Campaign Brief Asia

Campaign Brief Asia tag:www.campaignbrief.com,2009-02-14:/asia//4 2019-03-15T05:02:15Z Movable Type Pro 4.37 Hagar International's anti-slavery campaign via DDB Hong Kong brings shocked restaurant diners face-to-face with the price of slavery tag:www.campaignbrief.com,2019:/asia//4.73005 2019-03-15T05:05:28Z 2019-03-15T05:02:15Z

The price of a human life costs as little as a dinner out. That's the message of the provocative new campaign from anti-slavery organization, Hagar International, on the eve of its 25th anniversary.Created by DDB Hong Kong, the Reality...

The price of a human life costs as little as a dinner out. That's the message of the provocative new campaign from anti-slavery organization, Hagar International, on the eve of its 25th anniversary.

Created by DDB Hong Kong, the Reality Check campaign is designed to raise awareness that slavery is not only rife throughout the world, but it's also cheaper than at any time in human history, the campaign brings the cost of a slave's life closer to home by unexpectedly incorporating it into restaurant bills.

VIEW THE VIDEO

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s seen in the campaign video, confusion amongst the diners turns to shock as the waiter explains that a slave today can be bought for an average of USD $90. The diners are then introduced to survivors of slavery who Hagar International has helped to reintegrate back into society - literally bringing them face-to-face with an issue that minutes before seemed worlds away.

The campaign, which is driven through digital, social media, and PR, coincides with Hagar International's 25th anniversary. Throughout its existence, the organization has been committed to more than simply fighting slavery, but also helping the individuals and communities afflicted by it to recover.

"When you hear first-hand from people who have survived slavery and about the unspeakable physical and emotional suffering they have endured, it becomes impossible to pretend that slavery doesn't exist," reflects Melissa Petros, Executive Director of Hagar International. "It was important to include survivors in the Reality Check experience, not only to show that slavery is not some distant and abstract problem but also to demonstrate that with appropriate support they don't simply survive what happened to them but go on to thrive."

"Working on this brief, it really hit us hard when we discovered that in 2019, the cost of a human life could be so low," said Jamal Hamidi, Executive Creative Director, Global at DDB Hong Kong. "The fact that people's lives are bought and sold for an average of USD $90 - and sometimes far less - is something that we felt the public needed to be brought face-to-face with, and that's what we've literally done with this campaign."

Despite the confronting nature of the campaign, the message is fundamentally a positive one. Hagar International's work over the last 25 years has centred on its counselling, legal, education, and job training services. During that time, the organization has helped almost 19,000 survivors across the world to recover from the trauma of slavery and other extreme abuses, which has had a positive ripple effect on their families and communities as well.

These stories of reintegration and healing are showcased on a campaign microsite, where survivors of slavery tell their stories. At the site, visitors are able to learn more about how they can support Hagar International's efforts around the world, as well as donating to the organsation.

Credits -
Executive Creative Director, Global: Jamal Hamidi
Associate Creative Director: Christel Chong
Creatives: Natalie Parengkuan, Aaron Cheng, Samantha Steptoe
Strategy Director: Adrian Tso
Strategy Planner: Karen Lew
Chief Strategy Officer: Andreas Krasser
Production Company: MRJ Productions
Director: Ranno Ng
Producer: Joanne Tong
Client Executives: Melissa Petros, Lilian Lee, Lara Wiemer

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]]> Comments (0)]]> The Brand Agency's Marcus Tesoriero Q&A: Don't isolate yourself as a specialist in copy or design tag:www.campaignbrief.com,2019:/asia//4.73003 2019-03-15T03:04:38Z 2019-03-15T03:10:36Z

Next week, in a session at AdFest 2019 in Thailand, Marcus Tesoriero (pictured) will warn creatives against isolating themselves as specialists in only scriptwriting, art direction, copy or design. Tesoriero is Executive Creative Director at The Brand Agency in Perth.

What inspired the topic of your session at AdFest 2019, ''The New Era of Creative Problem Solving'?
It's funny actually, I feel one of the biggest problems our industry currently has is its name - advertising. To many of our clients, that's all they think we do. In reality, ads are no longer the silver bullet for every brief a client gives us. So, we need to show that we can offer them so much more.

We live in an age of ad blockers and hectic forms of advertising hitting us wherever we go. People don't want to see our brand messages in the same old formats. Today we need to earn people's attention by becoming part of their lives - rather than simply demanding they become part of ours.
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If our industry needs to evolve from ad makers into problem solvers, what sort of skills will creatives need to acquire?
Our industry has been evolving constantly since I joined it many years ago. Traditional, experiential, digital, data-driven - who are we now? The fact is, we are a bit of everything - and more. Breaking it down simply, today we are problem solvers, solving client issues and opportunities in whatever creative form that may be.

I feel the number one skill creatives will need to acquire moving forward is collaboration. Solving problems for brands in ways that have never been produced before takes the commitment of the whole agency, clients and a wider network of suppliers you may have never even met. Effectively utilising connections and resources is essential in building big, problem-solving ideas.

For me, future creatives shouldn't isolate themselves as specialists in only scriptwriting, art direction, copy or design. Instead, the great ones are becoming overall mechanics of creativity - inventors, scientists, film makers, product designers and more. Sure, they champion a sole craft like copywriting, but they have a thirst to learn more about the synchrony of all creativity and what makes people tick.

How do you use data to your advantage? When does data become dangerous?
To many creatives, data is a dirty word. But it doesn't mean our ideas are becoming zeros and ones. It just means we can mine information from the masses to direct our creativity more effectively.

For me, data is best used at the beginning of a project to analyse information and guide a precise strategy for a creative brief. It's also best used at the end of the project to define an accurate media strategy, ensuring people are targeted at the right place and right time. To be truly effective though, it's not just about personalisation. It's using data to ensure a targeted person is going to be most receptive to the creative idea you've crafted specifically for that place and moment.

The only danger I see from using data is if our consumers decide to stop giving it up. But I believe the world's addiction to social media and search is too strong to forfeit it. It's an interesting trade-off, really. As quoted from a reporter after the Facebook Senate hearing, "If you're not paying for it then you're the product being sold".

You moved from Sydney to join The Brand Agency in Perth in 2018. What inspired you to make the move, and what can you tell us about life at The Brand Agency?
Western Australia borders almost half the land mass of our entire country and yet it's virtually invisible to the world when it comes to our industry. When I was offered the Executive Creative Director position at The Brand Agency, I saw it as a real opportunity to help showcase more of Perth's creativity to the world.

The Brand Agency is the largest integrated agency in Perth, with over 100 intelligent people in their different fields. Over the last year we've been working towards a more collaborative environment within the agency and with our clients, while building what I now believe is one of the best creative and design teams in the country. The agency is really working together well now and producing great work to back it up.

I also find the clients over here have quite an entrepreneurial spirit which is constructive for selling in big ideas. There are fewer destructive egos too, which makes it easier to talk on an even level with everyone. On top of that, Perth is one of the most beautiful places in the world. The white sand beaches run for miles and miles along an unpolluted coastline of crystal-clear blue water, all accompanied by what feels like 300 days of summer. Who could argue with that?

How has your approach to creative problem solving evolved since your earliest days as a junior?
My first agency was heavily TV-based which meant writing script after script - sometimes producing up to 30 TV ads per year, which was a great launch into storytelling. As digital worked its way into the world, I saw a new beginning of communication and an invitation for brands to start becoming part of people's lives - to live stories, rather than just telling them.

Excited by this, I went on to work at a string of agencies that were digital, mobile and data centric, widening my knowledge on all facets of communication. So, coming back to big, integrated agencies such as DDB, McCann, and now The Brand Agency, I have a clear vision that in today's world, we need all that expertise and more to solve our clients' problems.

Now that the Mad Men days are over, what do you look for when you're hiring junior creatives?
Now that the Mad Men days are over, there are thankfully less alcoholics and more women applying for jobs. But most of all, when looking to hire young creatives I look for ambition. It takes hard work to be great. Fortunately, I now have a team with the tenacity to get there.

'The New Era of Creative Problem Solving' takes place on Friday 22 March at AdFest 2019 in Pattaya, Thailand.

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]]> Comments (0)]]> TBWA\Indonesia establishes Disruption Consulting: Henry Manampiring to lead the unit tag:www.campaignbrief.com,2019:/asia//4.73000 2019-03-15T02:39:25Z 2019-03-15T02:47:44Z

TBWA\Indonesia has launched Disruption Consulting, a new specialist unit which leverages TBWA's Disruption methodology to solve commercial problems and drive growth for clients.Marketing strategist, Henry Manampiring, has been appointed to lead the new offering in addition to his role as...

TBWA\Indonesia has launched Disruption Consulting, a new specialist unit which leverages TBWA's Disruption methodology to solve commercial problems and drive growth for clients.

Marketing strategist, Henry Manampiring, has been appointed to lead the new offering in addition to his role as head of strategic planning at TBWA\Indonesia. He has over 20 years' experience in market research and advertising, having worked at companies including Ogilvy, Facebook, Leo Burnett, Millward-Brown, Edelman, JWT, Lowe, and Coca Cola.

]]> "Both established brands and start-ups alike, are these days facing myriad challenges - from being stranded by newer avenues of growth, to getting stuck in a chasm, or even being held back with consumer acquisition having overexposed the brand without a strong conviction," said Manampiring. "Disruption Consulting is a house of processes and skillsets, that are designed to accelerate businesses past market challenges."

"Disruption has been TBWA's 'software' for the past two decades, and has helped create some of the world's most iconic advertising," said Soum Banerjee, CEO at TBWA\Indonesia. "As we've continued to update this software for an ever-evolving consumer landscape, our emphasis on data and consumer insights now allows us to move further upstream and utilize Disruption to solve business problems - and we're delighted to have Henry onboard to lead this new offering."

A specialist in consumer insights, Manampiring has developed brand communication strategies for clients across a range of industries including FMCG, Technology, Telco and Banking. He has also conducted numerous studies on advertising effectiveness, product concept and development, and consumer segmentation.

"The use of consumer insights should not be limited to brand marketing. They can provide opportunities to innovate in range of business functions, from product development to customer experience and activation," added Manampiring. I'm excited to utilize TBWA's unique methodology to uncover emerging behaviors and formulate ideas that drive business growth for both large corporations and burgeoning startups."

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]]> Comments (0)]]> Call for entries to Campaign Brief's The Work 2019; Free to enter + deadline Friday 22nd March tag:www.campaignbrief.com,2019:/asia//4.72607 2019-03-15T02:20:46Z 2019-03-15T02:22:53Z

The Call for Entries to Campaign Brief's The Work 2019 is out and it's FREE to enter. The final deadline for entries is Friday 22nd March, 2019.Now in its 17th year, The Work features the very best advertising of...

The Call for Entries to Campaign Brief's The Work 2019 is out and it's FREE to enter.

The final deadline for entries is Friday 22nd March, 2019.

Now in its 17th year, The Work features the very best advertising of the year from Australia, New Zealand and Asia.

Published by Campaign Brief, The Work is recognised as a true record of creativity for the entire region. Acceptances to The Work 2019 count in the Campaign Brief Asia Creative Rankings.

There are three things that differentiate The Work 2019 from traditional award shows:

Firstly, entries are FREE.

Secondly, we are selective - to qualify for entry the ad or campaign must have already passed the test and been a finalist or winner at an awards show.

Thirdly, there are no wasted entry fees - only entries that are accepted into The Work incur an acceptance fee.

All entries are uploaded online: Judging will take place in April and notifications of acceptances will be sent out early May 2019. Accepted work will be featured in Campaign Brief's The Work 2019 Gallery.

ENTER THE WORK

STEP 1. The first step is to register and then log in here. Then follow the upload instructions.

Read this bit: EVERY entry to The Work 2019 must have already "passed the test" and been a WINNER or a FINALIST at a recognised city, national, regional or international awards show between January 1st, 2018 and March 31st, 2019.

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Ads that have already been entered in The Work in previous years can not be entered again.

Entry is FREE. This is not another awards show. The Work is all about recording and recognising the best ads from our region. If your entry is accepted into The Work there will be an ACCEPTANCE FEE of AUD$200 for each single entry and AUD$350 for campaign entries.

In this way there are no wasted entry fees! If none of your entries are selected to appear in The Work there is no fee to be paid. Similarly if your budget this year only stretch to 2 or 3 acceptances - just enter your best 2 or 3 pieces of work.

Final entry deadline is Friday March 22nd, 2019.

STEP BY STEP GUIDE TO UPLOADING ENTRIES TO THE WORK

Step 1 - Register
Fill in your details/password and register. You will immediately receive an email from The Work asking you to confirm your registration. Click on the link emailed to you to confirm. (If you do not get it within 2 minutes look in your spam folder).

Once you have registered you only need to use the "log in" area when you return to update your entries or add more entries.

Step 2 - In the "My entries" area start your entry: select "Country"; select "Category"; and fill in "Client Brand and Title of Entry" using a dash (-) between the two. I.E: Burger King - McWhopper. Then click "Save + Next" button.

Step 3 - Fill in the "Details & Credits" area. These credits appear with the entry if it is accepted into The Work so please include all agency and production credits. Then click "Save + Next" button.

Step 4 - Fill in the "Awards Won" area. List all major awards the ad/campaign has won. Then click "Save + Next" button.

Step 5 - Add campaign/single attachments and any case study or commercial here. For print Ads/Campaigns click "Add Attachments" and upload file with the entry title. For multiple entries in the campaign click "Add Attachments" to upload the 2nd, 3rd, 4th etc etc ad in the campaign with each entry title. If you are entering a Film category or a category that is using a case study video then click "Add Attachments" to upload a key still from the Film or Case Study video then click on "Add URL Link" and upload the URL link to the Film or Case Study (YouTube or Vimeo links preferred). If you are entering a campaign then upload a key still; different title and a different YouTube or Vimeo link for each part of the campaign.

Step 6 - Does your campaign have a website as part of the campaign? If so add the link here.

Step 7 - Once you have completed everything click "Submit Entry" and your entry is uploaded and submitted for judging. If you click "Save + Close" this saves the entry but DOES NOT finalise and submit the entry for judging. You must click "Submit Entry" to finalise the process.

All your entries and the status of each can be seen at the bottom of your "My Entries" page.

To be considered for judging the status of each entry should read "Submitted". At any stage before the entry deadline you can go back into any entry and edit, add or delete details to the entry.

VIEW THE WORK 2018 GALLERY

VIEW THE WORK 2017 GALLERY

VIEW THE WORK 2016 GALLERY

]]> Comments (0)]]> Simon Kent's SXSW Diary: Day #2 tag:www.campaignbrief.com,2019:/asia//4.72999 2019-03-15T02:09:56Z 2019-03-15T02:11:02Z

CB Simon Kent, creative technologist at M&C Saatchi Sydney is attending SXSW 2019 in Austin, Texas. Here Simon shares his experiences straight from the conference exclusively for Campaign Brief.

People don't watch ads, they watch entertainment

A herd of robots is looking me up and down, gossiping about me among themselves in their own bleepy-bloopy language. People around me bend down to stroke robotic dogs which, in turn, wag their tails in euphoric delight.

I'm not riding out a psychedelic high, I'm standing in the middle of Sony's space at SXSW. The length of queues to play with interactive walls and installations easily rivalled the queues to popular talks.

]]> However, I was there to listen to a talk on 'How Technology will expand the possibilities of new entertainment' from Shinzo Matsuhashi, co-producer of the cult classic film Battle Royale, Glenn Gainor VP of Sony Picture's Innovation Studios and creator Tetsuya Mizuguchi.

This talk was fitting. I'd jotted down a quote from a previous session which is obvious but often doesn't manifest through the work.

"People don't watch ads, people watch entertainment."

People willing to queue to wave their arms at an interactive wall and affectionately pat robots were being entertained enough to engage with the brand through well-executed experiential marketing.

The talk at Sony opened with the analogy 'technology will do to storytelling what electric pickups did to the guitar.'

It reminded me of old school creatives looking at anything beyond art and copy becoming increasingly pissed off, waving their arms in frustration shouting the equivalent of, 'You call that racket music?', caught between a generational shift in culture. Perhaps millennials and generation X ditching TV's for phones and tablets is as offensive as the rise of Rock 'n' Roll or Dubstep.

Entertainment has exploded beyond the tiny boxes in our living rooms - the video game industry is worth more than the film and music industries combined.

As an industry, we're already starting to use voice, wearables, VR and I.o.T devices as canvases for storytelling. Regardless of the format, art, copy or code - it was a good reminder that the work must be as entertaining as a gorilla bashing away on the drums, sending fast food into space or, in this case, as fun as petting Boston dynamic-esque miniature cyborg mammals.

Don't miss the best of Asia's creative and award news. Sign up for the free Campaign Brief Asia Daily email newsletter. It takes just 30 seconds. CLICK HERE.

]]> Comments (0)]]> VMLY&R India brings Kevin Lobo on board in the position of executive creative director tag:www.campaignbrief.com,2019:/asia//4.72998 2019-03-15T02:00:57Z 2019-03-15T02:07:45Z

VMLY&R has appointed Kevin Lobo as Executive Creative Director, VMLY&R India, adding to the rapidly expanding creative team put together by Venkatgiri Rao, CCO, VMLY&R SEA and India.

Lobo (pictured) brings more than a decade of experience driving award-winning campaigns for marquee global and Indian brands such as Diageo, Unilever, Bajaj Motorcycles, Bajaj Allianz, Parle, Maybelline, Parachute, Cadbury's and Adidas.

He joins VMLY&R from Leo Burnett, where he conceptualized and led Bajaj V, 'The Nation's Bike' - one of the auto industry, and the country's, most impactful campaigns in the last decade. The work on Bajaj V, the motorcycle made from the scrap of legendary warship INS Vikrant, went on to sweep the top international awards, including One Show, D&AD and the coveted Creative Effectiveness Lions at Cannes.

Lobo's portfolio of work also includes the powerful #MoreToGive organ donation campaign for Fortis Hospitals. In addition, he directed the popular 'Invincible Indians' series of films for Bajaj V, following this directorial debut with several well-appreciated videos for McDonald's and Bajaj Allianz.
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Venkatagiri Rao, CCO, VMLY&R SEA & India said, "Kevin is a delightful, creative thinker and a sharp strategic brain, with a focus on work that works - a rare and powerful combination. His experience on bold, new-age campaigns is why he is perfectly suited for an idea-first agency like VMLY&R, which leads with digital thinking while doing integrated work for brands. Also, the sheer energy and learning he brings to the game every day is inspiring. Making him a perfect mentor for our young talent looking to learn the business."

Lobo said, "VMLY&R is consistently in the Top 10 on Adage's Agency A-List, rubbing shoulders with the best of the best in the world, so it was a no-brainer for me to join. The lines between mainline and digital advertising are blurring fast, and at VMLY&R, I see that at work every day. Young creatives here are not just creating integrated campaigns for local brands but for top brands in Singapore and Indonesia as well. The energy is infectious! With solid tech and innovation capabilities and great ambition, I hope I can contribute to VMLY&R India joining the A-list soon."

Tripti Lochan, co-CEO, VMLY&R Asia, said, "Kevin brings an inspired view to every piece of work, and with experience leading teams to success, I am confident that he is a great addition to VMLY&R. As we build our presence in India, we are excited to have his perspective and expertise driving success for our clients."

Lobo joins the agency as the second big hire in recent months, following the appointment of Sujay Kar as Commerce Group Lead, VMLY&R SEA & India. VMLY&R continues to grow its reputation in the region by harnessing creativity, technology, and culture to create connected brands that drive value for their clients and impact the world.

Don't miss the best of Asia's creative and award news. Sign up for the free Campaign Brief Asia Daily email newsletter. It takes just 30 seconds. CLICK HERE.

]]> Comments (0)]]> R/GA Singapore launches Smart Design and Technology Centre of Excellence tag:www.campaignbrief.com,2019:/asia//4.72995 2019-03-15T01:45:49Z 2019-03-15T01:50:45Z

Supported by the Singapore Economic Development Board (EDB), R/GA Singapore has established the Smart Design and Technology Centre of Excellence.

R/GA Singapore Managing Director, Dorothy Peng (pictured), said the Centre would put design and technology at the heart of business solutions through product and service innovation, helping establish Singapore as a leading global hub for Smart solutions.

"R/GA helps businesses navigate the exponential change brought on by the disruption of technology. The way we apply design and design thinking to do this ensures any technical innovation or solution we create is human-centric, designed to deliver transformative value to both consumers and business as a whole," said Peng.
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R/GA Singapore's Senior Technology Director, Laurent Thevenet, Group Creative Director, Tim Cripps, and Creative Director Experience Design, Mark Law will head the Centre and grow associated capabilities already within the agency. A 3-year plan focuses on hiring and training expert practitioners in areas such as experience design, creative technology, data science and innovation consulting, to expand the existing team.

The flow of this type of talent has been identified as a key challenge, and R/GA Singapore is also working closely with key educators to shape training that will better meet the changing needs of the industry.

"Internships have long been viewed as a way to give students practical perspective on learned theory, usually just before they enter the workforce. But true job readiness requires emerging real world challenges be much more ingrained in learning," added Peng. "The Smart Design and Technology Centre of Excellence will also continue focus on this through our existing industry and tertiary partnerships."

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]]> Comments (0)]]> Highly acclaimed director Liz Murphy signs up with Sweetshop for global representation tag:www.campaignbrief.com,2019:/asia//4.72994 2019-03-15T01:40:30Z 2019-03-15T01:45:12Z

Asia Sweetshop has signed highly-acclaimed Director Liz Murphy (pictured) for global representation.

Murphy's passion is 'to make stuff that gives people the feels'. Her work has been recognised around the globe by the likes of Adfest and BADC, and in 2017, Murphy was named in Campaign's '10 female directors you should know' on account of her ability to elicit "stunning, emotional glimpses of life in all its peculiarities."

With numerous award-winning campaigns under her belt, the Australian-born Director moved to London in 2010 with a focus on creating beautifully shot, emotive and observational films and narrative. As a highly sought-after Director she has worked with brands such as Alpen, Kinder, McDonald's and The National Trust. Her deeply moving spot 'Bear' for the charity Grief Encounter featured in the prestigious APA show in 2014.
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Geagea said, "Liz is a real asset to our roster. She has an amazing eye and makes beautiful films filled with warmth and character. I can't wait to see her bring her magic touch to the Asian market."

Murphy said, "I have admired Sweetshop since I was a little baby director back in Brisbane making coffee. The passion and enthusiasm of everyone there is inspiring and contagious. I'm really excited to be joining the gang."

Wilf Sweetland, CEO and Partner of Sweetshop added, "Liz is a wonderful person. Her work demonstrates an emphasis on sublime craft and emotional intelligence throughout her story telling - we're honoured that someone with her talent has chosen to be represented by us globally."

Watch Liz's recent work here

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]]> Comments (0)]]> Lowe Lintas wins creative business of Mobile Premier League to be handled out of Bangalore tag:www.campaignbrief.com,2019:/asia//4.72993 2019-03-15T01:29:16Z 2019-03-15T01:36:58Z

Mobile Premier League, colloquially known as MPL, is a mobile gaming platform that allows users to play online games like Cricket, Pool, Bike Racing, etc. winning them bumper incentives. MPL, available on Play Store and App Store, is one of the youngest gaming platforms already having over 15 million players. Having recently signed Virat Kohli as its brand ambassador, MPL is bound to get its unfair share of attention when coupled with creatively strong communication.

Sai Srinivas, Director, Mobile Premier League said, "We went through a long multi-agency pitch before finalising on Lowe Lintas as their campaign idea resonated very well with our brand and their team understood our core consumer really well. The projected growth in the mobile gaming sector is massive and with Lowe Lintas as our partner, we are confident of growing even faster."

Hari Krishnan, President, Lowe Lintas (pictured) said, "Launching brands is something that Lowe Lintas has consistently done successfully and that is what we intend to do with MPL, an exciting platform that democratizes fame and fortune. Mobile gaming is a very fast growing and dynamic category and we are excited to be a part of this journey with MPL."

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]]> Comments (0)]]> Dentsu creative director Toshihiko Tanabe named Creator of the Year for 2018 by the Japan AAA tag:www.campaignbrief.com,2019:/asia//4.72996 2019-03-15T00:52:20Z 2019-03-15T02:00:41Z

Dentsu Tokyo's Toshihiro Tanabe, a Dentsu creative director and television commercial planner, has been named the 2018 Creator of the Year by the Japan Advertising Agencies Association.

The purpose of this annual award, which was established in 1989, is to publicly recognize the most outstanding work produced by a creative professional from any of the Association's member companies. This was the 30th time that the Creator of the Year award has been presented, and the 28th time that a Dentsu creative has won this award.

Tanabe's work for Toyota Motor Corporation's first ever global campaign was judged a success at two of the world's biggest events, the 2018 Pyeonchang Winter Olympic & Paralympic Games and Super Bowl LII, as was his groundbreaking effort for NTT Docomo, featuring Namie Amuro time-travelling back 25 years to the Shibuya Crossing, captivating the public through a campaign that transcends time and space. These works and others positioned Tanabe as the clear favorite for this year's Creator of the Year.
]]> In addition to the Creator of the Year Award, Creator of the Year medalist was presented to Koha Tohata, Executive Creative Director, CDC, Dentsu Inc.

Tanabe (pictured above) said, "It is both an honor and a humbling experience to be listed among the great winners of this incredible award. I would like to pay tribute to every single person on my team and to all my incredibly courageous clients who never hesitated to push the boundaries of advertising, no matter how difficult the challenge. I am very lucky to sail on the same boat as you all."

Don't miss the best of Asia's creative and award news. Sign up for the free Campaign Brief Asia Daily email newsletter. It takes just 30 seconds. CLICK HERE.

]]> Comments (0)]]> YoungShand's SXSW Diary: Day #2 tag:www.campaignbrief.com,2019:/asia//4.72977 2019-03-14T04:39:35Z 2019-03-14T04:40:47Z

Duncan Shand, Jesse Kelly and Kat Cox from Auckland agency YoungShand are attending SXSW 2019 in Austin, Texas. Here they're reporting on the latest trends from the conference exclusively for Campaign Brief. If you missed their report on Day...

Jesse Kelly, strategy director:

Artificial Intelligence: Separating Fact from Fiction for AI in Creativity

Artificial Intelligence (AI) isn't new. In fact, we've come a long way since the first AI programmes, written in 1951, were playing checkers or chess. Today, our everyday devices and applications harness AI and Machine Learning (ML). In saying that though, you only need to scroll through the list of sessions on offer at SXSW and you'll quickly gather that now the word 'AI' is almost interchangeable with the word 'innovation'. There were lots of real-world, case study examples of projects and experiences that had AI at their core to deliver something truly mind-blowing. These advancements in AI have posed some questions for the creative industry, which after today's sessions can be demystified.]]> ● Creatives are going to need to start looking for programming courses or look for alternative jobs - FICTION

If you're a 'right-brainer', you can rest easy now. And for those with brains that lean to the left, no, it wasn't a panel of creatives delivering that message of hope. Even though there have been leaps and bounds in the realm of natural language and AI for creativity, the experts aren't predicting a future where human creativity will be replaced by bots.

● Artificial Intelligence can be beneficial for the creative process - FACT

There are some great tools and improvements in AI that can aid in the creative process to inspire or augment. These include;

- Using AI to generate copy to help writers get past writer's block,
- Reducing time spent scaling out multiple ad layouts by utilising best-practice design
principles,
- Identifying story arcs that best resonate with your audience or alternatively the best
audience to align with your story arc,
- Composing music scores that you can tweak.

The confronting question posed, however, is that of ethics. Who and how do you credit the work? There was an AI painting sold at Christie's Auction House for $423,500 that was created in part by some open source code. Was it fair that the original programmer didn't see a dime? Do we risk eroding more trust in the modern era of fake news? Advancements such as the capability to generate artificial "photos" that look real to humans could mean the end of negotiating talent fees, or, combined with the ability to generate copy through natural language, create online campaigns with no human involvement. These are questions we'll need to address as our industry becomes 'smarter'.

Lastly, there was some great news for all the table drummers out there like me. Douglas Eck, from the Google Brain Team, has been working on an AI project where you can table drum into a microphone and, through AI, it will lay down a drum track for you modelled against hours of pre-recorded drums. My colleagues will be delighted!

Kat Cox, executive digital producer:

Culturally Relevant

During Day 2 of SXSW, I saw some really interesting trends emerge. Two that are front and centre -- culture and collabs. I've been to a couple of amazing talks in the last two days featuring the legends responsible for reviving for some big brands via collaborations and authentic partnerships; namely Levis, Adidas and Mercedes Benz.

Culture

A few years ago, these brands were selling to your Dad. Today, they're targeting you. They're doing it with extraordinary results too, through creative ways of selling their products, including;

● Capitalising on hype, 'drop culture' and collabs with hip hop powerhouses like A$AP Rocky (yes I got to see him at SXSW!)
● Ensuring limited availability of their products
● Creating illicit and unexpected ways to buy,
● Easy and interesting checkouts

We're also seeing a massive shift towards brands aligning with the social issues important to the new shopping generation, and it's smart for business. Brands are taking a genuine interest in social responsibility and for many, it feels authentic. Levis, for example, has taken a stance on gun violence (resulting in daily hate mail, but they couldn't care less) because appealing to a younger, more socially-aware audience not only helps them sleep at night but helps them make bank.

Collabs

Brand collaborations with culturally relevant icons is not a new concept, but lately, we've seen some phenomenal results from unexpected pairings. The Mercedes Benz partnership with A$AP Rocky showing us how good design and the right partnership can help brands reach new generations of shoppers, giving their brand relevance and longevity. The authenticity comes in when an icon like A$AP Rocky can clearly define why he is getting behind a brand (which he does for Mercedes).

Duncan Shand, managing director:

The importance of emotion (theme from three talks over the last two days)

One talk I attended was from a couple of Australians, entitled, 'A Psychologist and an Ad Guy Walk into a Room'. It was about presenting and pulling apart ads to explain why they work, the key outtake being that emotion trumps logic. When you get into behavioural economics, we like to think we make decisions logically, yet we mostly buy emotionally. And considering

around 80% of ads created rely on logic, there's clearly a big opportunity within the emotion category.
The second talk, 'Women in Branding', explained why more women need to be leading the charge when creating authentic brands. It began with the stats;

● Women purchase 70-80% of everything,
● Women are buying 50% of traditionally male purchases,
● 68% of women want to connect to brands,
● 54% feel connected when brands understand their desires,
● 76% will buy again, spend more and will be more loyal when brands connect
authentically with them.

The session pulled apart the classic 'Like a Girl' campaign, which at its essence included three very important things; a real insight, a brave change in the medium/format, and a rich, emotional piece of storytelling. An interesting question was also poised -- how do we create a connection in an often inauthentic world? Millennials are belief driven buyers, so it's becoming increasingly important to make real, human connections with our audiences.

Lastly, a short yet impactful talk on 'Community ROI'. Here we explored how to define a return on investment for your community building efforts. First, they burst our bubble -- community building is going to be more expensive than you think and will drive costs you don't expect, like support, bug fixes and service. But these are good things and will deepen the relationships you want to develop in the long run. We should be thinking about community building as CSR and how we can build a legacy. I thought this was a nice idea.

So, there you have it for Day 2. It's a marathon, both mentally and physically (Duncan has done 13,000+ steps each day so far), but we're loving it. Keep coming back to find out what Day 3 will bring.

]]> Comments (0)]]> Avish Gordhan's SXSW Diary: Day #2 tag:www.campaignbrief.com,2019:/asia//4.72974 2019-03-14T04:05:17Z 2019-03-14T04:05:44Z

CB Avish Gordhan, joint-ECD at M&C Saatchi Sydney is attending SXSW 2019 in Austin, Texas. Here Avish shares his experiences straight from the conference exclusively for Campaign Brief.

A Black Mirror Reality

Ideas are everything in our business. But so is execution.

On my second day of SXSW, I sat through a discussion about AI and the future of storytelling. One of the speakers referenced a project she'd been working on - Dimensions in Testimony: Virtual Conversations With Holocaust Survivors. The idea behind it is to record and display testimony in a way that will preserve the dialogue between Holocaust survivors and learners far into the future.
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Everything I've learnt about AI so far (and I'll caveat this by saying I'm not an expert in this subject) tells me that the input stimulus dramatically affects the output. Racist 'Tay' twitter bot is an example of that. But an idea where the input is from the last remaining Holocaust survivors feels like a good thought. From a comms perspective, specifically, it has an elegance to it. The use of tech is central to the human cause.

But then the conversation moved on to the application of this tech at a personal level. Imagine being able to hold onto the stories of your family. Imagine inputting your grandfather, mother, wife or husband, anyone into the learning process so that you could talk to them after they've passed away.

If you've ever lost someone you care about, you probably will have very strong opinions about this one way or another.

I was put off.

This execution 'feels' different. It lacks humanity. It's dystopian. And I think it ignores the reality of grief and the process that goes with it. In an age of personalisation, I think this is (dare I say it) too personal. And it's probably damaging to our psyches too.

Same idea. Different executions. And, in my opinion, vastly different results.

This is one of the clearest expressions I've come across of how tech can be pointed incorrectly.

As creators, we have a small but important duty of care. This particular talk was a reminder of why that's necessary. We have stories to tell and we have new ways of telling them. But there needs to be humanity in our technology. We are responsible for what shape that humanity takes. We need to remember that just because we can, doesn't mean we should.]]> Comments (0)]]> Simon Kent's SXSW Diary: #1 tag:www.campaignbrief.com,2019:/asia//4.72973 2019-03-14T04:03:58Z 2019-03-14T04:04:33Z

Simon Kent, creative technologist at M&C Saatchi Sydney is attending SXSW 2019 in Austin, Texas. Here Simon shares his experiences straight from the conference exclusively for Campaign Brief.

The scale of SXSW is immense. There seems to be a hundred talks or events happening at any one time varying from insights from Sandy Carter, VP of Amazon Web Services, on A.I to dystopian Black Mirror-esque speculative design exploring the consequences of misuse and abuse of technology and everything in between.

Languages from every corner of the world can be heard in Austin right now. Austin is buzzing and so am I.
]]> Highlights so far include a talk by architect Alison Killing sharing her work 'Migration Trail' - journalism and storytelling of displaced Libyan migrants told through a medium inspired by google maps and messenger.

Nike's VP of Creative Concepts, Tinker Hatfield provided a glimpse into his mind and his design process. Tinker shared the story and inspiration behind the seminal 'Air Max' with original sketches and drawings and the building that inspired the shoe.He divulged his reckless attitude, openly admitted he's not a perfectionist and is willing to get fired for a good idea he's passionate about.

However, the magic of this talk was in the crowd - his fans. The anticipation in the queue, the cheers, the frenzy generated from a signed giveaway and the contagious excitement when Tinker shared a sneak peek of a new product. Brands should watch and learn.

My favourite talk so far was by Diego Prilusky, head of Intel Studios, which genuinely felt like an evolution for cinematography and storytelling.

Diego shared his work on volumetric video - a paradigm shift from pixels to voxels, (think the Matrix bullet time but for an entire shoot).

Diego reshot Grease's iconic "You're the One That I Want" with the original directors, only this time there was no frame, no foreground, no background - the talent had no cameras to work to. Everything was captured from every angle simultaneously.

The result is volumetric video which has the ability to place the camera anywhere, at any time. The content looked like a weird mashup between a video game and film, scrubbing through the footage and panning around in 3D.

Naturally, this technology is scalable to VR, AR, MR however I'm more interested in the opportunities for new forms of storytelling - - spacial stories told from multiple perspectives and narratives, inviting user interaction and exploration.

The list of highlights could easily be longer. I've only been here a few days and have been lucky enough to attend talks on playable cities, explored a virtual cinema, tried new and weird products and stumbled on inspiring talks and ideas far removed from technology and innovation.
]]> Comments (0)]]> APAC Effie Awards 2019 unveils 131 finalists to contend for metals: Ogilvy dominates tag:www.campaignbrief.com,2019:/asia//4.72975 2019-03-14T04:01:45Z 2019-03-14T04:10:56Z

131 entries have emerged as finalists and will go on to contend for metals at the 2019 APAC Effie Awards.

The finalists were selected after the second round of judging, which brought some 70 judges from across the region to Singapore to deliberate and shortlist the gold standard of marketing effectiveness for the region. This year's judging was headed by Awards Chairman, Charles Cadell, President of McCann Worldgroup APAC (pictured left) and 8 Heads of Jury - Arthur Wei of Sina Corporation, Diana Cawley of Geometry, Emma Sheller of Standard Chartered, Fern Canning of Edelman, Jonathan Akwue of Publicis Groupe, Nikhil Tivary of Johnson & Johnson, Susie Wong of Fuji Xerox Singapore and Vishnu Mohan of Havas.

The finalists were represented by 14 countries from across the Asia Pacific region. Leading the shortlist is India with 34 finalists followed by Australia and New Zealand with 22 and 21 finalists respectively. Ogilvy dominates the finalist count for agency network with 31 finalists, followed by McCann Worldgroup with 22 finalists, and BBDO with 21 finalists.

DOWNLOAD OR VIEW THE FINALIST LIST HERE: 2019 Finalist List.pdf

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The Effie awards celebrate marketing effectiveness and recognises the marketing communications efforts that contribute to a brand's success through Awarding Ideas the Work.

The 2019 Winners of the APAC Effie Awards will be revealed at the Awards Gala held on the 25th of April 2019 at Four Seasons Hotel, Singapore. For more details please visit here.

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]]> Comments (1)]]> Digitas wins Miele business in mainland China tag:www.campaignbrief.com,2019:/asia//4.72972 2019-03-14T03:53:31Z 2019-03-14T03:59:50Z

Digitas China has won the German appliance manufacturer Miele account in mainland China. Digitas will focus on improving the customer's experience and engagement with the brand through the lens of social media.

Sharon Ho, Managing Director of Digitas, China, commented, "It took a team effort to win this highly competitive pitch. In the end it came down to our ability to find unique consumer insights blended with our technical capabilities, to demonstrate how we can help Miele engage with its consumers in creative and new ways. We are thrilled to work with Miele in China and I'm already anticipating the great work that we can create together for the China market".
]]> Martin Ma, Head of Marketing Communication at Miele China said, "Digitas clearly demonstrated its deep understanding of China's dynamic digital and social landscape throughout the pitch process. From the agency's knowledge of Chinese consumers and user-experience, to its technical expertise, we have full confidence in this new partnership with Digitas that it will further enhance Miele's social media presence in China."

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]]> Comments (0)]]> The Royals Sydney's Nick Cummins: Why the world needs more agencies and how to start one tag:www.campaignbrief.com,2019:/asia//4.72970 2019-03-14T03:17:50Z 2019-03-14T03:25:54Z

If you're after advice on launching a successful agency, Nick Cummins is a good person to ask. Cummins believes our industry needs more agencies, and next week at AdFest 2019, he's giving a talk explaining his passion for start-ups, and...

Cummins (pictured) has started two independent advertising agencies in Australia - Sputnik Agency and The Royals, where he is Creative Partner - and both have grown to become multi-award-winning, culture-led businesses. He sold his first agency to a white-collar criminal who ended up in a Columbian prison charged with fraud - one of many anecdotes he'll share at AdFest next week.

Cummins' career spans 30 years in both traditional and digital agencies. Since launching The Royals seven years ago, it's grown into an agency of over 80 people across Sydney and Melbourne.
]]> The Royals has a very distinctive mission: to be the most interested agency in the world. How did you arrive at that mission and what impact does it have on the work you create for clients?
Striving to be the most interested agency in the world is a huge part of our culture. It is something I think our industry has lost along the way. I love the legends of great advertising people from the '60s going out to factories interviewing the makers of a product to get a better understanding of how to market it.

So being interested in our clients' businesses, products and consumers is nothing new but incredibly important. But 'most interested' goes beyond that - it is a healthy interest in pop culture, community sentiment, platforms and channels that we can use to make connections with our audience. Finding people who are personally 'most interested' helps our business and our clients' businesses immensely.

Do you really think the world needs more advertising agencies? Why is this the topic of your AdFest session?
No, of course the world doesn't need more advertising agencies, but I believe our industry desperately does. I also believe if new vibrant creative, intelligent, businesses pop up and flourish with people who come to work to solve problems in new ways, we may find some of them might just help solve some of the problems our world faces today.

Can you tell us a little about The Royals - what was your vision seven years ago at launch, and have you stayed true to it?
Starting a business is easy, sticking to it is difficult. For us, starting The Royals began with a conversation at the pub about what kind of agency we felt Australia needed at the time. I went home that night and told my wife I was going to start another business and we would probably have to sell the house. She is very supportive, my wife.

Our vision was to create an agency that sat between large multinationals that are good at strategy and storytelling and digital shops that are great at understanding new platforms and technologies. So we started collecting the kinds of people who get modern communications and we are still collecting them today.

Yes, I believe we have stayed true to our vision. We try to look at the agency as an operating system. We are constantly making updates and improvements and I think being independent makes that easy. We don't have to ask New York for approval to change a process or try something different. It helps us avoid falling into the trap of just doing things the same way the industry has for the last 50 years.

The Royals hired 40 people in 2018. What are the challenges of growing so rapidly?
Culture. And remembering everyone's names. I'm shit with names. Creating a culture together is one of the most exciting things to be a part of in any business. If you get it right, it is rocket fuel for an organisation. So managing culture while having rapid growth is incredibly important. Like rocket fuel, if you don't have a tight grip on the wheel things can get wobbly.

The Royals now has its own research and development lab, as well as a CX division. How has this impacted your own creative process or improved the agency's work?
These two skill sets are a great example of how we have stuck to our vision of creating a truly integrated and modern agency filled with a very diverse group of people. Even though we call them a department, they work in true collaborative fashion with the broader agency.

Our CX division was born from being 'most interested'. Listening to our clients, it became clear this was something they wanted to channel energy towards. Our CX team is knocking it out of the park at the moment. Advance Party, our product research and development lab, has been part of our agency for the past few years. It has its own dedicated space within the building. Having this mind set and skill set enables us to solve problems for our clients that normally wouldn't come to us in the form of a marketing brief.

What do you look for when you're hiring creatives?
For me, it is about finding interested entrepreneurial people. I have seen individuals shape independent agencies. Tapping in to that passion that someone has can create incredible momentum for the agency. We have revelry as one of our three values. If our staff are revelling in what they love to do, if they are hustling and shaping the agency, it makes things exciting and creates growth for the agency and all who live within it.

What's your proudest achievement - professional or otherwise?
I think being part of starting two successful agencies that people talk highly of would have to be something that makes me proud. Creating an environment and atmosphere that people remember as being a great chapter in their lives after they move on is a worthy achievement to me. It's why we named the company The Royals. We think of ourselves as a gang. I'm a Royal, you're a Royal.

Oh and my kids. My kids are pretty cool and I had a hand in raising them.

With offices in Sydney and Melbourne, do you have plans for expanding into other markets? What are your goals for 2019?
At the moment we are focused on Melbourne and Sydney. 2019 is going to be a year all about our creative product.

· 'Why the World Needs More Agencies and how to start one', presented by Nick Cummins, takes place on Friday 22nd March in Pattaya, Thailand as part of AdFest 2019.

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]]> Comments (0)]]> FCB Interface India rolls out awaken your senses campaign for NIVEA Milk Delights facewash tag:www.campaignbrief.com,2019:/asia//4.72969 2019-03-14T03:07:04Z 2019-03-14T03:17:05Z

FCB Interface recently rolled out an intriguing new campaign for the launch of the new NIVEA Milk Delights facewash.

The film opens in a bedroom, where we see the beautiful brand ambassador Taapsee Pannu, waking up in the morning. She drowsily walks towards her bathroom and reaches for the new NIVEA Milk Delights facewash. What follows are dramatic shots of her senses coming alive. We see water, milk and rosewater caressing her face and awakening her senses, one by one. She enjoys this moment to herself and the effect that the facewash has on her skin, which now looks healthy and supple.

VIEW THE SPOT

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Neil George, Managing Director, NIVEA India, says "The Indian consumer is unique with a unique 'need state' and 'skin type'. We were surprised to understand that there isn't a single product that addresses the basic need of 'healthy looking' skin, which is the very definition of ideal skin by the consumers. NIVEA Milk Delights is a revolutionary approach towards the face cleansing category with a solution that addresses Indian skin requirements with the real goodness of milk and natural ingredients".

He further adds, "Championing our foray into the highly competitive face care segment is acclaimed Bollywood star, Taapsee Pannu who truly represents Emerging India. She is confident, authentic and caring and these are the values that resonate perfectly with NIVEA".

Credits -

Creative Team : Robby Mathew, Rakesh Menon, Maithili Mullick
Account Management : Mitushi Verma, Cornell Rocha, Andrea D'Souza
Director (of the TVC) : Ivo Wejgaard
DOP (of the TVC) : Pascal Walder
Exécutive Producer : Ajay Wasu

Production House : Milestone Films

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]]> Comments (0)]]> TBWA\Singapore and Manulife educate people on the early symptoms of heart attacks tag:www.campaignbrief.com,2019:/asia//4.72968 2019-03-14T02:37:21Z 2019-03-14T03:06:38Z

Manulife Singapore has launched its latest campaign, 'Stop The Drama', to help educate people about the subtle warning signs of real-life heart attacks. It follows a recent Manulife Heart Health Survey, with over 500 respondents, which revealed that the lack of awareness around warning signs and risk factors is still dangerously high among Singaporeans.
]]> "We have learnt through our partnership with the Singapore Heart Foundation that when a heart attack happens, the faster we can get the person to medical help, the higher the chances of survival," said Kwek-Perroy Li Choo, Chief Customer Officer of Manulife Singapore. "With this campaign, we hope to raise awareness on how to identify when someone may be having a heart attack, and what to do in response to it."

Stop The Drama was created by TBWA\Singapore, working closely with Singapore Heart

Foundation. The campaign launched with a teaser video on social media, exposing just how
prevalent misconceptions around heart attack symptoms are amongst the general public. "TV shows and movies have taught us to recognise dramatic symptoms of a heart attack," said Professor Carolyn Lam, Senior Consultant, Department of Cardiology and Director of Women's Heart Health, at National Heart Centre Singapore. "The problem is, people then miss the warning symptoms of an early heart attack, which are almost always milder. And that
could cost lives."

The teaser is followed by an acting masterclass starring well-renowned veteran actor, Lim Kay

Tong, emphasizing the importance of authenticity in performance, and the responsibility of actors to portray the truth. The masterclass film, featuring five promising young Singaporean actors, is also used as a vehicle to educate viewers on the early and less-known signs of heart attacks, including light-headedness, shortness of breath, sweating, tingling in the arm, jaw ache, neck ache, and back pain.

"It's clear that culture is shaping the way we think about heart attacks, preventing us from spotting the early warning signs and acting fast enough to save lives," said Hagan de Villiers, Executive Creative Director at TBWA\Singapore. "That's why we want to change culture from the inside out, and challenge a long-held and dangerously unquestioned stereotype in the movie industry."

Lim Kay Tong's personal experiences lend weight to the initiative as he discusses, in an exclusive interview, how his wife was lucky to survive what could have been a deadly heart attack by recognising early symptoms of artery blockage.

The campaign forms part of Manulife's overarching focus to be a trusted health partner, helping customers establish long-term healthy lifestyle habits and rewarding them for staying active.

"Two years ago, we put our employees through CPR training to equip them to help victims of

heart attack on the streets before an ambulance arrives," added Kwek-Perroy Li Choo. "Over
time, we hope by doing more education, we can raise the survival rate of heart attack victims
in Singapore."

Since the launch of the campaign, artists and directors from Asia have joined a growing movement, called #stopthedramanow. On World Theatre Day (March 27), they will pledge on social media to only portray authentic heart attack symptoms in their future projects - a rallying cry that they hope will inspire their colleagues across the globe to do the same.

Don't miss the best of Asia's creative and award news. Sign up for the free Campaign Brief Asia Daily email newsletter. It takes just 30 seconds. CLICK HERE.]]> Comments (0)]]> Max Fashion + Denstu Webchutney democratize fashion with the ultimate fashion anthem tag:www.campaignbrief.com,2019:/asia//4.72971 2019-03-14T02:31:01Z 2019-03-14T03:41:00Z

Today, majority of the fashion brands work on telling customers what to wear to 'fit-in' and stay 'trendy'. And yet, this summer, Max Fashion, in partnership with Dentsu Webchutney India has decided to choose a different path. Max Fashion has...

VIEW THE SPOT

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The campaign is led by a music video, written by Dentsu Webchutney, sung and composed by renowned Bollywood playback singer Anushka Manchanda, and created in association with content creators - Culture Machine. The video is steadily beginning to find effect on social media channels such as YouTube, Facebook and Instagram while the song is already receiving airtime on Radio Mirchi and Red FM. The video's signature dance move is now also being recreated across India's youngest social platform, Tik-Tok.

"At Dentsu Webchutney, we have always strived to generate brand-speak that creates an impact on the broader Indian society," says Priyanka Borah, client services director at Dentsu Webchutney. "Max has democratized fashion but our minds are yet to be! 'Behen, Kuch Bhi Pehen' marries the diversity of choice and selection that the brand offers to a statement of much-needed liberation. Kudos to Max for endorsing a statement that all modern women can get going with," she adds.

The campaign is a bold statement, especially from a fashion brand like Max. The current social landscape is rife with women standing up against age-old traditions that are designed to dictate terms to women and this campaign purports to take a similar stand when it comes to fashion. The video's closing statement, 'The only way to look good, and feel good, is to be yourself. So, don't let anyone tell you what to wear', offers a view on our social judgements as well as an inward interpretation of the fashion industry's code of communication that tells women what to wear in different places and situations.

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]]> Comments (0)]]> Vicks' #TouchOfCare campaign via Publicis Singapore creates awareness for HIV children tag:www.campaignbrief.com,2019:/asia//4.72966 2019-03-14T02:17:15Z 2019-03-15T03:56:07Z

A strong follow up from its 2018 #TouchOfCare video, Vicks once again releases another true-to-life story on the transformative power of care, to celebrate the extraordinary stories of the people who have lived it by their actions. This time, it centers on a child infected with HIV and a woman whose love and care paved way for the transformation of both their lives. This is a powerful story that aims to challenge current beliefs, social norms, definitions, and stereotypes; a bold move aimed to address issues on discrimination.

VIEW THE FILM

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"The purpose of the Vicks brand is rooted in care. With our #TouchOfCare campaign, we aim to share stories where people have transformed lives of others through their extraordinary acts of care. The story of "Agnes" was one such story which just needed to be told. We hope the campaign inspires more people to transform lives and transcend social norms, definitions and stereotypes through their own acts of care," said Akhilesh Negi, P&G Brand Director Healthcare APAC.

The 4-minute video heroes a child who was born with HIV infection. When his mom died from the disease, the 4-month old was handed by his immediate family to "Agnes"* his mom's friend. Captured in the story is how "Agnes" later on found out about the child's condition, and instead of turning away from the unexpectedly difficult situation, she committed to raise him and showered him with love and care. It was the start of a beautiful life transformation for the two; revealing how "Agnes" fought for child's life against all ridicule and discrimination from the people around them. Today, with "Agnes"' unfaltering love and care, the child is 4 years old and his HIV infection lays dormant in his body.

"With the Touch of Care campaign, we are passionate about telling powerful stories of love. The story of Agnes just grabbed us from the start and we felt this moving tale of mother and son, amidst their challenges, was something we want to share with the world. This is the power of care that Vicks celebrates, for when you choose it, you have a hand in transforming another person's life and make it better," said Lester Estrada, P&G Philippines Marketing Director

Vicks believes that sharing "Agnes"' story will create a ripple effect that inspires people to look past the current beliefs, social norms, definitions, and stereotypes placed on people, and ultimately creates a transformative power of care. The brand also wants to create societal awareness for children born with HIV in order to change society's beliefs and perspectives towards them. Vicks is committed to amplifying inspiring stories that show the transformation of human lives when people give a touch of care.

"While brands have the power to lead conversations and influence culture, it is ordinary people in their everyday lives who actually inspire these brands to reflect relevant realities in our advertising. This extraordinary ability of a person to transcend every imaginable boundary to feel and care for another life, another human being, continues to be the inspiration for Vicks' "Touch of Care" campaign across multiple geographies. To celebrate the lives, amplify the stories and support our everyday heroines and heroes is a privilege for our brand," said Ajay Vikram, Publicis Singapore Chief Creative Officer, Global Clients

Vicks has partnered with Project Red Ribbon (a partner of Department of Health - National AIDS/STI Prevention and Control Program, and is associated with the World Health Organization and UNAIDS). This partnership aims to give the same love and care seen in the film to the children under the "Duyan Project". "Duyan", a Filipino noun which means "cradle", aims to provide care and support to children with HIV in the Philippines. Through the said program, they will be given care, love and attention, to improve their quality of life until they are once again healthy and can go back to school.

Credits -
Chief Creative Officer, Global Clients: Ajay Thrivikraman
Creative Director: Sheila Gonzales
Account management: Natalie VanderVorst, Prachi Partagalkar and Jessica Geli
Account Planning: Jordan Price and Josh Roth
Director (film): Alan Harca
Production agencies: Elastic Studios and Provill
Post production: Elastic Studios
Music and Sound design: Loudbox
Agency Producer: Alain Tan
PR Agency: Fuse Philippines

Head of Fuse: Ley Lacsamana

P&G, VICKS Philippines
Vice President, Asia-IMEA Healthcare & APAC Oral: Sujay Wasan
Regional Associate Brand Director, P&G HealthCare Asia Pacific: Akhilesh Negi 
Country Category Leader, P&G Health Care, Philippines: Vijay Pampana
Assistant Brand Manager, P&G HealthCare Asia Pacific: Gagandeep Singh Sumbria
Assistant Brand Manager, P&G Healthcare, Philippines: Michael Gabriel Jayme

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]]> Comments (0)]]> Lion & Lion is making digital marketing possible for Impossible Foods' meat made from plants tag:www.campaignbrief.com,2019:/asia//4.72976 2019-03-14T02:12:15Z 2019-03-14T04:22:16Z

Impossible Foods, the producer of its award-winning meat made from plants, is partnering with digital agency Lion & Lion asia on its mission to reducing our carbon footprint by replacing meat with plant-based ingredients. Impossible Foods was looking for digital expertise to support its launch in Singapore and propel its new and improved 2.0 recipe in Hong Kong.

Denise Kwok, Senior Marketing Manager from Impossible Foods, said, "We are excited to find a partner who is aligned with our mission to make the food system much more sustainable, especially as we continue to expand our presence in Hong Kong, Macau, Singapore and throughout Asia."

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On the 6th of March 2019, Impossible Foods launched its brand in Singapore. With a zest of incentives, people stood a chance to be among the first to try the exclusive Impossible dishes at the world famous Lau Pa Sat Festival Market featuring Chef Andrei Soen from Park Bench Deli, Chef Ricky Leung from Empress, and hawkers from Lai Heng Fried Kway Teow and Sunny Viet Vietnamese Cuisine.

Marked as a huge success, the launch event initially expected about 500 guests but grew to an estimated 1,000 people at the launch event (4,457 Facebook event responses; double compared to target).

In Singapore, Impossible Foods' meat made from plants is now being served at Adrift by David Myers, Bread Street Kitchen by Gordon Ramsay, CUT by Wolfgang Puck, Empress, Park Bench Deli, Potato Head Singapore, Privé Orchard and the Three Buns Quayside, with additional locations to come.

The launch of the Impossible 2.0 recipe in Hong Kong and Macau has been very well received by its growing audience and currently, all campaigns are going strong compared to the expected results this month. Impossible Foods has a growing presence in this market with more that than +110 partner restaurants and now with this new recipe, the challenge is to educate people.

In Hong Kong, Impossible Foods is available at restaurants such as Triple O's, Aussie Grill by Outback, Classified, Urban Bakery, Castelo Concepts and Beef & Liberty, to name a few.

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]]> Comments (0)]]> Dentsu Aegis Network appoints Dick Van Motman as global chief executive officer creative tag:www.campaignbrief.com,2019:/asia//4.72964 2019-03-14T02:09:13Z 2019-03-14T02:16:12Z

Dentsu Aegis Network has made four new executive team appointments.

Two key creative roles have been added to the executive team, to work alongside the current executives across other areas of the marketing lifecycle including Media & Performance, CRM & Loyalty, Customer Experience & Commerce.

Dick Van Motman (pictured) has been appointed as Global CEO, Creative, with a remit to develop and grow the creative proposition for Dentsu Aegis Network globally. Van Motman will work in close collaboration with Gordon Bowen, who steps into the new role of Chief Creative Officer. Bowen will drive the overall quality of Dentsu Aegis' creative output, drawing on his extensive experience and client network. Bowen will also continue to be Chairman of mcgarrybowen.
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All four roles will report directly to Tim Andree, Executive Chairman & CEO, and will sit on the Dentsu Aegis Global Executive Committee, effective immediately.

Andree said, "These important appointments to our Executive team will drive even greater connection for our clients to the full spread of our world-class capabilities. Clients want to work with agencies who provide outstanding, consistent services that can be integrated on a global basis and this announcement is an pivotal step to organizing our business around those priorities.

"This is an exciting time as we set our direction and evolve our top leadership team to deliver our vision of innovating the way brands are built and helping our clients to win, keep and grow their best customers to drive long-term success."

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]]> Comments (1)]]> APAC Tambuli Awards 2019 - March 29 deadline tag:www.campaignbrief.com,2019:/asia//4.72963 2019-03-14T01:56:57Z 2019-03-14T02:02:50Z

Two weeks are left before March 29, the deadline for agencies and clients to submit entries to the 2019 Asia Pacific Tambuli Awards. The conference and Awards night will be held on June 4 at the Shangrila at The Fort, Manila.

The pioneer award show globally that honors creative and effective brands with purpose, the APAC Tambuli Awards celebrates brands that show the seamless integration of creativity + purpose + results. Case study entries must demonstrate how brands uplift society, create positive change, and correlate purpose with purchase.

The APAC Tambuli Awards is not an award on charity, advocacy, pro bono, or CSR advertising, even if those campaigns are welcome and encouraged to enter. The award, however, focuses on mainstream brand campaigns that celebrate humanity, inspire purpose, and deliver results.
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Ronald Ng, Global Chief Creative Officer of Isobar (pictured left) is the Overall Jury Chairman for 2019.

Agency and client entrants to this award contribute to the development of future talent for the marketing communications industry in Asia Pacific, through the Tambuli Scholarship Fund of the Integrated Marketing Communication (IMC) program at the University of Asia and the Pacific (UA&P), the organizer of the award show based in Manila.

Deadline for submission of entries is on March 29, 2018. The complete list of categories and entry form are available at www.tambuliawards.asia. For inquiries, email carla.estanislao@uap.asia.

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]]> Comments (0)]]> Richard Chong strengthens Serviceplan Malaysia's team as senior creative director tag:www.campaignbrief.com,2019:/asia//4.72962 2019-03-14T01:42:39Z 2019-03-14T01:49:16Z

Serviceplan Malaysia has hired Senior Creative Director Richard Chong to work closely with General Manager Elaine J. Chew with the remit of expanding Serviceplan business in the region.Chew commented, "Richard and I worked together years ago, and we both had...

Serviceplan Malaysia has hired Senior Creative Director Richard Chong to work closely with General Manager Elaine J. Chew with the remit of expanding Serviceplan business in the region.

Chew commented, "Richard and I worked together years ago, and we both had a good working chemistry which allowed us to come together again. Richard is passionate, has an eye for details and most importantly is a good listener. Richard takes the time to understand the brands and issues at hand; resulting in great creative solutions. Richard is also a good mentor and inspiration to the Creative and Brand Management team here at Serviceplan Malaysia.

After gaining a B.F.A. in Visual Communications and Art Direction in the USA, Chong (pictured) returned to Malaysia to embark on an advertising career which has seen him work at high profile global agencies including; Y&R, JWT, Grey, McCann and Publicis. He left Malaysia to take up a bigger role in Beijing as Group Creative Director at McCann Healthcare, where he also served as a Global Creative Council member within the network.

]]> Chong has led various creative teams and was responsible for some big brands, both in Malaysia and China including; Maxis, Petronas, OCBC, Astro, Nestlé, BMW, Tourism Malaysia, Johnson & Johnson, Reckitt & Benckiser, JD.com.

Chong's work has been recognised with creative and effectiveness awards including; D&AD, LIA, One Show, AdFest, Spikes, Asian Marketing Effectiveness Awards (AMEs), PMAA and the EFFIEs.

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]]> Comments (0)]]> L&K Saatchi & Saatchi hires Trishay Kotwal as ECD + Arthi Basak as VP - strategy and planning tag:www.campaignbrief.com,2019:/asia//4.72943 2019-03-13T04:55:34Z 2019-03-13T05:04:46Z

Trishay Kotwal, erstwhile Unit Creative Director, Lowe Lintas Mumbai, has joined L&K Saatchi & Saatchi as Executive Creative Director. In his new role, he will be reporting to Kartik Smetacek, Jt. National Creative Director, L&K Saatchi & Saatchi India.

Over the past fifteen years he has worked in New Delhi and Mumbai, across a number of creative agencies including, Lowe, McCann Erickson, and Draft FCB. With experience in varied sectors such as FMCG, Automobiles, Beauty and Broadcast, some of the noteworthy brands he has handled are General Motors, Tata Motors, L'Oreal Paris, Sharp, Star Sports and Byju's.

Kotwal (pictured left) said, "I was convinced by Anil and Kartik's vision for the agency and felt it was the right time and that this is the right place. The opportunity at L&K Saatchi & Saatchi is immense and I look forward to contributing meaningfully to the agency's creative output."

Arthi Basak erstwhile AVP, FCB Interface has joined L&K Saatchi & Saatchi as VP - Strategy and Planning. In her new role, she will be reporting to Snehasis Bose, Executive Director-Planning, L&K Saatchi & Saatchi.
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Her prominent work includes campaigns on Cadbury Oreo, Nivea, Nivea Men, Mahindra & Mahindra, Swaraj Tractors, Blue Star, Huggies, Monash University, Godrej Sara Lee.

Basak (pictured left) said, "What struck me about LKSS is this rare combination of a network agency which also has the dynamism of an entrepreneurial setup. I look forward to opening up a new chapter in my career working at this young and energetic organisation."

Anil S Nair - CEO & Managing Partner, L&K Saatchi & Saatchi says, "I am very excited to welcome two exceptional talents Arthi and Trishay to L&K Saatchi & Saatchi. Both have immense experience & fantastic skills in their respective fields which will be of great value to our wide range of brands across many categories. I look forward to them raising the bar even higher for us."

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]]> Comments (0)]]> Across the Pond Singapore and director Surya Balakrishnan challenge expected gender norms tag:www.campaignbrief.com,2019:/asia//4.72937 2019-03-13T02:54:03Z 2019-03-13T03:00:56Z

Across the Pond Singapore partnered with Mumbai-based director Surya Balakrishnan to deliver an authentic vision through a story that challenges expected gender norms and highlights what's possible when you have a supportive family behind you.VIEW THE SPOTDon't miss the...

VIEW THE SPOT

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]]> Comments (0)]]> Women are capable of more as shown in Franklin Templeton's campaign via Mirum India tag:www.campaignbrief.com,2019:/asia//4.72938 2019-03-13T02:26:00Z 2019-03-13T03:33:30Z

The book isn't being judged by its cover anymore but rather by its content today. Women are breaking the glass ceiling in all major sectors but somehow are still hesitant when it comes to making financial investments on their...

With this insight, Franklin Templeton's Women's Day campaign this year, themed under the #InvestForProgress umbrella, is 2-fold. While it gives an ode to these strong, resilient and ambitious women who strive for greatness, it also encourages them to break one more barrier and become financially independent. The campaign film showcases 5 extraordinary women from different walks of life who chose to break stereotypes and thereby showcase that women are capable of more than what their appearance makes you believe.

VIEW THE SPOT

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Geetanjali Sachwani, AVP - Marketing, Franklin Templeton India, said, "This time we not only wanted to do something better than last year...but also shorter than last year. While we have 5 different stories weaved into 1 master film, we have especially created sub 1-minute cuts of each of these 5 stories for our digital and social media platforms. Going forward, we see this as a growing trend"

The campaign is spearheaded by Mumbai based Digital Agency - Mirum. Naila Patel, Exec. Creative Director, Mirum said, "Most communication around Women's Day encourages women to make an equal place for themselves. They have learnt to win, to rule, to earn, but take a pause before investing their own money. And that is what our film addresses. Independence will remain incomplete without this final step."

Credits:
Franklin Templeton Marketing Team:
Juzer Tambawalla - Head, Marketing
Geetanjali Sachwani - AVP, Marketing
Kunal Wanvari - Assistant Marketing Manager
Mirum Team: Campaign Head: Naila Patel (Exec Creative Director)
Planning and Servicing: Gaurav Kalwani (Group Head - Communications), Kaustubh Shetye (Account Manager) and Heer Meisheri (Project Supervisor)
Creative Team: Kishor Shembekar (Creative Director), Priyanka Chavan (Sr. Art Director) and Rohan Ian (Sr. Copywriter)
Media planning and Buying: Joy Das (GM) and Gitika Polen (Sr. Executive)

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]]> Comments (0)]]> FCB Kuala Lumpur creates RHB's 'Progress is for Everyone' - the first brand film in four years tag:www.campaignbrief.com,2019:/asia//4.72935 2019-03-13T02:21:50Z 2019-03-13T02:27:29Z

Encouraging people to pursue progress on their own terms is the call for action in RHB Group's new brand commercial. Created by FCB Kuala Lumpur, the film is the centrepiece of RHB's new brand campaign and recently refreshed brand...

While taking inspiration from RHB's highly regarded series of festive commercials that portrays the brand's challenger spirit manifested by various Malaysian icons that have found success by defying the norms of culture and perceptions, the new film 'Progress is for Everyone' turns the camera onto everyday people pursuing progress on their own terms; an interviewee out to shatter industry norms, an unlikely student with the tenacity to continue learning, a businessowner defying stereotypes, a couple that doesn't let image define them to an entrepreneur taking the first step towards making his mark.

VIEW THE SPOT

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Abdul Sani Abdul Murad, Group Chief Marketing Officer of RHB Group said, "Today, the notion of success is no longer confined to the conventions of wealth. We see progress manifested in different forms be it achieving massive life goals to celebrating the smaller, precious and profound moments that make life worth living. As RHB undergoes our own transformation to evolve our capabilities across retail, digital, SME and Premier banking, it is important that we acknowledge this shift in thinking so that we have a better understanding of what really matters to our customers. I've always believed that brands are at their best when they possess a compelling narrative that brings them into the world of their audience, therefore the focal point of the story you'll see is about people and their desires to achieve personal progress, which is the fundamental reason why we exist as a bank."

"It's been a while since RHB has done anything of this scale, so we're truly honoured to be a part of the journey. The film has been a been a true labour of love that began with our first campaign and has pretty much taken a life of its own from there. What we're most excited with is the opportunity to keep elevating the RHB brand story from here on out... stay tuned!" added Ong Shi Ping, Chief Creative Officer of the FCB Group Malaysia.

The video has already gained over 3 million views on YouTube and Facebook since its release on March 6.

Credits -
Co-owner & Chief Executive Officer: Shaun Tay
Co-owner & Chief Creative Officer: Ong Shi Ping
Creative Group Head: Mandy Chock
Senior Art Director: James Voon
Designers: Hazwan Selamat, Chong Woey Shin
Copywriters: Felice Puah, Izham Fazely
Senior Producer: Brandon Chai
General Manager: Natasha Aziz
Senior Account Executive: Zulhilmi Rashid
Production House: Carrot Films
Film Director: Virginia Kennedy
RHB
Group Chief Marketing Officer: Abdul Sani Abdul Murad
Head, Group Brand Communications: Tunku Hazli Bin Tunku Tolha
Assistant Manager, Group Brand Communications: Mohd Anwar Bin Mohd. Amin
Senior Manager, Digital Brand Management: Elaine Yap

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]]> Comments (0)]]> CJ Worx Bangkok and Heinz create the Unfresh Chili Collection especially for housewives tag:www.campaignbrief.com,2019:/asia//4.72936 2019-03-13T01:27:59Z 2019-03-13T02:52:12Z

At Heinz, there are many chilies that didn't meet our high standards and were wastefully thrown away. Heinz and CJ Worx Bangkok would like to gave them another chance, so we used these unfresh chilis to create other benefits for housewives through Heinz Unfresh Chili Collection, the special collection for housewives in order to spice up their life.

VIEW THE SPOT

]]> Comments (0)]]> L&K Saatchi & Saatchi India and Renault ask everyone to #ParkTheBias against women drivers tag:www.campaignbrief.com,2019:/asia//4.72930 2019-03-13T01:27:23Z 2019-03-13T01:41:02Z

On the occasion of International Women's day, Renault conducted a social experiment which sought to expose the bias against women drivers. Be it men or women themselves, there is a certain pre-conceived notion when it comes to women drivers, and...

VIEW THE VIDEO

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Virat Khullar, Vice President and Marketing Head-Renault India, said, "Renault stands for 'Passion For Life' globally. In each country we try to understand the society and build our offerings accordingly. With a belief of equality in all forms, we worked on an impact idea to highlight the existing bias against women drivers in India and placed an all-women valet crew in a popular hotel. What was witnessed thereof was thought-provoking".

Charles Victor, Executive Director, L&K Saatchi & Saatchi said, "Among all the things we do for Renault, our work on the 'Driving Smiles' initiative is perhaps the most important. This year, we again tackled a bias that most (irrespective of their gender) carry about women. We hope this little experiment is another step towards getting people to drop these biases we carry."

"It was interesting to discover that literally everyone we spoke to, no matter how liberal or progressive, whether man or woman, secretly held a bias against women drivers. That's really what sparked the idea," added Kartik Smetacek, Jt National Creative Director, L&K Saatchi & Saatchi.

Credits -
Executive Director - Charles Victor
Joint National Creative Director - Kartik Smetacek
Creative -Virindersingh Villkhoo and Thomas George
Account Management - Jay Mehta, Ganesh Hegde, Parth Vichare and Mridol Parwal

Films - Vijay Vigamal

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