Market Research Wrap: Products of fluid integration

by MarkLives (@marklives) Our weekly wrap of the latest market and consumer research:

  • Fluid brand connections
  • Making sense of SA influencer marketing

Relational fluidity

Generation Fluid White Paper coverGrowing up in a high-tech generation, focused on the mega-trends of convergence and co-creation, today’s youth are fluid in the way they form connections and relate to the world, brands and one another. This is according to the new white paper produced by Joe Public Shift, “Generation Fluid: Understanding the dynamics of today’s youth market”. Market Research Wrap presents the fourth and final excerpt. [Cheryl Hunter]

In contrast to preceding generations, less-structured ways of working and connecting have become hallmarks of this generation of young people, changing the dynamics of peer-to-peer and brand-to-consumer relationships alike as traditional relationship lines, roles and rules become less rigid and clear-cut. In effect, these new approaches are redefining how today’s youth relate to each other and to the brands that form part of their world, and the old rules of engagement are rapidly becoming outdated and irrelevant.

Even retail spaces, such as Apple with its “Today at Apple” seminars, are beginning to extend their customer-experience methods to incorporate the unconventional and relevant in order to connect with Generation Fluid.

Levi’s and Google, for instance, recently partnered to create a smart jacket designed for bike riders and commuters who are unable to make use of their mobile phones. Dubbed the “Jacquard”, the garment allows wearers to control music, screen calls or get directions, all with a tap or brush of the cuff. One is even able to call an Uber, drop a location pin and stream sound through headphones in order to hear approaching traffic. A product of fluid integration between two previously disconnected brands, this unique clothing item has also changed how users are able to relate to and connect with the world around them.

 

Influencers make rands and sense

As part of its 1 March 2019 launch, Humanz — a new technology startup geared specifically towards enabling reliable influencer-marketing campaigns for agencies and marketers — is releasing “The state of influencer marketing in South Africa 2019”. This report on the state of influencer marketing in South Africa includes figures such as the total number of potential influencers by audience size and interest topic, plus benchmarks on engagement rates, impressions per post and fraud. [Cheryl Hunter]

Humanz: Two graphs from "The state of influencer marketing in South Africa 2019@Pierre Cassuto, Humanz global CMO and African CEO, says the buzz around influencer marketing has taken a knock recently, with numerous reports of fake followers, bots and fraud within the space. Influencer marketing, however, is still the fastest-growing digital marketing practice and media channel globally, expected to become a US$10bn market by 2020 (source: eMarketer).

According to the report, which explores this growing industry, the average influencer account, for example, has between 20% and 27% suspicious followers, considered of little to no value to marketers; and only one in two followers in SA is likely to turn into an actual impression, creating a significant gap between number of followers and actual reach.

“Most SA influencer campaigns have used celebrities or social stars, due to the difficulties and time-consuming nature of manually identifying, verifying and working with smaller influencers. However, engagement rates are, on average, inversely proportional to audience size on both Instagram and Twitter. Smaller influencers are also considered more trustworthy and hence more likely to ‘influence’,” says Cassuto.

In the US, businesses have been making on average US$6.50 for each US$1 spent on influencer marketing, with the top 13% earning US$20 or more (source: Tomoson). Furthermore, 60% of 18–34 years old in Africa say that their purchase decisions have been swayed by influencers on social media (source: eConsultancy).

  • Download the full white paper by registering at Humanz.

 

This weekly “Market Research Wrap” column offers an overview and critique of the latest market and industry research.

Cheryl HunterCheryl Hunter (@cherylhunter) has written for the South African media, marketing and advertising industries for more than 15 years. A former editor of M&M in Independent Newspapers and contributor to Bizcommunity, AdFocus, AdReview and the Ad Annual, she has also produced for various television networks and currently consults on communication strategy and media liaison.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#AgencyLeaders2018: Most admired PR agency

by Herman Manson (@marklives) Today we reveal, as part of our annual Agency Leaders poll, which PR agency South Africa’s agency execs most admire — another brand-new category.


MarkLives logoEvery year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. The first week we ran our Cape Town results, the second week our Joburg results, and last week our South African results. This week, we run our remaining categories.


The most-admired PR agency

Atmosphere Communications

Atmosphere Communications logoWith new clients Cell C, BBC Studios and Lufthansa, combined with existing clients Capitec, Sanlam, Cotton On, Pepsico, Santam and Pepsico, a 17% revenue growth in total income in 2018 and the most-awarded PR agency in 20 years of the PRISMs (having brought home nine awards last year), Atmosphere Communications is our inaugural Most Admired PR Agency.

The industry at large felt the challenges and pressure that 2018 delivered and Atmosphere was no stranger to these. “2018 was a rollercoaster year for agencies as the economic environment created uncertainty and some of our local and global clients took a wait-and-see attitude, with bigger projects being put on hold. Margins were under pressure and the conversion between marketing disciplines created confusion — and of course, for some of us, opportunities, too,” says Megann Outram, Atmosphere regional director.

2018 challenges also included an increasingly sceptical consumer using multiple communication channels, forcing the industry to stay ahead of the curve and keep its finger on the proverbial pulse. Sentiment and brand reputation remained key for all brands, no matter their size or industry. “PR specialists are now more important than ever before, giving frank counsel on the need to assist brands to keep communications upfront, simple, consistent, and authentic. There is also a lesson to be learnt and that pandering to popular public dialogue to further a brand’s agenda could backfire,” Outram adds, making mention of Gillette’s new ad with its #metoo edge that was met with both outrage and support. “The public can spot superficiality a mile away,” she says

The agency is most proud of the work it produced in 2018 for Siemens, called Fabric, partnering with sister agency, King James Group Jhb, on this campaign. “We cleverly took data from African cities and made patterns from these [that] we wove into traditional African prints which three designers interpreted into a fashion range. This was used to showcase Siemen’s AfroDigital project — data that enables Siemens to build SMART cities across Africa in the near future. This video shows it all,” she says.

Outram shares her top 2019 PR trends she believes will shape the industry going forward. The first is the importance of real experiences: “Consumer skepticism and consumption fatigue mean that brand owners needs to work very hard to gain loyalty. Consumers are favouring brands that provide immersive, personalised experiences — virtual and physical — across all touchpoints.”

Another is that bigger is not necessarily better anymore. Brands have noticed value in communication directly to a niche, micro-group. According to Outram, it ensures greater loyalty and engagement. Then there’s the ever-decreasing print cycle of our magazine industry. “Marie Claire was one of quite a few to end its print edition. With these titles disappearing, brands will need to explore different mediums for storytelling, such as WhatsApp,” she adds.

The PR industry exists to build trust for Outram and her final trend is fighting the inevitable rise of scepticism: “Fake news, lying politicians, and corrupt CEOs dictated the local and international news agenda last year — placing a serious dampener in our ability to trust anyone, including traditional media and social media. Building trust remains a priority, and corporate leaders and brands have to convince us of their ethics and realness.”

The theme of trust and transparency will overflow into this year and, for Outram, 2019 will be tricky and complex; PR specialists will need to assist brands and corporates to remain trustworthy and honest in the year ahead.

— Profile by Sabrina Forbes. Atmosphere Communications is part of King James Group SA, our 2018 Most Admired Ad Agency in South Africa.

Updated at 1.24pm on 27 February 2019 and at 3.31pm on 1 March 2019.

 

The runner-up

Clockwork Media

Clockwork Media logo“2018 was the most-dynamic and -challenging year we’ve faced as an agency,” says Tom Manners, Clockwork Media MD. “Although we managed to grow headcount and revenue, macro factors such as the political environment and economic stagnation definitely had an impact on the overall market. That being said, we’ve witnessed a rapid and exciting turn from niche players to a more-integrated approach. This has always been our model and it’s been extremely rewarding for clients to have put their trust in us and award us through-the-line briefs that have allowed our team to be less restrictive in terms of our approach. [We’ve been] looking forward to 2019 and everything it will hold for us.”

The agency saw 90% growth in revenue from 2016 to 2017. In 2018, it expected revenue growth to have been approximately 25%. At the end of 2016, approximately 45 people were employed; at the time of writing, there are over 90.

New client wins for 2018 included Exxaro (TTL), Gautrain (TTL), Emirates (PR), T-Systems (TTL), CTICC (strategy) and L’Oreal (digital).

— Profile by Herman Manson.

 

How the poll works

In November 2018, we invited a panel of 120 agency executives — creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired agency and agency leaders regionally (for Johannesburg or Cape Town) and nationally (South Africa). Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll.

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

See also

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Letting creativity lead — new MD, goals for Publicis Machine

by Carey Finn (@carey_finn) In a move that will strengthen Publicis Machine’s positioning as a creatively led agency, former group executive creative director, Gareth McPherson, has been appointed as the new managing director, filling the shoes of Neal Farrell. McPherson has also taken on the role of chief creative officer, and plans to use a design-led approach to drive the agency forward.

“An easy decision”

McPherson has been a core part of the creative team since the agency’s inception as Machine in 2012, playing — as one of the founding partners — a key role in the industry recognition gained over the years. Named as AdReview’s Breakthrough Agency of the Year in 2013 and MarkLives’ One to Watch for South Africa for 2015 and 2014, the agency has made a name for itself in South Africa, placing among the top local agencies at Cannes.

Publicis Groupe Africa“Gareth’s creative expertise and insight has been instrumental in positioning Publicis Machine as one of the country’s leading integrated communications agencies, making this an easy decision,” says John Dixon, Publicis Groupe Africa CEO. “I am confident that he is the right [person], at the right time, to take this agency to the next level.”

McPherson, who picked up the reins in December 2018, is, for his part, ready to take on the challenge. “Over six years, we’ve positioned ourselves as one of the agencies to be reckoned with, and we now find ourselves rubbing shoulders with the big, industry-leading agencies,” he says. “Our agency has always been built on creativity. It isn’t something we pull out of the workflow chart at stage four to add some colour to a client presentation. We employ creative thinking at every level.”

Creative solutions

He says that creative solutions, regardless of the medium, are Publicis Machine’s key product, and what clients ultimately craved: “What clients are wanting is efficiency, agility and delivery, all underpinned with great work. I think that, coming from a creative, channel-agnostic background, I can add value from a solutions point of view.”

He adds that he would be bringing a strong design lens to production, emphasising work that “looked good” and would “come to life,” irrespective of the format and platform.

With the intention of bolstering the agency’s ability to provide creative solutions, McPherson has made several strategic hires in recent months. These include Sarah Browning-de Villiers in the role of chief content officer; Amanda Alves. who heads up digital; Bernadette Marais as head PR strategist and Ruddy Gatare as strategist. Moagi Bodibe remains the agency’s chief strategy officer in Johannesburg.

Team of strong leaders

Having a team of strong leaders on which to rely is essential to fulfilling his dual role, says McPherson: “It’s not about an individual; it’s about a team. Leadership isn’t about managing people — it’s about supporting your employees.” He adds that ensuring the agency has the right skill-sets and people on projects is the secret to its success.

Meshing creativity with what might be termed the business side of things is something McPherson says he’s been familiar with since the early days of Machine; he is well aware of the potential impact that creative decisions could have — positive or negative — on an agency as a whole. He says that the support offered by the broader Publicis group in areas such as talent and finance makes it easier for him to fulfill his double responsibilities. Another key source of assistance is having former CEO and founder, Adrian Hewlett, who stepped down at the beginning of 2018, on call for consulting in a non-executive capacity.

When it comes to goals, McPherson says that he hopes Publicis Machine would break back into the accolades scene after an all-Publicis awards sitout in 2017/2018. “I really feel like this is going to be a good year to get great work back onto the scene,” he says. “Overlay that with the talent we’ve brought in, and our ambition and drive, and I think we’ll succeed.” Going for gold would mean extra value for the agency’s clients, he says.

Recent work

Recent areas of focus include Graham Beck Enterprises, which appointed the agency late last year, and corporate communications for Pernod Ricard. As part of the latter, over the 2018 festive season, Publicis Machine rolled out a campaign promoting responsible drinking.

Another key project that the agency is working on is the upcoming launch of the retail stores of bespoke sustainable luggage brand, Sealand, across SA. “And there are more in the pipeline,” he says, “so watch this space.”

 

Carey FinnCarey Finn (@carey_finn) is a writer and editor with over 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. She is a contributing writer to MarkLives.com.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Daniel Ting Chong — keep making & failing #DesignIndaba2019

by Herman Manson (@marklives) Daniel Ting Chong, a graduate of Design Indaba’s Emerging Creatives platform, is behind the event’s creative campaign this year. We chat to him about the campaign, his design process and the best advice he would give a young designer today.

Daniel Ting Chong
Daniel Ting Chong

MarkLives logoExplain the concept behind the Design Indaba 2019 campaign?
Daniel Ting Chong:
I intended to stay true to the overarching conference theme of “What can AI do for you?” by creating a brand identity that was also created by a rudimentary approach to mimic AI. I felt that the concept was strong but also fun in its approach. We created a system: a set of rules that would apply to us and computers. A way for us to combine, to try something new and practise creativity together. There are 13 created shapes in four colours that the computer selects through a script. We add physics to the shapes and have no idea on what the final composition will be as it depends on environmental parameters around the shapes and where it may bounce and fall on the layout.

Each execution is completely different, which extends the identity into something unexpected and modular. The organic nature of the falling shapes leaning on one another is intended to communicate the concept of a support structure. Each shape represents us as humans relying on each other and highlights the fact that, across all disciplines of design, we can help each other to create the unimaginable. The computer also assigns a sound for every shape it selects, resulting in an intriguing play of notes distinct to each layout. The more shapes there are, the more intricate the sound design. The copy for the identity is also selected by the computer. I worked with Paul White to develop a document of words from which the script selects, which is utilised for banners, social media posts and print executions.

MarkLives logoYou’ve talked about the campaign being simple by design. Is it what happens when you take human emotion out of the design equation and leave it all to AI?
DTC:
The campaign is simple in its appearance by utilising geometric shapes and a singular typographic family but by no means simple in thought and the mechanics that put it together. I have noticed various visual interpretations of what the ‘future of design’ looks like or if AI had an identity and it always feels similar, by most approaches having an arrangement of gradient colours and delicate typography. There’s nothing wrong with this approach at all; however, I wanted the campaign to appear simple as the concept would be easier to communicate. Each shape represents us as humans relying on each other and highlights the fact that, across all disciplines of design, we can help each other to create the unimaginable.

MarkLives logoDo you think as a tool that AI, in its current phase of development, has been overhyped?
DTC:
AI has been tipped as the fourth industrial revolution and being in this unknown phase does lend itself to people having numerous conversations about where it’s going, and what can and can’t be done ethically with it. I don’t think it has been overhyped but is rather on the tip of everyone’s tongue.

Design Indaba 2019 poster and exterior shape
L-R: Design Indaba 2019 poster and exterior shape

MarkLives logoHow will you bring the campaign into Design Indaba’s physical space at Artscape?
DTC:
For the different signage executions, we are using recycled materials like Xanita board and producing them at monumental scales to make an impact but to also work fundamentally for legibility purposes. Artscape is incredibly big and we’re looking at smart ways to communicate the campaign concept but be able to reuse the elements after the conference is complete for other purposes.

This is the most-important phase for me as, when design lives outside of a computer screen, it has this tangibility that can make and break a campaign. We want to immerse the delegates in this concept but also bring a sense of fun and taking the concept home with them.

MarkLives logoYou have a long history with Design Indaba. Tell us about your experience as part of Design Indaba’s Emerging Creatives programme back in 2008.
DTC:
The Emerging Creatives platform is prolific for networking and is one of the biggest platforms whereby upcoming designers can get noticed. One of the most-valuable things I took from the programme was that it validated what I do and that I could create a business out of my career. It confirmed my belief that what I was doing felt right and made me feel excited about design.

MarkLives logoHow do you usually approach new projects? What is the process?
DTC:
I have a few meetings with the client to discuss the deliverables of the project so I can put together an accurate cost-estimate. Once everything has been agreed upon, I meet up with the client and find out a bit more information about them and what they want to achieve from the project and the reason for it existing, too. This helps distil their thoughts, motivations and what story they would want to communicate. In my approach, I always research into categories that will build a strong foundation for ideas to lean on. Then do I only approach the visual side of the project.

I put my head down and get to work for a few weeks to develop a cohesive presentation and present one direction (if it’s brand-identity based). After the presentation, I wait for the client’s feedback and make changes, if need be. Thereafter I can move forward with the next phase of the project, which is generally brand rollout and converting the presentation deliverables into tangible items.

MarkLives logoSomething many designers would want to know is how do you drum up new paid projects and commissions?
DTC:
I don’t really partake in exhibitions anymore. I used to collaborate with my studio mate, Jordan Metcalf, where we would take interest in new production methods and apply that in an exhibition context, yet I now spend most of my time doing client-based work and making the time to do self-motivated experiments week to week, which then influences prospective paid projects. I also don’t think there is much of difference between paid projects and commissions, as you’re being requested to apply your skill and mind to answer a specific deliverable.

MarkLives logoThe best advice you could give a young designer today would be?
DTC:
Don’t worry about finding your style or having the fear that you might not ever have one. Keep making and failing without hesitation; it’s the best thing you can do. Explore and fun by using different tools, learn how to use design software but also work with your hands to experiment making things outside of a digital space. All these elements help contribute to your knowledge as a designer and definitely don’t be quick to Google Search or go onto Pinterest to find a resolved idea; that’s too easy and you won’t grow as a designer as you need to solve it yourself. Take the time to understand basic fundamentals of design and then choose whether you want to use them or break them completely.

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#AgencyLeaders2018: Most-rated pitch consultant

by Herman Manson (@marklives) Today we reveal, as part of our annual Agency Leaders poll, which pitch consultant agency execs are most likely to recommend to a client.


MarkLives logoEvery year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. The first week we ran our Cape Town results, the second week our Joburg results, and last week our South African results. This week, we run our remaining categories.


The most-recommended pitch consultant in South Africa

Yardstick

Yardstick logoTwenty-year-old marketing management consulting company, Yardstick, has taken back the title for Most Admired Pitch Consultant for 2018. New client wins such as Alton, Coronation, Edward Snell, Pepkor, Pioneer Foods, Standard Bank, and McCain Foods, among others, helped to secure the double-digit year-on-year revenue growth the consultancy experienced last year. This growth rate is expected again in 2019 and beyond, according to Johan van der Westhuizen, managing director.

Van der Westhuizen recalls significant achievements in 2018 being assisting some of South Africa’s largest blue-chip companies to strategically review and restructure their portfolio of agency accounts, while facilitating the pitch process of some of the country’s most sought-after accounts. Adding to these achievements, he says, was the bottom-line value the pitch consultancy’s ongoing commercial and assurance services have generated for its clients, as well as the growth of its proprietary client evaluation and performance incentive programme, Y-CARE.

“We are extremely proud of the shareholder value that we have created for our clients and the new standards of excellence that we have set in the marketing and communications industry,” says Van der Westhuizen. According to him, challenges facing the consultancy (and the industry at large), will continue from what was experienced in 2018 well into 2019. These include flat client budgets and rising costs; inexperienced agencies and clients; the consolidation in agency rosters, resulting in fewer but much larger accounts; and the impact of this on smaller agencies and new entrants. In addition, 2019 trends that should be taken into account include shorter planning horizons and agency contracts, the growth of client investment in digital and social platforms, the fragmentation of audiences, complex agency/business models and practices, a larger focus on data and automation, and ever-increasing measurability and accountability for all parties.

— Profile by Sabrina Forbes.

Previously: In 2017, it was IAS. In 2016, 2015 and 2014, it was Yardstick every time.

 

The runner-up

Independent Agency Search and Selection Company (IAS)

IAS Independent Agency Search and Selection Company logo“2018 [was] a huge growth year for the IAS as the number of pitches that we continue to do… effectively doubled, as well as the nature of the work that we do,” says Johanna McDowell, IAS managing director. “With more than 73% of all agency appointments decided via a pitch process (source: agencyScope 2017), it is no wonder that pitching plays such a big role in the industry.

“This is also reflected in the number of agency management exercises we [did last] year, including our well-known Honeymoon Helper process for early days of the client/agency relationship, as well as the more-established TLC study which seeks to uncover the relationship ‘nuggets’ that can easily undermine the success of an ongoing relationship between an agency and a brand,” she says.

“The IAS business speed-dating programme was introduced earlier in 2018. This programme was aimed at pairing senior marketing and procurement professionals and black-owned agencies, in an effort to offer marketing and procurement executives the opportunity to meet 100% black-owned communication agencies.

“The relationship between the IAS and SCOPEN [became] closer, with both businesses being direct partners in each other business. This new development will see the IAS being SCOPEN Africa’s on-the-ground partner, and gives us far more focus and the ability to follow local trends throughout the year.”

Previously: In 2017, Yardstick was the runner-up. Before that, in 2016, 2015 and 2014, it was IAS.

 

How the poll works

In November 2018, we invited a panel of 120 agency executives — creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired agency and agency leaders regionally (for Johannesburg or Cape Town) and nationally (South Africa). Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll.

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

See also

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Fair Exchange: Nurturing & growing global brands in SA

by Erna George (@edgeo23) Reading about Taste Holdings’ struggle with Starbucks not only brought back memories of my days working on global brands and being part of a global agency network but of my latest experiences importing loved global brands.

Global ties in any of these forms are tough to manage. While the principles you must adhere to, or the pitfalls you work to avoid, go beyond the principles of brand building, these are critical to a marketer’s decision-making to enable brand success. It’s not simply a case of bringing a well-established brand to South African shores as a guarantee of growth profits; it’s a fine balance of the mix and the costs. Operational and management elements are critical hurdles to overcome and, in some cases, continue to manage.

Global vs local — control and coordination

Global owners often have clear models for operating, clear brand strategies and growth agendas with clear milestones. These are critical for consistency and measurability — things such as factory requirements for local operations and quality, pre-set communication programmes, auditing procedures or prerequisites for certain raw materials to be sourced from established global suppliers for consistency and economies of scale (exchange-rate permitting. of course). The balance between global control and localisation is a fine one to achieve.

When I worked on a mayonnaise category project in The Philippines, I noted how much sweeter the taste profile of mayonnaise was in this region (ratified by consumer research). Even known global brands were somewhat tweaked for local tastes. Without this change, failure was guaranteed.

Global controls must be implemented with a healthy respect for local nuances. So, this could apply to other elements such as sales channels, how packs perform in use to impact pack formats and, obviously, communication (I still remember Vanish ads where the lips moved completely out of sync with the voiceovers). A level of flexibility to tailor relevant areas for local success is critical.

Some areas must be about the right controls, while other must be about seamless coordination. Think on social media, where whatever is being done on brand x in Japan is easily visible by someone in Brazil; finding a golden thread for the brand is critical as the brand is being managed in multiple corners. But we also must remember those brand-names that don’t translate well across cultures; similarly, some messaging must be tailored for best effect. A system to get localised elements reviewed with global teams is a must but is tough as time is short (particularly for digital elements); local nuance isn’t easy to convey and there aren’t enough rules for this changing environment we live in.

It is often that strategy must be centrally controlled but the execution may require some flexibility. In addition, developing good relationships with an equal powerbase between the local and global teams, with recognition that each view is important in its context, will seal the deal.

A distinct costing model

You would think that, with the mix mostly developed, the setup costs would be somewhat muted but this isn’t the case. While operating in the local arm of a global corporate selling a global brand, where the recipes and packaging may be mostly lifted and shifted, this may be the case yet a level of localisation will always be required. When having to import from one of a few global production facilities or having to contribute revenue cashed up to head office in US dollars or euros, the costs and relativities are somewhat different. You can work harder and sell more agency hours or higher-value projects vs your global counterparts, yet the exchange-rate effect makes your efforts seem pathetic — disheartening for progression seekers.

While many products rely on a level of globally sourcing, full importation brings the challenge of not being offset with other costs across the formulation, production or pack. Global changes to packaging or ingredients which may have only a couple of cents difference in US dollars will have a far greater impact on profit margins and price-increase percentages on our shores. This is further exacerbated by freight costs and potential custom duties. I remember the custom duties on a single pack of a grocery item being almost R5, making the price point vs local competition a significant challenge to justify.

Other costs that need to be considered are royalties or licenses which also need to be added and projected going forward. Think of Starbucks premium pricing and the store set-p costs limiting further expansion and impacting ROI. Global-made-local is a fundamentally different costing model. and the resulting price and potential fluctuations must be considered in great depth. Pricing strategy and product or pack size must be carefully considered within the local context to allow for sustainability.

Getting it here — the operational challenges

Marketers will need to work very closely with procurement on this one. Demand forecasting is always a challenge but, for imported products, this becomes more critical. There’s nothing like a 16–18-week supply chain to make availability one of your top challenges. When you have to be in a queue to get your local version packed, the opportunities for quick-win promotions are less likely. If a new import, establishing run rates by channel and at the detail of right range (pack, flavour etc) must be a primary focus as you can’t sell what you don’t have and there’s no need to explain why writing off expensive finished goods is best to avoid. This gives limited shelf-life products a different dimension to deal with. Project timelines and considerations are different; to alter packaging, eg, the timeline must include global team inputs and approvals. Planning promotions for global brands is required six months to a year in advance in some cases, especially for seasonal. Operations need clear systems, clear owners and oversight.

The global–local game is only going to become more prolific and more SA brands will embark on the globalisation journey, so best marketers get this admin and skill under the belt.

  1. Develop strong negotiation skills alongside polishing your persuasion to drive relevant localisation (and all of this over telecoms or video conferencing)
  2. Cost accounting or relevant increased interactions with finance and procurement will be critical to planning
  3. Due diligence to assess global brand feasibility must consider brand relevance in addition to all possible cost implications

Global brands are exciting, working with global teams can offer strong learnings and you will need to up the focus on finance and procurement workstreams. Don’t underestimate the impact of the change in focus or emphasis in your planning but enjoy the ride.

 

Erna GeorgeAfter starting at Unilever in a classical marketing role, Erna George (@edgeo23) explored the agency side of life, first as a partner at Fountainhead Design, followed by the manic and inspiring world of consultancy at Added Value. She has returned to client-side, leading the marketing team in the Cereals, Accompaniments & Baking Division at Pioneer Foods. Her monthly “Fair Exchange” column on MarkLives concerns business relationships and partnerships in marketing and brandland.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#AgencyLeaders2018: Women of the Year

by Herman Manson (@marklives) Today we reveal, as part of our annual Agency Leaders poll, our women of the year, as voted for by South Africa’s leading agency executives — a brand-new category.

The truth is that the vast majority of senior agency executives in SA are male and the vast majority of men participating in our poll tend to nominate other men. Our challenge to them, and the women executives voting in our annual poll, was to give serious thought to the women who play a pivotal role in our industry, whom they admire, and who should be recognised and celebrated for their contributions to our industry.

Female executives aren’t competing on a level playing field; we hope that the profile generated by this part of our poll will contribute some small part to evening that out. Until we achieve gender parity at senior management level, and in those invited to participate in our poll, Women of the Year will play a role in punching out the glass ceiling women should not be subjected to in the first place.


MarkLives logoEvery year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. The first week we ran our Cape Town results, the second week our Joburg results, and last week our South African results. This week, we run our remaining categories.


Woman of the Year

Monalisa Sibongile Zwambila
Founder & CEO
Riverbed

Monalisa ZwambilaIt was towards the end of October 2007 that a single mom of two took on a journey that began with her working alone in her study at home and has resulted in her building SA’s most-recognised independent 100% black female-owned creative agency. She is Monalisa Zwambila (@monalisa_zwam). This is her story.

Born to a family of entrepreneurs, Zwambila grew up understanding the merits of hard work plus the challenges of owning a business, although her own lessons were still to come.

She worked for Old Mutual and Edgars in the early 1990s, joined jazz band, Basadi, and launched a recording and production studio before moving into PR. She worked for a few agencies but only really found her feet when she started working at The Communications Firm. After seven years of dedicated service, she was promoted to managing director. But all good things come to end and, soon after, Zwambila decided to leave under challenging circumstances, having not seen eye-to-eye with its owners.

Crossroads

So, in 2007, she found herself at a crossroads, with an enticing offering from Standard Bank and the innate desire to start something of her own. She chose the latter.

Coming up with a business name is never easy. For Zwambila, a riverbed is where communities are built and where they grow from; it’s the channel where your water flows and ends up in the ocean. “I wanted to create an agency that became a channel for our clients,” she says.

The journey of an entrepreneur is never easy. Zwambila’s experience in the industry stood her in good stead for understanding the sector she was working in. However, it was only after six months that she landed her first job, a small internal BTL job for SuperSport.

Looking back, she’s grateful for the quiet time as she was really able to crystallise her thinking regarding the agency she wanted to create, and a lot of what she developed back then still stands. The SuperSport job led to work from Microsoft and, a short 10 months after launching Riverbed, Zwambila needed to start hiring a team.

Three core prerequisites

Although any business owner will tell you that getting the right people in your team is paramount when you’re starting to grow, sometimes you just need people who can get the work done. Zwambila recalls she made some hiring mistakes but learnt a lot of lessons along the way. When recruiting now, she likes to use her agency culture as a compass. “Our agency values are very important to me as a leader and something I look for and interrogate in the people I bring into the business,” she says, adding that integrity, ambition, and passion are three core prerequisites.

There is often the perception of an independent agency and owner-managed business being smaller in potential than existing shops with bigger, sexier accounts. Because of this, she initially struggled to bring in a strong creative lead who could partner with her and tag-team the growth of the agency; it took a while. It was in 2014 that the proverbial snowball really started to roll for Zwambila, with the very serendipitous opportunity to acquire what was then Chillibush Communications and absorb not only its existing staff complement but also its entire client roster, including the likes of iWYZE, Old Mutual, and Unisa. Riverbed grew overnight.

There was the expected staff churn but the upside was that Riverbed soon began making it onto formidable pitch lists. Speaking on the acquisition, Zwambila says: “We had a more-compelling story to share with the market and could now begin to articulate what Riverbed was all about.”

Changing the narrative

When asked for her insights into creating a business from scratch, not only as a “solopreneur” or single mom but as a young black women, she admits that it was an extremely challenging journey and, although the industry is evolving, it’s still dominated by white men. This is a narrative she’d like to have her hand at changing. Considering 90% of the country is black with black women holding the majority of household purchase decisions, it’s easy to see why.

Everyone who works at Riverbed understands their role in changing the narrative. Zwambila would, however, like to see more black female creative leaders, than only business owners. The two go hand-in-hand in this industry and she believes we need both. “My journey hopefully opens up the opportunities for other black women to take the lead,” she says.

Here she is inspired by the poet Maya Angelou: “Each time a woman stands up for herself, without knowing it possibly, without claiming it, she stands up for all women.”

Be the best version

As a woman, business owner, friend, and mother, Zwambila has experienced all the challenges women have to overcome, and then some. As Riverbed continues to grow, it’s important for her to create the right environment where her female staff may be successful as moms and career-driven women at the same time. She is striving to create an environment where everyone can be the best version of who they want to be.

“I want to build an independent agency that is admired and respected, and that leaves a legacy of an agency able to disrupt the environment and prove women can come in and lead the space,” she says. Zwambila aims to build a purpose-driven agency run on three core pillars that herald great work — creating an environment of excellence, recognising and rewarding excellence internally, and showing that doing good for the community can really make a difference. She calls this the agency’s Greater Good Philosophy, one built on the aim to constantly strive and work towards greatness.

When sharing her advice to young leaders of the future, Zwambila stands firm in how she feels about believing in yourself and your potential. “You need to go into something with unending resolve and belief, and have a clear vision for the goals you set for yourself. It gives you a clarity of vision of what you want to deliver on. Also, always be clear on what the opportunities in the market are,” she says. Her book recommendation for anyone growing or just starting their careers? “Good to Great” by Jim Collins.

Three-year plan

On what 2019 holds for her agency, Zwambila confesses that, over the last 12–18 months, she’s received numerous calls for acquisition from large multinationals. While it’s always a great feeling to be desired, it’s not something she’s interested in currently.

“It made me realise my focus needs to be on building a really great agency that creates relevant work that responds to what our clients want and delivers to what consumers need. I want us to be seen as a beacon of excellence across transformation, ideas, growth etc, while still doing good,” she adds.

Her three-year plan? To build Riverbed into one of the top three most-admired independent agencies in the country.

— Profile by Sabrina Forbes. Riverbed has featured in our poll before, as our Runner-Up One to Watch in South Africa for 2018, One to Watch in Jozi for 2018 and our Joint One to Watch in Jozi for 2017.

 

The runner-up

Fran Luckin
Chief creative officer
Grey Africa

Fran LuckinFran Luckin (@effluck) is no stranger to our poll results. In 2015, she was one of five contenders for Most Admired Creative Leader in South Africa and our Runner-up Most Admired Creative Leader for Jozi. Earlier in February 2019, it was announced that she would be the chief creative officer of Team Liquid, Distell’s new WPP bespoke agency.

MarkLives logoPlease offer us a brief overview of your career (we think it would come best from you)?
Fran Luckin:
[I am] the CCO of Grey Africa in Johannesburg. Previous gigs have included being CCO of Quirk (now Mirum) South Africa, executive creative director of Ogilvy Johannesburg, and, quite a few years ago, creative director at TBWA\Hunt\Lascaris.

[I have] judged many international and South African creative awards shows (including One Show, the Clio Awards, D&AD and three stints judging Cannes Lions, one as Print and Outdoor jury president). [I have won] a few awards, but [believe my] most significant achievement may be that, after 20-odd years in advertising, [I am] still more or less sane.

[I have] an MBA from the Berlin School of Creative Leadership, and served three years as chair of the academic board of the Red & Yellow School of Advertising.

In [my] spare time, [I play] the bass guitar with staggering ineptitude.

MarkLives logoOn what it takes to work in advertising:
FL: A sense of humour. Openness to change. Persistence.

MarkLives logoOn what it takes to be an ECD:
FL: Patience. Empathy. Resilience. The ability to leave your ego at the door (particularly in this age of integration and media proliferation, where we have to collaborate more and more with other agencies).

MarkLives logoBest advice for young people looking to enter the industry:
FL: Choose the agency you work for based on who the leadership is and whether they’re going to be available to mentor you and teach you. Don’t get into the trap of taking your lifestyle up a notch with each salary increase. It can become a trap and leave you having to work for money, instead of being free to do fun things like a year off and pursue an interesting side project.

MarkLives logoOne thing you would change about work life in advertising:
FL: I wish I could reverse the trend away from retainer to project-based work. Not being able to do anything unless it’s a billable hour means we’re quite limited in how much value we can add. The benefit of having retainer-based business is that it gives agencies the freedom to invest time thinking about our clients’ business, above and beyond the briefs we get. It gives us freedom to take initiative without having to wait for a brief.

MarkLives logoA recent piece/s of work you are most proud of: (please include a link to the creative)
FL: Duracell’s “Times Change, Power Still Doesn’t.” This is the follow-up to our 2017 campaign and I think it’s even funnier.

— Q&A by Herman Manson.

 

The contender

Mariana O’Kelly
Outgoing executive creative director
Ogilvy Johannesburg

Mariana O'KellyMariana O’Kelly has also featured in our poll before: she was a joint contender for 2015 Most Admired Creative Leader in Jozi, and our 2014 Joint Runner-Up Most Admired Creative Leader in Jozi. Earlier in February 2019, it was announced that she would be leaving Ogilvy Johannesburg in June 2019 to take up a new position in Ogilvy’s global operations in Chicago.

 

 

 

How the poll works

In November 2018, we invited a panel of 120 agency executives — creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired agency and agency leaders regionally (for Johannesburg or Cape Town) and nationally (South Africa). Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll.

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

See also

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

SA TV Ratings: e.tv — primetime top 20 for Jan 2019

by MarkLives (@marklives) The hottest primetime shows on e.tv in South Africa revealed: TV ratings for January 2019.

e.tv logo for SA TV Ratingse.tv, January 2019

Top 20 Programmes All Adults 15+
January 2019 Prime Time 5.30pm—10pm
Adults 15+ years U:35679 S:8198

Source: BRCSA January 2019

 Day

Date

From

To

Station

Programme title

Genre

AR

Viewers

Share

Tue 29/01/2019 1930 1958 e.tv Scandal Soap 15.1 5 398 829 43.6
Tue 22/01/2019 2130 2159 e.tv Imbewu: the Seed Dram 12 4 284 999 43.8
Wed 02/01/2019 1927 1929 e.tv Just for Laughs Gags Filler Sitc 9.7 3 443 264 28.9
Tue 22/01/2019 1900 1928 e.tv Rhythm City Dram 9.4 3 342 423 30.1
Sun 06/01/2019 2000 2238 e.tv Casino Royale Movi 7.8 2 794 246 30.7
Sun 13/01/2019 2000 2158 e.tv Quantum of Solace Movi 7.7 2 755 900 27.8
Sun 20/01/2019 2000 2249 e.tv Skyfall Movi 7.5 2 685 265 30.2
Sat 19/01/2019 1930 2118 e.tv Puss in Boots Movi 7.1 2 520 332 24.7
Sat 12/01/2019 1930 2117 e.tv Shrek Forever After Movi 6.7 2 395 692 25
Sat 05/01/2019 1929 2113 e.tv Shrek Movi 6.4 2 287 911 22.9
Sun 27/01/2019 2000 2258 e.tv Spectre Movi 5.7 2 040 956 27.7
Sat 26/01/2019 1930 2209 e.tv Tomorrowland a World Beyond Movi 5.7 2 030 286 23.8
Fri 04/01/2019 2124 2129 e.tv The Spotlight (Vari) Vari 5.6 2 014 996 12.7
Tue 15/01/2019 2159 2229 e.tv Checkpoint (News) News 5.6 2 009 713 32.7
Tue 01/01/2019 1958 1959 e.tv Scoop Network Docu 5.4 1 939 185 38.1
Sat 05/01/2019 2120 2252 e.tv Scary Movie 4 Movi 5.3 1 879 043 25.8
Sun 27/01/2019 1805 1859 e.tv Little Big Shots Maga 4.4 1 580 051 17.2
Sat 12/01/2019 2125 2320 e.tv Let’s be Cops Movi 4.4 1 564 812 25.3
Mon 07/01/2019 2159 2249 e.tv Mistresses Dram 4 1 417 448 23.8
Sat 19/01/2019 2121 2304 e.tv Next Day Air Movi 4 1 411 705 19.9

In 2016, the Broadcast Research Council of South Africa (BRCSA) 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.

 

Broadcast Research Council of South AfricaThe Broadcast Research Council of South Africa (the BRC) 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.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#AgencyLeaders2018: The one to watch in South Africa in 2019!

by Herman Manson (@marklives) Today we reveal, as part of our annual Agency Leaders poll, which South African agency fellow ad execs feel is the “one to watch” in 2019 — the agency from which they expect great things in the year ahead!

Every year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. The first week were the Cape Town results, last week the Joburg results, and next week will be our remaining categories.

The one to watch in South Africa!

Avatar exterior building shot February 2019Avatar

“We’ve grown revenue by 87% from 2017 to 2018, due to increased spend and scope from existing clients and new business wins that included H&M, SKYY Vodka, GCIS and Wits,” says Zibusiso Mkhwanazi, Avatar group CEO and co-founder. “We expect that revenue will more than double in the 2019 financial year, due to a new client win (the size of which has made [it] the agency’s biggest client as of December 2018).”

The agency employed 78 people in November 2018, and this figure is expected to increase to over 100 people in 2019, thanks to growth related to the new business acquisition in November. Apart from the new account wins mentioned above, project work was also done for BAT, Pendoring Awards, JoJo Tanks, Montblanc, De Beers Botswana, SANParks and Mail & Guardian.

“There [were] some big, disruptive wins [last] year: from SKYY Vodka to Chevron to H&M,” says Mkhwanazi. “We wanted to increase our private-sector clients to balance our client base and also up the creative work. We have very strategically set about what type of business we want and need, and where we could perform and deliver best.

“The first big win of the year was H&M. What started as a conversation to help this Swedish brand navigate the local space became a world-first: a TVC conceptualised and shot on African soil. Our team [has] been flown to Sweden to share insights and learnings at executive level. The next huge win was SKYY Vodka — a coveted account that set the industry aflutter. Followed by the Caltex ATL win. We had been their digital agency for two years, so to add the ATL work was a real coup. Both our Johannesburg and Cape Town agencies have moved to new buildings as a result of the growth. Another growth area has been the addition of our PR offering, which has won work for for JoJo Tanks, The Pendoring Awards, Montblanc, De Beers Botswana, BAT, SANParks and Mail & Guardian.”

Collage of Avatar workThe agency also made a number of important appointments to its management team. Co-founder and partner, Veli Ngubane moved from a chief creative officer position to that of group MD. Grant Sithole was promoted to CCO.

Further additions to the team include Heather Smith (ex McCann), who has been appointed deputy MD; Varsha Ghandi (ex McCann) as group chief financial officer; Temba Mazingi (ex M&G) as chief technology officer; Cindy van der Vorst (ex Zoom Advertising) as business unit director in Cape Town; Tammy Lehnberg (ex Y&R) as head of HR and Keri-Ann Stanton (ex Joe Public United) as head of PR. The new appointments have resulted in the Avatar exco being majority-female and ensures gender diversity firmly at exco level.

On the year ahead, says Mkhwanazi: “There is no slowing down. We [kicked] off a massive project 1 December [2018]. As we shift and expand, and move from disruptor to leader — no, let’s scratch that, game changer — so we will continue to drive the conversation about diversity. We are ready to move out of medium-sized into large territory in 2019 — 100% black owned. And while we seem patient, let’s be very clear: we are not.”

Previously: The Odd Number took this title for 2018. OFyt was our agency to watch for 2017; Promise and Y&R Group tied for 2016; for 2015, it was Publicis Machine and, for 2014, it was MACHINE (which merged with Publicis Worldwide in 2014 to become Publicis Machine). (2013 was the first year this category ran.)

 

The runner-up

No runner-up has been named for 2019. For 2018, Riverbed was the runner-up and, for 2017, AVATAR and The Odd Number tied as runners-up. For 2016, there were no runners-up but six contenders and one special mention. For 2015, Ogilvy Johannesburg/Gloo and FCB South Africa (now FCB Africa) tied as runners-up. For 2014, there was no runner-up (2013 was the first year this category ran).

 

How the poll works

In November 2018, we invited a panel of 120 agency executives — creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired agency and agency leaders regionally (for Johannesburg or Cape Town) and nationally (South Africa). Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll.

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

See also

Updated at 9.45am on 22 February 2019.

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Media Design: Economist, MA, NYT Mag, Ubisoft — Stories, ZigZag

Shane de Lange (@shanenilfunct)’s weekly analysis of media design from South Africa and around the world:

  • Iconic: MA: Internacionális aktivista müvészeti created an international platform for the avant-garde, highlighting Hungarian Activism
  • Commercial print: The Economist parodies millennial socialism, referencing an iconic piece of Russian constructivist design
  • Online: Ubisoft — Stories proves that the gaming industry is just as serious as the film and music industry
  • Independent print: ZigZag and The New York Times Magazine take vastly differing ethical and aesthetic perspectives based on the sport of surfing
  • Honourable mention: RIP Karl Lagerfeld

Find a cover we should know about? Tweet us at @Marklives and @shanenilfunct.
Pinterest icon Want to view all the covers at a glance? See our Pinterest board!


Print

¯\_(ツ)_/¯   The Economist (UK), 16–22 February 2019

The Economist, 16-22 February 2019 and Alexandre Rodchenko, More Books 1924Revolution isn’t necessarily a word that one would normally equate with the current millennial generation. Bombarded by media, with days spent living through devices and experiencing the world through various screens, one would be forgiven in thinking that propaganda is a more-effective word. The current issue of The Economist links Soviet propaganda with millennial socialism in a parody that riffs off an iconic 1924 poster designed by Alexandre Rodchenko, featuring a collaged image of Russian avant-garde member, Lilya Brik, titled “Books (Please)! In All Branches of Knowledge”. The reference made here to this poster, and its title, suggests a few contentious readings about the state of youth culture, and the perceived resurgence of socialism in the first world today.

 

¯\_(ツ)_/¯   ZigZag (South Africa), issue #43.2, March 2019
Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   The New York Times Magazine (US), 10 February 2019

ZigZag, issue 42.2, March 2019 and The New York Times Magazine, 10 February 2019Two magazine covers appeared recently with surfing as their primary subject matter. Each cover comes from magazines with vastly differing perspectives, and a comparison between the two sheds light on the schism of cultural dynamics between international and local perspectives.

Locally, ZigZag issue #43.2, themed “The Crime Issue”, references an all-too-familiar topic, delivering stories from the darker side of surfing culture, including criminals within the surf community such as poachers and mercenaries. The cover, featuring Grant “Twiggy” Baker, is bold and expressive, especially with its intentional use of crude hand-lettered typography, exhibiting the rawness and rusticity innate to the local vernacular.

Internationally, the cover for 10 February 2019 issue of The New York Times Magazine sports an epic black-and-white image, shot by Dina Litovsky and featuring professional surfer, Paige Alms. This striking grayscale photograph is completed by a tasteful choice of typography counterpoised by horizontal layout executed in textbook fashion, making readers physically interact with the magazine. A subject that keeps showing how backwards-thinking so many men are, this issue brings attention to the plight of women and the lack of gender equality within the sport of surfing. The fact is, Alms successfully competes on the same big waves as her male counterparts in one of most-dangerous sports known to ‘man’.

The juxtaposition of the wild and fluid background with the formal composition of the typography in the foreground effectively creates a sense of dimensionality and delivers a strange sense of respite and peace. A still, quiet, almost spiritual moment in time.

 

Online

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Ubisoft — Stories (France), February 2019

Ubisoft — Stories, online, February 2019The gaming industry is now far bigger than the film and music industries combined — and the gaming audience is expected to grow so large by 2020 that the market will be worth US$90bn. This stems from the numbers for 2017, which valued the market at US$78.61bn. Yet most people still don’t take gaming seriously.

Ubisoft, the software company responsible for the creation of iconic gaming franchises such as Assassins Creed, Prince of Persia, and Far Cry, among many other classics, is attempting to change perceptions. “Ubisoft — Stories”, a product of the company’s subsidiary in France, has created an online platform that will make most film websites bend the proverbial knee. Showcasing the technological, cultural, and philosophical ingenuity of gaming, all within the rubric of the entertainment industry, Stories decodes the social, ethical, and structural responsibilities and challenges within the industry. With the assistance of media partnerships, Stories ultimately delivers an overall ‘Ubi-vision’ for the industry. The site itself is a great example of website craft, with layered interactive elements, animated transitions, dynamic layouts, considered design, intuitive navigation and multidirectional information hierarchies, all leading one to some compelling storytelling.

 

Iconic

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   MA: Internacionális aktivista müvészeti (Hungary), 1916–1925

MA Today, issue 1-1, 1916 and issue 7-5, 1922In November 1916, Hungarian poet and artist, Lajos Kassák, founded an avant-garde magazine called MA: Internacionális Aktivista Müvészeti. It took its baton from a banned magazine called A Tett (“The Deed”). MA refers to the movement “Magyar Aktivizmus”, meaning “Hungarian Activism”, but also happens to be the Hungarian word for “today”. Initially published in Budapest, by 1920 Kassák had to move his publication to Vienna due to hostility from the conservatives and left-wing in Hungary, who negated modernist or avant-garde tendencies for their perceived communist foundations. In 1919, MA was banned in Hungary. From Vienna, MA evolved into an international platform for the avant garde, highlighting Hungarian activism. As a result, MA is seen as a broader group of Hungarian artists and writers, aside from being an avant-garde periodical, including historic modernists such as painter and photographer, László Moholy-Nagy (who made the cover for issue 7-1 in 1922 featured above), and composer and musician, Béla Bartók.

MA’s inaugural edition had a cubist-inspired cover designed by Czech artist, Vincenc Beneš, which introduced the avant-garde character of the group. MA stressed the social role of art, fueled by the revolutionary perspectives of other avant-garde movements in other parts of Europe, notably the constructivists, futurists, expressionists, cubists, and dadaists. The constructivist worldview, however, seems to have inspired the biggest increase in avant-garde activity in Hungary. Due to continued hostility from conservatives and the left in Hungary, in 1925 MA ceased publication after Kassák returned home.

 

Honorable mention

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Karl Lagerfeld

AnOther Magazine — Karl Lagerfeld

Karl Lagerfeld - i-D Magazine Spring 2012, Harpers Bazaar 2013, Business of Fashion 2014, TNYTS Magazine 2015, V Magazine Spring 2016
Karl Lagerfeld – i-D Magazine Spring 2012, Harpers Bazaar 2013, Business of Fashion 2014, The New York Times Style Magazine 2015, V Magazine Spring 2016.

Immortalised on so many magazine covers over the decades, Karl Lagerfeld, a cultural icon famous for his historic contributions to the fashion industry and the creative director of the French fashion house Chanel, passed away on 19 February 2019. Here is a selection of some recent covers in honor of his canonic cultural contribution.

References

 

 

Shane de LangeShane de Lange (@shanenilfunct) is a designer, writer, and educator currently based in Cape Town, South Africa, working in the fields of communication design and digital media. He works from Gilgamesh, a small design studio. Connect with him on Pinterest and Instagram.

Media Design, formerly Cover Stories and MagLove, is a regular slot deconstructing media cover design, both past and present.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Online CPD Courses Psychology Online CPD Courses Marketing analytics software Marketing analytics software for small business Business management software Business accounting software Gearbox repair company Makeup artist