle van Breda – SARIE, Media24

Special Award for Editor
Chris Bishop – Forbes Africa, ABN Publishing

MAGAZINE OF THE YEAR AWARDS:

Customer Magazine of the Year
Woolworths TASTE, New Media Publishing

Watling Trophy for Business-to-Business Magazine of the Year
RISKSA – COSA Communications

Rossi Trophy for Consumer Magazine of the Year
SARIE – Media24

sarie

Shelf Life: Android in an iPad at Chocnology

Louise Marsland (@Louise_Marsland)’s pick of new product, packaging and design launches this week:

  • A unique exhibition where technology and confectionery meet by Native VML and Nestlé
  • More brands get into the Christmas spirit with specials for the festive season
  • Provantage shows brands the NightLife in communities they want to target

Art you can eat

Chocnology - Andriod in Ipad

An unusual exhibition took place in Joburg this week – all part of a campaign to promote Native VML’s client Nestlé South Africa, and in the spirit of Native’s branding philosophy of creating meaningful communication that is more than a brand message, but an experience for the consumer.

To celebrate the announcement of Google’s Android KitKat operating system, Nestlé and Native presented Chocnology – an exhibition of 3D-printed chocolate sculptures created by South African artists, using AndroidKitKat as inspiration.

Nestlé has always been about ‘Good Food, Good Life’ and to celebrate this philosophy in South Africa, along with the announcement of Android KitKat, Nestlé wanted to give the country ‘a break’ with an original idea, says Kevin Corlett, business executive manager, chocolates atNestlé.

Although the project culminated in a real-world exhibition, the entire process and the story behind Chocnology began with digital consideration. All designs were created using the Android operating system and freely available online 3D modelling tools. To produce the artwork, a 3D printer that traditionally uses a plastic-based filament was manipulated to use chocolate as its raw material, allowing the creation of intricate, three-dimensional sculptures, explained Ryan McManus, executive creative director of Native VML.

The Chocnology designers included tech analyst Liron Segev; Dale Halvorsen’s illustration alter-ego, Joey Hi-Fi; Studio Muti’s Mine Jonker; and talents from Am I Collective and Orijin were among those who contributed to the exhibition.

“Printing in chocolate was extremely challenging and there were numerous constraints in terms of complexity, size, weight and shape. The model’s designs had to be printed into bite-size pieces and constructed by hand. It was imperative to remain true to the original vision of the artists and create visually rich and beautiful pieces without letting the constraints hinder the end results,” said McManus.

The entire process is being seeded online through KitKat SA on Facebook and Twitter. Follow user experiences from the exhibition last weekend at @KitKatSA, #Chocnology. Click on this link to see stills of some of the 3D printed KitKat chocolate designs that made up the display: http://goo.gl/peUhRq; and view Chocnology at work: http://www.youtube.com/watch?v=ltXTuB-9iNg&feature=youtube

Because of the biodegradable nature of the material, the artworks could only be constructed just before the exhibition opened and it was only open to the public for a limited three days at the Museum of African Design (MOAD) in Johannesburg’s Maboneng Precinct.

Christmas specials

Southern Comfort

Jingle Bells, Jingle Bells… the Christmas decorations are up and out come all the special combo/gift/deluxe/etc festive season gifting ideas from brands. First up is Southern Comfort with a ‘Festive Freebie Pack’ to spice up your summer.

It includes a 750ml bottle of Southern Comfort Original and two free 200ml mixers. Each pack has a different ‘surprise’ combination of cola, lemonade or ginger ale cans. Then there are free red or green sunglasses and belts attached to 750ml Southern Comfort Original and the 750ml Southern Comfort Lime bottles. The limited edition packs are available at Spar tops and Makro stores.

The campaign hashtags are #whateverscomfortable / #southerncomfort.

The gift packs are described as “awesome” by the press release, but I wouldn’t go that far, although it is nice to get free stuff. I always buy the magazines that have those free dinky little handcream samples in them because they fit in my handbag!

Christmas spirit #2

Bouchard Finlayson 2010 Tete De CuveeTête de Cuvée Galpin Peak Pinot Noir is Bouchard Finlayson’s Icon Wine, available from the Bouchard Finlayson vineyard Tasting Room at R683 per bottle, making it very exclusive and “the perfect Christmas gift for wine fans” as touted by the press information.

The wine has been collecting awards for over a decade – the 2010 vintage recently won Gold at both the 2013 Decanter World Wine Awards in London and the China Wine and Spirits Awards (CWSA) in Hong Kong.

Winemaker and ‘Pinot Pioneer’ Peter Finlayson considers the 2010 Tête de Cuvée edition, a barrel selection of the best from the 2010 vintage, to be his top Pinot Noir since 2005 and 2007. The 2010 edition matured in 100% new wood and is a robust, dark and full-bodied wine with real complexity, rich with a delicious core of blueberry, wild cherry and fresh fruit flavours. It has a strong finish – and lots of ageing potential.

Rather a nice stocking filler, I’d say.

Own the night

Berea eating house (3)

Provantage is having a phenomenal growth year. It’s only a year since they launched the Airport TV network, but they’re already rebranding to refresh the look.

The overhaul comes with sophisticated changes inside and out. The team collaborated with international interface design specialists and employed the latest imaging software to come up with a sophisticated new channel identity with wide appeal, entitled Pure Air 1.0. Updates scheduled for early next year include ‘Pure Airport’ in February and ‘Humans that Fly’ in April.

The new head of content is Jacques du Preez, ex-KykNet (no relation to Provantage CEO, also Jacques du Preez. Someone needs a nickname!).

Then, shortly after launching their mall branding offering, Provantage has also launched NightLife as part of the ProActive portfolio, to reach clubs, pubs and taverns.

Provantage director, Vaughan Berry says nightlife venues are an integral part of communities and for brands wanting to tap into this market, the key lies in creating experiences that are not only relevant, but memorable.

“NightLife effectively takes brands to these sought-after audiences in settings that are relevant and influential. NightLife provides an assortment of media offerings from promotions, fixed and mobile media opportunities, point of sale erection and route to market solutions.

“Our brand ambassadors are trained to drive awareness of brands, products and services amongst an adult audience in these environments. This is where people enjoy themselves with their peers and this makes them highly receptive to messaging and product information. Our specialist teams are also able to conduct surveys with state of the art systems that deliver real-time campaign reporting,” Berry explains.

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 18 years of her 25-year media 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 co-founder and publishing editor of South Africa’s industry trendwatching portal, TREND. at www.trendlives.info, in partnership with MarkLives.com.

Bookmarks 2013 Winners List

Bookmarks 2013 Winners List

CORE – WEBSITES/MICROSITES/MOBISITES

Brand, Commercial & Retail websites – Large enterprise (business turnover > R100m)
BRONZE – Liquorice – Robertson’s

Specialist Publisher sites (smaller, niche audiences)
BRONZE – SARIE.com
BRONZE – How we made it in Africa (howwemadeitinafrica.com)
BRONZE – Memeburn
BRONZE – www.planetf1.com

Government, Public Service, Civil society Sites or CSI sites
BRONZE – Quirk – Pledge4Mandela Website Microsites
BRONZE – NATIVE – Nedbank Ke Yona site
BRONZE – Ogilvy & Mather Cape Town – Audi A1 Experience
BRONZE – Ogilvy & Mather Cape Town – #AudiA3Exchange

Commercial & Retail mobile sites
BRONZE – Quirk – Woolworths Online Brand/Company Identity mobile sites
BRONZE – Gorilla Creative Media – I Love Baking SA Publisher Mobile site – No winners E-Commerce
BRONZE – spree.co.za
BRONZE – Woolworths Online & Quirk – Woolworths.co.za

CORE – ADVERTISING & SEARCH

Display advertising
BRONZE – Ogilvy & Mather Cape Town – Audi R8 – Gone in 5 seconds (collaborated with OgilvyOne & R.E.C Cape Town
BRONZE – TBWA\Tequila\Johannesburg – McDonalds McMixa – Small Change Big Smiles.
BRONZE – 140 BBDO – Instagram Banner
SILVER – Gloo – BMW 7 Series iPad
SILVER – Gloo – DStv BoxOffice Online Best Media Plan
SILVER – Lighthouse Digital – FNB Retail Banking (collaborated with Gloo)

Paid Search Campaign
BRONZE – The Media Image – Virgin Active: How To Grow Leads By 160% With The Help of Mobile!
SILVER – Quirk – Woolworths | Always On PPC Campaign
SILVER – Synergize Digital – Prime Meridian Direct Paid Search Entry

Organic Search Campaigns
BRONZE – 2Stroke Interactive – Andy Cab Organic Search Campaign
BRONZE – World Wide Creative – American Swiss Organic

Non-Branded and Mobile Search
BRONZE – Synergize Digital – Rovos Rail
GOLD – Synergize Digital – Careers24

CORE AWARDS: Email Marketing

Email Campaign
BRONZE – Ireland/Davenport – Right2Know Confidential E-mail

Email Publication
GOLD – spree.co.za newsletter

CORE AWARDS: Social, Community & PR

Social Media Properties
BRONZE – Liquorice – Robertson’s Spice
BRONZE – Quirk – Savanna
SILVER – Gorilla Creative Media – I Love Baking SA (collaborated with First View Media)
GOLD – Hellocomputer – World’s First LIVE Tweeting Honey Badger (collaborated with DraftFCB Johannesburg)

Social Media Campaigns
BRONZE – DDB South Africa – The 5Gum Experience (collaborated with Seed productions, B4shaw & Retroviral)
BRONZE – M&C Saatchi Abel – Heineken 007
BRONZE – The Jupiter Drawing Room (South Africa) Cape Town- Hyundai Superband (collaborated with World Wide Creative)
SILVER – BNRY & Jupiter Drawing Room JHB – ABSA, The Democratic Republic of Design (The DRD)
SILVER – Ogilvy & Mather Cape Town- #AudiA3Exchange (collaborated with OgilvyOne Cape Town & Platypus Productions)
GOLD – NATIVE- The Exchange
GOLD – Ogilvy & Mather Cape Town – Send your Facebook Profile to Cape Town (collaborated with Flow Communications & R.E.C. Cape Town)

CORE AWARDS: Application & Tools

Browser-based Software
BRONZE – NATIVE – Isuzu Trail View (collaborated with Studio Muti)
BRONZE – BrandsEye – BrandsEye Handheld/phone Apps
BRONZE – The Jupiter Drawing Room (South Africa) Cape Town – Mediclinic Baby App (collaborated with Tech Mahindra (IT Solutions and Programming)
BRONZE – BNRY & The Jupiter Drawing Room JHB – ABSA, The Democratic Republic of Design (The DRD) (collaborated with H-factor)

Tablet Apps
BRONZE – DStv Online – DStv for iPad (collaborated with Immedia) Tablet Publication
BRONZE – Mail & Guardian – Mail & Guardian iPad edition

CORE AWARDS: Games Game

No winners

CORE AWARDS: Other Digital Media

Digital Installations and Activations
BRONZE – Saatchi & Saatchi AtPlay – CPUT Champions of Engineering (collaborated with Etienne la Grange)
BRONZE – Aqua / Wunderman South Africa – Coca-Cola Swing For Good
BRONZE – iKineo – Loom Immersive Retail
BRONZE – Ireland/Davenport – Walking Dead Activation
SILVER – Gloo – FNB ATM Switch

Online Video
BRONZE – Liquorice – Chef Wendy’s Cook Along
GOLD – Ogilvy & Mather Cape Town – Klein Kimmie

CORE AWARDS: Branded Content

Branded Content
SILVER – Ogilvy & Mather Cape Town – Send your Facebook Profile to Cape Town (collaborated with DraftFCB Johannesburg)
SILVER – NATIVE – Nedbank Ke Yona (collaborated with The Institute of Amazing Shit, Net#work BBDO, BonNgoe Productions & Universal Productions
GOLD – Hellocomputer – World’s First LIVE Tweeting Honey Badger (collaborated with DraftFCB Johannesburg)

tweeting honey badger

CORE AWARDS: Integrated/Mix Media Integrated

Digital Marketing / Campaigns
BRONZE – Lynne Mackenzie & Partners – Integrated Digital Marketing / Campaigns – Doritos house Party
BRONZE – iKineo – Loom Immersive Retail (collaborated with Michael Elion, Duvan Durand – The Institute, Adam Hill, Daniel Ting Chong, Emma Cook)
SILVER – Yonder Media – Hungry Lion Mobile Coupon Campaign
GOLD – Hellocomputer – RAV4 Outdoor Website(collaborated with DraftFCB Johannesburg)

Multi-platform Publisher (>3 platforms)
BRONZE – DStv Online – DStv Catch Up
BRONZE – EYEWITNESS NEWS (collaborated with Liquorice)
SILVER – Liquorice – whatsfordinner?
GOLD – DStv Online – Big Brother Africa

CRAFT AWARDS

Editorial (media – news, magazines, radio, and TV stations/networks)
SILVER – Daily Maverick

Interface, Interaction, Navigation, UX
SILVER – Ogilvy & Mather Cape Town – Be the Champion Coach (collaborated with OgilvyOne Cape Town)
SILVER – Hellocomputer – Toyota Hilux Dakar Emailer (collaborated with DraftFCB Johannesburg)

Graphic Design, Illustration, Animation
SILVER – Ogilvy & Mather Cape Town – #AudiA3Exchange (collaborated with OgilvyOne Cape Town & Platypus Productions)
SILVER – iKineo – Loom Immersive Retail (collaborated with Michael Elion, Adam Hill, Daniel Ting Chong & Emma Cook)

Tech. Innovation
SILVER – iKineo – Loom Immersive Retail (collaborated with Michael Elion, Duvan Durand – The Institute, Duvan Durand – The Institute & Daniel Ting Chong,)
SILVER – Gloo – Pixel Pong
SILVER – Hellocomputer – Toyota Hilux Dakar Emailer (collaborated with DraftFCB Johannesburg)
SILVER – 140 BBDO – Pinhole Camera Emailer (collaborated with Ninjas For Hire)

INDIVIDUAL & TEAM AWARDS

Best Digital Advertising Sales Team – No winner
Best Media Planner – No winner
Best Copywriter – No winner

Best Editorial Team
Mail & Guardian

Best Digital Editorial Individual
EYE WITNESS NEWS – Janine Willemans
Daily Maverick – Rebecca Davis

Best Community Manager
Liquorice – Jane-Anne Hobbs
EYEWITNESS NEWS – Dori Van Loggerenberg

Best Creative
Hellocomputer – Matt Thompson

Best Client Service
NATIVE – Elizabeth Janse van Rensburg

Best User Experience Designer
Hellocomputer – Ryno van Niekerk

Best Digital Strategist
MACHINE – Andy Gilder

Best Social Media Marketer
Quirk – Catherine Scott

Best Paid-search Marketer
Quirk – Linah Thandiwe Maigurira

Best Organic-search Marketer
Synergize Digital – Tim Withers

Best Student
AAA – Luscha Brink & Melissa Fontini (Netflorist campaign)

Best Youngster
Burn Media – Stuart Thomas

SPECIAL HONOURS

Best Agency – NATIVE
Best Brand/Company – No Winner
Best Publisher – Mail & Guardian
Best Individual Contribution to SA Digital Media & Marketing – Jarred Cinman

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