Feminism is not a marketing strategy

by Leigh Tayler (@LeighAnneTayler) Feminism is the idea that women should be treated equally to men, politically, socially, economically. Over time, it has evolved to be more inclusive, as it means true equality of sexes, without being limited or restricted. Given this very clear and simple definition, what is, if any, a brand’s right to participate in the women’s movement or to leverage feminism in its communication?

Respect

At first glance, one might say a brand has all the right in the world to be a feminist. At face value, this would be right. Brands have a lot of making up to do, especially to women: entire industries have been built on the back of advertising that puts (and keeps) women in the home, cooking, cleaning and looking pretty.

“Ads sell a great deal more than products. They sell values, images, and concepts of success and worth, love and sexuality, popularity and normalcy. They tell us who we are and who we should be.” —Jean Kilbourne, women’s rights activist.

So, when a brand like Dove launched its Real Beauty campaign in 2004, the world clapped. Finally, a brand was challenging the gender stereotypes; finally a brand was treating women with respect; finally a brand was being inclusive of all types of women. To many a woman, even many a feminist, this was a ray of hope in decades worth of advertising that had done nothing for the rights of women, except set us back.

Dove was the pioneer of a trend, which it owned for several years. But then the trend took hold. Always was challenging what it meant to be “like a girl”. Audi was showing the tenacity of women. Pantene was telling us to stop being sorry all the time. CoverGirl was saying women have the power to turn “can’t” into “can”. Under Armour showed an atypical ballerina who beat the odds and turned into a prima. So many more campaigns with similar messages, imagery and sentiments began inundating the airwaves.

“This girl can”
“Sorry not sorry”
“Shine strong”
“Girls can”
“I will what I want”
“Like a girl — Unstoppable”
“Live fearless”
“Know the power of women in leadership”
“SHE makes a difference”

These messages, these images, these beliefs women and feminists had been so thirsty for were pouring in and initially we drank and drank and drank (I was one of them), like some thirst-crazed traveller stranded in a desert of gender bias for centuries, happening upon a spring of inclusivity.

Sparkle has faded

Unfortunately, nothing is as sweet as the first sip, and so the sparkle of this kind of advertising has faded as feminists cast a critical eye over these campaigns and find the ugly truth behind many — not all — but most of these campaigns. These campaigns are, more often than not, a skin-deep marketing gimmick that battles to stand up to the most cursory of scrutiny. They are a marketer’s attempt to jump on a band wagon, to appear “woke” and to appeal to a market so abused by decades of manipulative and biased advertising that this “femvertising” seems like an oasis of acceptance, inclusion, authenticity and progression.

One such marketing stunt (as much as it devastates me to say) was Fearless Girl, by State Street Global, a business that leveraged feminism to create a product and to sell it — its SHE fund (invests in index of companies with higher levels of gender diversity in senior leadership). Ironically, State Street has a board of directors including only 27% women and the actual SHE fund has not fared well when measured against gender equality scores by shareholder advocacy groups. In this instance, the brand is more brazen capitalist than fearless girl. It gets worse; in 2017, State Street paid US$5m to settle allegations that the company paid female and black executives less than their white, male counterparts.

There are many marketing campaigns that offer women “faux feminism” in their advertising, as the businesses the advertising is selling fail to meet even the most basic of measures of true gender equality and inclusion. In a business with many brands, this is shamelessly obvious; one brand aimed at men sells sex and objectification, while the brand aimed at women sells new norms for beauty. Products aimed at women are saying all the right things but their actions are not matching their words. Why do brands still airbrush the life out of their models while telling women to embrace their flaws? Why do brands use feminist iconography and language while perpetuating harmful stereotypes?

Simple answer

The answer is simple: because feminism is being used as a marketing strategy, it is not core to the business and how that business does business.

But surely something is better than nothing? Surely these campaigns are doing more good than bad? How can femvertising be anti-feminist? This is where the debate gets murky.

In theory, yes, brands do have a role, a right to participate in these conversations and the women’s movement in general. They have repatriations to make, wrongs to right. And, yes, these campaigns at face value are good. They are fighting for what we want — gender equality, inclusion and the fall of gender bias. They are showing little girls, and grown women who still need to hear it, that they can be more, have more, be fearless and conquer their limitations. These ads are teaching women and girls self-worth, body positivity and some power attitudes.

It’s really hard to take any of this away from these campaigns, even from Fearless Girl, as she now means so much more than her commissioner, having become a symbol of hope. Because the world so desperately needs these messages, it’s easy to accept them without worrying about the messenger.

Illusion of change

The problem is that faux feminism or femvertising from brands that are not feminist at heart actually creates the illusion of change without any taking place. These campaigns make us believe change is happening, make us become complacent to a degree, to stop fighting so hard, to stop demanding that business and society take accountability. We feel we are winning, when we see these campaigns.

This is the danger of these campaigns. It is a false sense of security.

Very little is changing. We are not winning.

Jean Kilbourne, quoted above, has been doing a lecture since 1979 called “Killing Us Softly” about the portrayal of women in advertising, particularly our bodies, and, if you go and watch her giving the lecture in the ’80s, ’90s and ’00s, the ads have changed over the decades but her talk hasn’t.

Feminism is not a trend, not a zeitgeist, not a cultural tension or whatever else we marketers call these things. It’s much bigger and much more permanent; it’s not a strategy to implement for the next fiscal or an earned media stunt.

The real deal

I will return to my original question: What is, if any, a brand’s right to participate in the women’s movement or to leverage feminism in its communication? The answer is both astonishingly simple and complicated: feminism is the property of feminists. If your brand is truly a feminist, if your brand believes in and actively supports the tenets of feminism, and if your business is making real and documented changes to be more inclusive, diverse and equal, then, certainly, you can join the conversation, pull the feminist card.

If, however your brand and business — and your sister brands are not feminists — just stay away; keep your empty promises to yourself. Feminism neither needs nor can afford your pinkwashing or faux feminism. We don’t want the illusion of equality; we don’t want feminist advertising; we want the real deal.

We want more brands who really get it — brands who are walking the talk, of which there are depressingly few. We want companies to hire more women, we want more women in leadership roles, and we need equal pay for equal work. I will say it again: feminism is not a marketing strategy; it’s a business strategy.

I will let Katie Martell, a marketing consultant and feminist, have the last word: “If you’re not ready to hold your company up to the standards of feminism, don’t exploit feminism in your marketing.”

See also

 

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

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

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Q5: Behind the rooi rose podcast, with Hannelie Diedericks [interview]

by Carey Finn (@carey_finn) Hannelie Diedericks, rooi rose deputy editor, talks us through the making of the first free Afrikaans women’s-interest podcast channel, rrRADIO, which launched in late June 2019.

Q5: We know that podcasts are taking the world by storm but could you share insights into listenership in South Africa?
Hannelie Diedericks:
According to Iono.fm, South Africa has seen growth in podcasts of almost 40% over the last five years. From 2017 to 2019, women have bypassed men in the South African podcast demographics, with the biggest listenership between 25–34 years old. The high number of Apple devices being used to download podcasts from Iono.fm, as opposed to Android devices, also points towards a higher LSM podcast audience. Source: Iono.fm.

Q5: Why is the time right for a commercial podcast in Afrikaans?
HD:
There aren’t many good quality, noteworthy Afrikaans podcasts, specifically for women. For over 77 years, we have been the experts in creating content for women and, given the stellar growth rate of podcasts locally and in the US, we believe that it was the right time to grab the wheel.

Q5: Could you walk us through the podcast production process, from start to finish?
HD:
It’s been a steep learning curve for us, as we are used to thinking in text and visuals, but we approach podcasts in a very similar way to what we would in preparing an article or interview. We identified themes that we believe our audience are interested in that could live comfortably in audio format and developed the initial three series from there.

At the end of the day, you have to prepare for an interview in the same way — whether it’s in print or audio. You identify the subject or interviewee, do research, do the interview, and edit it until you are happy with the final product.

The biggest challenge has been the technical aspects of the production but we are learning at a rapid rate. We do our own recordings and editing. Iono.fm, which hosts our channel, also makes some of the more-complicated technical aspects easier. An added bonus for us is that there are no restrictions such as word counts and limited pages with podcasts — any journalist’s biggest annoyance — so it’s been a very liberating experience to practise our craft in this unconstrained format.

Q5: Are there plans to continue these series, or expand the podcast at all?
HD:
Absolutely. For the first season, we want to test different limited series to see what resonates most with our listeners, then we will plan future seasons based on the feedback and results. The wheels are already turning and we have lots of ideas on how we can build on what we’ve accomplished in the first season.

Q5: It’s said that podcasts hold unique potential for advertisers. What is your take on that?
HD:
We are very excited about the opportunities that podcasts create for advertisers. For example, it allows for focused/niche advertising for big and smaller advertisers at affordable rates, which is a godsend in this tough economic climate. In the US, companies like Blue Apron, Squarespace and Audible were small startups when they started to advertise on podcasts and have since then exploded into popularity. You can also reach an international audience.

Podcasts are highly engaging [media] for delivering messages; unlike traditional website or television or radio advertising, people actually enjoy listening to ads on podcasts because the host makes it a more-intimate and -personal experience and the product advertised is related to their interests. Podcasts are a very powerful medium for product endorsements, because listeners are more responsive to ads read by the podcast hosts. Listeners trust their podcast hosts and appreciate personal takes and banter on the product or service.

Consumers are more likely to respond to sincere and authentic conversations about a product than a recorded ‘radio-style’ ad. According to Midroll.com, 90% of podcast listeners listen to the advertisements on podcasts. Eighty percent % of listeners remember the brand that was advertised and 61% can name the product and details of the promotion. Unique discount codes can incentivise listeners to consider the advertiser’s product and they can gauge how effective their ad is on a specific podcast by measuring the number of sales based on that code.

 

Carey FinnCarey Finn (@carey_finn) is a writer and editor with a decade and a half of industry experience, having covered everything from ethical sushi in Japan to the technicalities of roofing, agriculture, medical stuff and more. She’s also taught English and journalism, and dabbled in various other communications ventures along the way, including risk reporting. As a contributing writer to MarkLives.com, her new regular column “Q5” aims to hone in on strategic insights, analysis and data through punchy interviews with experts in media, marketing and design.

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Back2Basics: Your B2B brand — profit-pumping heart or transplant patient?

by Mark Eardley (@mdeardley) There’s been an upsurge of talk recently in the B2B marketing press about the importance of brands. The chatter has been prompted by respected research (Binet & Field, no less) that was first covered by The Drum in a top article by a smart marketer called Samuel Scott — well worth a read. What the research shows (and the chatter latches onto) is that B2B brands matter because they can have a positive impact on profitable growth.

Knock me down with a feather.

I’m astonished that anybody didn’t already understand the massive commercial importance of brands in B2B — that they didn’t twig that every marketing activity must be grounded in the attributes of the brand. Your brand is the unifying theme that runs throughout your marketing, constantly highlighting what the brand represents from a customer’s perspective.

Profitable growth is brand-driven — aka marketing-driven

In terms of triggering profitable growth — by conveying the right messages to the right people — a strong brand can secure more buyer-attention (more customer-engagement, if you like) than a sales team. Maybe 10 times more.

Just think about that for a minute. Think of all your sales team’s effort to win attention/engagement. Now multiply that effort by 10. That’s the engagement power of a strong brand. Now multiply by ten the overall cost of fielding your sales team. That’s the monetary value of a strong brand.

Judging by the latest wide-eyed brand-chatter, this sort of brand impact is a bombshell for a lot of B2Bers — but it’s supported by heavyweight research from CEB/Gartner.

And if you want that research endorsed, a new study by the mega sales consultancy, Miller Heiman Group, shows that during the buying-decision cycle, salespeople are less influential than all the following:

  1. Subject matter experts from industry or third parties
  2. Past experience with vendor
  3. Vendor websites
  4. Industry events/trade shows/conferences
  5. Peers/colleagues
  6. Industry/professional online communities/social networks
  7. Business or industry publications, trade media
  8. Web searches

With the possible exception of no. 2, these are marketing “targets”. Classed in the study as “Buyer Preferred Resources Used to Solve Business Problems”, they’re all areas that fall within marketing’s domain. As the preferred resources that inform buying decisions, they present an obvious opportunity to initiate deals by ensuring your brand has a highly visible, positive presence in each of them.

For marketers looking to drive sales, margins and loyalty, here’s an understatement of note: the Miller Heiman study is essential reading. Perhaps what needs to happen before we all start scrabbling to do some ‘brand-marketing’ (ugh!) is for us B2Bers to remind ourselves of a few brand basics.

B2B brands

  • What is a brand? It’s a promise that defines why customers should buy from you.
  • What does it do? Signals how your firm advances the success of everyone who influences a buying decision.
  • What is it not? Your firm’s name, logo or slogan — they’re just cosmetics.
  • What is your brand? Whatever the influencers think you are.

“No matter what the business and its corporate executives would like their brand to be, brand reality is always defined by the customer’s view.” — Philip Kotler & Waldemar Pfoertsch, B2B Brand Management.

Right, revision-time’s over.

What makes a strong, deal-winning brand?

Deals get done when decision influencers (the only people whose perceptions count) see your brand like this:

  1. Relevant: It’s obvious to me why I should buy from you.
  2. Evident: My risk is minimised by your proven ability to deliver results I need.
  3. Different: I can justify selecting you over and above your competitors.
  4. Prominent: Your reputation is understood and respected in my industry/line-of-business.

When all the influencers can put a tick against these four brand attributes, sales are made, margins protected and loyalty reinforced. Job done.

Marketing align with sales? Wrong. It’s the other way around

Marketing drives engagement and sales handles fulfilment. That’s what the research shows — and not just the research I’ve mentioned. Studies by the likes of McKinsey and LinkedIn show that a vendor’s brand can be a key informant in buying decisions, outstripping the significance of salespeople.

That’s particularly true during the opening phases of the buying-decision cycle as customers (1) identify needs, (2) set criteria to meet them and (3) begin researching potential solutions. All of that can, and increasingly does, happen without any input from your sales team and bars them from participating in the phases that trigger sales.

If salespeople are being excluded from those critical phases, then marketing must fill the void. My suggestion? Fill it with a strong, deal-winning brand.

 

Mark EardleyMark Eardley (@mdeardley) advises B2B companies on how to govern their marketing to attract and retain profitable customers; several of his clients have grown to become market leaders. He and Charlie Stewart have written Business-to-Business Marketing: A Step-by-Step Guide (Penguin Random House), which offers practical, actionable advice on how to make marketing make money. His monthly “Back2Basics” column covers how B2B companies and their agencies should manage their marketing.

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#BrandFocus: Ackermans on owning the value-retail space, body positivity

by Sabrina Forbes. Not many companies in South Africa are able to say they’ve lasted over 100 years and marketing director Ephraim Mamabolo is especially proud that the locally born Ackermans has stood the test of time.

Ackermans logoAckermans has been in the value-retail space since its inception in 1916 and it’s this focus on delivering value to its customers that Mamabolo believes has been the cornerstone of the brand’s success and growth. “Being a value retailer in South Africa, especially in the early days, was not seen as anything great. In the olden days, fashion was [the] key driver but there was that niche that we found as a brand on the value side and we have really managed to cover ourselves as the best value retailer in the industry,” he says.

There are nearly 800 stores in six southern African countries and, for the past few years, Ackermans has come out tops in the Ask Afrika Kasi Star Brands Awards, as well as being voted no. 1 for children’s clothing in the 2018 Ask Afrika survey for the fourth year running.

Value goes beyond price

Mamabolo is quick to point out that value goes beyond the immediate thought of only being associated with price. The brand understands that value is relative, meaning different things to different customers —a combination of quality, relevance, price, variety, and accessibility. “There is a massive move to the rise of value-driven consumers. People who have never given value an eye before now are deciding there’s no need to always buy high-ticket items all the time. In SA, sitting on about 29% unemployment, the value-retail space will be where people will be going to,” he says.

Ephraim Mamabolo
Ephraim Mamabolo, Ackermans marketing director

As leaders in the children’s wear value category, Ackermans focuses on ensuring it delivers the quality every parent is expecting at a price that’s affordable, with an experience unique to the brand. “Our target market is every woman with a child in their lives,” says Mamabolo, explaining that this includes aunties, grannies, and friends.

While children’s wear is important to Ackermans, its primary aim is to be the brand that every woman thinks of when purchasing not only children’s but also women’s wear; it works hard on making every woman feel comfortable walking through its doors while knowing that she will get good service and high-quality affordable merchandise in her style and her size. As part of this, women’s-wear-only stores are busy being rolled out that include the same product range but with a layout and experience focusing on the quiet time every woman enjoys when shopping alone or with friends — but without kids.

Strict brand CI

Ackermans follows a strict brand CI to ensure that all its communications should be immediately recognisable. Mamabole believes that a brand needs to be “smashable” and that, if you break it up into many pieces, it should still be recognisable by everyone. The retailer works with creative agency, 99c; media agency, PHD SA; and content company, New Media.

In February this year, 99c created #IAmMe, the 2019 Valentine’s lingerie campaign using influential public figures Minki van der Westhuizen, Rami Chuene, Kim Jayde, Pearl Modiadie, and Busiswa Gqulu to push the brand’s focus on body positivity and its belief that all women are beautiful, flaws and all. According to Mamabolo, this was an important campaign for the brand, especially because it only focuses on women’s wear in the adult category and it understands the low levels of confidence a lot of women experience. None of the creative work was retouched at all.

For Mamabolo, it was a well-rounded and highly successful campaign when measured against KPIs, reach and sales. “The main aim was to continue with the body-positivity phenomen[on] that’s going out all over the world but we wanted to give the consumers a platform and a confidence to remind them they are ok the way they are. Who said we all have to be flawless? Nobody is flawless, anyway. Just love yourself, and walk tall,” he says.

Inclusivity

When it comes to children’s wear, he shares that the most-important thing for the brand is inclusivity, irrespective of race, gender, and size, and that it doesn’t choose the children used in its advertising based on anything specific. “As long as they fit the product, that’s what we go with. We don’t go for beauty. Some people will say the child must be beautiful, but every child is beautiful. Our choice is led by the product sample we have to use, and that’s it. We try very hard not to categorise children based on gender; they are kids, they must just be kids. Let them play,” he says.

In May 2019, Mamabolo attended global leadership training in the US, bringing back insights into interesting retail trends some of the biggest brands in the world are following. There, big department stores are already looking into ways they too can play in the value space as pockets become tighter and tighter. Another move is to focus on the quick-response model in retail: attempting to shorten the lifespan of production of product. Currently, buying lead times can be 18–24 months but this is proving incompatible with the rate at which trends are changing and also, unsurprisingly, how weather patterns are changing [hello, climate crisis — ed-at-large]. Mamabolo says that something as small as winter starting late in SA may easily affect many things with a retail brand.

“As retailers, how do we plan for this crazy weather? How do you floor your product into stores to align with that? You can’t; it’s very difficult. You just have to follow your marketing patterns and your buying patterns but you must be aware that the sales you would have expected from a winter buy might not come in in the early part of winter — they might only come in later — which means your summer is also going to start late. So, if you had your summer plans for August and September, that’s gone out the window,” he says, adding that, without a quick-response model, it’s almost impossible to shift as quickly as expected. The only option is to learn from the past, and hope to plan better for the future.

Environmentally conscious

Mamabolo admits that data is becoming an irreplaceable tool in the retail market and shares that Ackermans has been working tirelessly on getting to understand each of its consumers at an individual level. The brand currently uses direct marketing channels to speak to consumers at a personal level but he admits SA is still behind the curve. Globally, personalisation is becoming bigger, with many brands offering consumers the ability to personalise items such as jeans, t-shirts, and sneakers. “Consumers need to know that you know them. You need to talk to them directly and give them products and services that are relevant to them. They no longer want to be seen as a number… they want to be treated like an individual,” he says.

What with consumers questioning the environmental impact production and distribution are having on the planet, Mamabolo says that, for Ackermans, this is particularly coming from the increasingly environmentally conscious, younger generation wanting to understand this impact. From a brand standpoint, Ackermans has not yet communicated its activities to its consumers but is conscious of it and has some projects already underway. He believes it’s critical to all brands, especially those in retail, and that it’s up to brands like Ackermans to lead the conversation and action towards more green practices.

“Everybody wants to be woke. People want to know what are you doing for my environment — is your product not going to mess my environment? In SA, it hasn’t taken off that well but you can see in the food industry there’s a lot of movement. People are asking questions; they want to know what’s in it for the environment and if it’s going to be sustainable. They want to know what their future is going to look like. We have to be relevant to the environment. We have to adhere to what the consumer wants,” he says.

 

Sabrina Forbes“#AgencyFocus/#BrandFocus” is an ongoing weekly series updating the market on ad agency performance and brand, including innovation, initiatives, the work, awards, people and business performance.

Sabrina Forbes (IG) is an experienced writer covering the food, health, lifestyle, beverage, marketing and media industries. She runs her own full-stack web/app development and digital-first content creation company. For more, go to moonwrench.com. She is a contributing writer to MarkLives.com.

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Where are all the old people in adland?

by Jed Mowat (@joepublicunited) Walking into work often feels as if I’ve stepped onto the set of one of those beer ads shot in Braamfontein. Yet, as wonderfully diverse as we are, there is one group that has recently stood out for me as missing and that’s the silver-haired varietal, especially on the ground in the creative department.

#woke and diverse

I’m going to go against the wave of self-deprecation we so enjoy in this industry and just say it: I love working in advertising. I love solving problems, coming up with ideas; I love how each day brings new challenges, products, markets and even the mind-bending obscurities that require mental gymnastics to solve. But, above all else, what I enjoy is the honour of doing it with a group of professionals that are more #woke (excuse the millennialism) and diverse than you would find anywhere else.

Having just slipped into my 30s like a comfortable pair of slippers, I’ve started to look at the industry with fresh, albeit aging, eyes and struggled to find examples of me but in 15 years’ time. Where are all the old people in advertising? Is the runway for my chosen career shorter than the next sentence? If so — that’s terrifying.

If you want to last in the advertising game, it seems you need to rock-star your way into a senior position until life’s ceaseless metronomic tick-tock renders you redundant. The thing is, when talking strictly about established agencies with blue-chip clients (excuse the recruiter speak), not everyone on the ground can break through to the top tier. It’s not defeatist to think this way; it’s maths.

A few articles have tackled the issue of the aged (or the lack thereof) doing ads over the years. Dave Trott uses the example of Sir Alex Ferguson to demonstrate how thinking gets better as you age and not worse, and asks industry players to judge on merit alone. Alex Murrell, meanwhile, points to a string of Oscar-winning directors and Nobel Prize laureates to demonstrate that creativity gets better as one ages.

So, what’s happening in advertising?

Many things. From tightening budgets and demanding schedules on agency side, to those who grow older struggling to adapt or keep their finger on today’s blindingly fast-changing zeitgeist, or maybe it’s a case of just not knowing how to leverage one’s accumulated years of experience. But what’s undeniable is, as an industry, we have a tendency to overvalue youth, not only in our staff complement but also when it comes to our target markets. It makes sense: youth is the ideal, it’s sexy, which is why you see it more often in our ads, and who better to talk to the youth, than the youth? This approach, however, is incongruent with a world that’s growing older as age expectancy rises across the globe. As an industry we need to be cognisant of just how enchanted we are with the baby-faced siren.

That said, could the elderly be the key to unlocking the youth?

If you’re a family who now finally have the opportunity or means to provide your first generation (thanks, mom) with tertiary education, would you not try your damnedest to steer your child away from a career that comes with a short shelf life? If we are to succeed in our endeavour of bringing more diversity into advertising and encouraging people from disadvantaged backgrounds to enter this game, then we need more shining examples of those in the industry who’ve enjoyed a long enriching career and not just the few we currently have at the top.

As an industry, let’s continue to celebrate the youth but, at the same time, not forget those who were young once, too.

 

Jed MowatJed Mowat is a senior copywriter at Joe Public Connect. After graduating from Vega, he started his career in advertising in a small warehouse in Durban in 2010 before joining TBWA\ Durban and eventually moving to Johannesburg. He has won awards and has come to realise just how unremarkable his corporate profile sounds, thanks to this bio.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

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2019 APEX Awards winners, name change announced

by MarkLives (@marklives) A Lifetime Grand Prix was handed out at the final APEX Awards, held last Thursday night, 11 July 2019, in Houghton, Johannesburg. Mathe Okaba, Association for Communication and Advertising CEO, announced that the ACA would host the first African Effie Awards edition, Effie South Africa, with effect from 2020. The international Effie Awards recognises any and all forms of marketing that contribute to a brand’s success.

A Legend of APEX award was awarded to Andy Rice, Gareth Leck, Ivan Moroke, Michael Gendel, Neil Higgs, Nina de Klerk, and Odette van der Haar, honouring their commitment to the APEX award programme over the 24 years of its existence*.

The Lifetime Grand Prix went to 2014 APEX Grand Prix winners DDB South Africa and FNB for their “FNB Switch — Beating the Beep out of Beep Bank” campaign. Ogilvy South Africa and Kimberly-Clark received the top honours for 2019 with a Gold Apex and the Grand Prix for their “Making them Move to Huggies” campaign. Gold also went to Ogilvy South Africa and KFC South Africa for their “KFC Make A Meal of It” campaign. Additionally, this year the jury awarded a special award, sponsored by Kantar, for an entry that demonstrated the most-ingenious response to limited advertising or research funds.

Eight bursaries were being awarded to students from the AAA School of Advertising, bringing the total awarded since the programme launched in 2010 to 88. Four bursaries were awarded to students from the AAA School’s Johannesburg campus and four to students from the Cape Town campus.

All the winners

Vodacom Launch Category

Submission name

Client

Agency

Award

Toyota Rush Launch Toyota SA Motors FCB Joburg Bronze
Newlands Spring – Not That Newlands AB InBev King James Group Bronze
A Wedding Party of One Million, SA’s Biggest Online Wedding Showmax Showmax Internal Creative Agency Bronze
Hatching Nando’s E-Chicken Nando’s South Africa VML South Africa Bronze
Provantage Media Group Change Category
IndieFin “Responsible, yet Selfish” IndieFin FoxP2 Bronze
Audi Q Range Campaign Audi South Africa Ogilvy South Africa Bronze
When the Craving for Creativity’s Got You, It’s Got You Chicken Licken Joe Public United Bronze
Can One Extra Swipe be Worth a Billion Absa FCB Joburg Bronze
Wimpy Grill Up Fill Up 2018 Wimpy FoxP2 Bronze
Vodacom Summer Vodacom Ogilvy South Africa Bronze
Get It Back Castle Milk Stout Joe Public United Silver
Mahindra Tough Guys Mahindra South Africa Joe Public United Silver
Wimpy Summer 2018 Wimpy FoxP2 Silver
Rethink Freedom Hyundai South Africa FoxP2 Silver
Taking a Brand Stand AB InBev Ogilvy South Africa Silver
KFC Make A Meal of It KFC South Africa Ogilvy South Africa Gold
Making them Move to Huggies Kimberly-Clark Ogilvy South Africa Gold

The Kantar Sustain Category (NO 2019 AWARD)

The Kantar Special Award Category

The entry that demonstrates the most ingenious response to limited advertising or research funds

Newlands Spring – Not That Newlands King James Group AB InBev

Grand Prix

Making them Move to Huggies Kimberly-Clark Ogilvy South Africa Grand Prix

Lifetime Grand Prix

FNB Switch – Beating the Beep out of Beep Bank DDB South Africa First National Bank Lifetime Grand Prix

Updated on 15 July 2019: When the APEX Awards launched in 1995, it was held every second year and became annual once Odette van der Haar became CEO.

 

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SA TV Ratings: SABC 2 — primetime top 20 for May 2019

by MarkLives (@marklives) The hottest primetime shows on SABC 2 in South Africa revealed: TV ratings for May 2019.

SABC 2 logoSABC 2, May 2019

Top 20 Programmes All Adults 15+
May 2019 Prime Time 5.30pm—10pm
Adults 15+ years U:35737 S:8500

Source: BRCSA May 2019

Day

Date

From

To

Station

Programme title

Genre

AR

Viewers

Share

Thur 16/05/2019 2101 2131 S2 Muvhango Dram 14.8 5 278 801 45.8
Wed 15/05/2019 2056 2100 S2 Live Lotto Draw Vari 9.69 3 458 231 12.9
Mon 20/05/2019 1800 1828 S2 7De Laan Soap 7.41 2 654 960 23.6
Tue 07/05/2019 2129 2154 S2 Giyani Dram 4.92 1 754 986 18.2
Wed 08/05/2019 1830 1844 S2 Nuus News 4.1 1 463 524 11.8
Mon 06/05/2019 1827 1830 S2 Music Musi 3.9 1 392 502 18.7
Sat 11/05/2019 1801 1907 S2 Election 2019 Results Announcement Actu 3.58 1 275 487 11.6
Wed 08/05/2019 1359 1758 S2 Voting Day Actu 3.55 1 267 812 15.4
Sat 04/05/2019 2028 2056 S2 Ga Re Dumele Sitc 3.41 1 216 943 12.2
Thur 02/05/2019 2131 2200 S2 Speak Out Actu 3.39 1 208 537 15.4
Fri 17/05/2019 2130 2201 S2 Mmalonya Dram 3.29 1 173 197 12.3
Mon 20/05/2019 1729 1759 S2 Venda/Tsonga News News 3.21 1 151 731 12.7
Sat 04/05/2019 2000 2028 S2 Ses/Tsw/Sep News News 3.07 1 093 667 10.2
Sun 26/05/2019 1900 1959 S2 Showville Quiz 2.67 956 830 7.8
Sun 19/05/2019 1800 1827 S2 Fokus Actu 2.59 924 691 9
Sat 18/05/2019 1559 1748 S2 Annie Movi 2.4 856 616 10.6
Mon 20/05/2019 1859 1959 S2 Voetspore Maga 2.21 793 457 5.8
Sat 11/05/2019 1907 2001 S2 Collectors Candy Docu 2.21 787 734 7
Sat 25/05/2019 1600 1750 S2 Running Free Movi 2.13 761 714 9.4

 

Broadcast Research Council of South AfricaThe Broadcast Research Council of South Africa (BRCSA) is a non-profit, industry body that was incorporated in 2015 to cater to the audience research needs of the radio and television industry in South Africa. In 2016, it changed its policy about giving away TAMS and now only monthly reports, highlighting the top 20 or 30 primetime shows on several popular channels, are available.

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The Suit: The power of partnership

by Jason Harrison. Do you sometimes feel totally alone in all of this?

The client is giving you massive gears on a tight deadline. Again. The producer is screaming for the costs to be signed off, today. Again. The production company is over budget. Again. The creative team has changed the script. Again. You’re mainlining caffeine, working post-supper shifts alone at the office and thinking FML, why didn’t I just listen to my parents and be an accountant?

Those moments can get pretty low. How do you lift yourself out of them?

Well, Lady Gaga has Mark Ronson. Tim Cook has Angela Ahrendts. Oprah has Steadman and Ben has Jerry. In their lowest moments, they turn to a brilliantly talented, complementary partner to take them to a better place: Because when one is down, the other is up. When one sees black, the other sees white. When one is lost in the detail, the other is staring at the stars. When one is scared, the other is brave.

Powerful partnerships

These partnerships are built on a relationship of innate trust, a complete alignment of values and a shared mission do to something remarkable together. When they are together, they just ‘flow’.

In an agency, there are so many talented thinkers who you can form multiple powerful partnerships with as a suit. But the most important one to start with, in my view, is your creative partner.

It’s scary at first. Logic and magic are not easy bedfellows, until you both realise that the formula for success isn’t logic = magic, but rather logic + magic = magic2 and that you both have equal parts of both. The best creatives I have worked with are actually closet strategists; the best suits I have worked with are actually closet creatives but somehow our ‘creative’ industry decided we should all be put in our respective boxes. True partnerships don’t have boxes. Ask Lady Gaga, where her creative input ends and Ronson’s starts and she won’t be able to give you an answer.

Steve Jobs said of his partner, Steve Wozniak, “One way to drive fear out of a relationship is to realise that your partner’s values are the same as yours, that what you care about is exactly what they care about. In my opinion, that drives fear out and makes for a great partnership.”

Caring about the work

The critical part of that quote is “what you care about is exactly what they care about”. No one cares about contact reports; no one cares about job bags; no one cares about timing plans. Don’t forget that you disobeyed your parents and didn’t become an accountant so you could make things that solve the most-complex problems in the most creative ways. You have to love the work that comes out at the end more than anything else.

So, as a suit, are you watching the Cannes Lions reels together? Are you sending out late-night links to the latest work from Adweek? Are you discussing the pros and cons of the latest campaign that Droga5 just dropped over coffee? Are you fixated on finding the richest possible insight off which to springboard the work? Are you relentlessly thinking about how to sell the next brave idea?

Are they doing the same with you?

It works both ways

I’ve been fortunate enough to have had many brilliant partners who’ve made me infinitely better in my career. In fact, I was reminded of one recently on a late Friday night. The rest of the agency was blowing off some steam in the bar and this creative partner, whom I first worked with over 15 years ago, was struggling with a particular presentation alone in a board room. I grabbed some beers and asked if I could help him and, just like that, we just started ‘vibing’ as 15 years of muscle memory kicked in. I was throwing out copy lines; he was telling me how to structure the presentation. I typed, then he typed. Every iteration made the thinking better and the presentation shorter. Just the two of us, shut off in the boardroom late on a Friday, trusting in each other’s skills with a shared ambition to craft the best possible work we could, together. (and the beer didn’t even have alcohol in it! #thisadvertisinglife).

As the great Dr Seuss once said, “People are weird. When we find someone with weirdness that is compatible with ours, we team up and call it love.”

So, have you?

Jason HarrisonJason Harrison started as a 23-year-old account executive at Ogilvy & Mather before moving to London five years later to run three agency teams in three different European countries. He joined his old mates again in 2011 as one of the founding partners of the M&C Saatchi Group at 33. He believes that creating beautifully simple solutions for an increasingly complex world will, in fact, save the world. His MarkLives column, “The Suit” is about inspiring and helping up-and-coming suits to be better at their craft. He is no longer on Twitter.

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#Campaigns: A surprising twist on the décor catalogue

by MarkLives (@marklives) This time we feature insight into the brief, creative idea, production challenges and results of the The Unclean Catalogue campaign for Cleanpedia.com from Digitas Liquorice Durban, which launched in May 2019.


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Client: Cleanipedia.com, Unilever
Ad agency: Digitas Liquorice Durban
Title: The Unclean Catalogue

Information supplied by Digital Liquorice.

Brief

The aim was to create a brand-awareness campaign that would be compelling and surprising enough for consumers to engage with the digital platform — a challenge to establish and entrench this category-breaker by ‘intriguing’ consumers into discovering the unique proposition of Cleanipedia.com being “Your home for expert cleaning tips”.

Period

The launch of Cleanipedia.com in South Africa took place October–December 2018, followed by the launch of The Unclean Catalogue in May 2019.

Creative summary

To celebrate Cleanipedia.com’s launch in South Africa, we created a huge mess to see just how useful the new website tips would be. The gigantic mess (captured on a series of web videos) resulted in the creation of The Unclean Catalogue.

The video series included a mud bath of dogs unleashed on a freshly made bed, five blenders on full blast — pink, yellow, purple, blue, white, green smoothies — without their lids on, and a colour festival kids’ fight in the lounge.

After we created the messy scenes, all the filthy furnishing, dirty décor and grubby appliances were on offer for the public. The catch? All of the items were completely dirty. We further demonstrated the real-life power of Cleanipedia.com by delivering the items to the winners completed clean, as if the mess had never happened.

“The idea that Cleanipedia.com could help you clean almost anything was the challenge we were excited to explore. We created the biggest mess imaginable and shot the luxury items to create a surprising twist on the familiar décor catalogue,” explains Brian Carter, Digitas Liquorice executive creative director.

Social-media animated content, including online videos on YouTube, and programmatic banners were created to drive consumers to the website to browse the catalogue, and enter to stand a chance to win.

Production

  • We created three ± 30 seconds YouTube videos, including a YouTube masthead
  • A journey of programmatic banners promoting consumers to visit Cleanipedia.com
  • Variations of 5s and 10s video assets were created to test audience engagement and response to different creative visuals
  • Social media was chosen as the main form of engagement to increase campaign visibility and engaged communities
  • A website housed multiple “how-to” videos which showcased Cleanipedia’s expertise in cleaning tips, tricks and hacks
  • 24-page printed catalogues hand delivered to eight micro-influencers

A thorough pre-production was conducted to ensure lighting, cast, wardrobe, props, aspect ratios, scenes were pretested and approved before shooting commenced. An epic two-day shoot, with three distinct scenes, was filmed at Panalux studio.

Creation, post-production and editing of 30s, 10s, 5s videos and social content was done.

Content was amplified to ensure our message was reached by our total target audience through multiple digital channels.

Measurement

  • Total website page views: 53 388
  • Total Facebook reach: 6 807 523
  • Total Facebook video views: 592 350
  • Total Facebook engagements: 346 821
  • Total YouTube video views: 1 556 588

Credits

Brand

Cleanipedia.com, Unilever

Ad agency

Digitas Liquorice Durban
Account manager: Cindy Liu
Art direction: Debbie Turner
Agency producer: Tamlyn van der Horst
Executive creative director: Brian Carter
Creative director: Justin Osburn
Designer: Annika Coskey

Production & post-production

Animation company: New Creation Collective
Animator: Riaan Myburgh
Cinematography: Kirk Morgan
Editor: Colleen Knox
Director: Paul Speirs
Producer: Amy Knight
Recording studio: Field Sound
Sound designer: Nicholas van Reenen
VFX operator: Riaan Myburgh
Writer: Justin Osburn

 

MarkLives logo#Campaigns is the latest MarkLives column featuring insight into the brief, creative idea, production challenges and results of South African communication campaigns, both ongoing and recent. Have a campaign worthy of being featured in #Campaigns? Submit a short motivation to 2mark and we may well be in touch. Please include links to campaign material, when it ran/is running and why you believe it should be featured.

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The Martini Shot: Give credit where credit is due

by Bobby Amm. It’s the day after another big ad awards ceremony and the WhatsApp messages are flying: “Did you notice they left out the name of the production company in the credits again?” or “Why did an ECD go up to collect an award for editing — the editor wasn’t even invited to attend the ceremony, he heard a commercial he’d edited had won an international award from friends on Facebook?”

It’s an issue the Commercial Producers Association (CPA) and the production community have been rising for many years now, with few results.

Proper credit

Why is proper credit often not given for creative excellence to the companies and talented individuals who bring advertising storyboards to life? The director, in particular, will often bring an idea to the table that will transform the concept completely, making for a better piece of communication and enhancing the prospects of winning awards.

It’s common knowledge that rankings matter to advertising agencies — particularly in an industry which has taken a knock to its reputation for creativity over the last decade — and that these types of awards play a significant role in securing better rankings which, in turn, lead to increased business opportunities, turnover and recognition.

There’s no question that ad agencies which produce great work should be recognised for it. No one has an argument with that; however, there is an ethical obligation for the credit to be shared with the people who have done the work. In conversation with the organisers of festivals, we’ve often asked why this doesn’t happen and the response is usually the same: “We can only list the credits given to us by the company entering the work. Unfortunately, there is nothing we can do about missing credits.”

Oversight or deliberate?

This begs the question: why are the co-creators of the work left out? Is it a genuine oversight or something more deliberate?

The same goes for a lot of the press that is put out after the awards ceremonies: reading the well-crafted PR put out by some agencies, an outsider would assume that it were the agency which worked many a long night to win an award for production design or which undertook the complex setups required to create the award-winning cinematography. It’s comparable to a film winning an Oscar and the studio forgetting to invite the director to share the stage or the limelight!

Yet these oversights happen all the time and have become something of a standing joke in the production community — the deference that follows is deemed necessary to keep everyone happy and not rock the boat. However, in the light of the increase in in-house production, it could be argued this negation of the invaluable contribution of production companies, directors and many others in executing award-winning work raises serious questions.

The CPA would like to request that, in future, all ad agencies give credit where credit is due. It takes nothing away from you but rather enhances your reputation as generous creative collaborators and principled people.

 

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

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