M&C Saatchi Abel revenue jumps 80%

 

jason harrison

by Herman Manson (@marklives) M&C Saatchi Abel, the agency launched by Mike Abel and a senior team just over three and a half years ago, is expected to hit R100 million in annual revenue (not billings) by the end of this year. Group revenue grew by 80% between July 2012 – June 2013 and the agency now employs 170 members of staff across the organisation – up from 125 just over a 13 months ago.

MD Jason Harrison attributes as much as 72% of the revenue growth between July 2012 – June 2013 to organic growth, saying clients such as Brandhouse, Takealot and MWeb have been handing larger chunks of their budget to the agency. Both Edcon and Nedbank have been entrusting more strategic work to the group, adds Harrison. New business included Virgin Active (which it won in a pitch against Landor Associates), Yardley and Shimansky.

The Africa agency, launched last year with Rick de Kock at the helm, is off to a somewhat slower start, Harrison admits, saying this is possibly because clients have been burned in the past by new entrants, and because it takes time to build proper relationships. It has won two significant beer brands, Gulder and Mutzig, from Heineken International.

M&C Saatchi Abel remains on the lookout for affiliates in several countries but sets the bar high, making its expansion slower by nature of this approach. That said, it already operates in the DRC, Rwanda, Burundi, Cameroon, the Ivory Coast, Senegal and Ghana. East Africa remains on the radar, as does Nigeria, although a lot of business in the Nigerian market seems to be handled via Ghana these days, explains Harrison.

The media business, Connect, run by Martin MacGregor, is doing great work and seeing really positive client feedback, but selling a new way of connecting with consumers, as opposed to just selling yourself as a media buyer, has been challenging, says Harrison. But the business is receiving a positive response from existing clients and the group continues to believe in its philosophy of focusing on the various consumer touch points to brands as opposed to just paid-for media.

The Sport & Entertainment agency (M&C Saatchi Sport & Entertainment) faces a noticeable challenge: big pitches are few and far between as sponsorship contracts are often locked down for a number of years, says Harrison. This is a small market but one that makes sense if you already work on brands such as Nedbank, Edcon and Virgin Active.

M&C Saatchi Mobile South Africa, lost its MD, Zeyad Davids, in early 2013 (he is now CMO at Virgin Active). The media part of the business seems the most successful, but most of that is run out of London, according to Harrison. SA clients include Kingprice Insurance, You Insure, Just Play and Landbou (the Media24 magazine).

Harrison says a personal highlight was making a shortlist that saw M&C Saatchi Abel listed alongside a host of specialist digital agencies for a digital account. It was the only integrated agency on the list.

In terms of the international M&C Saatchi network, the South African office sits sixth in terms of revenue (which is reported in Pounds Sterling – so it’s pretty impressive) out of 25 offices. Last year it won the internal award for the best work produced in the network – for its social media campaign for Dementia SA – as judged by the creative heads from all the offices in the network.

[Digital Grandad] 5 steps to better user experience design

MarkLives’ digital agony uncle @DigitalGrandad1 is now taking questions on all issues digital. Tweet them to him or email DigitalGrandad@marklives.com.

DigitalGranddad

Dear Digital Grandad – what the hell is UX all about?

We have appointed an agency to re-build out website and the costs include what the Account Director has line itemed as UX which is quite high. Regardless I haven’t got the foggiest what it is for and what it entails to build a website? Please help Grandad. I am getting all grumpy.
Regards
Mrs Gruppy

Dear Mrs Gruppy

WOW so you are in charge of rebuilding your website which is fantastic news (assuming the old is old) and you haven’t got a glue what UX is all about. Well little Missy here’s my thoughts in less than 140 characters

“Would you build a house without appointing an architect? Well the same goes with building a best in class website”

Well I hope you wouldn’t, otherwise you may end up with a house that looks like this…

 house

A house that has no flow, thought or consideration of what should be where in a logical way based on your needs or lifestyle. Where do you think you are going to mount your mountain bike, park the cars, the kids are going to sleep or where hubby (as Grandpa’s is not sexist) is going to throw away the dirty dishes when you are having a dinner party? Umm sounds like a nightmare to me. You need a plan!

So Little Missy, lets start with the basics and define UX- grandad style and then let me take you through some best-in-class basic steps (and yes you smarty-pants – there are different ways for sure) that are used in building a website with Grandpa’s analogy of building a house fit for queen-bee.

Lets first take a look at the definition of UX by my dear old friend Wikipedia:

In website design, it was important to combine the interests of different stakeholders: marketing, branding, visual design, and usability. Marketing and branding people needed to enter the interactive world where usability was important. Usability people needed to take marketing, branding, and aesthetic needs into account when designing websites. User experience provided a platform to cover the interests of all stakeholders: making web sites easy to use, valuable, and effective for visitors. This is why several early user-experience publications focus on website user experience.[8][9][10][11]

To me a UX specialist or Information Architect (as they are also known as), are like an architect appointed to build your dream house. The maker of a dream house that is suitable to your needs.

So here are my key steps in building a website:

 
Phase 11 ARCHITECT BRIEFING:Meeting your architect to brief him in what you are looking for in your dream house for example:

  • How big does your house need to be now and in the future
  • How many rooms do you want
  • Size of the garage – double?
  • Flow of the garden & pool etc.
  • Is there any special needs like a flat-let for Grandpa and Grandma J
REQUIREMENT CAPTURE:Briefing based on the brands/business needs vs. the needs of the users for example:

  • What is the key objective of the website
  • Who is your target audience prospects and/or owners
  • Is it just about showing product-range or allowing the users the ability to book a test drive
  • What is user goal completion for example – what do you want user to do from seeing, considering to downloading a brochure, through to booking a test drive

Goal

  • Understand clients business goals, processes & technical requirements
  • Understand the needs and priorities of users goals
  • Develop a detailed project plan for delivery

Tasks

  • Allocate a delivery team to the project
  • Create a Scope of Work
  • Develop a project plan
  • Define and agree objectives and success criteria
Phase 22  ARCHITECT DRAWINGS/IDEASBased on your briefing and vision (like I want to bring the outside inside – now that’s original), the architect will present you with an architects drawing of your dream house… and just maybe individual drawings of key rooms CONTENT MAPPING & FUNCTIONALDESIGN:Now your UX (yes your very own architect), will present you with a content map (like a schematic of your house / I mean website) and individual wireframes (detailed drawings of key pages based on potentially different personas / user journeys). These are critical to demonstrate the page layout in principle and functionalitiesGoal

  • To translate key user goals and business requirements into a hierarchical content structure
  • Develop a navigational interface and page layout that facilitates quick and easy user goal completion

Tasks

  • Develop content map
  • Design wireframes / templates
  • Define functionality
Phase 33  INTERIOR DESIGNER:Based on your house design, you need someone to ensure it looks beautiful and showcases your assets and style to its fullest – bling or ding.This could be from fixtures and fittings to look and feel of the softer things like color and decorations. DESIGN / VISUALIZATIONSThe website with no creative look and feel would be like going to an empty unfurnished house that is unappealing.Goal

  • To create an evocative online experience that fits with the direction of the brand and supports the purpose of the visit

Tasks

  • Look and feel for every aspect of the user journey (emotional / rational)
  • Interactive and immersive functionality
Phase 44  BUILDING THE HOUSE:Based on your house design, you need someone to ensure it looks beautiful and showcases your assets and style to its fullest – bling or ding.This could be from fixtures and fittings to look and feel of the softer things like color and decorations. ASSET PREPARATION &RATIONALISATION(in parallel to build):Goal

  • To create the assets necessary to support the Design and Business Objectives. Asset requirement

Tasks

  • Source necessary imagery / copy and/or third party suppliers
  • OR Shoot additional assets
  • OR Crop, retouch and catalogue assets for application
  • Create ONLINE copy needed
BUILD:Goal

  • Develop and build the sites in accordance with approved SOW, business goals, creative, usability & performance objectives

Tasks

  • Develop / document technical specifications
  • Specify external interfaces
  • Develop and test built site in accordance with best practice (Development > Q&A> UAT)
  • Execute System / QA Test Plan Script / User Cases
Phase 55  MOVING INTO YOUR DREAM HOUSE:Now you have built your dream house and ready to move in. You will need to buy or move furniture and test drive your house. But like all new things there may be a few snags… IMPLEMENTATION AND SUPPORT:Now you have built your website and it it is ready to go live. But it doesn’t end there!Goal

  • Deploy approved site & provide ongoing support
  • Provide Content Management Tool (CMT) and training

Tasks

  • Launch the tested and approved site
  • Log any bugs that are found
  • Setup a service support system
  • Provide training sessions and documentation for CMT

So Missy I hope the above gives you enough information to tell you that you cant build a website without an architect and there is a standard process to building a website like building a house… It starts with a brief and architects drawing and ends with a good builder who can translate the drawings and decorators to make it bling!.

Happy building and moving-in.

@digitalgrandad1

– DigitalGrandad is a Marketing Professional with over 140 dog years of practical digital experience working with both global and local brands. From SME’s through to Multinational’s and across industry sectors he has seen and embraced the changes technology has given to us to better our lives. Yes he remembers the old days, but is now a firm traDigitalist born through traditional marketing.

If you have a digital dilemma and are too afraid to ask your boss or your agency, but feel you need to ask for some straight no-nonsense advice, please email me at DigitalGrandad@marklives.com with your question, or better still tweet to @digitalgrandad1. I’ll answer one every week on MarkLives.com.

MagLove: Mary had a little lamb and other great magazine covers this week

MarkLives.com runs a regular slot featuring the best local and international magazine covers every week. We recognise well thought out, powerful and interesting (and hopefully all three in one) magazine covers and celebrate the mix of pragmatism, creativity and personal taste that created each of them. By media blogger MediaSlut.

See our archive of previous MagLove cover selections

INTERNATIONAL

Catalog, August 2013

Catalogue

For Catalog magazines’ “Art and Design Issue”, they commissioned 3 artists to design 3 different covers. I’m not sure if it was always the plan that the final cover will be a collage of all 3, but I think it worked out great. If you’re into art and graphics, make sure you flip through this issue, for free, right here.

Screen shot 2013-08-22 at 2.27.34 PM

V, Fall 2013

V 1 V 2 V 3 V 4

“Applause” for V magazine! (Get it!?) Lady Gaga appears on 4 different covers of V, for their Fall 2013 issue. And on each of the covers, as you can see, Lady Gaga looks completely different, which show how diverse her style is. Kudos to V for pulling off all 4 covers, which I’m sure the Little Monsters will love!

TOP Destinos

TOP Destinos

TOP Destinos 2

TOP Destinos 3

Brazial title TOP Destinos (TOP Destinations) isn’t on my list because of their covers, but rather for the use of their logo as I think it might inspire some magazine designers! I love the thinking behind making the logo extremely bold and in your face, but to then also incorporate the main picture into the logo, by having a ‘hole’ in the “O” of “TOP”.

LOCAL

High Life (South Africa), August 2013

CoverAUGv3.indd

The High Life (South Africa) covers (in-flight magazine for British Airways) is consistently unique, creative, but more important for me…has tons of humour!  Just read some of the cover lines, and you’ll know what I’m referring to.

ELLE South Africa, September 2013

ELLE South Africa , 9 September 2013: Rita Ora

This cover just screams SPRING, Style and Fashion! Everything from the image, typography to the colour scheme used, just works and makes this a beautiful cover!

– The (for now anonymous) blogger behind MediaSlut knows way too much for his own good about media in South Africa. Magazines in particular. His mission is to show when South African magazines might fail, but most importantly, succeed. If you’re looking for a library about South African magazines and news, your one-stop pitstop is MediaSlut. #MagazinesForTheWin

– Find a cover we should know about? Tweet us @marklives and @mediaslut
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Media Future: cellphones still at very early stage of their evolution

Measure cellphone evolution in automobile years, and you realise we still have a long way to go, writes Arthur Goldstuck (@art2gee).

We all know about dog years (7 for every human year) and Internet years (the time it takes for online technology to evolve as much as other 600-nokia_n9_06technology evolves in a year – typically a few months).

Cellphones and their rapid evolution supposedly obey the calendar of Internet time.

But what if we all have it wrong? What if cellphones are in fact still at a very early stage of their evolution? That sounds counter-intuitive, because they inspire such fear and bafflement.

That, however, is exactly how we can see we are still at an early stage in cellular history.  See what happens when we look at the cellphone according to automobile years.

From the moment the first long-distance trip in a self-propelled vehicle was completed by Bertha Benz in her husband’s creation in 1888, the myths about the dangers of both automobiles and women drivers created a traffic jam in the collective psyches of the industrialised world.

Only in 1896 was the law completely abolished that required men with red flags to walk ahead of cars (women are still not allowed to drive in Saudi Arabia). Even by 1907, the satirical Punch magazine characterized car drivers as “motor fiends”. By the end of the First World War, numerous adults still shunned cars, partly because of cost, partly because they were still regarded as dangerous.

Karl Benz’s first car was the equivalent of the 1972 Motorola DynaTAC, a massive cellphone that was almost bigger than a human head.

The Model T Ford, the first mass-produced vehicle, can be likened to the Motorola MicroTAC, the first flip phone. But both were still finicky devices.

It was only with the arrival of more streamlined vehicles, like the Austin 7 in the 1920s and the Nokia 2110 in the 1990s, that ordinary people began to feel it was safe to use the things.

Finally, when cars and phones became cool – the MG in the late 1930s and the Nokia 6310i in the early 2000s –the mass market embraced them. But then came “the next stage in the fine art of motoring”, namely the 1950 Studebaker, and the next generation cellphone, the BlackBerry 5810 smartphone, to prompt people to ask who needs all THAT in a gadget?

Chevrolet and other manufacturers responded with the first truly useless accessories: tailfins. Their 1960 Bel Air can be compared to the first iPhones in 2007: filled with features no one would use, but also designed to be desired.

Just as the old-timers railed against the kids with useless tailfins, so the media today rants about the useless bells and whistles on the cool smartphones. And we complain bitterly about the potholes in network coverage and data plans. We are stuck in the mid-60s in automobile years.

I can’t wait for the 1980s, when fuel efficiency became a standard selling feature for cars, battery technology improved, and the modern era of car design began.

* Arthur Goldstuck heads up World Wide Worx (www.worldwideworx.com) and is editor-in-chief of Gadget. He is a Consulting Editor to MarkLives and our media tech columnist. Follow him on Twitter on @art2gee. Reprinted from Gadget.

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Shelf Life: New digital media network for forecourt stores

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

Graffiti gives forecourt screen advertising a go; Amarula has a full harvest for Spring; the bygone era of the ‘gentleman’s club’ revitalised by the new McCullagh & Bothwell designs; and Huggies gets a dose of reality.

New digital media network for forecourt stores

In store digital screen

Garage forecourts were among the first ‘retail spaces’ in South Africa to be targeted for retail screen advertising, with limited success over the years. But as the technology has improved, so has the application, and Graffiti Digital has now launched digital advertising screens in store at garage forecourt shops around the country to feature specials and other news.

Graffiti has partnered with UK-based AMScreen International and the screens operate using 3G technology which means content can be instantly updated to feature specials particular to a store or region or even time of day.

Advertisers that have come on board include Nu-Metro, Michelin, Hyundai and Halls.

Graffiti reports that research conducted on the screens to date has shown significant brand retention statistics with customers not only remembering the products featured, but the brand names too. Stores are also reporting increased product sales of products featured on the screens, they say.

Craig Wight, who heads up Graffiti Digital explains their strategy: “The garage forecourt retail solution in South Africa has expanded significantly in recent years, with multiple offerings of fresh produce, speciality coffee, hot food and all the other essential convenience store requirements. As a result, footfall in these environments has increased over 50% over the last four years with even more development still in the pipeline. This makes this an extremely exciting environment in which to launch a dynamic digital media network.”

The first 120 screens have gone up in Caltex Freshstop shops. Total Bonjour and Shell Select stores are next in line.

Amarula harvest indulgence

Amarula harvest campaign generic poster

A multi-million rand, through-the-line campaign with major in store elements, is being launched for Spring to entrench Amarula as “an affordable indulgence”. The theme is the harvest of the marula fruit and the campaign to promote the brand will run from October to end-November.

The current campaign is also being used to introduce the new 200ml bottle via wholesale and on-consumption channels.

The marula fruit is indigenous to sub-Saharan Africa and grows in the wild where it is collected by communities outside of Phalaborwa and after being pulped, vinified and distilled, it is aged for two years in wood before the cream is added.

The in store retail and wholesale campaign element is supported by radio and digital advertising and is being extensively merchandised among participating retailers as premium prizes are on offer for consumers.

The brand is presented as unique, special and as a genuine African Original,” according to South African marketing manager, Christelle Bester. “Merchandising amplifies this by strongly featuring visuals of the fruit, the elephants that love marulas, as well as Alek Wek, the African-born supermodel who is the face of the brand.”

McCullagh & Bothwell’s designer legacy

M&B store 2

Johannesburg’s Hyde Park shopping centre is certainly positioning itself as one of the most sought-after luxury shopping destinations in South Africa if the slew of new luxury stores and product brands and upgrades are anything to go by.

The exclusive McCullagh & Bothwell menswear outlet is the latest store to “refresh” its look in its flagship store for Spring – while drawing on its colourful past.

It was founded in 1896 and brings this history to life with a special ‘heritage wall’ in the revamped store.

The new retail space also incorporates contemporary store design and customers are now greeted by tall, curved glass shop fronts, polished stainless steel detailing and new retail lighting concepts. The styling is “traditional gentleman’s club”.

Some of the world’s finest finishes have been utilised here to create a “debonair space”:“pure wool Philip Jeffries tweed wallpapers imported from the US adorn the walls, while the floors are embellished with solid oak chevron pattern flooring from the UK. Other rich, warm and masculine finishes such as walnut, polished black granite and dark thick pile carpets complete the opulent look”.

“Over the past few years, we have been mindful to revamp our Hyde Park store to launch the new era of McCullagh & Bothwell. But while we wanted to reflect this new chapter by contemporising the store and bringing it up to date with the latest retail trends, we also had to ensure that the space remained strongly linked to the brand’s deep-rooted tradition and heritage,” said Mickey Walker, a McCullagh & Bothwell director.

Branded reality

To promote Huggies My First Nappy – with built in moisture alert – the nappy brand has come on board as a sponsor of the new reality show on KykNet which targets pregnant women.

Called ‘Nege Maande’, the 12-episode series follows nine various and diverse moms-to-be over their second and third trimesters, documenting their experiences and providing viewers with insight into the different experiences and expectations of expectant moms during this incredible time.

Interactive content and pregnancy tips online support the TV shows.

My First Nappy is a size 0 made specifically for newborns and has a unique umbilical cord cut-out for additional protection, as well as a “wetness indicator” to alert new moms as to when it is time to change baby.

It’s Huggies which is also currently also trialing its ‘TweetPee’ app.

in Brazil with a cute device attached to baby’s nappy which tweets the parents when higher levels of humidity are detected – meaning baby has made a wee.

I think a poo panic button would be more useful.
Louise Marsland– Shelf 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 Marsland 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 SA’s newly launched industry trendwatching portal, TREND. at www.trendlives.info, in partnership with MarkLives.com.

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The Ad Contrarian: Four reasons for advertising’s radical remake

adcontraby  Bob Hoffman (@adcontrarian), San Francisco Bay Marketers’ immoderate obsession with dubious metrics is having a profound influence on the nature of advertising.

I was with a group of broadcast executives recently and what I heard was not surprising. Their clients are now evaluating their broadcast advertising the same way they used to evaluate direct mail — what’s our cost-per-response?

Of course, most broadcast advertising is not meant to elicit a direct response, but this doesn’t stop dimwits from trying to attribute a cost-per-response value to it.

More than any other trend, this may be the one that has the longest, largest and most detrimental effect on the ad business. Advertising is evolving from an activity whose most valued purpose was to build brands into an activity whose primary purpose is to trigger an immediate response. These ends are not synonymous.

Here are four reasons why this is happening:

  • We have lost confidence in “branding” For two decades the ad industry has been spewing a constant stream of dreadful, mind-numbing brand babble. This hogwash has completely misrepresented how strong brands in most categories are built. The result is that “branding” has become a meaningless, catch-all term for anything with a client’s logo on it that an agency can charge for.
  • We have lost confidence in creativity As we described in last Tuesday’s post, the ad industry is abandoning its primary reason for existence — the creation of imaginative advertising. Marketers once believed that creativity was a valuable asset.  Now it is merely given lip service. Leaders of the ad industry are no longer crafts people. They are lawyers, accountants and financiers. It is no surprise that they value numbers over ideas. The industry has always had to prove to clients that creativity is a worthwhile pursuit. We have given up. It’s easier to sell metrics and data, regardless of how misleading and shortsighted they are. The “creative community” is also complicit in diminishing the stature of creativity by associating it with unconscionable excess. The sickening images of outrageous immoderation that emanate from Cannes every year reinforce all the bad myths of wasteful, childish creative people.
  • We are making a virtue of necessity We have convinced clients that the web is the non plus ultra of advertising. Unfortunately, the facts tell a different story. Online advertising has thus far proven to be a lousy brand-building medium. Walk through your local supermarket or Target or Walmart and see if you can find any brands built by online advertising. So what is web advertising good for? Thus far, it has been  effective at search and moderately effective at a certain type of direct response. Since we’ve grossly exaggerated the power of online advertising, we now have to justify our irrational exuberance by making the modest direct response abilities of the web the standard by which advertising is judged.
  •  Nobody understands the data There are 50 ways that you’ve never heard of to spin, misinterpret, hide, and complicate-beyond-comprehension the data you get from web metrics. Media deliveries are unreliable. Agency interpretation of media deliveries and costs are unreliable. Client-side presentations to management of media effectiveness and ROI are unreliable.  However, the misplaced faith in data-based results allows media, agencies, and CMOs to reap the benefits of appearing fact-focused without actually being fact-focused. Marketing organizations, fed-up with brand babble, eat this stuff up. This is an enormous problem for agencies, and an equally enormous opportunity for frauds and con men. (By the way, for a terrific look at a related topic, I recommend this piece.)

The long-term value of advertising as a way to build a brand is being squeezed at both ends. From the top it is being squeezed by clueless brand babblers who have given traditional advertising a bad name. From the bottom it is being squeezed by delusional digi-hustlers who are promising what they can’t deliver.

In the middle are a lot of hard-working, talented people in agencies and marketing organizations who are being jerked around and pulled in all directions at once.

The result is an industry that is being re-made. It is defaulting to its most defensible, yet short-sighted, application — direct response.

– The Ad Contrarian is Bob Hoffman, is the author of The Ad Contrarian and 101 Contrarian Ideas About Advertising. Reprinted from his blog The Ad Contrarian.

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NAB/SAARF fight will force more realistic readership measures for print

by Gill Moodie (@GrubstreetSA)  What an illuminating morning I spent today at the joint South African Audience Research Foundation (Saarf)/National Association of Broadcasters (NAB) presentation  on the way forward for TV research now that the NAB has given notice of its resignation from Saarf (effective 31 December 2014). Last month I wrote a piece about what lies behind the Saarf/NAB fight and after today’s frank question-and-answer time (the most interesting were the questions from media planners), I’m sticking with what I wrote earlier but can a bit more.

[pullquote]Why are print media owners – represented on the Saarf board by the PDMSA industry body – in for the high jump when the NAB is out of Saarf? Because, for years, the print industry had benefited hugely from the unrealistic readership estimates in the Amps figures.[/pullquote]

What struck me at their recent presentation in Cape Town is that:

1. The broadcasters  are relishing their role of rocking the boat;

2. That they are genuinely pleased that TV market research is now going to be more comprehensive and more credible; and

3. That there’s a general smugness about that fact that it’s maybe time for print to get its comeuppance (though this was never stated).

But first the backstory. The NAB walked out of Saarf last month, prompted by extreme frustration that it only had two places on the Saarf etvgraph1board,  which consists of representatives of the media owners, advertisers, media planners and marketers.

The broadcasters contribute a lot of money to Saarf (78% of the total, according to the NAB) and they were unhappy with how the TAMS television audience research was being conducted.

Chiefly, they felt that the technology used to measure TV viewership was out of date and that older, wealthier, urban audiences were getting too much weight in the sample.

This tends to favour Naspers’ pay-TV behemoth, DStv MultiChoice, rather than free-to-air TV operations such as e.tv and the SABC.  The NAB felt its voice wasn’t being heard (it wanted six seats rather than two) and it threw down the gauntlet and walked out.

Why are print media owners – represented on the Saarf board by the PDMSA industry body – in for the high jump when the NAB is out of Saarf?

Because, for years, the print industry had benefited hugely from the unrealistic readership estimates in the Amps figures.

Print publishers may tell you how important Amps are to media planners but all the editors and the journalists in the newsroom know that it is plainly ridiculous to claim that one edition of a paper may be read by 20 or 30 people.

Amps is at issue here because the NAB says it intends to fund and conduct its own establishment survey (i.e. its own Amps) as well as its own TAMS audience research.

With the NAB’s funding out of Amps,  it is, in its current form, certainly at risk.

Ponying up for an establishment survey by themselves will definitely be a burden to the print owners – which are all struggling with squeezed revenue and falling circulation as it is.

Even if the NAB comes back to Saarf before the end of 2014 – or agrees to keep funding the same establishment survey as the print guys – they have now exercised their muscle, seen the resulting flurry of activity and I’m sure the next step will be to demand more realistic readership measures for print.

I know I would if I was a broadcaster.

There’s no reason for the broadcasters to care about print – especially when the figures have been skewed towards the print owners’ for so long.

Broadcasters  have everything to benefit from levelling the playing field when it comes to competing for advertising revenue – and TV has a lot more going for it than print these days.

Are the print owners aware of the import of what’s going on at Saarf?

I’m told that they are but, for now, the PDMSA  are not saying anything officially.

“We are busy with internal discussions and the formulation of proposals for discussion and decisions to be taken at the next PDMSA board meeting, scheduled for 29 August,” PDMSA’s CEO Ingrid Louw told Grubstreet today. “I should have a more defined response after that.”

It is clear, however, that if the NAB pursues its own TAMS research and establishment survey, that:

1.  Life will become trickier for media planners, especially as they will have to work with different establishment surveys;

2. That the media planners are worried about the independence of  TAMS figures overseen by the industry rather than a neutral body such as Saarf;

3. That the broadcasters will have to invest additional money in research if they go their own way;

4. That TAMS figures will represent the balance of our population better and use better, more modern technology to measure TV audiences (this has already been achieved by Saarf this year) because the broadcasters will control their own destinies; and

5. That Saarf needs to be beefed up with its own research people and statisticians to rule out future problems with the weighting of the sample sizes and the numbers in general.

What also stuck me is that not all in the NAB have the same view on the way forward and the broadcasters are clearly keen to keep the dialogue going with Saarf.

All feel it essential to sit down and talk to the marketers and advertisers about this and some even feel it key to sit down with the PDMSA to talk – and that a common establishment survey might be the way to go.

Acting Saarf chair Virginia Hollis, a veteran media planner herself, is stressing that none of this is a done deal – and that Saarf is working very hard to keep the NAB, PDMSA and the marketers talking and finding common ground and goals.

That’s a lot of tough talking and horse-trading that needs to be done.

Watch this space. It’s only going to get more interesting before we know the end game here. Either way, I do think things are going to get a whole lot tougher – as if they need that! – for the print owners.

Talk about kicking a dog when its down.

– SA’s leading media commentator, Gill Moodie, offers intelligence on media – old and new. Reprinted from her site Grubstreet.

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Ad of the Week with Oresti Patricios – Ummm… me, beautiful?

Ad of the Week with Oresti Patricios – Ummm… me, beautiful?

The fashion industry has long been criticised for creating a false set of standards for beauty. Then again, in its defence, one only has to look at ancient statues and paintings – Greece’s Athena, Rome’s Venus – to realise that the appreciation of human beauty is something that is inherent in human nature. Nonetheless, the fashion industry stands accused of creating standards that the vast majority of women are unable to attain; using graphics software to soften every flaw, and even improve physical aspects such as lifted cheekbones, narrowed waistlines and plumped-up lips.

Psychologists say that this has caused many women to have a self-critical outlook on themselves, resulting in a loss of self-confidence and poor self-esteem.

In 2004, after market research indicated that only 4% of women consider themselves beautiful, Dove launched its Campaign for Real Beauty, originally produced by Ogilvy & Mather Brazil. It started off as a  billboard campaign that featured ‘regular’ women photographed by Annie Liebowitz: the public were invited to vote on whether a particular model was “fat or fab” or “wrinkled or wonderful”… the votes being updated in real-time and displayed on the billboards.

Unilever, the owner of Dove, also published a study into women’s sense of self and identity. The study was aimed at creating “a new definition of beauty [which] will free women from self-doubt and encourage them to embrace their real beauty.”

The campaign created an immense buzz at the time, which Unilever estimated to be worth more than 30 times the paid-for media space. The dove2campaign was extended to television and a website called The Dove Campaign for Real Beauty, where several videos were hosted, examining issues such as young girls’ identity issues at high school, mother-daughter relationships, eating disorders etc. Around the world, leadership programs for girls and young women were sponsored by the beauty products company, further cementing its role as a spokesperson for ‘real beauty’.

In April this year, a video called ‘Dove Real Beauty Sketches’ was produced for the site, and rapidly went viral.  In this video, several women describe themselves to an ex-FBI forensic sketch artist while hidden from view. Then the same women are described by strangers who met them for a short while the previous day. When compared, the stranger had a more flattering—and more accurate—image of the subject.

The campaign hasn’t been without its critics (of course). The more hard-line of these have accused the company of being disingenuous, as the campaign still relies on its customers’ desires to beautify themselves. They point out that Unilever also markets Axe deodorant, a brand that tends to objectify women in its ads (albeit in a tongue-in-cheek way).

Dove’s most aggressive approach was to offer a free Photoshop plugin, supposedly for creating a beautifying skin glow. When the filter is applied, it reverts the picture to its original form, with the wording, “Don’t manipulate our perceptions of real beauty”. A potent message, that created a lot of media buzz.

The latest ad is a remake of one that was done by Dove in the UK and also shown here, but I think it has been a worthwhile exercise to do it in South Africa with South African women: it hits home, and it hits harder.

The concept is simple: the ad takes the form of a “vox pop” survey of women in a busy street. The title on-screen is: “Dove asked women, what do you love about your body?”. This is followed by various women saying “Ummm”; “That’s difficult”; “For me there’s definitely nothing” – with the attendant shrugs, sad faces and shaking of heads.

The next title is: “And then we asked, what do you love about your friend’s body?” – and of course, each woman’s friend can see something loveable about their companion: “Her freckles”; “Her dimples”; “Her bum” – and this time the response is full of laughter and warmth…

I’m going to go out on a limb and say that these are genuine vox pops, not actors, in these scenes. They are just too natural and realistic, and I think that fits in with the ethos of Dove’s campaign. As a whole, the ad is really powerful: it hits an emotional chord, and will resonate for most of the target market.

Dove’s Real Beauty campaign has run for so long, because it has been able to take ownership of something unique, and present itself as an evangelist for the “Everywoman”. Combined with its community outreach programs, the brand has created a powerful, pro-consumer identity.

Ad of the Week is published on MarkLives every Wednesday. See past selections here.
Oresti Patricios is the CEO of brand and reputation analysis company Ornico.

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Fair Exchange: Loyalty smoyalty

by Erna George Brands partner consumers in many ways and finding ways to keep what should be a two-way partnership exciting is a challenge given all the many distractions around.

One device employed seemingly at the drop of a hat in South Africa is the loyalty programme.

[pullquote]So, while Voyager’s rewards are highly sought after, it takes too long to earn them. No-one wants to wait ages to claim a reward, so shorten the cycle and reward more often.[/pullquote]

Hearing about the forthcoming launch of Standard Bank’s new initiative in this area, my husband (an ex-Standard client) grumbled “You know, I wish all these programmes supposedly rewarding loyalty would offer some of the cream at the top instead of the ‘stupid*” (replaced*) residue in the cup”.

This prompted me to conduct an informal poll (not a serious study), and examine the qualitative research Added Value has done into loyalty programmes, to discover why so many brands are failing at the loyalty programme hurdle and raising the ire of people like my husband.

The few principles this exercise uncovered are truly not rocket science, but seeing as so many new programmes appear to have not learnt from the lessons of the failed past, or tried to mimic successful programmes, they beg publication.

Principle 1: Offer real value – so, my significant other was right about cream and residue.

Consumers want tangible benefits such as rewards or VIP treatment. And these rewards must match their passions. erna george

Woolworths has gotten this right as it offers immediate savings on purchases, thereby addressing the “what’s in it for me” question, and links it to assisting others less fortunate, allowing us to polish our halos while we shop.

Furthermore, the reward should match the brand proposition, or it won’t be remembered as belonging to that brand. For example, a hotel could offer a free cooler bag for each 3-day booking, or tiered bonuses from preferred check-in to a free night’s stay.

Those friends who responded to my poll question about which loyalty programme offers great rewards put up Voyager because the rewards are linked to the brand, and they are desirable.

However, the respondents did highlight a problem with Voyager; see principle 2 below.

Principle 2: Reward often

So, while Voyager’s rewards are highly sought after, it takes too long to earn them. No-one wants to wait ages to claim a reward, so shorten the cycle and reward more often.

Respondents thought eBucks Online was a winner here because they could earn automatically (no card) and there were multiple reward options giving them the choice of redeeming for smaller rewards more often or bigger rewards less often. Unfortunately, they also remembered the fiasco with air lounges from a few years back.

Principle 3: Loyalty programmes are not pacifiers.

Brand owners must remember that loyalty programmes don’t replace the basics of great quality, service excellence and so on. If the product isn’t right, no amount of rewards will keep the customer coming back.

Principle 4: Avoid abusing the customer

By signing up consumers to loyalty programmes, brands gain lots of client information that helps with effective targeting, insight into actual behaviour and hopefully a hook that keeps people coming back for more.

However, the brand owner must avoid building a database that gets plundered for research as well as say ‘no’ to marketing tactics that annoy these customers. These are two behaviours that will quickly dissolve the partnership between the brand and the customer.

Principle 5: Be circumspect

There is no point in recruiting someone who seldom buys the product or uses the service – they won’t earn a reward and will simply be frustrated by that extra card in their wallet. The brand, too, will lose because it will not gain the insights it needs to properly tailor its marketing campaigns.

Principle 6: Simplicity and flexibility

The programme should easily slot into the consumer’s life – it should be simple and easy to understand from the go when they sign up, to calculating how points are earned, to redeeming. And it should be flexible enough to be used at any brand or outlet, not have many limitations and manage expiration dates sympathetically.

More complex and inflexible equals no use. Respondents pointed out that the Vitality programme is a great idea and sells an aspirational lifestyle, but it is also so complex and hard to maximise value unless you are a gym fanatic.

With these six principles in mind, let’s compare two other programmes that the respondents often quoted: Pick n Pay Smart Shopper and the Clicks Club Card.

First Pick n Pay:

Another card for the bulging wallet. Enter the store; queue at the machine to swipe in order to determine what’s on special to maximise points; print special offer slips; shop; at the till remember to handover the special offer slips for scanning because the two systems don’t talk to each other; hope I haven’t spent R750 because, while spending that would earn me 1000 points, I forgot to print out that slip. At least I can redeem my points at my own pace but this is not exactly a walk in the park, right? Yet, on each trip, PnP gets my data and my money. I get R5.62 and feel fatigued.

A quote from my little poll: “PnP Smart Shopper, huh. You have to accumulate millions of points to earn miniature discounts, there’s no instant gratification. Feels like a waste of time.”

Now Clicks:

Another card (but with a family card option to maximise spend). At the shelf, there’s always like 3 for 2 offers; simply swipe card at the till and I automatically earn points; progress reports are mailed regularly. Plus, there are also discounts at the movies. Now this is a park many seem to enjoy walking through. A respondent’s quote: “Money for jam.”

The conclusion? These are similar programmes but even the right programme poorly executed can have the opposite effect to what was intended.

In summary, ask yourself:

  • Who you’re targeting? You won’t win with everyone so design for your core target market to ensure focus.
  • Are you offering real value to consumers? Is it simple to use with great rewards and flexibility and minimal limitations?
  • Is it linked to your brand, does it serve to enhance the product or service experience?
  • Does it feel balanced between what you get and what consumers receive?

Loyalty programmes can be win-win scenarios for all involved with brands playing a more meaningful role in consumers’ lives. And, who knows, someday soon maybe technology will move beyond cards for lighter wallets!

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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Design Annotator: Sunglasses, Arcade Machines and Creative Women

uno de waalDesign Annotator with Uno de Waal is a  new column featuring the top design work from South Africa’s biggest online creative showcase, Between 10 and 5, curated by Publisher Uno de Waal @Unodewaal. 

This past week has seen two very popular, heated discussions on 10and5. The first being the CLEAR Claw Machine by Cow Africa. Some of readers seem to feel fatigued by the number of Arduino/Kinect projects that have popped up, but we find that it’s an interesting medium that has entered advertising and will continue to feature the best work we see from that field, just as we’ll do the same for the TV ads. Which brings me to our second most discussed piece of work – a TV ad for Yellow Pages. The funny piece produced by 360eight and Velocity Films proves that the traditional 30 second spot is still a credible force in creating word of mouth.

In our illustration features we’ve started our 2013 series on Creative Women. Be sure to read about Kim Longhurst and her amazing work that she produces from Durban. We also chat to artist Paul Senyol about his process and way of working.

Finally – if you are a Capetonian visiting Johannesburg or a local Joburger looking for creative co-working space, your prayers have been answered. We’ve rounded up the 5 best co-working spaces in Johannesburg for creatives. No more sitting in coffee shops trying to concentrate. Read through our best collection below and be sure to follow 10and5 on Facebook or Twitter if you’d like more regular updates.

Beer People by Justin Plunkett + Danielle Clough for Beerhouse

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These comedic, felt-clothed beer bottles are not only a celebration of international traditional dress, but were designed as part of the marketing campaign for the latest bar to open on Long Street, Cape Town. BeerHouse, focused on beer with great emphasis on the South African and world wide craft beer movement, opened its doors just less than 2 weeks ago.

Yellow Pages ‘Golden Plunger’ TVC

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This is the first ad in a new campaign for Yellow Pages by 360eight and Velocity Films. Directed by Anton Visser, the commercial follows the rise to fame story of French plumber extraordinaire Henri Delatissier.

The commercial has been well received by our audience – check out some of the comments on the Yellow Pages TV ad.

Creative Women: Kim Longhurst

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As our way of celebrating Women’s Month we’ve re-ignited our series on Creative Women in South Africa and our first feature is on Kim Longhurst.
Kim is a Durban-based illustrator, artist, mother, compulsive blogger, self proclaimed magpie, and one half of bespoke design duo, The Curators. Kim invited us into her home, to peak inside her world, and told us more about her craft (and indeed why craft is so important to her).

Read the rest of our interview with Kim and follow the rest of our series on Creative Women.

5 Creative Co-Working Spaces in Johannesburg

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Since we’ve already rounded up 5 of the best creative co-working spaces in Cape Town, we decided to share the options Johannesburg has to offer. It’s clear that this is only the beginning of the thriving co-working culture that’s on the rise, but as you’ll see, these spaces make for a pretty great start.

Featured: Tao Farren-Hefer

 Tao-Farren-Hefer

Tao Farren-Hefer does film photography, using a 40-year old 35mm camera. He was given a Honeywell Pentax Spotmatic 35mm film camera, and his close friend Kent Andreasen convinced him to fix the camera and start taking pictures. Now he’s hooked, and takes at least one picture daily.

Have a look at more of Tao’s amazing photography work.

Ray-Ban | The #ENVISION Series

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For their new campaign, the #ENVISION series, Ray-Ban has set out to find individuals who have found their purpose and are staying true to their vision. In the local component of the campaign we hear from photographer Paul Ward (who also directed and edited the campaign videos), artist Swain Hoogervorst, blogger and accessory customizer Tiisetso Molobi, and Anthony Smith and Bradley Abrahams, the guys behind street wear brand 2BOP.

CLEAR Shampoo Claw Machine

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CLEAR launched their unique version of the claw machine at Oppikoppi. Instead of R2 coins, players like the CLEAR South Africa page on Facebook to get a credit. The machine is programmed with a Xbox Kinect-style sensor. So, no sneaky steel claw or sticky joystick, rather players use hand movements to move the claw around. The prizes include sample-size shampoos and vouchers, which is a lot cooler (and more functional) than the usual teddy bear or cheap watch, especially at a festival like Oppikoppi.

The piece itself has unlocked a heated discussion on 10and5 – have a read through the comments on the Clear Shampoo Claw.

Public Art Walks in Joburg

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Mainstreetwalks and AREA3 are opening up the streets of inner city Johannesburg with free guided tours through the CBD. The tours show off the street art murals and historic buildings in the area, and encourage a new admiration for the unappreciated beauty of Johannesburg.

To join one of their free Public Art Walks, go to AREA3, at 20 Kruger Street, Johannesburg East, Maboneng Precinct. The walks start at 14h30 every Sunday.

Featured: Paul Senyol

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Paul Senyol is a visual artist based in Cape Town. Although drawing and painting since his early high school years, he never pursued formal training, which lends to his sense of creative freedom. As a result, Senyol’s work strays from traditional notions of painting as he explores genres and styles, and melds mediums.

Check out more work from the prolific artist Paul Senyol.

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– Uno de Waal is a social strategist and the publisher of creative showcase 10and5.com.

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