Advantage April 2013

Go to phdsource.arterymedia.co.uk and bring the cover to life.
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C O N T E N T S A P R I L 2 0 1 3
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IMBIZO
THE BIG PICTURE
Our world in pictures courtesy Gallo Images
NEWS
Daniel Schefer thinks a campaign for gun control is the solution
for this global scurge. Dion Chang writes about what he thinks the
next big thing will be and on page 14 explains why the QR code
is not a passing fad. Meet the new MD of Antalis South Africa. Is
Africa really on the rise asks Oresti Patricious? Rebranding can be a
minefeld and it is wise to consider this carefully says
Julia Stephens. Ivan Johnson believes winning at Cannes must
mean something. Robert Landaus lavish book, Rockn Roll
Billboards of the Sunset Strip is the topic of Sarel du Plessis column
and Brandon Faber takes a look at the latest hot tech products
FOTACTIV APP BRINGS OUR FRONT COVERS TO LIFE!
This months front cover features another exciting TLC Fotoactiv app. By placing
your Apple or Android smartphone over our front cover youll literally bring this
formally static image to life, courtesy of TLC Unlimited (a division of
Primedia Unlimited).
The Fotoactiv app can be downloaded free from the iTunes Store or Google Play. It
bypasses the need for barcodes, tags or RFID and the Fotoactiv platform is able
to make its surrounding environment fully interactive, including content videos,
animations, interactions and web pages.
For more information, visit www.tlc-media.co.za, www.fotoactiv.co.za,
https://www.facebook.com/TLC.SA or
www.twitter.com/TLCinSA
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REGULARS
COVER
This months cover was designed by Damian Davey. Media
agency PHD has launched a new global operating system
called Source, helping to engage over 2 500 employees
worldwide. Its future facing and has gamifcation at the
heart of it, so the design juxtaposes this with the now
iconic Space Invaders game, appealing to the gaming
element of both. (See front cover to download app)
Damian Davey (damian.davey@gmail.com)
COMMENT
There seems to be a failure on the side of retailers to
understand how their space is changing. Editor Danette
Breitenbach challenges readers to go to 10 stores and come
back with a glowing report on customer service
THE LAST WORD
Rob Van Rooyen strikes while the iron is hot
THINK BIG! MEDIA | MARKETING | ADVERTISING
'YWXSQ
Copyright AdVantage Magazine 2013
EDITOR
Danette Breitenbach
danette.breitenbach@media24.com
PRODUCTION EDITOR
Gill Abrahams
SENIOR JOURNALIST
Magdel Louw
ART DIRECTOR David Kyslinger
CONTRIBUTORS
Brandon Faber, Daniel Scheffler, Dion Chang, Dr Antony
Michail, Ivan Johnson, Jason Kempen , Julia Stephens,
Nicole Zetler, Nonye Mpho Omotola, Odette van den
Haar, Oresti Patricios, Sarel du Plessis, Sarah Britten,
Timothy Beattie

FEATURE WRITERS
Danette Breitenbach, Magdel Louw, Daniel Scheffler
ADVERTISING
ADVERTISING EXECUTIVE
Sherrie Weir
Tel: 082 373 6149
Email: mediasales@iafrica.com
MEDIA24 MAGAZINES BUSINESS
& CUSTOM
GM MEDIA24 MAGAZINES
BUSINESS & CUSTOM
Dev Naidoo
PRODUCTION MANGER
Angela Silver
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ad antage v April 2013
C O N T E N T S A P R I L 2 0 1 3
EXPERIENTIAL MARKETING
Louise Allemann takes a hard look at the experiential marketing sector
WOMEN AND MENS MEDIA
Magdel Louws extensive report examines the tough world of women and
mens media
ONLINE MEDIA
Magdel Louw examines the world of online media and fnds out
how the experts feel about the quality of online media in SA
AGENCY AGENDA
This year the Loeries will feature a new category The Efective
Creative. Sarah Britten tells AdVantage more about it
MARKETING MATTERS
Traditional marketing has evolved at a tremendous rate and
Dr Antony Michail gives his take on the situation
2013 will be a decisive year for international brands to include
Africa in their brand strategies. Nonye Mpho Omotola explains why
Nicole Zetler explains that the potential of emerging markets has
been realized
COVER STORY
Imagine joining a company where they make you join a massive
multiplayer online game... Thats what PHD emplyees
do everyday
DESIGN
Jason Kempen provides some tips and insight on how to remain at
the forefront of design for 2013
Lidewij Edelkoort makes time for Advantage writer Daniel Schefer
Design Indaba feedback
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INDEPTH
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INFOCUS
CONTRIBUTORS
NONYE MPHO OMOTOLA, former
group head of coporate communications for
Oceanic Bank, Nigeria is a brand strategist
and managing partner of Obaika Consulting
SA. She has holds a BA (Hons) in
Contemporary Business and Computing from
the University of Westminster, London. She
began her career in London at Maynard Leigh Associates and has
worked for a number of leading rms in Europe and Africa, including
Jupiter Drawing Room, FCB Durban, and Insight Grey Lagos where
she was director of strategic planning and new business. Page 30
IVAN JOHNSON is the executive
creative director at 140 BBDO. He has
won more than 30 Loerie Awards,
eight Cannes Lions, D&AD Pencils,
Clio Awards, One Show Awards, New
York Festivals Awards and London
International Awards. He is the only
South African to have been invited as a juror at all four of
the biggest international award shows in the world Cannes
Lions in France, D&AD in London, Clio Awards in Santa Fe
and The Art Directors Club in New York. Page 20
SARAH BRITTEN is a
communication strategist. She has
over 12 years of experience as a
strategic planner in the ad industry
and has a deep interest in all aspects
of social media. Britten has written
for a number of publications, including
Marie Claire, City Press iMag, Sunday Times Lifestyle, Strategic
Marketing, and Oprah Magazine. Sarah worked on brands
including Standard Bank, kulula.com, Wimpy, Hollard Insurance,
MTN, Land Rover, Optus (Australia), SARS and Colgate. Page 28
COMMENT
THE PHASE we are also consumers has often, and
is frequently, thrown around. It is true, of course,
regardless of what your job title is; editor, executive
creative director, CEO, and so on you are still a
consumer. So the chances that you have had a great/
good/bad/terrible retail experience is about 100%.
The retail space is changing. Overseas these changes
are more advanced than here or at least so the
case studies from the UK, US and Korea (The QR
case study) are telling us.
So we are behind. The major reason for this is poor
bandwidth and internet penetration. But apart from
this, to me, there seems to be a failure on side of
retailers to understand how their space is changing.
Aside from a few, of course. But the majority are
either not online or if they are, their oering is very
poor. I believe it reects a problem within the bricks
and mortar retail space: poor customer service.
I challenge you to go into 10 stores and come back
with a glowing report on customer service.
Recently, I had to shop for a large family event as
well for some household renovations. In all cases
customer service at the stores were not up to
standard. In some cases I aimlessly wandered
around over 15 minutes before I had to nd
someone to assist me, it was that or leave the store.
And then, I found a store that oered great service and
it was not the store I thought would. I have visited
this very large store many times before. It provides
any type of building and house improvements you
would ever need. I have never found their service to
be very good. However, it seems there are two
departments within this store that are focused on
customer service and deliver great service from
ordering requirements to the delivery of the items. A
sta member called me to say when they would
deliver and to establish if I would be home. That
same person then let me know on the day that he
was running late. I was truly bowled over.
My experience for another household-type store was
very dierent. I asked for a quote which never
arrived. I had to go back to the store only to be told
the person forgot to get the quote. I needed the
item urgently so while they could now order it for
me, I had to go collect it myself miles away. When
I had my item and opened it, there were no ttings.
I phoned the store only to be told they needed to
be ordered separately. Why did the sales person not
tell me this in the rst place?
Stores that provide bad service will nd themselves
out of business. And probably they will use the
proliferation of online
stores as an excuse.
Thats not it: The real
reason will be that
your service just
sucked!
Twitter: @danettefrog44
I, consumer
6

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The Denitive Marketing, Promotions and Special Events Trade Exhibition
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Source products, services and
innovative ideas to keep your brand
top of mind
Network with industry colleagues
Learn more about the marketing and
events industry with the Travelling
Loeries Exhibition, free seminars
in the USB Speakers Pavilion and
the Integrated Marketing Village
incorporating the Enterprise Zone
For further information contact: Fran Lurie
Tel: +27 (0)11 883 7837 | Cell: +27 (0)82 570 7942
Email: franl@specialised.com
www.markex.co.za
OUR WORLD IN PICTURES
THEBIGPICTURE
AN INSIDE LOOK AT THE HULTON ARCHIVE
8

Historically and socially signicant, the Hulton Archive contains one of the
largest collections of photography and illustrative material in the world.
The Hulton Archive is home to extraordinary view points of key social
events from war to entertainment and fashion starting in the early
1800s to the more
contemporary 1990s. The
collection is renowned for
adding life to retrospectives
in advertising campaigns and
publishing projects as well as
gallery events and interior
decor. The Hulton Archive
forms part of Getty Images
extensive collections.
Prints by renowned French photographer Henri Cartier Bresson
in the Hulton Archives Vintage Room
Black and white prints of Charlie Chaplin form part of the
vast Hulton Archive collection
Sticker on the door of the Scanning Supervisor at the Hulton Archive
A colour print of the moon landing is seen in the vast collection of
historic photographs stored in the Hulton Archive
Black and white contact sheets from behind the scenes of
Marilyn Monroes lm The Mists
A retoucher uses inks to spot hand-made black and white
print made from historic photographs
High-resolution drum scanning of a picture
from the Hulton Archives collection
www.galloimages.co.za www.gettyimages.com
Colour slides of Diego Maradonas infamous Hand of
God goal are laid out from the vast collection of historic
photographs stored in the Hulton Archive
Black and white prints of Jimi Hendrix being readied
for scanning
A man looks through the vast collection of historic
photographs in the Hulton Archive
Daguerreotype images from the 1800s in the Hulton
Archives Vintage Room
Black and white print of couple kissing on VJ Day by
Alfred Eisenstaedt
1961: Audrey Hepburn wields a cigarette holder in her role
as the charming gold-digger Holly Golightly in Breakfast at
Tiffanys (Photo by John Kobal Foundation/Getty Images)
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GUNS IN
AMERICA,
as part of the
constitutions blatant
right to bear arms,
has historically played an important role in the
freedom the country has for centuries fought for.
However, all forms of gun violence have spiralled out of
control in this great country and President Obama has
added to his list of undertakings stricter gun laws to
protect the citizens: from stringent background checks, to
outlawing automatic weapons, the Obama administration
is aiming high against the National Rie Association
(NRA) to curb the spread of arms. So whats happening
across the pond in SA where gun violence reigns with
large numbers of people affected by gun rage.
GUN CONTROL IN SA
With rearms so copiously in the media, yet again, since the
mass shooting in Connecticut late last year, the Dark
Knight cinema tragedy in Colorado and now closer to
home a much smaller event but with a signicant impact
the sports star Oscar Pistorius who shot his girlfriend,
model Reeva Steenkamp, in his Pretoria home. The
questions around gun control in SA are highlighted anew in
the same way as it has been in the US as it is so perfectly
representative of a much larger problem. SA has for
decades lived in fear and citizens have, in an attempt to
take back control, armed themselves inside the feigned
prisons they live in. The difference between say pro-gun
groups in America and South African gun free associations
is that members have zero inuence in preventing
Parliament from gun restrictions. And not only that, but in
general the average man on the street in SA is furious over
the constant rise in violent crime crippling the country.
Former ANC member Andrew Feinstein wrote a book last
year called Shadow World where he exposes the true
underbelly of guns across the world, but more specically
in SA. According to Archbishop Desmond Tutu the book
peels back the veil of secrecy behind which the global
arms trade undermines accountable democracy,
socioeconomic development, and human rights, causing
suffering across the world. Then again unfortunately a
book may be essential reading but action on top of the
book is what is critical right now.
Gunpolicy.org have released gures showing there are just
less than six million licensed rearms in SA. With a
population of roughly 50 million that means 12% of the
population (given that its one gun per person) own a gun
well those are the ones actually registered and that is
where the problem lies. SAs Firearms Control Act came
into effect in 2000 and requires rigorous checks including
psychological testing and references from a spouse and
co-workers. The latest bill, that very recently came into
fruition, give the South African police the right to arrest
anyone carrying a dangerous weapon in public.
DEAD EASY
The greatest problem the country faces is not that the gun
license applications are now in back log and therefore
heedless behaviour can often overlook imperative
particulars. The biggest problem is that illegal guns are
dead easy to buy on the streets, they are stolen from
retailers and therefore cannot be regulated. So
law-abiding citizens are regulated but the criminals are
racing across the country committing crimes that are
goaded by the illegal weapons they hold.
TAKE IT BACK
What can possibly be a solution? A campaign of course. A
nation-wide campaign that encourages South Africans to
form a treaty against arms; a
treaty that can then go global. Not
amnesty, because as we have seen that has very little
impact if not controlled meticulously. More rigorous
effort is necessary for this campaign to work. The
borders of the country, the slums of the city and the
decay of society needs to be overturned by citizens and
the South African military force that is said to be less
corrupt than the notorious venal police force. The power
cannot be poured into the barrels of criminals guns as
the walls go higher and the electric fences get rmer. MC
Saatchi head, Mike Abel, recently said to me, We are
here to stay, and to take it back.
Consider the Landmine Treaty signed in 1997, although not
signed by countries like Russia and the US, it has
reduced casualties from landmines by almost 70% and
reduced the trade of landmines to virtually nothing.
Simply by promoting justice, peace and security across
the world the Treaty has packed a serious punch when it
comes to tragedy surrounding landmines. Illegal gun
ownership and trade can benet from something very
similar. And SA can easily steer the Treaty from a place of
understanding, since its somewhat successful legislation
on gun control.
A government supported advertising agency can very easily
use their resources and launch a campaign (avoid using
Charlize Theron as that didnt turn out well last time) with
the support of say the UN (who met in March with their
own Arms Trade Treaty in New York). The youth can
spread the message using social media, our very efcient
political animals, someone like Helen Zille, will drive the
signicance to their base and using what media attention
SA is now gathering with the Blade Runners
cataclysm will augment the spread lets hope it
goes viral too.
NEWS
IMBIZO
Daniel Scheffler takes a look at
whats been happening locally
and in the world
t
IMBIZO
What is the purpose of this advertising campaign?
Our aim was to recruit foreign doctors to work in Africa. As doctors are extremely busy
people we needed to do so in a way that cut through the clutter of information that these
doctors are ooded with daily.
How does it work?
Its a direct mail piece containing a pressure-activated device that plays a MP3 at such a low
volume that it can only be heard through a doctors stethoscope.
So if you listen to it, what will you hear?
We created a sound clip of a heartbeat that speeds up, then turns into an African drumbeat,
after which a voiceover invites doctors to do work that gets their hearts racing. We also gave
the call-to-action of the website URL from which they can apply to work for Africa Health
Placements.
This has never been done anywhere else in the world. Why did
you decide on this particular format?
We needed a unique and engaging way to speak directly to our intended audience. We
gured that the best way to do this was through one of the tools of their trade. The fact that
the only way to hear the message was through a stethoscope meant that doctors were
interacting directly with the mailer.
Last year the ad won a silver CLIO healthcare award in the
direct category. But do you believe the doctors themselves
will take the time to listen to it?
Denitely, we felt that because of the high level of involvement doctors interest would be
peeked enough to visit the website. Never underestimate the power of curiosity.
Boomtown recently developed a unique ad, only audible through a stethoscope, for Africa Health Placements (AHP), a social
prot donor-funded organisation that recruits local and foreign-qualied healthcare professionals. In March, the ad was sent to
doctors and specialists in Europe, the US and Canada. Andrew Mackenzie, creative director of Boomtown, explains
THE BOOM BOOM OF MY HEART
CASE STUDY
The team from Boomtown: Gary Welsh, copywriter; Andrew MacKenzie, creative director;
Tim Jones, art director; Jedd McNeilage, designer.
What other parts does the campaign consist of?
None, this is a direct mailer targeting a specic database of graduate doctors
overseas. However, the spreading of the case study video through social media,
advertising and healthcare blogs has enhanced the campaign, generating interest from
doctors who didnt even receive the mailer.
By Magdel Louw
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IMBIZO
MCCANNS recent|y announced that |t |s br|ng|ng Portfo||o N|ght to
SA. The event w||| take p|ace 22 May |n Johannesburg. A su|tab|e
venue |s st||| be|ng sourced.
Th|s |s the frst t|me the event w||| take p|ace |n SA and McOann
Johannesburg ch|ef creat|ve offcer, P|erre Odendaa| hopes |t w||| be
the start of the frst of many Portfo||o N|ghts to be |aunched a|| over
the country.
McOann Johannesburg ch|ef creat|ve offcer, P|erre Odendaa|, says
th|s event w||| shape the future of the |ndustry. lt a||ows us as peers
to come together, to work w|th other agenc|es |n engag|ng young
creat|ves to ach|eve better resu|ts and even catapu|t the|r careers."
Odendaa|, who has worked overseas says the South Afr|can |ndustry
does not work together, |nstead everyone |s fght|ng for the|r p|ece of
the p|e. Th|s g|ves us the opportun|ty to share our know|edge. We
are very |nward fac|ng |n SA and |t |s t|me we changed that."
He a|so says |t |s an opportun|ty to g|ve back to the |ndustry. Th|s |s
the one n|ght that creat|ves can g|ve back and shape or change
creat|v|ty |n the |ndustry."
Portfo||o N|ght |s not new. lt started |n three c|t|es 11 years ago and
s|nce then has grown to 63 c|t|es g|oba||y. The event takes p|ace a||
over the wor|d on the same date and t|me.
What |s new, however, |s that th|s year a grand pr|ze |s be|ng offered. One
student from each Portfo||o n|ght |n the each c|ty w||| w|n the
opportun|ty to go to New York to be tutored by the best |n the |ndustry.
lt`s one even|ng that a||ows students to meet w|th EODs. Odendaa| descr|bes
|t as a sort of 'speed dat|ng for creat|ve`. The even|ng |s a who|e n|ght of
events, |nc|ud|ng bands, soc|a||s|ng and of course, shar|ng know|edge."
For students and advert|s|ng agenc|es w|sh|ng to fnd out more, v|s|t
www.portfolionight.com/11/johannesburg and see
www.mccann.co.za or ca|| 011 235 4600.
RAY CROOK shared his learnings on
how to increase the success rates of
innovation, getting new products to enter
the market faster and achieving better ROI.
Some of his key points included:
E|||] pe| :e|| c| :crpa||e a|e |cc|||
to innovation as their main means of
growing. But innovation is complicated.
There is no easy approach
we a|e |u:| || ||e pa|. \ea| ac ||e
big idea was enough, but today with the
issues we facing, our models and
thinking is outdated they were
designed 50 years ago. Our processes
do not t todays environment. Big was
best years ago, but will not necessarily
give you success today. Incremental
volume is what you need
Tc p|ed|:| ||:|ere||a| |cW|| | |c
understand people as individuals. This
means no averages. The aggregate
approach will not reect true growth and
volumes. Individual analysis is twice as
accurate as aggregate analysis
|| a |]p|:a| |||c.a||c| p|c:e, p|cdu:|
development is the rst phase of the
major investment. Once the decision has
been made to invest in product
development it is hard to put the brakes
on. But if it is not that powerful, its not
going to sell. How do we know that is the
best opportunity in the market place?
w|a| a|e ||e oe| :crpa||e dc||7 we
can learn from developing markets. These
markets are powering ahead uninhibited
by the rules and established protocols we
work with. The best companies today are
nimble and open to take new approaches
and they are investing in the right
opportunity, not the product
|||c.a||c| | |||e d||| |c| c||. we ||cW
there are lots of opportunities out there,
but we must do due diligence and nd
where the greatest growth is. As an
industry we dont do that
Be :a|e|u| c| oa:|Wa|d |cc||| da|a.
What happened in the past cannot be
used to identify opportunities. Look to
what opportunities there will be in ve
years time not a year ago or now
T|e |ea| |dea a|e cu| ||e|e, ou| ||' |||e
nding Wally. It takes some time. We
must challenge the status quo and
ourselves. If we fail to change we will
continue to fail
Pu| |||c.a||c| oa:| |||c |||c.a||c|. we
must adapt. The markets have moved on
and innovation has as well
Hcpe | |c| a ||a|e]
By Danette Breitenbach By Danette Breitenbach
RAY CROOK, MD INNOVATION AND NEW PRODUCT
DEVELOPMENT AT TNS, RECENTLY ADDRESSED BRAND
AND PRODUCT MANAGERS AT A TNS EVENT ON HOW TO
GENERATE WINNING IDEAS FOR TOMORROWS MARKETS
12

PORTFOLIO NIGHT COMES TO SA
WHERE DID ALL THE
GOOD INNOVATIONS GO
SHORTS
PAST PORTFOLIO NIGHTS...
8apid change. We have moved from
an agricultural-based to an industrial-
based society and now we are
experiencing a radical shift into a
technological and information era. The
rapid change we are experiencing is
causing people to be uncomfortable.
And there is reason to be scared, as
technology brings with it both good
and bad
he yin and yang ef extinctien
techneIegy. We are not just adopting
technology but co-evolving with
technology. As a result large brands
and companies are going extinct. We
are seeing this in the UK where
Jeppos, Blockbusters Video, His
Masters Voice (H&B) have died
FhabIet. a mixture between a phone
and a tablet. Over 52.5 million tablets
were sold in the last few months of
2012. We are also seeing the decline
of PCs with tablets starting to move up
eIevisien. 3D television is turning
out to not be such a big seller, and
hand and gesture TV is also not
working out. But we have an appetite
for enormous TVs. Smart TVs will
reach a tipping point in 2016
Fhenes. The big winner is Samsung.
Apple shares are slipping. Sumsung is
saying that the smart phone market is
reaching a tipping point. The attitude
of consumers is I cannot afford or am
not bothered, so Ill get phone that
looks like a smart phone although it
cannot do everything a smart phone
can do
08 cedes. Came to the fore
|a| ]ea|. ESP u|| || ||
retail. Cloud computing
and QR Codes are
linked and
bridging the gap
between the cloud, the QR code and
people who still prefer using paper
8etaiI and marketing. People want
to be in their own stories, not in a
brands story but brands keep telling
us their stories. The consumer wants
to be the star of the show. Retailers
need to understand the new retail
customer. As a brand you can no
longer manage the complete value
chain. Also, a purchase will not
necessarily be in store so stores are
becoming a showroom. The customer
is more knowledgeable than your sales
person, who is becoming an advisor to
customers that seek solutions and
advice. Cutting queuing time is
important
THE NEXT BIG THING
Fhete sharing marketing.
Facebook bought Instagram with no
revenue model and eight employees.
Today, Instagram has 90 million active
users a day. During the Super Bowl
they shared 200 pictures per minute.
Starbucks has harnessed this with one
million followers
30 printing. Already 20% of
products are made this way. In the
Netherlands, post ofces have
become dead zones so they have been
converted into 3D printing hubs
By Danette Breitenbach
DION CHANG RECENT REPORTED ON Q1 2013 THAT IS
APTLY NAMED: A0AFI6 0 A w w08L0 0808.
HERE ARE SOME OF THE HIGHLIGHTS
I 8I6 I6
IMBIZO
KATZ, FORMER CEO of Pr|med|a Broadcast|ng, MD of Ta|k Rad|o
702 and rad|o-guru, has re|eased h|s book. lt`s a|| about mak|ng
money by master|ng the art and sc|ence of rad|o advert|s|ng. lt offers
a deta||ed understand|ng of how a commerc|a| rad|o stat|on can
generate revenue and proft for |tse|f and
advert|sers, and how to have the r|ght
message, |n the r|ght p|ace, at the r|ght t|me -
enough t|mes. Readers fnd out how many
customers an advert|ser needs to cover the
cost of a campa|gn and how much to
budget for market|ng to get a response
that de||vers a pre-determ|ned ROl. Katz
shares 35 years of exper|ence |n th|s
book that`s re|evant to a|| |n rad|o - from
rad|o stat|on managers to students.
Cost: R159.95
RADIO ADVERTISING. A SOUND
INVESTMENT. 10 KEY PRINCIPLES FOR
MAXIMISING RETURNS, BY STAN KATZ
BOOK REVIEW
Apple shares are slipping. Sumsung is
saying that the smart phone market is
reaching a tipping point. The attitude
of consumers is I cannot afford or am
not bothered, so Ill get phone that
looks like a smart phone although it
cannot do everything a smart phone
can do
08 cedes. Came to the fore
|a| ]ea|. ESP u|| || ||
retail. Cloud computing
and QR Codes are
linked and
bridging the gap
converted into 3D printing hubs
e -
y
he
IMBIZO
IN TODAYS techno dr|ven wor|d
|t`s hard to back a w|nner.
Whenever there`s a new gadget
or g|mm|ck |t`s |auded as the
'next best th|ng s|nce s||ced
bread`. But |n th|s day and age,
bread goes sta|e remarkab|y
qu|ck|y. Take 3D te|ev|s|on. At the
2011 Oonsumer E|ectron|cs Show
OES} |n |as vegas you`d swear
you`d stumb|ed |nto an optom-
etr|sts trade fa|r by m|stake. 3D
was po|sed to revo|ut|on|se home
enterta|nment. |uxury brands
qu|ck|y hopped on the bandwag-
on and offered the|r own sty||sh
obscene|y expens|ve} vers|ons of
3D g|asses: that was how b|g th|s
trend was dest|ned to become.
Two years |ater, 3D Tv has
proved to be a great concept, but
not a commerc|a| success.
Bes|des, the pra|se s|ngers had
a|ready moved on to Smart Tv:
vo|ce and gesture contro||ed Tv
||nked w|th soc|a| med|a ||ve
stream|ng - but |et`s chat about
that |n 2016.
CO-EVOLVE NOT ADOPT
My po|nt |s that we are d|scover|ng
that we don`t 'adopt` techno|ogy,
but rather 'co-evo|ve`
w|th |t. How we
|ncorporate new
techno|og|es |nto our ||ves |s a far
more organ|c process than we`ve
been |ed to be||eve. We are
|earn|ng that the t|pp|ng po|nt for
new techno|og|es |s comp|ete|y
re||ant on the benefts or so|ut|ons
|t br|ngs to our ||ves.
Take the OR code Ou|ck Response
Oode}: that j|gsaw puzz|e of a bar
code that started out as a nove|
way of d|rect|ng Smartphone
users to an |nformat|on porta|. ||ke
a|| new techno|og|es, there was
much stabb|ng |n the dark to fnd
a use for |t that was. we||, usefu|.
l persona||y wrote |t off as yet
another |nterest|ng concept w|th
no |ong-term future, unt|| now.
My ep|phany started |n South Korea:
a h|gh tech soc|ety that rea||y
knows how to co-evo|ve w|th
techno|ogy. There, the supermar-
ket cha|n HomeP|us a subs|d|ary
of Tesco`s |n the K} brought the|r
stores to the customer us|ng OR
codes. lt enab|ed peop|e wa|t|ng
on a subway p|atform, to do the|r
grocery shopp|ng, by s|mp|y
scann|ng OR codes
d|sp|ayed on a
v|rtua| supermarket
she|f. The grocer|es
were then de||vered
to the customer
when they got
home. lt`s a perfect
examp|e of how
techno|ogy on|y
rea||y comes |nto |ts
own, once |t prov|des a so|ut|on
to the user.
THE HUMBLE MATRIX
BARCODE
ln the |ast s|x months l have watched
th|s trend acce|erate. Not on|y
have other compan|es cop|ed the
concept - bas|ca||y offer|ng
customers 24/7 shopp|ng away
from the|r br|cks and mortar
stores - but OR codes are now
be|ng used |n equa||y |nnovat|ve
ways, espec|a||y |n the reta||
sector: from a supermarket app
ca||ed O-Thru that he|ps you sk|p
the ted|ous t||| queues, to a jeans
reta||er ca||ed Ho|nters, who are
p||ot|ng a futur|st|c shopp|ng
concept that w||| ||tera||y take your
breath away.
Once you see these consumer
fr|end|y |deas |n act|on, and track
the trajectory of smart phone
adopt|on, then the convergence
of these streams make for some
ser|ous recons|derat|on of th|s
humb|e matr|x barcode.
8FAkI6 I 0008
Dion Chang explains why the
QR code is not a passing fad
TRENDS By Dion Chang, @dionchang
For more info contact Michael Codd | 011 280 3000 | michaelec@gallo.co.za
Gallo Music Publishers is proud to celebrate
the success of Cape Towns hottest new
composer, Bruce Retief.
Fresh from Hollywood, Bruce has recently
been recognized as one of the worlds
leading composers and orchestrators, after
having just completed the score for the new
animated movie Adventures In Zambezia.
Locally produced, Adventures In Zambezia
is South Africas most successful film to date.
Although still a new release, it has secured
distribution in over 60 territories worldwide
and had its score recorded by the Hollywood
Symphony Orchestra in LA.
Use music in new ways
Gallo Music Publishers: Representing some of the biggest International Publishers in Africa,
including Warner/Chappell, Walt Disney, Pig Factory, Spirit Music, Shapiro Bernstein, Bicycle Music
and Sugar Music, as well as well known composers such as Joseph Shabalala, Dorothy Masuku,
Caiphus Semenya, Sipho Mabuse, Don Laka, Ringo Madlingozi, Lucky Dube and many more.
Bruce Retief is proud to have been part of
this project. Previously a school teacher,
this classical and orchestral musician found
his passion late in life and has subsequently
become of the most sought-after feature
film score composers in the country. He is
currently working on his second feature film
Khumba.
Bruce has been nominated for Best Score in
an Animated Feature at the most prestigious
award ceremony in the animation sphere
The Annie Awards. He is up against big-
gun productions such as Brave, Rise Of The
Guardians, Ice Age 4, The Lorax and others - a
huge accolade for this homegrown talent.
NOMINEE SATFA 2013: BEST MUSIC COMPOSITION for Adventures in Zambezia
NOMINEE ANNIE AWARDS: OUTSTANDING ACHIEVEMENT: MUSIC IN AN ANIMATED
FEATURE PRODUCTION for Adventures in Zambezia
Dion Chang is a South African corporate trend analyst and design consultant, freelance journalist,
columnist and social commentator. He is the founder of Flux Trends: www.uxtrends.com
ITS A PERFECT EXAMPLE OF HOW TECHNOLOGY
ONLY REALLY COMES INTO ITS OWN, ONCE IT
PROVIDES A SOLUTION TO THE USER
14

16

IMBIZO
THE INTERVIEW
WALDECK GREW up on the West Rand in a modest family. After school
he was conscripted into the South African Defence Force (SADF). After he
completed his army duty, he studied mechanical engineering at the
University of the Witwatersrand (Wits) through a bursary with Eskom.
He began his career as an assistant project engineer at the Koeberg Power
Station, but he says this was just a fancy title. I was more of a gofer,
making coffee for everyone and working with real engineers.
He left his coffee duties and became a technical rep, and in the process
moved to Welkom. He moved up the ranks to regional manager. I was
dealing with the mines on contractual issues, so I decided to study a
BCom law degree through the then University of South Africa (Unisa).
Later he did an executive development programme and received the
Directors Award for best student at the University of Stellenbosch
Management School.
A VARIED PATH
His path from there is varied across a number of industries, including
the transport industry until he ventured out on his own into the
shipping industry. My partner and I formed a joint venture
transaction and worked in the shipping industry. Unfortunately his
partner had a tragic accident and was unable to continue with their
entrepreneurial venture.
He then decided to go on sabbatical, however before he could,
Bridgestone had an opening and asked him to help out for a while until
they lled the position. His career propelled from there and he went on
to become the regional manager, director; sales and then marketing and
sales director and nally COO.
NEW TERRITORY
At the beginning of this year he left this position to take up the reins at
Antalis. The question has to be asked, why would you leave an industry you
are familiar with to move to an unfamiliar one?
He admits he had never even heard of Antalis before he saw the brief for the
position, conceding that this is not a business he is familiar with.
So why? I needed a new challenge. Paper is new to me and its in a very exciting
phase of its lifecycle.
This doesnt mean it was not a difcult choice for him. I was part of a successful
company and at the pinnacle of my career. I was embedded in that industry and very
The shouting from the rooftops of the death of
print has not dampened the quiet condence
of Raymond Waldeck, who took up the
position of MD of Antalis Southern
Africa in January this year
AkI6 80A0
L88 8ALL0
IMBIZO
comfortable. And thats exactly why I made the
decision to come to Antalis. It is easy to stay
in ones comfort zone and like a tortoise
never stick your head out. I am not scared to
stick my head out.
ALL IN THE MIND
He also says he did his homework and discovered
that Antalis is one of the best companies in
the paper and printing industry. And I want
to be part of it.
All the talent, knowhow and experience is in the
company, he says, and therefore his job is to
provide focus and direction. No matter what
business you are in, when you are in a
leadership position it requires the same skills.
For me these skills are a disciplined focused
approach and vision.
His biggest challenge? The minds of people and
how they perceive print as a medium in the
future. I do not see digital as a threat. I
believe it augments communication channels.
In Africa the rst world is a small place, print
is still the primary communication channel
and will remain so for some years to come.
There is something about paper that people will
always love, he maintains. The smell, its
texture we see it in invitations that are still
sent out on paper. Take Valentines cards, an
e-card is nice, but a paper card is better; you
can touch it and feel it. I dont believe paper or
print will lose its power in this respect.
Today there are so many creative things you can
do with paper. Print is part of the process of
communication. However, some creatives do not
realise this and that is my challenge. The fact is
technology assists printers; it does not take away
from them. It allows us to be more creative than
ever, for example we can print smaller runs,
personalise a run (or magazine), even dedicate a
book personally to a number of people.
DISPELLING THE MYTHS
Antalis is one of the few companies in the paper
industry that is green. Most of Antalis paper is
Forest stewardship Council certied which
means its papers originate from responsibly
managed certied forests. Furthermore the
company does not purchase paper from mills
that cannot prove where their raw materials
come from and never buy products that
originate from rain or indigenous forests.
We work hard to dispel the myths surrounding
paper and print. As an associate member and
platinum sponsor of Print SA, Antalis is
committed to ensuring the market and
industry is educated and informed about the
positive environmental story paper has to tell.
For example, the print carbon footprint ends
when the paper is used or when the print
process is completed. The digital carbon
footprint continues every time you open your
laptop or tablet.
According to him there are only about ve
printers in the country that are FSC certied
in SA. We are making it our job to convince
the rest to become FSC certied. We recycle
paper and take it back into the process.
Waldeck is passionate about this saying: It
not a nice to have, but about the sustainability
of our industry and our planet.
MEETING CHALLENGES
He also believes print and paper is key to
assisting in solving some of the challenges we
face in SA and Africa. We have the potential
for huge growth and development, but we have
to overcome a number of challenges to get
there. One of these is education. If we can
educate our children well, the future of this
country is secure. And the way we can do that
is through paper. We can print books that will
provide the basis of a good education for our
children. We need to educate people and we
need to see paper as a medium through which
to achieve this.
This country needs its youth and we need to
look at how we can encourage and assist them.
Antalis runs the Art of Design, which takes
place every two years. Through this event we
develop creativity amongst the youth.
For him it is about making a choice. We can sit
back in life and make choices, go one route or
be part of a solution for the future. SA is a
mixed society with cultural differences, but
what will break the chain are the choices we
make. I see the print industry playing a role in
the positive choice to unite and move forward
as a country.
A LEGACY
My vision is that in 10 to 12 years time, we will
leave behind a sustainable and healthy
business for the youth. I would like to see this
company create more than a legacy; rather a
heritage. My vision is very simple because I am
not a complicated person and I do not view the
world as complicated. People buy from people;
people want solutions to satisfy their needs. I
do not bring knowledge on print and paper to
Antalis that is inherent in the company I
bring energy and vision. It is all about the
customer and that is my focus.
And despite what many might believe about
paper and print, he says the future is bright.
Antalis is here to stay and to grow. It will not
stagnant, but will go forward. I think the
industry as a whole will consolidate to some
extent, but this will only be in the interest of
contributing to the country. I believe that in
the future print will be used in ways that we
cannot imagine. I am very optimistic and see
an exciting future ahead.
IMBIZO
I AM VERY
PATRIOTIC AND
WILL NOT STAND
BACK FOR THE
REST OF THE
WORLD. THE
INDUSTRY WE
ARE IN PRINT
CONTRIBUTES TO
SOUTH AFRICAN
SOCIETY IN MANY
WAYS, NOT JUST
ECONOMICALLY
THE MOST RECENT round of
debate on Africas rise, or whether in fact
its rising, was started by Time magazine.
Africa is the worlds next powerhouse,
declared Alex Perry in his cover story for
the 12 December 2012 issue of the US
news journal. Predictably the statement
was sufxed with the warning: But huge
challenges lie ahead.
This is not Times rst story on Africa
Rising. Just over 10 years ago, in the
June 2001 issue of the magazine
published in New York City and online,
Time reported another story under the
same headline. This article began
rather dramatically: Hope is Africas
rarest commodity. Yet buried though it
is amid the despair that haunts the
continent, there is more optimism
today than in decades.
But Time isnt the only Afro-pessimists to
commit this sin. Who can forget
The Economists story about how
Africas star was rising. Under the
headline: The sun shines bright, the
nancial journal waxed lyrical about
Africas hopeful economies. This story
was also a cover feature and had an
illustration of a young boy ying a kite
that was shaped like the continent
of Africa.
Like Time, 10 years earlier The Economist
had also thrown this continent in the
trash bin by calling Africa the hopeless
continent in a cover story by the
business magazine. That particular
feature was doom and gloom, and
positioned Africa as a singular continent
of disease, famine and war.
Since The Economist regrettably labelled
Africa the hopeless continent a
decade ago, a profound change has
taken hold, reported a more recent
article that was published in 2011. The
article went on to highlight continental
tycoons like Nigerias cement mogul,
Aliko Dangote who had overtaken
Oprah Winfrey, it said, as the richest
black in some or other rich list. The
cover story also featured the fast
growing African economies of Ghana,
|c/aro|(ue a|d E|||cp|a.
International politics and global affairs
magazine, Foreign Policy (FP), quickly
jumped into the fray after the more
recent Time magazine article speculat-
ing on the continents good fortunes. Oh
no, FP speculated, in an article entitled
The Myth of Africas Rise, the
continents growth was being greatly
exaggerated the journal said in a feature
this January.
Scarcely a couple of weeks later at the end
of January, FP would publish yet
another piece on Africa called: We
Have No Idea if Africa Is Rising. This
time the economic historian,
Morten Jerven, would write in the
political magazine: Its been fascinating
to watch FPs recent debate on economic
growth in Africa. Some commentators
argue that African economies are
destined to remain trapped in the bottom
billion unless some sort of fundamental
change occurs, writes the author of Poor
Numbers: How We Are Misled by African
Development Statistics and What to Do
about It.
Others beg to differ, speaking of a
continent thats showing every indication
of rapid progress. Yet, despite their wildly
different interpretations, whats striking
is that both camps base their arguments
on the same set of numbers. What
Jerven tells readers is that those
numbers are debatable.
In November 2010, the statistics ofce of
the government in Ghana announced that
it was revising its GDP estimates
upwards by over 60%, suggesting that
previous estimates had left out economic
activities worth about $13 billion. After
the revision a
range of new
activities were
accounted for, and as
a result Ghana was
suddenly upgraded
from a low-income
country to a (lower)
middle-income country,
Jervis writes, explaining
that a similar move was made
in Nigeria.
The Time, Economist and FP features on
Africa point to two key issues that
governments and economies on the
continent need to face. The rst is that
Africa needs to tell its own growth story,
and to do a good job of it. Certainly it
needs to do a better job than the
international media are currently doing.
Secondly, Africa needs to produce credible,
empirical and transparent data about its
economies. As a research company that
operates in SA and Nigeria (and which
has associate businesses in Ghana,
Uganda, Tanzania, Angola, Namibia,
Bc|Wa|a, Z|roaoWe, E|||cp|a, |e|]a,
Seychelles, Zambia, Madagascar,
Mauritius and Mozambique), Ornico is
well appraised of the challenges.
In part Ornicos growth has been hampered
because of the lack of uniformity in
media and advertising data from country
to country, and part of our vision for
growing with the continent is to ensure
the availability of reliable, robust and
uniform data.
When it comes to investing in new regions,
or launching brands in new territories,
trusted data is everything to international
investors, and so it should be. As this
continent turns to reject aid, and to
create growth through trade, empirical
data is what will track our growth and
show the world how were doing.
Africa is rising, but lets ensure that the
data and numbers we use to tell this
story, our own story, are impeachable.
By Oresti Patricios
Oresti Patricios is the CEO of the Ornico Group. For more insight on intelligent
brands go to www.ornico.co.za; check out Ornicos Facebook page or follow
Patricios on Twitter at @orestaki
18

IMBIZO
AF8I0A 8I8I6 8 0M888
Oh dear please save us from the Africa is Rising narrative that is being
continually and habitually foisted on this continent by the international media
REBRANDING CAN BE A MINEFIELD AS IT IS QUINTESSENTIALLY A SHIFT IN A BRANDS IDENTITY.
THE GREATEST CONCERN IS THAT A REBRANDING EXERCISE COULD ALIENATE EXISTING
CUSTOMERS OR DAMAGE THE GOODWILL THAT THAT THE BRAND HAS ESTABLISHED
IMBIZO
INDUSTRY ISSUES
IVE ALWAYS maintained that the business of
advertising and communications is as much a science
as it is an art. After all, what use is work that has no
purpose, work that is creative for the sake of creativity
but does not contribute tangibly to a clients business?
Given the current economic climate, marketers and their
agencies are equally pressured to deliver results and
some form of measurable return on investment. It is the
results and return on investment that ultimately justifes
our existence and cost in the business world.
How then does one prove that a campaign has indeed
worked and contributed tangibly to the business?
Firstly, the value of great communications campaigns lies
in work that delights the market, resonates in the minds
of consumers and drives sales. To achieve this, the work
must connect to the hearts and minds of the audience
in a relevant and meaningful way. When it does, it will
also be celebrated by peers for originality, creativity,
innovation and efectiveness.
To isolate a communications campaigns contribution to
business success, one has to exclude any other factors
that could have or may have afected and/or contributed
to the results achieved. For example, a successful new
product launch does not necessarily prove that the
communications campaign was efective because a
good enough new product, pack or concept with good
enough distribution will achieve certain levels of success
without any communications campaign, which begs
the question: what level of success would have been
achieved without the campaign?
Analysing how the campaign worked, using intermediate
measures such as advertising recall, brand image
studies, qualitative research and, if necessary
econometrics analysis will indicate whether or not the
campaign was efective. Additionally, proving positive
long-term projections and consolidation of the brands
proftability is a sure way of demonstrating that the
campaign was efective.
Given that the business of advertising and
communications is about fnding creative solutions
to complex business problems, it therefore goes
without saying that creativity and efectiveness go
hand-in-hand.
Odette van den Haar is the CEO of the
Association for Communication and
Advertising.
A08I8I6
I8 A8 M00
A 80I0 A8
I I8 A A8
By Odette van den Haar
@odette_roper
By Julia Stephens ADJUDICATE
A TRADEMARK is these trade
marks, which distinguish goods
and services from one another and
also indicate a degree of reliability
and even quality of these products
or services, continuously inuence
the forefront of a business and
consumers purchasing decisions.
So, it goes without saying, that any
decision to rebrand, or in fact make
any changes to the brand, should not
be taken lightly. Any bad decisions or
wrong moves could spell disaster for
the brand, and consequently even
the business.
Most rebranding is permanent, some
only for a limited time or for a specic
reason. Many people have their own
nicknames for certain brands. What
is McDonalds to most and Mickey
Ds to Americans is popularly referred
to as Maccas to more than half of
the Australian population. In fact, in
recognition of Australias embrace of
the brand, 13 restaurants throughout
Australia were rebranded to Maccas
for a month earlier this year in
celebration of Australia Day. Whether
or not this was a clandestine attempt
to gauge the reaction to a possible
permanent rebranding or adaptation
of the McDonalds brand in Australia
or elsewhere in the world, or merely
a marketing exercise to further
entrench the brand, it signals a shift in
traditional rebranding thinking.
As with all markets, South African
brands have seen their fair share of
revamps and remodelling, generally
giving the brands a cleaner, trendier
look and feel think Mr Price,
Woolworths and Ackermans.
Before embarking on an expensive and
potentially risky rebranding exercise,
it is important to establish clear
reasons for the project. Factors such
as new business markets, new target
audiences or predicted growth often
spur companies into rebranding and
revamping an existing brand. Other
times, a business may rebrand as a
reaction to signicant factors which
impact on an existing brand, such as
negative publicity, competition
or mergers.
Rebranding can be a mineeld as it is
quintessentially a shift in a brands
identity. The greatest concern is that
a rebranding exercise could alienate
existing customers or damage the
goodwill that that the brand has
established over time. As we all
know too well, to rebrand well is
a monumental and costly effort.
E.e|] ||, ad.e|||ere||, o|c:|u|e,
website and email address has to
be changed, everywhere. Chances
are that it will cost way more than
you anticipated and will demand
organisational stamina to see the
process to nality and to reap
the rewards.
When contemplating rebranding, it
is imperative that the necessary
clearance searches are conducted
first, before announcing brand to
the world. It would be an expensive
and serious career-limiting move to
adopt a new brand name, tagline or
secondary brand that is in conflict
with another party. These searches
should extend to the relevant
domain names, Twitter handles
and Facebook pages, as there are
few worse things than discovering,
too late, that yournewbrand.com
is already in use by a less than
savoury crowd.
E(ua||] |rpc||a|| | |c :c||de| ||e
various interpretations that may be
possible of your trademark. Never
create a brand name without rst
running it by some slang-savvy
target market representatives a
tough lesson learned by Panasonic
when it introduced its contribution to
the PC market. Paired with the well
known cartoon character Woody
Woodpecker, the device was
marketed and sold under the name
The Woody, with a touch screen
feature promoted under the tagline
touch woody.....er, say no more.
Once the decision is made to rebrand,
then rebrand! Introducing your new
brand in a piecemeal fashion may
be doing more harm than good, as
running with two brands at the same
time could well be causing confusion
amongst your customers, both as to
the brand itself and what it represents.
Telkom is apparently in the process
of rebranding its 8.ta mobile service
to Telkom Mobile I hadnt noticed.
Its approach is to rebrand over a
period of time, in phases. As such,
this rebranding will be without much
fanfare or impact. Compare this with
Vodacoms recent rebranding, which
was so effective, we need to be
reminded of its days of being blue.
Use proper trademark (TM) notices
to show the world that the word or
logo is your trademark, not merely a
descriptor or some throw-away line.
If nancially feasible, trademarks
should be registered as soon as
possible, to prevent their registration
by third parties and endless legal
battles. Once the trademark has been
registered, always use the symbol
as a warning to the public at large of
its protection.
Sometimes its better to leave well
enough alone, the trick is to know
when this may be. However,
rebranding, when done well, can
invigorate and renew a brands image
and quite possibly lead to better
customer loyalty and sales increases.
Consider it wisely.
888A0I6. 88I8 08 868?
Julia Stephens is a director at DM

Kisch. She has more than 12 years
experience in the eld of intellectual
property and specialises in trademark
issues including trademark searches,
prosecution and litigation, copyright
protection and enforcement.
julias@dmkisch.com
THE 59TH CANNES Lions in
2012 saw a record 34 301 entries. At
an average of 620 per entry, thats
212million spent by agencies
worldwide. More than 11 000 delegates
cough up an average of 3 000 just to
be there. So winning at Cannes must
mean something.
When asked by those outside of the ad
business what Cannes is all about, my
answer is simple: Its the Olympics of
advertising. Its the one truly interna-
tional awards show with a massive
87 countries represented. Added to
that, a total of 287 judges can make or
break a career. This is the gig to crack,
the one that says youve made it in
advertising. Or it was simply your turn.
The honour of being selected as a judge
for Cannes means free ights, limo pick-
up and a hotel on the Promenade de la
Croisette. The only one with a bigger
grin is your nancial director whos
saved the agency R70 000 in delegate
fees. On meeting fellow jurors, it doesnt
take long to realise that creatives
everywhere are insecure. The need to
impress fellow jurors is soon replaced
with the desire to be noticed by the jury
chairman. The chairman is the man.
Hes likely to be a president, chairman,
chief creative ofcer of a continent,
multiple Grand Prix Winner or all of the
above. Impress the chairman and you
might get offered that big international
move you never knew you wanted.
Flattered, inspired and condent is the
u::e|u| ju|c| |e|u|||| |c SA. E|cu|
condence to wipe the grin off the
nancial directors face.
Delegates are the paying customers who
trek from every corner of the globe
hoping their agencys money was well
spent and that they would return
victorious. Sadly, most go home laden
with bitter disappointment, pastel
espadrilles and scrunched up Gutter
Bar receipts that barely make up 10%
of their per diem. Sending someone is
costly. But its worth it. A delegate
without metal will come back inspired
and motivated. Those shortlisted feel
part of the game. Bronze winners return
with more charm, Its just a bronze, Im
not that amazing. Silver winners will
know to avoid formulas to get gold. Gold
winners will suggest clients come along
next time because: It means nothing if
its not selling product. Grand Prix
Winners will move to Singapore,
New York or Brisbane for the sake of
their families.
Being a juror at Cannes Lions helps
validate the opinion of an agencys
|ead|| ||||. Be || ECO, CO, |cup a||,
copy chief 5th Floor or intern with an Ad
School Diploma in Judging. He or she is
amongst champions. They will be
tested, prodded or worse, ignored. They
will have to defend ideas they believe in.
They would have learnt how to concede
a|d oe Wa]ed. A| ECO |a.||
acknowledged the opinion of others
could serve morale well.
So Cannes has value for both delegate and
juror but what about the agencies?
Theyre the ones funding a junket often
mired in controversy and the occasional
conspiracy. Scam remains a scourge
until labelled as fraud. Winning at
Cannes gets the agency noticed and the
hard work validated. It gives your clients
the condence to push beyond the
familiar. It makes those without success
say: I wish we had done that.
Something not reserved for creatives
alone, but clients too. Doing great work
that wins is good for business.
A DELEGATE
WITHOUT METAL
WILL COME
BACK INSPIRED
AND MOTIVATED.
THOSE
SHORTLISTED
FEEL PART OF
THE GAME.
BRONZE WINNERS
RETURN WITH
MORE CHARM
THE 0LMFIA8 OF ADVERTISING
AWARDS By Ivan Johnson ECD, 140 BBDO
Ivan Johnson is the executive creative director of award-winning advertising
agency 140 BBDO. He is the only South African to have been invited as a juror
on all ve of the biggest international award shows in the world: Cannes Lions in
France, D&AD in London, CLIOs in Santa Fe, The Art Directors Club in New York
and the Dubai Lynx. He will be looking at Cannes in a series of articles.
20

IMBIZO
SUNSET BOULEVARD, in
Los Angeles, remains a mecca for the
most exciting billboards on offer, and
the Strips colourful past with special
emphasis on the music industry is
chronicled in Robert Landaus lavish
picture book, Rock n Roll Billboards of
the Sunset Strip.
The book pitches the reader into
Jim Morrisons nostrils, Chaka Khans
cleavage or even James Taylors crotch!
All of these varied delights have
featured on iconic billboards over the
years, and the spectator has even been
transported to the famous Abbey Road,
with the street bring crossed by
20-foot-high Beatles.
Reviewer Jonathan Lethem (author of Fear
of Music) calls the documentation of the
rock industry OOH, a kind of tribalism
ritual, and an unlikely moment in the
heedless monetisation of countercul-
tural dreams by a recording industry
briey high on a myth of its own
transformational inuence.
One wonders which of our local musicians
will attain such status via OOH exposure
from the past and still current,
perhaps the likes of Miriam Makeba,
Hugh Masekela, Johnny Clegg,
David Kramer, Ray Phiri and Vusi
Mahlasela; or a newer, younger talent?
International artists sometimes dominate
the OOH sector locally, and the fragmented
nature of our geographical spread means
that no one location with the focus of
Sunset Boulevard leaps to mind.
Nevertheless, we still have the opportunity
to stop the trafc with our musical
billboards, and the advent of digital,
interactive displays will provide an
entertainment value to the viewer, which
almost rivals the images of the
musicians themselves.
FROM NOSTRILS TO CLEAVAGE
Sarel du Plessis is the executive
director of OHMSA, (Out of Home
Media South Africa), which is the
ocially recognised trade association
for the Out of Home industry in SA.
OUT OF HOME By Sarel du Plessis
THE BRANDING AND commun|cat|ons
wor|d today |s very d|fferent to what |t was 10
years ago. Trad|t|ona| commun|cat|ons
p|atforms have g|ven way to a p|ethora of new
market|ng opportun|t|es, from |nterna|
commun|cat|ons and actua| phys|ca| spaces
to advanced d|g|ta| p|atforms, a|| carry|ng
|ntegrated messag|ng. Here are some of the
b|ggest changes seen to date.
AFRICA THE FINAL FRONTIER
lt`s no secret Afr|ca |s the favour of the month.
Where compan|es prev|ous|y sh|ed away from
Afr|ca, now mu|t|-nat|ona|s from across the
bus|ness spectrum are eye|ng the cont|nent |n
pursu|t of fresh new markets.
Sean McOoy, a found|ng member and d|rector of
HK|M says s|nce then the opportun|t|es for
bu||d|ng new and estab||shed brands |n Afr|ca
have |ncreased s|gn|fcant|y, but the key to
successfu||y tapp|ng |nto th|s market |s do|ng
the homework.
We`re see|ng more and more b|g brands
enter|ng Afr|ca, but these marketers have had
to get to gr|ps w|th the cont|nent |n a|| |ts
d|spar|ty and |earn from those who are a|ready
there. Afr|ca |s both pred|ctab|e and
unpred|ctab|e, and ne|ther |ts peop|e nor any of
|ts countr|es |s homogenous. lt can`t be
categor|sed as one market, we need to be
sens|t|ve to |ts d|vers|ty and embrace and
ce|ebrate th|s. Success |n th|s emerg|ng market
|s dr|ven by three pr|nc|p|es: hav|ng the r|ght
att|tude and approach for success,
acknow|edg|ng the ro|e of |nternat|ona| best
pract|ce, and recogn|s|ng the power and
|mportance of |oca| know|edge," says McOoy.
EVOLVING STAKEHOLDER
COMMUNICATIONS
One of the b|ggest transformat|ons |n brand|ng
and commun|cat|ons that HK|M has w|tnessed
|n the |ast decade has been w|th|n |nterna|
brand|ng. S|nce |t frst s|gned Peermont and
Ang|o Go|d Ashant| |n Ju|y 2003, HK|M has
represented m|n|ng c||ents - and |t`s here that |t
has seen the b|ggest change. For years b|g
compan|es, part|cu|ar|y those |n the m|n|ng
sector, have on|y spoken to the|r shareho|ders.
Its been 10 years since strategic branding and communication
design consultancy, HKLM, was rst established. As a keen
contributor to branding, marketing and communication trends,
the agency has seen a lot of change since then
10 years en. A bold new brandscape
IMBIZO
lncreas|ng|y, they`ve rea||sed the |mportance of
speak|ng to the|r stakeho|ders, that |s,
everyone from staff to members of the
commun|ty |n wh|ch they operate.
Behav|our and structures have had to change to
make the sh|ft to susta|nab|||ty, wh|ch |s the
centra| theme of the K|ng Oode. One examp|e
|s the trad|t|ona| annua| report, wh|ch had a
p|ace |n the o|d shareho|der parad|gm but now
requ|res a tota| re-th|nk. Oompan|es have
begun rep|ac|ng the|r o|d strateg|es w|th more
effect|ve ones, and trad|ng the|r '|nformat|on-
on|y` commun|cat|ons approach for one that
pays attent|on to the way |n wh|ch |nformat|on
|s presented," exp|a|ns Pau| K|rsten, a found|ng
member and d|rector of HK|M.
HOLISTIC BRANDING STRATEGIES
Oompan|es are a|so p|ac|ng greater emphas|s
today on ||nk|ng the|r brand on var|ous |eve|s
through fu||y |ntegrated brand|ng campa|gns -
someth|ng HK|M has |ong advocated among
|ts c||ents.
lntegrated brand|ng strateg|es where a|| the
e|ements are cohes|ve, comp|ementary and
cons|stent are cruc|a| to brand surv|va|. A||
e|ements, from advert|s|ng campa|gns, staff
tra|n|ng and d|g|ta| footpr|nts to shareho|der
re|at|ons have to be created and |mp|emented
as |ntegra| parts of a ho||st|c brand|ng strategy,
otherw|se there`s rea| danger of the brand
prom|se be|ng broken," says McOoy.
Th|s w||| become |ncreas|ng|y |mportant |n the
face of grow|ng d|g|t|sat|on - one of the
b|ggest cha||enges to branders and
marketers |n the past 10 years and a factor
that w||| cont|nue to shape brand|ng |n the
years to come.
ln the future, techno|ogy w||| p|ay an even
greater ro|e |n brand bu||d|ng, de||ver|ng fast,
smart and effect|ve commun|cat|on w|th
target aud|ences," adds McOoy.
Deve|opments |n mob||e dev|ces w||| break
new ground |n the reta|| space and the
brands that are prepared to 'techno-p|oneer`
w||| prosper. But w|th consumers constant|y
be|ng bombarded w|th measurab|e |ayers of
|nformat|on, |t w||| be the s|mp|e, compe|||ng
messages that w||| resonate."
22

IMBIZO
THERE HAVE been no conclusive
studies that show that celebrity
endorsement actually is an important
attributing factor to the success of a
brand. If a brand is actually lets say,
that great, then a celebrity will be
completely superuous. But then
again there is the magic of
abominable Kim Kardashian.
FALL FROM GRACE
With three of the worlds biggest
sportsmen being disgraced in a
matter of a few years the questions
around fame, testimonials and their
relevance are to be raised. The Davie
Brown Index (DBI) is said to assist with a
list of more than 3 000 celebrities
whereby the independent index (tailored
for brand marketers) showcases
consumer perceptions and the celebritys
ability to inuence brand afnity. The
segments for the index to collect data
include: Appeal, Breakthrough,
Trendsetter, Inuence, Trust,
E|dc|ere|| a|d Ap||a||c|. Ce||a|||] a
useful tool to ascertain value, but it still
does not reect actual worth.
Lets look at some sports examples. First
there was Tiger Woods, the golf worlds
darling who could do no wrong that
managed to philander across town while
his wife was sitting pretty at home. He
did apologise and sought help in the form
of rehab. His actions resulted in Woods
appearing in the cover of Vanity Fair and
he won the hearts of fans yet again.
Lance Armstrong was next with a doping
scandal that was propelling the man to
victory every year. He, although
Oprah Winfrey gave him his chance, did
not seem to want to apologise and will
probably never win back his devotees.
But what these two men do to their
sponsors, the brands that were endorsed
by them is still not clear. It presents the
question of whether scandal (usually
something dishonest) affects the merit of
the persons performance. In the case of
Armstrong it certainly did, he enhanced
his capabilities in an illegal manner. But
Woods, not so much.
The latest scandal, of Olympic and
Paralympic star Oscar Pistorius, has
brought this conversation to the fore in a
slightly different manner. Although at the
time of writing this article no conclusive
decision had been made regarding his
situation where he is accused of killing
his reality TV star girlfriend Reena
Steenkamp. The tragedy has certainly
left a bad taste for his supporters. But
will his ever-loyal brands stick with him?
So far some have. Although Nike was rst
to pull their support a billboard with
Pistorius and a byline, I am bullet in the
chamber was quickly removed from his
website as well as from billboards across
the country.
NO CELEBRITY NEEDED
But how much damage can bad behaviour
of such endorsed celebrities really do to
a brand? Interestingly enough as
reected on the Interbrand Top 100
Brands list, the biggest on the list do not
have celebrity endorsements of any kind:
Toyota, Disney, Google etc. They dont
need a celebrity, who is potentially
volatile, to impute to success.
Kim Kardashian has built her fame, think
sex tape, on not being a good girl that
behaved in an honourable way for brands
to align themselves with her. But she has
represented big, and small, brands
across America with seemingly great
success sales wise. The brands, ranging
from heels to cellulite reduction cream,
may have been nancially successful, but
in the long run they have built zero
traction in terms of brand staying power.
Kim, like Paris Hilton and some Van Der
Bilt girl before her in the 80s, will fade
and the brands will dwindle with her.
NO SANDY BEACH
One of the fundamentals of brand building
is surely trust. If you cannot trust your
brand to be aligned with someone that is
trustworthy or an upstanding citizen of
some kind why would you stick it out with
the brand. The very ckle nature of
consumers is therefore in bed with Kim
and probably for this reason alone.
Twitter is a perfect paradise for
celebrities, like nger-in-every-pie
Ryan Seacrest, to aunt their afnity for
brands and get paid to do that.
According to Bloomberg social media
spending will rise to almost $10 billion
by the year 2016. But consumers are
smarting up and know what money has
changed hands.
Perhaps the lesson that if youre willing to
take the risk by building a brand that is
essentially built on a sandy beach vs.
building it on some serious foundation,
then yes, a celebrity endorsement can be
fantastic. But real brands with a real
offering and a commitment to their
followers can build their brand by giving
the consumer a true and honest
reection of what the brand is about
without the noise of a famous person
cluttering the glitter of their offering.
Because it is just so obvious that if
Jessica Simpson, in her best
non-bimbo voice, promotes Weight
Watchers you know that shes getting
paid for it. And when she cant lose
the weight then the brands merit
comes under scrutiny and consumers
are left thinking perhaps the millions
you have spent on a celebrity should
rather have gone to creating an even
better product?
Daniel Scheer is the owner of The Idea Consultancy. He studied at VEGA, B Comm
Marketing/Communication and B Honours Branding. His focus now is on management
consulting, idea generation and strategic planning.
BRANDING By Daniel Scheffer (@danielscheffer)
Advertisers have for decades attempted to quantify and qualify
the use of celebrities in their marketing campaigns by gauging
the inuence on buying behaviour
THE BRANDS, RANGING FROM HEELS TO CELLULITE REDUCTION
CREAM, MAY HAVE BEEN FINANCIALLY SUCCESSFUL, BUT IN THE LONG
RUN THEY HAVE BUILT ZERO TRACTION IN TERMS OF BRAND STAYING POWER
Celebrity endorsement
does it work?
s_bukley / Shutterstock.com

IF WE ARE to believe the clichs, journalists
slouch from one free lunch to another, looking
for something sensational to slam across their
front page, while PR people strut from trendy
coee shop to cocktail bar, spinning the lies they are
paid to tell.
Yet despite the great divide between the two, both
share a common goal to get people to sit up and
take notice.
Having worked as a community editor for nearly
two decades, and now involved in both PR and
journalism, I am able to see the beauty both to the
left and the right of my perch.
In communication practitioner mode, I help clients
secure media coverage to boost their credibility,
gain brand awareness and establish them as
thought leaders in their eld. With PR hat in
hand, I approach journalists and editors hoping
for a few centimetres on their pages or a small lot
in their programmes.
As a journalist, I must seek out newsmakers or
industry experts and get them to commit to being
interviewed or, in the worst case scenario, agree to
give me their side of a contentious issue without
reaching for the phone and calling their lawyer.
Really, any way you look at it, both jobs are about
communication and people skills, yet sadly,
basic courtesy are often lacking on both sides.
Unacknowledged emails, unreturned calls and
snooty comments seem particularly prevalent
amongst both PR people and journalists.
Sure, in boxes get ooded, and sure, those
not fortunate enough to have a PA may
be forced to ignore totally misdirected
missives, but on the whole, too many
people seem to think it is okay to disregard
basic business etiquette.
Close cousins to journalists and PR people
are spokespeople, and many seem to have
rened the art of being unapproachable
and snooty.
Take the spokesman of a state-owned
enterprise approach to secure an interview
with the CEO for what would be a positive
article in a well-respected magazine. In
November, I was told the CEO was willing
to do the interview. My deadline was mid-
January. Plenty of time, right? Wrong!
Over the next few weeks, I juggled my
rising panic with my desire not to be
oensive. A few gentle emails with the
deadline emphasised got me nowhere,
and on 9 January, with the knowledge that
the magazine for which the article was
intended would have a content crisis if I did not
deliver, I attempted to explain in a polite email why I
needed to be given a denite date for the interview
as a matter of urgency.
I dont like your tone, came the imperious reply.
A similar reaction came from the spokesman of yet
another state-owned entity at the end of last year.
When the CEO himself sent an interview request
that postponed our engagement for the sixth
time, I was in a quandary. The proposed date was
a week after my deadline. I sent a brief email back,
explaining my problem.
An hour later a mail from the spokesman popped
into my inbox: You would do well not to direct any
correspondence to the CEO.
The editor of a niche magazine was sent an article in
line with the publications content. A reply came
back: I wont be using this and if you took the
time to read my magazine, you would know why.
Confused, my colleague scanned past issues of the
mag, but the rude response still made no sense. The
client for whom we were trying to secure space is a
thought leader in her eld and her oering was well
aligned to the publications prole. A mail from the
editor a couple of months later left us even more
baed. This one read: Our magazine is the perfect
platform from which to advertise your services,
given that it is so well read in your industry. Please
nd our rate card attached.
Dotted across the country are journalists, PR people
and spokespeople who make working with them
a pleasure. Simply put, they are reasonable, an
essential ingredient to professionalism.
I take both my hats o to them while fervently wishing
that the rest of the bunch, the rude individuals who
are too pumped up by their perceived power, would
spare a minute to look through their Johari Window.
The view would be so much sweeter. <
Sitting somewhat uncomfortably on the fence, with the precise elds of Public Relations (PR)
on the one side and the craggy hills of journalism on the other, I often dont know which hat
to wear, says Cathy Grosvenor, joint MD, Allycats PR
A cupboard of hats
Cathy
Grosvenor
Cathy Grosvenor is joint MD of publicity specialist,
Allycats PR. She has over 20 years experience in editing,
journalism and publicity generation: cathy@allycats.co.za.
UNACKNOWLEDGED
EMAILS, UNRETURNED
CALLS AND SNOOTY
COMMENTS SEEM
PARTICULARLY
PREVALENT AMONGST
BOTH PR PEOPLE AND
JOURNALISTS
IMBIZO
IMBIZO
PRODUCT REVIEW
SAY IT LOUD
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GuIuL PuRLPn3L uLLI3Iuh3
Since the dawn of time people have taken others opinions to
heart before making a buying decision. The proliferation of
mobile technology, however, now puts the thoughts,
reviews and ratings of tens, hundreds or even thousands of
people within easy reach of those looking for information
about product X, restaurant Y, or service provider X.
Companies like Yelp (started in the US) and Yowzit.com
(locally) provide users with a platform to recommend (or
shoot down) a huge variety of businesses and organisa-
tions that they interact with on a daily basis. Reviews are
instantly uploaded via smartphones, tablets and PCs
giving those in in the vicinity, or those thinking about
frequenting an establishment, the opportunity to make
an informed decision before spending unnecessary time
or money.
While not an entirely new technology the popularity of these
services is rapidly spreading warranting closer
inspection and proactive action from businesses that want
to get ahead by listening, interacting and facilitating
meaningful conversations with the public. The customer
of the future is informed and connected smart
businesses should follow suit. Those who do so should
remain relevant, topical and trusted.
> www.yelp.com/ <
> www.yowzit.com/za/ <
GRLL1IhG3 1LLPhuRn1I, 1PI3 huh1P uL Luul n1 1PL RI3L ui PLLR RLuILu3 nhu
I13 IhPnL1 uh 8u3IhL33, uL 1nLl n8uu1 uLLu thu1 1PL hnhL ui n PuhGnRInh
PuRh 31nR: nhu uL Luul n1 1PL u3unL 3hn11LRIhG ui Pu1 1LLP PRuuuL13 1Pn1
9uu Lnh u3L Ih 9uuR hnRlL1IhG, n1 9uuR LuLh13, uR 1u 3PLLIiIL 1nRGL1Lu
nuuILhLL3. uL'LL nL3u 8RILiL9 PIGPLIGP1 n unRIL19 ui LuuL 1u93 1Pn1 9uu
Lnh uuh nhu 3Puu uii 1u 9uuR iRILhu3 . . . iuR n8uu1 2u hIhu1L3 uh1IL 1PL9
iIhu 3uhL1PIhG 8L11LR
By Brandon Faber
OLED
huRL iLLI8LL 1Pnh n PuhGnRInh PuRh 31nR
So you`ve just recent|y upgraded that o|d te|ev|s|on set and are now the proud owner of
a spark|y new |ED Fu|| HD, 3D Tv w|th a ||st of acronyms |ong enough to |mpress
most government m|n|sters. Nob|e |t stands, br|ght|y ||t and fat aga|nst your wa||
where, not so |ong ago, a b|g ug|y box-shaped re||c from what fee|s ||ke} the dark ages
stood.
We|| done - your Tv |s about to become o|d news, anc|ent, up there w|th the AWB or
vHS for sheer |ack of re|evance. Soon a new techno|ogy ca||ed Organ|c
||ght-Em|tt|ng D|odes O|ED} w||| be tw|st|ng and bend|ng |ts way |nto a||
facets of ||fe.
O|EDs are very th|n and can be put on fex|b|e mater|a|s such as p|ast|c or
meta| fo||. The d|sp|ays are not covered by g|ass, wh|ch makes them more
durab|e and damn near shatterproof.
From a d|sp|ay po|nt of v|ew th|s opens up a mass|ve var|ety of new poss|b|||-
t|es |n terms of advert|s|ng products |n surpr|s|ng and |nnovat|ve ways, never
m|nd other app||cat|ons for the techno|ogy wh|ch cou|d very we|| be the
b|ggest th|ng to happen to med|a and market|ng s|nce R|aan Oruywagen
bought a new t|e . . .
Err.
Keep a c|ose eye here boys and g|r|s - |t`s com|ng soon to a screen of any
shape or s|ze} near you.
> www.oled-info.com/exible-oled <
24

IMBIZO
PLANET OF
THE APPS
n uRnuh uu1 niinIR!
For m|n|ma| bucks you can get
your hands on an |Pad app
ca||ed 'Paper`. Th|s n|fty ||tt|e
app a||ows you to create
anyth|ng as you norma||y wou|d
on rea| paper.
Ou|ck|y draw up a storyboard or
exp|a|n your magn|fcent new |dea
to some scept|ca| sou| over a
bus|ness |unch. Take notes so
you don`t |ook ||ke a fam|ngo
when you try and type too fast on
your tab|et, take down the deta||s of that hoo||gan dr|ver wh||e keep|ng one hand on the steer|ng
whee|} or s|mp|y go a|| Jack Dawson on yourse|f and sketch your |oved one |y|ng on a couch
wear|ng noth|ng but a b|ue d|amond and a sm||e that says 'you`re |n troub|e ton|ght Mr Art|st`. . .
E|ther way, you are go|ng to score w|th Paper.
INSTAPRINT
LuuL iuR
LuLh13 nhu
8Rnhu
nL1Iun1Iuh3
Alrighty then.
So you have an event or brand activation exercise but the public need to go online to
fetch photographs of their interactions with you . . . Why not just get a new gadget
called Instaprint that you can hook up to a Wi- network and use to print out any
image containing a specic location or hashtag?
This is cool because the public, or your audience, whoever can take part in the event
and have their photos printed immediately. We could elaborate on the potential
marketing uses here but then wed be spoiling your fun.
X MARKS THE BOX
nuu unLuL 1PRuuGP Ih1LRnL1IuL 3ui1unRL
Towards the end of 2010, Microsofts Kinect motion sending input device (originally for
X Box gaming consoles) was the fastest selling consumer electronics device in the
history of mankind. Since then the Kinect sensor device has grown out of its for
gaming only skin with many companies using it as a method to offer virtual training as
an add on to its core products.
For those who dont know, Kinect basically removes the need for game controllers as
human gestures and voice commands full their function, which means that clever
application of its capabilities have allowed companies such as Nike to deliver products
such as Kinect Training.
What you get is a virtual personal trainer that uses the motion-sensing capabilities of
Kinect to check your form and ensure that you are doing your exercises correctly . . .
without perving at your backside.
It also allows you to interact with on-screen obstacles to keep your workouts interesting.
Now think about this gentle marketers: Imagine if you could develop similar products to
help hapless souls assemble your product quickly (step by step) without hassle? Or if
you could show owners of your product how to best make use of its many features, how
to improve their golf swing with your clubs, how to play the perfect cover drive with your
make of cricket bat . . . eh?
This could help you encourage customers to use (and therefore eventually buy more of)
your products.
This is clever stuff.
BETTER THAN COFFEE
lLLPIhG 8unRu hLh8LR3 nunlL 3IhLL 2uI3
The Samsung Galaxy Beam has
a projector built into the top
of the phone that allows you
to share photos and videos
on a projected screen up to
127cm wide.
From a pure novelty perspective
you should at least be able to
|eep ]cu| CE0 ||cr
dreaming about golf courses
far away and your CFO from
salivating about the latest
cost cutting measures that
are about to be rolled out while you are trying to convince them that more, not less,
marketing is required.
Just be sure to use the phone for work purposes only or you could nd yourself sharing
photos of you and your mates doing the Macarena wearing Springbok-branded
underpants, cowboy hats and tequila smiles.
E||a.
Brandon Faber is the marketing manager at
Stargaze Media, Snr copywriter / strategic consultant
at Snrgy and founder of Brand1 Marketing
SHARING IS CARING!
Please feel free to share your thoughts with
Brandon, he would love to hear what new
technologies or methodologies are impacting
favourably on your life (both personally and
professionally).
Please contact us at
innovations@
advantage.co.za and
please do remember
that the greatest
innovations mean
nothing without the
imaginative use
thereof. That part is
up to you.
gy gggggggggggggggyyyyyyyyyyyyyyy
X MARKS THE BOX
a
T
SA IS CONFRONTED with some interesting
challenges in the digital space, states Sebastian Stent,
head of digital at Media24 newspapers. Yet, within this
situation the industry has nonetheless been able to innovate
above and beyond many other countries. Its from a content
perspective, however, that they still lag behind, with limited
focus on enriched and integrated enhancements within their
content, he adds.
To his mind this is mostly because publishers are unwilling
to put resources towards strong digital editorial teams, or
working to build enriched products instead of purely copying
and pasting content onto digital platforms. This is changing
quickly especially amongst small online publishers who
have been focusing their efforts on digital radio, online video
and good quality online content and they are making the
biggest inroads into the exciting landscape of digital rst
content production.
Some magazine sites have got it right though, says
Wendy Lucas, Ramsay Medias Digital Business manager.
They are producing great content tailor-made for online
consumption that enhances that of the print product rather
than cannibalising it.
From a competence perspective, Attila Bernariusz, divisional
head at Kagiso Digital, points out that Kagiso New Media have
a good appreciation for the skills and expertise of not only
their own content producers, editors and journalists, but also
those at their more established competitors (e.g. Naspers and
Times Media Group) and niche publishers Kagiso engages
with. Many of these publishers (e.g. Daily Maverick) run slick
operations, with great content and advertising propositions
alike. The challenge is running a commercially viable operation
given the relatively low levels of ad spend towards online
publishing versus more established media.
HOW CAN IT BE BETTER?
There is a big opportunity for improvement for apps, not
necessarily the kind that keeps one entertained with
mindless bird-tossing, but rather give access to good quality
content in a neat, accessible package, muses Lucas. The
challenge in this space is breaking through the clutter and
once thats achieved, ensuring its accessed regularly.
Bernariusz reckons the areas that need improvement, are
interlinked. The rst area that needs attention is the
necessity to demonstrate the viability of online display
advertising; by going beyond the click. He recently
commented on this in the article, Online advertising is not
just for clicks (at www.advantagemagazine.co.za). Most
advertisers appreciate performance based measurement
metrics but have lower levels of appreciation for the
brand building effects of online display advertising. Online
publishers and their sales teams stand to benet from
increased ad spend through making sense of clicks and
engagement for their clients by translating them into tangible
business insights. Insights that translate into brand building
measurement metrics beyond just clicks, engagement,
trafc, leads, and conversions. By doing that, it will lead to
the second area that needs improvement more ad spend
towards the medium.
IS THERE STILL RESISTANCE TO ONLINE
ADVERTISING?
Lucas is certain its not the case. Her experience is that its in
fact no longer a question of whether to incorporate digital,
its now a discussion of how much, what, where and when.
Also encouraging is the fact that more marketers are
realising that digital doesnt replace traditional media, but ts
in with the mix.
Stent adds that in addition more and more brands are making
the transition to hiring media agencies with a digital or full-
spectrum focus, and media buyers who are able to best
represent their brands across all markets.
Bernariusz nds it difcult to answer, saying its actually both.
Yes, there is still resistance, but we are noting increased
levels of ad spend on a deal by deal basis (average
deal sizes are increasing), as well as a rationalisation
of advertisers. But have we reached our full potential?
Absolutely not. I believe there are still many advertisers that
could benet from online display media.
IS THE LOCAL INDUSTRY GETTING THE
HANG OF ONLINE ADVERTISING?
Stent reckons somewhat, as the local advertising industry
is slowly, but surely managing to convey to its clients the
benets of online advertising, and increased spending in this
regard. While the main formats print, television, radio and
outdoor still command the lions share of revenue, digital
advertising is gaining market share, and creatives are going
beyond their current iterations of banner-only campaigns to
more interesting and engaging formats.
But its the advertisers that sometimes still see digital
advertising as an add-on, and a cheap format, he warns.
This leads them to ask for heavy discounts and put minimum
effort into the creative and content that they advertise.
Andrew Solomon, head of Ramsay Medias Digital
Publishing division, reckons other challenges come
in the form of understanding reach and drawing from
audience data. Understanding the reach of social
media can be tricky if youve only just started thinking
about banner ads. Once marketers understand their
audience, they will soon see that their audience exists
across multiple sites in many interest areas. Targeting
audiences based on their actions rather than the site
they happen to be visiting is far more effective.
Lucas in that there are vast disparities in skill levels and
understanding among marketers both at agency and client
level. This will hopefully improve as spend shifts to digital
and marketers are put under pressure to deliver on digital.
Bernariusz too attests to the fact that although there
might be a wealth of talent in the market, its not
widespread and ubiquitous. What I mean is that
those that are talented, have a profoundly deep
understanding of what it means to succeed in this
space. We have denitely noticed an increased
understanding of the medium from the client side, and
over time are nding it easier to nd quality talent to ll
vacancies. I think that the key to unlock further talent
is largely based on investment an investment in both
time and skills development.
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iuRLIGh 1LRRI1uR9 nh9huRL. 8u1 LuLh 3u, uPn1 I3 1PL uunLI19 ui uhLIhL hLuIn,
nhu uhLIhL nuuLR1I3IhG Ih 3n7 hnGuLL Luuu n3lLu 1PL LPLR13
online?
26

Sebastian Stent Wendy Lucas Andrew Solomon Atilla Bernariusz
INFOCUS
On top of
No playing the fool
Music to the ears
what is Playboy 8A's effering at this stage?
Playboy offers two digital versions: A standard version,
available for free on two platforms (Snapplify and
MySubs). This version corresponds to the print edition.
Then we have a premium on-line edition for sale
(Snapplify, MySubs and Zinio) with an extra 50 pages of
photo shoots and features. We have also raised our price
on the print edition signicantly (R59.95) because people
collect Playboys rather than just read them for a day or two
or at the dentist. We have maintained very healthy sell-
through rates despite the increase, which validates that
Playboy fans feel they get way more than just a pretty face
when they buy our magazine.
8ut why this big shift te digitaI?
In Playboys case, we had continued resistance from retail
groups and we cannot service the demand for the brand
through regular newsstand outlets. Also, given that digital
is more private space, it allows new readers who may still
feel shy buying a Playboy to experience the magazine. One
cannot underestimate the social inhibition; we have had how
many retailers tell us that people steal Playboys and wrap
them in a newspaper to get past the till, rather than being
seen buying the magazine.
Is digitaI a particuIarIy geed t fer Playboy?
Digital services is one of our long-range strategic objectives,
namely to normalise Playboy in SA society. This
normalisation will take time with new consumers over the
next few years, and hence our willingness to offer a standard
version of the magazine for free to new readers in order to
familiarise themselves with Playboy. Digital does this more
privately and more cost effectively.
And yeu're cendent it'II be successfuI?
We have had stints of growth (500 new readers per week)
coming on board through this exercise recently. It takes
most magazines months if not years to add such subscriber
numbers on print editions. So, from that perspective it is
working and will continue to add momentum. We do not
see Playboy being able to take its rightful place on the SA
newsstand very soon in this hypocritical society and predict
its at least three years away before we will have print
numbers that are reective of the demand and passion for
our magazine, and when digital will become just another
platform for a differentiated readership experience. It is a
fun and challenging period of transition in our industry and
we do a lot of research on where trends are heading. We
try and avoid the conventional claptrap, and also try and
take informed long-term positions on these matters. So far,
so good.
HAVING ONLY launched
in August, Simfy Africa
already has 10s of
thousands of registered
users, says Mole. The client
base is growing steadily,
despite us not having done
any above the line marketing
]e|. E.e| oe|c|e We We|e
ofcially live, we had about
2 500 registered users.
The average user listens to about two hours of music per day
through their service and to date they have streamed millions
of songs. A very encouraging trend we have picked up lately
is that the proportion of people converting from trial accounts
to paid accounts has been growing strongly. Since we have
launched, we have also been approached by several local
artists and we have signed up a healthy proportion of them
and counting.
How it works is that they rent people access to a catalogue of
20 million songs for R60 per month. Users can then access
the music via their PC or laptop and on up to three different
mobile devices. Music can further be accessed online at any
time but music can also be marked to ofine for listening
without internet connection, he explains.
But is an online music portal such as Simfy a viable business?
In the fullness of time we believe it will be, but at present,
with high licensing costs, and still a relatively small base, it
is a business that needs to be funded. We would expect a
few more players to enter the market but as each one enters
they will nd it harder, all else being equal, to gain market
share and therefore a market like SA can realistically only
support about three or four players at most. At this stage
their largest competitors are the traditional digital music
shops like iTunes, and of course music piracy also spoils a
lot of their fun.
There is no doubt that iTunes, in terms of money spent on
music, at least in the short term, will capture a sizeable
share of the market but they are not really a direct
competitor as they sell music, whereas we rent it. Indeed
in overall terms the entrance of iTunes has helped raise
interest in digital music and whether it was a coincidence
or not, we saw some of our strongest sign up numbers to
date at exactly the time iTunes launched. Over the last two
years in almost every developed country iTunes sales have
been dropping whereas music streaming numbers have been
climbing strongly as people realise how much additional
value they get with streaming. We expect that in due course
SA will follow this trend as well.
uhLIhL hu3IL PuR1nL 3Ihi9 niRILn LnuhLPLu Ih 3n n iLu huh1P3 nGu.
unuIh huLL, LLu ui 3Ihi9 niRILn, 1LLL3 hnGuLL Luuu Puu 1PI3 iuRhn1
I3 uuRlIhG iuR 1PLh, nhu uPL1PLR I1 Lnh uuRl iuR u1PLR3 1uu
ONLINEMEDIA
PLn98u9 3n Pn3 GuhL iuLL 1PRu11LL uI1P I13 uIGI1nL
uiiLRIhG. LPnRL uu PLL33I3, LuI1uR, GIuL3 hnGuLL Luuu
1PL Luuuuuh uh uP9 1PI3 I3 3u RIGP1 iuR 1PLh
28

THE EFFECTIVE CREATIVE category will be
awarded for the rst time in September and follows in the
wake of the introduction of a similar category at Cannes.
Only Loeries winners from the previous two years will be
eligible to enter.
One of the panelists at the International Seminar of Creativity
at last years Loeries was James Hurman, former strategic
planning director of Colenso BBDO and now MD of Y&R
New Zealand. Hes also the author of a neat, slim volume
packed with the kind of facts and gures that will come in
handy in any agency and marketing department.
USEFUL AMMUNITION
At one time or another, most of us, whether on the client or
agency side, have had to ght for the kind of work the
industry likes to describe as brave. A book like Hurmans
The Case for Creativity, provides useful ammunition for
anyone who believes that creative communication will get a
commercial message across more effectively than a boring,
safe approach. Rather than the anecdote we invariably rely
on, it points to numbers, analysis and peer-reviewed studies
to declare that the answer to the question is yes: creativity is
good for business. Why? Because It makes companies more
successful by making their advertising far more effective in
delivering a return on investment.
Hurman draws on 15 case studies (including two of his own) to
make his argument. Listed in the appendix, these range from
a 1991 paper titled: Creative Advertising and the Van Restorff
Effect which shows that creativity enhances recall, through
Donald Gunns landmark 1996 study Do Award-winning
Commercials Sell? to Peter Fields 2010 paper for the IPA,
which looked at the effectiveness of campaigns ranked by
the Gunn Report.
Hurman talks about two kinds of marketing directors: the kind
who are in it to win, and those who are in it not to lose. He
argues that creative advertising makes more sense for both
types, because it maximises return and minimises the risk
of loss.
Creativity contributes to effectiveness in three main ways:
C|ea||.||] |rp|c.e ad.e||||| |e:a||
C|ea||.e ad.e||||| | rc|e pe|ua|.e - :c|ure| a|e
less cynical when exposed to an original idea
C|ea||.e :arpa|| a|e rc|e e||:|e||. ||||:a|||] rc|e
media spend is required to make the same impact with an
uncreative campaign
Beyond that, Hurman links stock market performance to
creativity, drawing on the examples of companies like Nike,
Volkswagen, Honda and P&G. The link isnt necessarily
causal, but theres good evidence that award-winning
advertising is evidence of a commitment to innovation in
other areas of its business. P&G didnt just become more
creative in its advertising, Hurman notes. It became more
creative in everything it did.
MORE IMPORTANT
In the future, creative advertising will only become more
important. As we move from an attention economy to a
conversation economy, it will become essential for brand
communication to be interesting enough to talk about. This
is something we saw with this years Super Bowl ads, which
were rst released on YouTube with the specic aim of
generating conversation.
Data, of course, is useful for hindsight, but it cant tell us
whether an idea will work before weve tried it. Brave ideas
are risky because theyve never been done before, and that
will never change. If we could be completely condent in
them, theyd become safe and predictable.
For all sorts of practical reasons, the Loeries campaigns
e||e|ed || ||e E||e:||.e C|ea||.||] :a|ec|] ru| ||| oe
judged creative before their sales results can be assessed.
The
campaigns
eligible for
entry include
Grand Prix
winners
Carling Black
Label Be the
Coach and
Nandos Last Dictator Standing both intriguing prospects
given that they were designed to promote sales from
the outset. Demonstrating that standout campaigns like
these contributed to the bottom line will help increase the
condence of marketers in ideas that force them out of their
comfort zone.
RESULTS CAN BE TESTED
Other things being equal, Hurman quotes McKinsey in one
German study, creativity is an advertisers best bet. The
stronger the case we can make for creativity as a driver of
business success, the more willing marketers will be to do
things differently. This has wider ramications, as advertising
and marketing move beyond their traditional boundaries
into product development and social entrepreneurialism.
Creativity will always be difcult to measure; thats the
nature of the beast. But the results of creativity can be
tested, and in a world that, for better or worse, is run largely
by accountants, proving a link between good ideas and
business success is a very good starting point indeed.
The Case for
Creativity
AGENCYAGENDA
Is there a link between creativity in advertising and commercial
success? A question that has been the subject of vigorous debate in
the pages of this magazine over the years, its also one to which the
newest category at the Loeries will provide some answers later this year
Entries for the 2013 Loeries close on 31 May. Send your entry by 15 April and receive
a 10% discount. Get all entry information including categories, guidelines and preparation
instructions at loeries.com. Winners will be announced at the awards during Loeries Creative
Week Cape Town 16 22 September.
Sarah Britten
By Sarah Britten
Sarah Britten is a communication strategist, writer
and artist who has worked in the ad industry for
many years. She wrote her PhD thesis on the role of
advertising in national identity in post-apartheid SA.
AS WE MOVE FROM AN ATTENTION ECONOMY TO A CONVERSATION
ECONOMY, IT WILL BECOME ESSENTIAL FOR BRAND COMMUNICATION
TO BE INTERESTING ENOUGH TO TALK ABOUT
MARKETINGMATTERS
GLOBALISATION, techno|ogy, the r|se
of the empowered consumer and the need
for market|ng profess|ona|s to focus more
than ever before on demonstrat|ng the ROl they
are mak|ng are just some of the pressures that
marketers are fac|ng.
A|| too often many peop|e |n trad|t|ona| market|ng
ro|es may not even rea||se they`re operat|ng
w|th|n a chang|ng parad|gm. And therefore
the capab|||t|es they requ|re are constant|y
chang|ng. Marketers are hav|ng a hard t|me
keep|ng up.
GMN`s OMO 'Ozar` Mary|ee Sachs, a former S
cha|rman and wor|dw|de d|rector of consumer
market|ng of WPP frm H||| & Know|ton and
author of The Changing MO of the CMO, wrote
that: The ro|e of the OMO |s probab|y one of
the |east understood. Market|ng |s often seen
as a 'b|ack box` confused w|th sa|es, and wh|ch
|s somet|mes v|ewed as a fnanc|a| dra|n on an
organ|sat|on, fund|ng expens|ve advert|s|ng
campa|gns, sponsorsh|ps and other unto|d
extravagant |tems."
MORE THAN SELLING
Spec|fca||y |n SA, most bus|ness peop|e defne
market|ng as med|a, se|||ng or advert|s|ng. lt |s
true that these are parts of market|ng and every
day a|| of us are bombarded w|th Tv and rad|o
commerc|a|s, ema||s, sa|es ca||s, coupons,
and d|rect ma||. But market|ng |s much more
than advert|s|ng and se|||ng. ln fact, market|ng
compr|ses of a number of act|v|t|es that are
|nter||nked and the dec|s|on |n one area affects
the dec|s|on |n other areas.
By |ts very nature, market|ng defnes how the
organ|sat|on |nteracts w|th |ts market p|ace.
Oonsequent|y, a|| strateg|c p|ann|ng, to a
greater or |esser degree, requ|res an e|ement of
market|ng. On|y |n th|s way can organ|sat|ons
become strateg|ca||y respons|ve to customer
need and commerc|a| pressures.
SA MARKETING PROFESSIONAL STUDY
Th|s year GMN |s estab||sh|ng the G|oba|
Market|ng Standards Oounc|| to determ|ne
the capab|||t|es that market|ng profess|ona|s
requ|re at each and every stage of the|r career,
wherever they ||ve and work |n the wor|d.
|ed by myse|f the frst phase of th|s work has
commenced th|s month w|th the SA Market|ng
Profess|ona| Study, and the support of GMN`s
partners |n SA such as Advantage magaz|ne.
The purpose of the Study |s to:
ldent|fy|ng the capab|||t|es and standards that
the |ead|ng Market|ng Profess|ona|s |n SA
possess and the|r state of read|ness |n he|p|ng
the|r organ|sat|ons cope w|th the
cha||enges fac|ng today`s
bus|ness
Estab||sh|ng the capab|||t|es and standards that
organ|sat|ons |ncreas|ng|y requ|re from SA`s
market|ng profess|ona|s
Deve|op|ng the South Afr|can Market|ng
Oapab|||t|es Framework, wh|ch estab||shes the
capab|||t|es and know|edge that SA`s market|ng
profess|ona|s requ|re |n order to de||ver
|ncreas|ng va|ue to South Afr|can bus|nesses
Haydn Townsend, OEO of Tr|nergy Brand
Oonnectors we|comes th|s deve|opment.
The market|ng mode| has evo|ved. Market|ng
profess|ona|s |n SA are not on|y seek|ng
the know|edge to |mp|ement the very |atest
market|ng pract|ces but are cont|nua||y
seek|ng stronger representat|on and the
know|edge, |ns|ghts, |nsp|rat|on and educat|on
they need to he|p them de||ver |mprovements
|n market|ng accountab|||ty. l who|ehearted|y
support th|s |n|t|at|ve and |ook forward to
see|ng the resu|ts." <
Traditional marketing as we know it including media, advertising, public relations, branding
and corporate communications has evolved and changed over the past few years at a
tremendous rate, says Dr Antony Michail, Global Marketing Network (GMN) SA country
director and GMN regional director for Africa
Dr Antony Michail
For any further information about this initiative please contact
Dr Michail at anthonymichail@theglobalmarketingnetwork.com
By Nonye Mpho Omotola
30

MARKETINGMATTERS
RECENTLY THE USA declared a focus on
doing business in Africa and other countries will surely
be doing the same with China already leading the way.
Africas large consumer base is a sign to adept marketers
that opportunities abound.
When looking at Nigeria alone with a population of 160 million
and proposed to be one of the top 20 populous countries by
2050, this could not be more true.
Its large consumer base is denitely attractive for FMCG and
other products such as electronics, cars and mobile phones.
With over 50 million or more internet users there is denitely
opportunity for retail growth through use of social media and
expanded outlets.
Dynamic African markets are usually characterised by
challenges such as poor infrastructure, political instability,
diverse cultures and extreme religious beliefs. However,
they provide opportunities for brands that may not have
been considered by developed economies expect for
China, which has gained fast entry despite some of its
poor quality products.
LUXURY GOODS
With Africas youthful and large consumer base, there will
be a number of luxury brands that will do well to set up
more shops in strategic cities in the African continent. We
already see shops such as Zara, Top Shop and H&M in
Johannesburg. However, uber luxury brands need to start
making more of headway.
The majority of these African markets have savvy diaspora and
high net worth individuals, so lifestyle luxury brands will do
well to position themselves in urban areas where consumers
with disposable income will spend outrageously.
GLOBAL BRANDS PARTNERING WITH
LOCAL BRANDS
Joint ventures as a strategic move will be good for brands
eager to enter Africa. Woolworths SA is a case in point.
They partnered with Chellerams an old established
brand in the Nigerian market. More recently we see
brands partnering for growth such as China and French
Telecoms recent collaboration on web browsers for low-
end smart phones.
CALL FOR QUALITY PRODUCTS AND
SERVICES
Africas youthful market and exposure to developed markets
through social media and traditional media alike will begin to
call for more quality. Any old product will not do. So brands
beware!
Upgrades on products such as phones will grow, as users
desire to t in and ascribe to the ner things in life will be key
in dening their personal brand, trends and product options.
CHANGING AND IMPROVING LIFESTYLES
The rise of the middle class youth market and with the return
of those from the diaspora, those high income earners will
certainly inuence the changing and improved lifestyles on
the continent. This is buttressed by exposure to global trends
through digital and traditional media, which then inuence
product choice and purchasing behaviour for things such as
cars, electronics, phones and laptops.
STRENGTHENING OF BUSINESS
PRACTISE AND CORPORATE
GOVERNANCE
African businesses looking to do joint ventures or afliate with
global brands will need to understand their brand value and
instil best practises. This includes proper employee conduct
and corporate governance to attract global partnerships
when they come knocking.
INCREASED TRAVEL
With the many business opportunities, there will denitely be an
increase in travel on the continent and new routes adopted.
Recently Air Zimbabwe announced a new route to Nigeria.
Countries will need to ease visa free routes at port of entry
for fellow Africans to enable productive regional trade.
REGIONAL BLOCS RELEVANT IN
DETERMINING TRADE
For easier access into Africa especially when expanding into
more than one or two countries, regional blocs will be critical
to strategic entry for brands into Africa. These include the
E:c|cr|: Ccrru|||] c| we| A|||:a| S|a|e (EC0wAS, a|d
Scu||e|| A|||:a| Oe.e|cpre|| Ccrru|||] (SAOEC, W|||
country governments expected to develop proper business
environments for infrastructure, sound policies and good
corporate governance to attract foreign investment.
MOBILE BANKING
The majority of these markets are mass and untapped,
but mobile telephony has certainly improved access to
information, which in turn has affected purchase behaviour.
With a large percentage of consumers under banked in
these markets, mobile telephony and rural marketing for
bank products and services should be part of any nancial
services strategy to attract rural customers. Anyone in doubt
should read about Dr James Mwangi, chief executive ofcer
a|d ra|a|| d||e:|c| c| E(u||] Ba|| || |e|]a, W|c Wa
named the Forbes Africa Person of the Year 2012.
African market trends
fer grewing brands
For brands struggling to gain market share in developed economies,
2013 will be a decisive year to include Africa in their brand strategy
Nonye Mpho Omotola is the former group head of
corporate communications for Oceanic Bank Nigeria, now
Ecobank. She is described as a brand strategist and an African
global communicator. Nonye consults for a number of
corporates and can be contacted at nonye.mpho@gmail.com
AFRICAS YOUTHFUL MARKET AND EXPOSURE TO DEVELOPED MARKETS
THROUGH SOCIAL MEDIA AND TRADITIONAL MEDIA ALIKE WILL BEGIN TO CALL
FOR MORE QUALITY. ANY OLD PRODUCT WILL NOT DO. SO BRANDS BEWARE
By Nonye Mpho Omotola
By Nicole Zetler, senior strategist at Yellowwood
MARKETINGMATTERS
ACCORDING TO Bloomberg Business Week,
emerg|ng markets are expected to produce 75%
of the wor|d`s growth |n the foreseeab|e future.
lt wou|d be foo||sh for mu|t|nat|ona| compan|es
not to be c|amber|ng for a p|ece of the emerg|ng
market p|e, and they are do|ng so. What |s rea||y
exc|t|ng |s that compan|es |n emerg|ng markets
are no |onger content to fo||ow a 'frst to fo||ow`
strategy, whereby they |eave the |nnovat|on to the
mu|t|nat|ona|s. More and more, emerg|ng markets
are |nnovat|ng for themse|ves - and reap|ng
the enormous fnanc|a| rewards that come from
successfu| d|srupt|on.
W|th ||m|ted |nfrastructure, unsoph|st|cated
regu|atory pract|ces, |ntense cu|tura| comp|ex|t|es
and consumers that have d|sparate and
unpred|ctab|e |eve|s of |ncome, these markets
are by no means easy targets. Emerg|ng market
compan|es are at an advantage |n that they
understand these dynam|cs and are more fex|b|e
and w||||ng to comp|ete|y re|nvent bus|ness
mode|s to ft the market. lnnovat|on |s not a
d|fferent|ator |n these markets, |t |s a pre-requ|s|te
for success.
lnnovat|on means d|fferent th|ngs to d|fferent peop|e.
For those |n more deve|oped markets, |t may
conjure up |mages of sta|n|ess stee| R&D |abs,
stream||n|ng the most stream||ned processes or
the |atest techno gadgets. ln emerg|ng markets,
th|s type of |nnovat|on |s superfuous. So then, |f |t
takes |nnovat|on to w|n |n emerg|ng markets, what
k|nd of |nnovat|on |s necessary?
INNOVATION GUIDED BY REAL INSIGHT
SHOULD BE THE IMPERATIVE
The compan|es that have succeeded |n emerg|ng
markets are those that cons|der the|r offer|ngs
from the outs|de-|n. They pr|de themse|ves on
be|ng re|evant and base everyth|ng they do off
the foundat|on of customer |ns|ght. For examp|e,
n||ever |n lnd|a understood that the|r bottom-
of-pyram|d market cou|d not afford standard
s|zed product nor had the space to store them.
n||ever responded by |ntroduc|ng 'm|cro` product
port|ons and successfu||y markets Suns||k
shampoo and O||n|c ant|-dandruff shampoo
sachets at 2.5 rupees each. By do|ng th|s,
n||ever |s not on|y cater|ng to the needs of the|r
market, but the sma||er sachets prov|de users
w|th the opportun|ty to try the products w|thout
g|v|ng up a|| of the|r d|sposab|e |ncome.
SOMETIMES IT REQUIRES LEAPFROGGING
BEYOND THE STATUS QUO
Oompan|es often get fxated on the untapped
potent|a| of emerg|ng markets and forget to th|nk
about the feas|b|||ty of the|r bus|ness mode|s
|n the market they may be enter|ng - much to
the|r detr|ment! Others assume that they can
app|y o|d processes to markets pure|y based
on the ||fe stage of a part|cu|ar market. Because
each emerg|ng market |s made up of comp|ete|y
d|fferent cha||enges, |t requ|res bus|nesses
to |nnovate and '|eapfrog` beyond the current
convent|ons. For |nstance, cons|der consumer
payment networks: these systems took years to
become fu||y funct|ona| |n mature econom|es.
ln Afr|ca, by contrast, many countr|es are go|ng
beyond catch|ng up. They`re expand|ng the|r
||m|ted |egacy payments |nfrastructure beyond
deve|oped econom|es` standards from the use
of 'mob||e money` systems such as M-Pesa, to
be|ng the frst countr|es to ro||-out ch|p cred|t
cards |nstead of the usua| fraud-prone magnet|c
str|p cards}.
ln essence, cook|e-cutter approaches when
enter|ng emerg|ng econom|es are detr|menta|.
Mak|ng assumpt|ons can be even more
damag|ng. lnnovat|on for |nnovat|on sake w||| fa||
too. lnnovat|on |n
emerg|ng
markets shou|d
be gu|ded by rea|
|ns|ght, re|evance
and true
understand|ng of
unmet needs -
so |nvest your
resources |n
gett|ng that r|ght.
lt`s requ|res us to
d|srupt or be
d|srupted! <
0isrupt er be disrupted
- innovation in emerging markets
The term, Emerging Market is no longer topical; its a table stake! A decade ago these
mysterious markets lled with untapped potential were only for the brave or the stupid
to conquer. However, as time has passed and potential has been realised, the fear of
entering these markets has eased
Nicole Zetler senior strategist at Yellowwood. She
is both formally trained and experienced in the elds
of business, brand and marketing strategy, with work
experience covering both the client and supplier/
agency environments. Nicole has worked on projects
across a number of industries both in SA as well as
in Emerging Markets including Nigeria, Kenya
and Uganda.
34

AT THE BEGINNING of th|s year, |ondon-
based g|oba| med|a agency PHD gam|fed |ts
bus|ness by |aunch|ng an operat|ng system,
Source, wh|ch sees |ts emp|oyees g|oba||y
jo|n what |s termed an MMO game, or
Mass|ve|y Mu|t|p|ay On||ne Game
Gam|fcat|on has become more than just a
buzzword over the past few years, as the trend
of app|y|ng gam|ng act|v|t|es and concepts
to everyday bus|ness pract|ce has grown.
Research from g|oba| research group Gartner*
|nd|cates that by 2015 ha|f the organ|sat|ons
that manage |nnovat|on processes w||| gam|fy
those processes and that by 2014 more than
70% of G|oba| 2000 organ|sat|ons w||| have at
|east one gam|fed app||cat|on.
ON THE SAME PAGE
ln 2011, the Oape Town-based
|ndependent strateg|c med|a
p|ann|ng agency, Page Three, formed a
strateg|c a|||ance w|th PHD when the g|oba|
company acqu|red a 70% shareho|d|ng |n
Page Three.
The three d|rectors of Page Three, |ynnette
Heyns, l|an |azarus and Anne Dearna|ey
MD} reta|ned 30% shareho|d|ng. Accord|ng
to them the agency was at the po|nt that
|t needed to match |ts un|que DNA w|th
an |nternat|ona| |eader. The three are a|so
creat|ng a presence |n Johannesburg s|m||ar
to the one they estab||shed |n Oape Town.
Page Three was formed |n the second ha|f
of 2007 after the three fe|t they wanted to
return pass|on and energy to the|r sector
of the market. We wanted to make a
d|fference, so |t was a hard dec|s|on to se||
to a g|oba| company, but |t was a good
dec|s|on as the two compan|es` va|ues,
m|ss|on and what they stand for are v|rtua||y
|dent|ca|. PHD m|rrors what we are about."
PHD OEO, M|ke Oooper c|ear|y agreed w|th th|s,
say|ng that Page Three |s an exce||ent ft for
the PHD cu|ture. PHD was founded |n |ondon
|n 1990 as a p|ann|ng |ed med|a agency.
Today |t`s a g|oba| network w|th more than 2
500 emp|oyees |n more than 60 countr|es.
Dearna|ey says so far |t has been great journey
for them. ln|t|a||y |t was daunt|ng jo|n|ng
an |nternat|ona| network, w|th the fear of
author|tar|an network com|ng down on us,
but th|s has not been the case at a||. So far |t
has on|y been a pos|t|ve exper|ence w|th rea|
benefts for us."
FROM THE SOURCE
One of these benefts |s access to the PHD lP
g|oba| and |nte|||gent m|nd |n wh|ch Source
p|ays a b|g ro|e. We be||eve Source |s the
|nnovat|ve too| we can hang our hat on and
Play will be to the 21st century what work
was to the industrial age our dominant
way of knowing, being and creating value
Pat Kane, the play ethic, 2004
Game
changing
planning
Mainstream brands such as AOL,
Dell, Coke, Nike, Nissan and Pepsi
have adopted gaming techniques
Imagine joining a company where they make you join a massive
multiplayer online game... Where you earn rewards for playing
ON
l
INDEPTH
By Danette Breitenbach
L to R: Ilan Lazarus director PHD, Lynnette Heyns director PHD, Anne Dearnaley MD PHD
COVERSTORY
that |t w||| set us apart from our compet|t|on,"
says Dearna|ey.
Source |s a c|oud based ||ve co||aborat|on
p|atform wh|ch a||ows PHD`s emp|oyees from
75 countr|es to |og on and crack campa|gn
|deas for the|r b|ue ch|p c||ents. |azarus
exp|a|ns that PHD |s the frst med|a agency
to |ntroduce a gam|ng |ayer |nto a too| of th|s
nature. When p|ayers are p|ay|ng a game, days
turn |nto hours, hours |nto m|nutes and m|nutes
|nto seconds. Bas|ca||y t|me stands st|||. The
Source gam|ng |ayer harnesses the power of
gam|fcat|on."
Accord|ng to McGon|ga|* when we p|ay a game,
we tack|e tough cha||enges w|th more creat|v|ty,
more determ|nat|on, more opt|m|sm and we
are more ||ke|y to reach out to others for he|p.
Source`s object|ve |s to foster a h|gh |eve| of
co||aborat|on. Source |s our attempt to |everage
the power of the game exper|ence and to tap |nto
the r|ch potent|a| of PHD co||ect|ve m|nd," says
|azarus, add|ng that Source has fundamenta||y
changed how they work. Th|s |s because |t
harnesses the r|ch potent|a| of a g|oba| co||ect|ve.
So g|oba||y |t a||ows us to cocreate a product that
|s much more powerfu| because |t br|ngs together
so many d|fferent m|nds. The |dea of many m|nds
|s better than one..."
NO BLACKBOX
The system was deve|oped by exam|n|ng
p|ann|ng systems and why they fa||, and
based on th|s, an ant|theses was deve|oped.
P|ann|ng systems fa|| because they are often
unnecessar||y comp||cated and can be user
unfr|end|y. P|ann|ng systems a|so need |ots of
data," he says. Source boasts market research
from a|| over the wor|d as we|| as |oca| research
re|evant to that country or reg|on.
Oomm|ss|on|ng research |s expens|ve for c||ents
and agenc|es. A|so, too often comp|eted
research cannot be used or the system
deve|oped turns out to be a b|ackbox system
that |s one d|mens|ona| and encourages the
oppos|te of co||aborat|on. Source`s |nteract|ve
th|nk|ng frameworks a||ow users to access |t
on a number of d|fferent p|atforms, |.e. the|r
phone, |aptop or PO. Source |s the oppos|te to
the b|ackbox scenar|o. lt |s |ntu|t|ve, a||ve, open,
and essent|a|. lt |s the g|oba| consc|ousness of
the PHD organ|sat|on," he exp|a|ns.
lnnovat|on |s becom|ng |ncreas|ng|y gam|fed.
So the strong game |ayer |n Source
encourages co||aborat|on and prov|des a fun,
compet|t|ve edge. P|ayers are awarded p|ngs
for part|c|pat|ng and he|p|ng other peop|e.
We be||eve |nnovat|ve |s the on|y way to get
d|sproport|onate and transformat|ona| ROl."
Source has been |n deve|opment for near|y two
years. Wh||e |t m|ght have game |ayer, |t |s no
tr|v|a| matter.
The 12 step
process |n fve
sect|ons are bu||t
on cutt|ng edge
market|ng theory
drawn from three
key areas:
Soc|a| sc|ences,
part|cu|ar|y recent stud|es |nto behav|oura|
econom|cs and cho|ce arch|tecture
The most commerc|a||y app||cab|e |ns|ghts that
have emerged from cogn|t|ve neurosc|ence
part|cu|ar|y stud|es |nto Neuromarket|ng and
|ns|ghts from PHD`s own MRl research}
The parad|gm sh|ft|ng |earn|ngs that have
emerged from market|ng meta-ana|ys|s and
part|cu|ar|y the |ns|ghts uncovered by the
Ehrenberg Bass lnst|tute
SETTING US APART
Heyns says she has been |n the |ndustry for 20
years and seen many of these types of too|s.
But th|s |s a coo| way to do |t. When you |og
on, |t shows you how you are do|ng |n the
game |n respect to other peop|e. For me |t
comb|nes art and sc|ence, both wh|ch are
necessar||y |n med|a p|ann|ng."
She says the gam|facat|on keeps you young and
makes you want to come back t|me and t|me
aga|n. lt`s just ||ke Wor|d of Warcraft. There |s a
|eader board and at the end of the year a w|nner."
Towards the end of the year the |eader board |s
b|acked out and a few weeks |ater the w|nner
|s announced. The pr|zes are |ncred|b|e and
|nc|ude a tr|p to Oannes. lt a|so opens up great
work opportun|t|es."
Source |s not just a b|ack box that does not
a||ow you the space to th|nk and be creat|ve. lt
harnesses the power of co||ect|ve th|nk|ng and
understand|ng that gam|ng does that natura||y.
The gam|ng p|atform proven over many spaces
that |t generates great resu|ts and for PHD,
Source, sets us apart," says Dearna|ey.
*2016 PHD Beyond the Hor|zon}
36

COVERSTORY

A SOCIAL APPROACH TO TECHNOLOGY
2016. beyend the herizen, a PHD document with lead author, Mark Holden, takes a fascinating and detailed look
back to how technology has brought us closer together, how a social approach to technology will drastically alter
institutions from government to gaming and media to marketing. The future PHD outlines a place where technology
enables us to connect with our friends and harness their collective wisdom to make better decisions. The
document states: The world has gone social. Given that our core service is social by nature, that may not seem
surprising. But what is surprising is the speed at which technologies are changing the way we live our lives. The
speed and scale at which we can communicate not just with each other but also with brands, governments and
businesses has accelerated dramatically.
What makes this different from other shifts in previous technologically driven change is that this should be the most
personalised shift in history. Thats because it is based on a human approach to the world, an approach that fulls
our innate need to be connected to each other. We are standing at the intersection of humanity and technology,
says David Fischer, VP advertising and global operations, FB.

BENEFITS OF SOURCE
Source |s des|gned to be |ntu|t|ve and a||ve. lt
comb|nes the best of a r|gorous approach w|th
the fex|b|||ty to encourage creat|v|ty and a||ows
for |ntegrated g|oba| p|ann|ng.
Operates as a complete OS
PHD staff and clients can collaborate and create new
campaigns including planning across multi-markets
Everything in one place
Will mean that PHD planners have access to a huge vault
of valuable research and marketing theory at the touch of
the button ready to be pulled into Source and enrich
its planning
Interactive thinking through multi-device touch-
screen interface
Source is designed to feel intuitive, uid and alive. It can be
accessed from multiple devices which means its always at
PHD employees ngertips
Channel Optimiser and Flighter
The Optimiser calculates the best investment by media
channel to maximise overall reach across specied
audience, meaning the greatest efciency achieved
every time
Owned and Earned Integration
Source intuitively and instinctively accounts for a clients
entire communication mix and the impact of one channel
on another
Two dimensional schedule (time series and
blueprint)
The entire communications mix and how it all works is
displayed simply and clearly in an easy to follow Blueprint
Live collaboration engine
Source is the most collaborative planning tool ever created.
It actively encourages people to provide ideas and
inspiration for other peoples briefs. For clients that means
that you dont have three people working on your brief. You
have 2 500
Game layer
Innovation is becoming increasingly gamied. So PHD
baked a strong game layer into Source to encourage
collaboration and provide a fun, competitive edge. Players
are awarded pings for participating and helping other
people. We like to think that when people join PHD they are
joining a massive multiplayer online game.
Set your own design trends for 2013
PACKAGING HAS evo|ved to no |onger just
the |abe| on a bott|e but rather how a brand |s
presented to the consumer as a who|e. Due
to the p|ethora of product offer|ngs on the
market today, mak|ng |t harder than ever before
to choose between so many s|m||ar |tems,
consumers need more than just the funct|ona|
nature of a product to draw them |n. lnnovat|ve
packag|ng |s, therefore, a cruc|a| e|ement of any
brand`s market|ng p|an |n order to capture and
reta|n a customer`s attent|on and |nfuence the|r
purchas|ng dec|s|on.
t $POTVNFSJTBMXBZTSJHIU To have a deeper
understand|ng of what consumer trends are
rather than just des|gn trends w||| a||ow one to
|dent|fy opportun|ty and be one step ahead |n
|nnovat|on. Don`t get caught up |n the no|se of
what`s 'hot and current` but rather focus on what
|s needed by your market. Don`t be too |nfuenced
by des|gn trends, |nc|ud|ng those from Europe, as
these tend to change every s|x months and may
|eave you w|th an out-of-date des|gn |n no t|me.
Try |ook|ng south, to other deve|op|ng markets
for |nsp|rat|on. l recommend opt|ng for s|mp|e
and engag|ng packag|ng that d|rect|y |mpacts
customer |oya|ty and brand cred|b|||ty, a||ow|ng
you to be at the forefront of sett|ng trends.
t &WPMWFXJUIUSFOET Des|gn trends shou|d
evo|ve w|th the consumer`s wants and needs, as
th|s |s a pr|mary ro|e p|ayer |n whether or not your
packag|ng w||| succeed. lt`s hard to assess each
trend`s |nd|v|dua| |mportance, but |t`s cr|t|ca| to
manage them for your overa|| packag|ng success.
t -FHJTMBUJPOJTLFZPackag|ng has
progressed from an |nformat|ona| too| to an
|dent|fcat|on too|. |eg|s|at|on |s an ongo|ng trend
and The Oonsumer Protect|on Act has had a
s|gn|fcant |mpact on th|s process. There are
spec|fc requ|rements regard|ng des|gn, s|ze and
use of product photography and typography,
cha||eng|ng des|gners to conceptua||se new
ways to appea| to consumers w|th attract|ve, yet
comp||ant, packag|ng. lt`s a|ways best to partner
w|th an exper|enced des|gner who |s aware of |ega|
requ|rements, ab|e to prov|de expert gu|dance
and suggest ways of |mprov|ng |t. l further suggest
break|ng the project |nto phases, a||ow|ng the
des|gner to become a consu|tant to you.
t (FU4PDJBM At present understand|ng consumer
behav|our has become a v|ta| component |n
des|gn. Oustomer |nteract|on |s much more
transparent - we can see th|s |n soc|a| med|a
and how |t has p|ayed a ro|e |n |nform|ng c||ents
of potent|a| new |nnovat|ons, trends etc. W|th
the |ncreas|ng use of mob||e |nternet and smart-
phones, manufacturers are now ab|e to create
|nteract|ons that go beyond the phys|ca| pack.
Packag|ng w||| no |onger s|mp|y be a phys|ca|
box on a she|f, but w||| come to represent the
brand |n every sense. From compet|t|ons and
add|t|ona| product |nfo to pr|ce compar|sons,
consumers are eas||y ab|e to make the jump
on||ne. The consumer |s now not on|y fo||ow|ng
a brand, but the brand |s ab|e to commun|cate
to the consumer d|rect|y, enab||ng the c||ent to
stay |nformed at a|| t|mes. Soc|a| med|a dar||ngs,
Tw|tter and Facebook, have over the |ast year
become |nfuent|a| market|ng too|s and th|s |s
forecasted to cont|nue grow|ng.
t (P(SFFOTechno|ogy |s now enab||ng the
product to be reused and recyc|ed. Packag|ng
|s mov|ng |nto a more green d|rect|on - one that
reduces the waste of mater|a|. When eth|cs and
eco|og|ca| concerns are trans|ated |nto packag|ng,
consumers a|so assoc|ate a sense of we||-be|ng
and secur|ty w|th the product and brand. The
|mp|ementat|on of susta|nab|e packag|ng |nd|cate
that consumers are now no |onger request|ng th|s
to be |nc|uded |n the des|gn strategy, but rather
expect|ng |t to be the norm. Product des|gners are
embrac|ng th|s trend and creat|ng new forms of
packag|ng, g|v|ng the consumer creat|ve shapes
and forms, us|ng c|ever and |nnovat|ve mater|a|s.
As a resu|t, packag|ng |s no |onger necessar||y
someth|ng that gets thrown away.
t "MMBCPVUUIFTFOTFTPackag|ng |s the frst
exper|ence that the customer has w|th a brand
and |t shou|d be a b|g moment. ln 2013 there
w||| be cont|nued exper|mentat|on w|th des|gn
treatments, pr|nt techn|ques and |nnovat|ve
fn|shes to rea||y enhance the exper|ence for the
consumer who st||| ||kes the tang|b|e. ln the |ast
year, |||ustrat|on has a|so grown phenomena||y.
There |s a rea| apprec|at|on for the art because |t`s
the purest form of craft. lt`s demonstrat|ng w|th
no d|g|ta| a|terat|on that you can draw, mark and
commun|cate v|sua||y across a |arge aud|ence.
ln a fast evo|v|ng wor|d where everyone |s try|ng
to be or|g|na|, hand drawn work br|ngs back
the human aspect, a||ow|ng |t to fee| fr|end||er. lt
|s a fun and persona| way to convey a brand`s
message to the|r consumer.
A|though these trends are |mportant, brand
des|gn shou|d be based on a c||ent`s market|ng
object|ves frst and foremost, as |t adds a |ot of
va|ue to a bus|ness and |s a rea| and tang|b|e
|nvestment. lf |t |s re|evant, honest and we||-made
the return w||| be huge for the bus|ness.
While it is often not given the credit it deserves, great packaging can either make or break an item.
Jason Kempen, creative director for Fountainhead Design, provides some tips and insight on how to
remain at the forefront of design for 2013
DESIGN
DESIGN
38

Queen of the Indaba
PROBABLY THE Des|gn lndaba`s most
preva|||ng and estab||shed speaker, and most
dart|ng|y tendent|ous, |s Dutch-Dame ||dew|j
Ede|koort. Known to South Afr|can aud|ences
as ||, and maybe even prophetess ||, the
age|ess nomad has been com|ng to SA for
more than a decade and has become an
|mpr|nt at the annua| conference. So much
so that many of the attendees of the pr|zed
Des|gn lndaba that seek out one ta|k are |ntent
on just hers.
HANGING AROUND
|| started her career 'hang|ng around` as she
ca||s |t w|th student comrades and then began
work|ng at a department store |n Ho||and
ca||ed 'De B|jenkorf`. She speaks ardent|y
about how th|s t|me of her ||fe was |nsp|rat|on-
de|uxe and how meet|ng peop|e from every
poss|b|e backstory, age and race gave her
sagac|ty and a||owed her madcap to four|sh.
One of her mentors at the t|me was Ann|e
Apo| who worked at the store do|ng sty||ng
and forecast|ng and under th|s |ncred|b|e
|nstructor, her dreams, her |deas and her
amb|t|ons just four|shed.
But ||`s ab|||ty to ga|n |ns|ghts and pu|| together
|nformat|on for a greater cause started at a
much younger age, |n ch||dhood when she was
'||v|ng |n her own un|verse` and created 'cast|es
|n the sky`. She attr|butes a |ot of her creat|ve
sp|r|t to her parents, who on|y sent her to pre-
schoo| at age s|x, |ett|ng her roam free|y |n her
own make-be||eve wor|d of |nvent|ve v|s|ons.
BELIEVING IN SA
|| speaks about SA fond|y, a p|ace she comes to
for retreat and refuge - |n part|cu|ar the |uxury
safar| |odges S|ng|ta. And so her Des|gn lndaba
ta|ks often speak about how SA`s |essons
to the wor|d range from '|mprov|sat|on and
supreme ta|ent a|| the way to opt|m|sm and
generos|ty`. || be||eves |n SA. Even w|th |ts
's|ower t|me`, she reve|s |n how much dynam|c
maturat|on she has seen |n the country s|nce
her frst com|ng.
What makes the Des|gn lndaba re|evant, not on|y
to des|gners and creat|ves, |s the exposure
of creat|v|ty that founder Rav| Na|doo br|ngs
year|y to the ||tt|e v|||age of Oape Town. W|th
a be||ef that creat|v|ty w||| 'fue| an econom|c
revo|ut|on`, and peop|e ||ke || Ede|koort
br|ng|ng the|r v|s|ons, the conference exposes
market|ng gurus, strategy wr|t|ng profess|ona|s,
pub||shers, wr|ters, f|m makers - and the rest
of the advert|s|ng-market|ng-brand|ng-creat|ve
|ndustry that has by |mp||cat|on fused |nto one
b|g enterpr|s|ng or|g|nat|on.
A SIMPLE CUP OF COFFEE
||`s two-part trend sem|nar th|s year at
Des|gn lndaba, |n Oape Town and
Johannesburg, focused on text||es and
happ|ness. ln her 'House of Text||es` sect|on
she |ooked at the human react|on to an on||ne
v|rtua| ex|stence and the des|re for emot|ona|
and tact||e happen|ngs. More than ever we
are want|ng to fee| aga|n, we want to be|ong
to someth|ng b|gger than ourse|ves and that
means touch w||| become someth|ng we
act|ve|y seek out" || sa|d. Her observat|on that
peop|e are seek|ng hugs, even more than sex
perhaps, |s someth|ng that has been dr|v|ng a
|ot of her research. So where sex w||| a|ways
se||? She has a strong fee||ng that tenderness
and romance, as per her trend ta|k of |ast year
|n New York t|t|ed 'Romant|c|sm` w||| fort|fy.
The second sect|on of her ta|k, 'B||ss` a more
sp|r|tua| route was exp|ored where the
apprec|at|on of a s|mp|e ||fe and be|ng '|n
the moment` was emphas|sed. A s|mp|e
cup of coffee, or strok|ng your cat", ||
says w||| be conjo|ned as |mperat|ve to the
pursu|t of happ|ness. 'The ord|nary
extraord|nary phenomenon` |s
what she ca||s |t. s|ng nature
as her |nsp|rat|on the ta|k
d|scusses what are the
With a schedule busier than most CEOs and trailblazers on the planet,
Lidewij Edelkoort makes time for Advantage writer Daniel Scheffer to talk
about the Design Indaba, her life and what drives marketing and design today
MORE THAN EVER WE ARE WANTING TO FEEL AGAIN, WE
WANT TO BELONG TO SOMETHING BIGGER THAN OURSELVES
AND THAT MEANS TOUCH WILL BECOME SOMETHING WE
ACTIVELY SEEK OUT
D
DESIGN
||festy|e trends that are com|ng over the new
few months. These trends affect everyone"
she says - from the creat|ve, to the su|ts, |t
permeates everyth|ng.
JUST PAYING ATTENTION
B|g agenc|es, mega fash|on houses, government
offces and powerfu| |nd|v|dua|s attend her ta|ks
a|| over the wor|d, and || somehow manages to
effort|ess|y str|de through |t a|| wh||e ma|nta|n|ng
a marg|na||y} hea|thy ||festy|e, eat|ng a B|T
sandw|ch for |unch, and spend|ng t|me read|ng
as much as poss|b|e at n|ght before bed for
|nstance. Her company, 'Trendn|on`, w|th
offces |n Par|s and New York, churns out a
week|y updated webs|te ca||ed 'TrendTab|et`,
a beaut|fu| and v|sua||y over|oaded pub||cat|on
named Bloom, tons of sem|nars and of course
the exh|b|t|ons and consu|tat|ons. Her range of
work and |n part|cu|ar her trend books she says
are perfect too|s for entrepreneurs, des|gners |n
emerg|ng econom|es, sty||sts, students and DlY
enthus|asts".
So some ca|| her a soothsayer and be||eve that
trends are not to be conjured up or created by
an |nd|v|dua| or organ|sat|on, but || says, l`m
no w|tch, l`m just pay|ng attent|on". Pragmat|c
and energ|sed as that sounds her job, or her
|ns|ghtfu| job, does have e|ements of |ess
sc|ence and more fee||ng, or sensat|on. But
so does market|ng, and natura||y a|| des|gn, as
much as we ||ve |n a wor|d of commerce and |t
has become transact|ona| beyond contro| the
essence of ||`s work |s to encourage others to
do just that - pay attent|on.
As rece|ver |ast November of the Pr|nce Bernhard Ou|tuur Fonds |n Ho||and, the award |s
a perfect fxat|ve of her contr|but|on to des|gn and fash|on |n her home country, but a|so
abroad. The pr|ze, a kn|ght|ng of Dutch k|nd, |s the |argest pr|vate cu|tura| fund |n Ho||and
and a|ms to promote cu|ture |n Ho||and. A rather exa|ted feat, but as || Ede|koort proves
every t|me at Des|gn lndaba, you may not be a be||ever but you`|| be th|nk|ng about what
she`s sa|d and that by |mp||cat|on means you`re pay|ng more attent|on.
To read more on Li and her work, go to www.trendtablet.com
A
DESIGNINDABA
40

A mixed bag
Design Indaba recently held in Cape Town provided
the audience with inspiration for the coming year
PAULA SCHER
Graph|c des|gner, Pau|a Scher, creates new
trends by |ook|ng for ways to m|sbehave |n
des|gn. She worked |n the record |ndustry at
the start of her career and |oved creat|ng cover
des|gns.
Now I go into record stores all over the
world I go around there sometimes,
to buy back my portfolio. So that work
is so long-lasting, but a major corporate
identity could be dead in 12 years".
SEYMOUR CHWAST
H|s heyday was 50 and 60s war art. Ohwast |s
most famous for th|s statement:
If you dig a hole and its in the wrong
place, digging it deeper isnt going to help."
ALEXANDER CHEN
The creat|ve d|rector of Goog|e spoke about
the mathemat|cs of mus|c whereby he enab|ed
a v|rtua| ||ne on a screen to make a sound of
a rea| p|ucked str|ng when ro||ed over w|th a
mouse. H|s most memorab|e examp|e of h|s
techno|ogy was the Goog|e dood|e 9 June
2011}, wh|ch enab|ed a|| who v|s|ted the search
eng|ne on that day to pay tr|bute to Amer|can
b|ues gu|tar|st, |es Pau|, on h|s 96th b|rthday, by
p|uck|ng the v|rtua| str|ngs of the Goog|e |ogo to
create a song.
The resu|t:
On that day 40 m||||on songs were generated
5.1 years` worth of mus|c was shared
Oaus|ng 5.4 m||||on hours of |ost product|v|ty
ASIF KHAN
Khan stud|ed arch|tecture at the Bart|ett Schoo|,
n|vers|ty Oo||ege |ondon. For the 2012 |ondon
O|ymp|cs he des|gned Ooca-Oo|a`s pav|||on for the
O|ymp|c Park.
Design works with what is already there.
Design responds to context in some way
or another. It also works in peoples minds.
CHRISTOPH NIEMANN
N|emann |s an |||ustrator, graph|c des|gner and
author. After h|s stud|es at the Stuttgart Academy of
F|ne Arts |n Germany he moved to New York
|n 1997.
He deve|oped the app: Pett|ng Zoo.
Play with what people already know."
A great idea is 87% effort and 7.5% luck and
ve per cent luck"
wI88
OSCAR DIAZ
Oscar D|az stud|ed des|gn at the Eco|e des
Beaux Arts of Bordeaux, France, and after
work|ng for Mata|| Orasset |n Par|s, he enro||ed
|n the Des|gn Products MA at the Roya|
Oo||ege of Art |n |ondon where he graduated
|n 2006.
I discovered that people have an
innate understanding of objects
that they dont necessarily have when it
comes to art."
DANIEL CHARNY
Oharny |s an |ndependent curator and co-
founder of creat|ve projects consu|tancy
From Now On.
He spoke about us|ng des|gn to th|nk about
th|ngs by exam|n|ng the contemporary
|ssues around crafts as we|| as to update the
percept|ons of craft.
I believe craft is everywhere, but the
way we look at craft is holding
us back."
FA008I8
I88I6
DESIGNINDABA
IF YOU DIG A HOLE AND
ITS IN THE WRONG PLACE,
DIGGING IT DEEPER ISNT
GOING TO HELP.
.........OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOORRRRRRRRRRRRRRRRRRRRRRRRRGGGGGGGGGGGGGGGGGGGGGGGGG
ALEX ATALA
Ata|a tra|ned |n Europe at the Eco|e Hote||ere
de Namur |n Be|g|um, and Franceand
opened D.O.M. from the |at|n, Deo Opt|mo
Max|mo - God |s Great and Exceed|ng -
good |n h|s w|sdom and exceed|ng |n h|s
k|ndness} |n Sao Pau|o. He made us s|t up |n
our seats w|th h|s frozen raw ant on a ||ght|y
frozen p|neapp|e
Best way to be global is to be local"
What is creativity: not to do
something no one has done before,
but to do something surprising."
NICHOLAS HLOBO
N|cho|as H|obo, a Johannesburg based
art|st was the 2009 Standard Bank Young
Art|st Award w|nner for v|sua| arts and the
Ro|ex v|sua| Arts Protege for 2010/1.
I nd Joburg to be a very inspiring
city. It is a city that is trying to be very
different. I could not live anywhere
else. There are invisible energies I nd
difcult to explain."
MARIAN BANTJIES AND
JESSICA HISCHE
Oanad|an Mar|an Bantjes |s known for
her custom typography wh||e Jess|ca
H|sche |s a |etterer, |||ustrator, and se|f-
descr|bed 'av|d |nternetter`. The pa|r
presented together at Des|gn lndaba.
Punted as a wor|d frst w|th the two on
stage together, they d|d not ||ve up to
expectat|ons. Perhaps they cou|d have
gone to a coffee shop and had the|r
chat? And that |augh..
808F8I8I6
0I8AFF0II6
KEY MESSAGES
Global nature of
making
Stimulation
Wide ranging
abilities and skills
Crossing disciplines
Activity vs. results
Fixperts
.........
INDEPTH
T
TINDERBOX MD, Dom Smith says: There is a
universal truth that stems from the most essential belief
in psychology we learn from experience. And that same
principle applies to marketing. The way a brand functions
and the feelings it evokes within us are vital to the ultimate
perception we possess of it.
As markets oversupply, the process and methodology through
which we communicate a products attributes are just as
important as coming up with those specic attributes.
Focusing on delivering experiences is an ideal way of
developing relationships and bonds that enable brands to
grow over time.
As the name implies, experiential marketing refers
to customer experiences with a brand, product
or service that allows the user to interact in
a sensory way. It triggers motivation more
than any other channel of communication and
instigates word-of-mouth. Brands that excite
people have more strength in the subconscious
level of the mind since it stimulates the neural
region that makes decisions.
Provantage director, Vaughan Barry describes
it as a vital part of the mix. Its growing in
importance because it is so measurable given
that related sales can be measured immediately against the
cost of an activation. This is the advantage vs. traditional
advertising which, it could be argued, is primarily an
awareness building exercise.
In terms of attributable gures, Barry quotes international
research provided by the Brand and Marketing Survey 2011
which states that 75% of consumers say that participating
in a live marketing experience would make them more
receptive to the product/brands advertising.
The same research document states that 60% of women
interviewed say experiential marketing would make them
more receptive to the brand/product vs. TV at 20%
and online at 14%. In a market such as ours, these
gures cannot be ignored as a substantial portion of the
household purchasing decisions are made by women,
comments Barry.
A NICE TO HAVE
Responding to the nice to have tag often associated with
experiential marketing BOO! Surprising Media Solutions MD,
Dave McKenzie says; Quite the contrary, the
experiential element of a campaign appears to
have climbed up the pecking order in clients
requirements as marketers are demanding
interactive consumer engagement.
The advent of digital and social media in
particular, has encouraged interaction
between consumer and brands, and this need
has to be continued ofine into the physical
space. Once the consumer has become
accustomed to a trend, it quickly becomes the
norm, and the market had better shift accordingly.
S||e|:| E/pe||e|||a| |a||e||| d||e:|c|, |||e S||.e| add ||a|
in his opinion experiential marketing is a proven medium for
more impactful and emotional consumer engagement.
In an age where a consumer receives 3 000 to 5 000 media
messages per day, cutting through the clutter is critical.
A SOCIAL EXPERIENCE ECONOMY
It seems then that the age of the experience economy as
rst coined as a phrase in 1998 is very much upon us!
This in large part has been driven by the digital revolution
that has taken place in the last few years which has taken
experiential marketing to a new level.
These days what festival you went to, which destination you
recently returned from or which food cart you ate at is often
more important for many consumers than the car they drive
or brand of shoes on their feet.
Taking this one step further and with the explosion of digital
communication, one might argue we currently exist within a
social experience economy where if you dont tweet it then
it didnt really happen.
We are also seeing an ever increasing execution of machine
interactions where brands are staging experiential
activations where consumers engage with technology with
little or no human interaction.
He cites the recent example of the Lipton Ice Tea Tea-
mometer that Stretch recently executed which saw
consumers receive ice tea samples according to their body
temperature and heart beat.
Using thermal touch screen technology, consumers got wind of
the mechanic and promptly did star jumps, run up and down
stairs or simply chased their mate to receive greater cool
down rewards.
Smith agrees that the technology wave and social
media has had substantial impact on the experiential
landscape, in particular with the younger consumers.
The need for constant connectivity and sharing of
their lives and experiences can be a hugely helpful
dynamic in leveraging the brand activation or
experience Twitter, YouTube and Facebook being
the most popular.
However, digital widgets and apps are great brand
enablers but will never replace the innate human
need for real social engagements and live experiences
in my opinion. We can all watch our favourite band
on the internet / TV / DVD, yet concerts are sold out
almost every time collective group experiences will
always carry a trump x-factor for a brand is my belief.
PART OF CONSUMERS LIVES
Against the backdrop of a social media revolution one thing
is for sure, the days of experiential marketing merely
In the often jaded, over traded and skills-scarce advertising landscape experiential marketing can be
seen as a nice to have but not really a vital part of the communications mix. This isnt ideal because
when budget allows experiential marketing has the ability to bring brands to life for consumers and by
its very nature, differentiate them immediately from the mass media clutter
By Luise Allemann
42

Bringing brands to life
being a couple of pretty girls handing out drinks or an
old lady forcing eye contact and then stufng a sausage
down an unsuspecting consumers throat are long gone.
In fact, activations are now a single aspect of a far more
complex discipline.
Launch Factory MD, Spero Patricios says: Modern
experiential marketing now demands a carefully crafted
and a very clever creative message much as youd nd on
TV radio and internet.
For instance you may still have a pretty lady as the
showpiece of an activation but these days she enters a
News Cafe and then walks over a group of appreciative
male customers and tells them shes looking for her sister
and asks them to please call her if they see her. This just
happens to allow her to bring out her new Samsung cell
phone after which she shows them its incredible features
and reiterating so if you do see my sister.... after which the
game is up and she thanks for participating along the lines
of youve been Samsungd.
This actual example of an activation that we ran isnt about
stopping the usual ow of life but rather cleverly weaving the
brands intrinsic strengths into a normal conversation and
is a perfect example of the fact that successful experiential
campaigns hinge on an understanding of the psyche of
consumers, stresses Patricios.
In terms of weaving brands into consumers life experiences,
another project that the Launch Factory currently has
underway, is a branded content programme for Vodafone.
Weve turned the 30 second TV model on its head in the
form of an entertaining yet informative programme thats
all about health and saving peoples lives that is broadcast
across 15 African countries.
Barry comes at the argument from a slightly different vantage
point in that he feels that experiential and activations
cannot be seen as two separate entities as in his opinion
theyre one and the same. An activation enables
consumers to engage with a brand touch it, use it, feel
it. By denition, its an experience with an outcome. The
key is to get people talking about a brand, which in turn
creates an emotional response.
AMBIENT VS. ACTIVATION
Looking at the difference between traditional activations and
a fully encompassing experiential execution McKenzie
comments; We have created a Chinese wall in our
business between ambient and activation. Activations
typically will involve promoters that essentially translate to
a campaign with sampling or education objectives.
Ambient in our mind, refers more to the genre of guerrilla
and / or ambush, or as we term it Surprising Media;
examples may include our Pop-Up campaigns and large
or small scale projections to only quote two examples,
they may not require promoters or sampling. Perhaps an
older term and not relevant for all companies, but typically
experiential and activation will come out the marketing
teams below-the-line budget.
Silver adds; As an agency we dene experiential marketing
as a campaign that places brand experience at the core
and amplies the impact of that experience through relevant
media. While thats quite a mouthful, all its really saying is
the use of creative and innovative consumer engagement
content is used to start conversations in other media.
With experiences sitting at the heart of modern day
life, brands have an incredible opportunity to provide
shareworthy content to increase consumers social
standing. Traditionally PR and digital have been the obvious
bedfellows for experiential marketing.
ON THE RIGHT PATH
In terms of where SA marketers are getting experiential
marketing right it seems that many traditional advertising
agencies, events companies and promotions agencies have
jumped on the experiential bandwagon, adding the medium
to a list of services on their websites. This resulting lack of
specialisation has lead to confusion in the market.
Silver comments that; As corny as it sounds, experiential
requires client experience before its power can be properly
harnessed. Once an appreciation for the medium exists, the
skys the limit really.
Until a client appreciates what experiential marketing offers,
its hard to justify a multi-department agency structure
XP Squared MD, Shantel Bassanna
offers some useful tips on finding the
right brand ambassadors for brand
activation...
In an experiential campaign promoters have the
potential to make or break the campaign. While
many people might be under the assumption that
the experiential process is as simple as placing a
few sales savvy representatives at a brand exhibition
and allowing them to do the rest, leading experiential
marketing companies know that the procedure
involved in pairing the right promoters with the right
brand is in fact far more complicated.
While promoters have a greater ability to convert
consumers to the brand they are promoting, it can
be dangerous to let untrained promoters loose on a
campaign without managing the process properly.
To ensure the quality of the individuals working on
their campaigns, its essential to utilise an incredibly
strict recruitment methodology thats based on the
prioritisation of the brands objectives.
Before employing any promoter, we ask ourselves
what exactly it is that the brand requires. In terms of
objectives, some brands might only require visibility,
whilst others will need promoters with exceptional
skills. Therefore, to us, the denition of an A-grade
promoter changes as the nature of the campaigns
requirements change.
We also invest a signicant amount in the
training of its promoters who are not only given
comprehensive product training, but are also given a
thorough understanding of the role that they play in
ensuring the brands success.
Chose your
experiential agency
with care check
their credentials
and track record
carefully, slick snake
oil salesmen prevail.
If youre placing your
brand in a merciless
public arena, it`s
essential to make
a positive brand
impression.
Dom Smith, Tinderbox
EXPERIENTIALMARKETING
and the need for a comprehensive approach to campaign
brieng. Globally, were seeing experiential marketing at
times leading integrated marketing strategies!
VWV group chairman, Mark Seinhobel says clients are slowly
acknowledging the need to give consumers an experience
of the brand, rather than a bland, one-dimensional
advertising promise and are nally moving money from ATL
to experiential with budgets growing exponentially for good
activation ideas.
Where theyre getting it wrong is that they still dont
understand how much authority has moved across to the
consumer, and how much they depend on family, friends,
peer groups, experiences, social media, online price
comparisons, e-commerce, and responsible corporate/brand
behaviour to make purchase decisions. Its nally now safe to
say that advertising, of all the many inuences, has the very
least chance of motivating a purchase decision.
In a world where traditional media and sponsorship offerings
all look expensive and ineffectual, brands will seek to control
their destiny by creating their own properties, or owned
media, he surmises.
Barry cautions, To effectively engage with the target audience
experiential marketing needs to be part of the total campaign
and not simply an add-on at the end. All the marketing
elements need to be integrated from initiation. This ensures
consistency of message for greater impact and better ROI.
44

VARIOUS DIGITAL tools such as
cell phones (smart and feature based) as
well as tablets like the iPad have sped
up the collection of data and results from
the eld; allowing for real time feedback
to clients. From a brand and consumer
point of view, digital has also provided
a different type of interaction through
games or Augmented Reality (AR).
These forms of interaction facilitate
and deliver the basis from which
conversations are created and its these
conversations; related to brands that
are the key to ultimately increasing
both awareness and sales. Consumers
like new technology and things that are
exciting and portray the cool factor and
it has become imperative for brands to
utilise new methods of communication
to get their message across to targeted
consumers.
Primedia Unlimiteds Mall Active division
GM Travis Brown says, Its about
meeting the needs of consumers and
these days, they are extremely tech
hungry. As a result, 60% to 70% of our
activations now feature Facebook and
Twitter elements.
This is because activations need a digital
element to reach critical mass, whether
its QR codes, sms or social media. For
example, a Facebook or Twitter feed
could feature a consumer standing with
a celebrity guest and human nature
being what it is; this is then posted on to
a brands Facebook page.
EXCELLENT RATE OF
CONVERSION
Looking specically at post-PC hardware
like a smartphone or an iPad, Brown
says a key benet is that theyre
modern looking and add a technological
edginess to activations, in comparison to
a normal touch screen unit.
They also allow a client to feature a full
product showcase without having to
display all the relevant items in the
limited space available in a mall. The
backup of a real time sales tool also
means that it can be used to subsidise
brand ambassadors knowledge because
even with extensive training, its very
difcult to anticipate every question that
a consumer may ask, he explains.
Another benet of the use of this 3G
or Wi-Fi enabled live technology in
activations is its ability to generate
real-time sales leads by sending
these directly to the car dealership.
Alternatively, prospective buyers can
book a test drive while theyre still at
the promo court and e-mail brochures
directly to interested consumers.
Clients can also track how many leads have
been generated and instantly tally up
those gures. They have an immediate
database that they can segment and
target accordingly for instantaneous
follow up. There is also the option to
engage customers in a quick, easy
and fun survey resulting in detailed
demographic stats.
This type of technology can also localise
sales follow ups to make sure theyre
relevant to a particular customer.
So a prospective customer may be
on a business trip or on holiday in
Cape Town for example but theyll be
connected with a car dealer near
their home in Johannesburg. In that
way were able to provide a national
footprint for a promotion but a localised
follow up, allowing for personalisation,
says Brown.
Stretch Experiential marketing director,
Mike Silver says digital is certainly
big but mainly as an amplication tool
that currently forms part of what has
been described as the holy trinity of
experiential marketing (along with PR).
SO-LO-MO
A big digital trend to look out for is So-
Lo-Mo. What? Social Local Mobile, of
course. Relying on mobile connectivity,
consumers will engage with brands via
social media in relation to a specic
personal location. In certain cases
this will provide experiences on
demand where consumers will have
the experience brought to them with
the brands in turn being exposed to
thousands of their friends and followers
wishing for the same.
BOO Surprising Media MD, Dave McKenzie
stresses that digital should never be
seen in isolation and believes that the
term digital will be better dened in
time, as it is too ubiquitous at present.
Digital has always been a key element
within experiential for many years,
whether it is sending out an e-mail
invitation, SMS prompt or collecting
data via a laptop, these devices are
all digital.
What has changed is the applications
and devices that we use have become
more sophisticated i.e. we use a tablet
to collect data rather than a clipboard,
the advantage of the tablet is that the
data or sign-up is actually (with your
permission) pushed straight to your
facebook page so that the world can
see which function you are at or what
membership you have subscribed to.
BEST FRIENDS
The opportunity to push viral
communication is probably experientials
best friend, in many cases the
experiential campaign could have
stood on its own two feet with regard
to targeting and achieving campaign
objectives within the physical space, but
the additional layer that a viral element
brings has had a signicant impact on
the landscape.
One of the biggest and brightest trends to hit the experiential marketing sector
over the last few years has been the incorporation of digital technology into this
formerly world-based environment
Experientials BFF
By Luise Allemann
NEWSFLASH! BOO! Digital will
be launched this year, offering a
combination of traditional media
packaged with digital media.
Itll be positioned as a natural
extension of out-of-home,
perhaps a case where our niche
product is possibly already
rebranded to be viewed as
out-of-home rather than this
ubiquitous term called digital.
46

TRANSPORTING A radio stations listeners
from the audio realm to the real world has long been
appreciated as one of the most powerful forms of
experiential marketing around as it leverages off the
rock solid listener radio relationship to create a fun
added value experience that is associated with an
advertisers brand. Mediamark marketing director,
Charlie Wannell relates a recent example of how yet
again the virtuous value circle of radio, listener and
brand yielded outstanding dividends for client Imperial.
0. what was the metivatienIratienaIe fer the
activatien?
A. During the December peak period, when advertising
messages are competing for consumers attention,
we needed a solution for Imperial I-Pledge to break
through the clutter. We also needed to nd and
create compelling content that added to our listeners
lives during the holiday season. Through this
campaign Imperial I-Pledge wanted to promote its
association with road safety as well as brand build.
Our answer was a multi-channel campaign called
Destination Durban.
0. he 8ig Idea?
A. Destination Durban brought to you by Imperial
I-Pledge was a clever synergy between two of SAs
most listened to regional stations - Jacaranda FM and
East Coast Radio whereby it followed the listeners
build up to their holiday from Gauteng, Mpumalanga
and Northwest Province (Jacarandas footprint);
as they migrated (the journey) along the N3TC and
Bakwena highways to KZN and whilst on holiday in
the Funsunzi state itself.
The campaign pivoted around the Destination Durban
microsite, which was constantly refreshed and
updated to ensure engagement together with on the
ground activations with both the stations and client
vehicles that really brought the experience full circle.
The main challenge with a campaign of this magnitude
was the temptation of saying too
much (as we had so many different
channels). Timelines and deadlines
for keeping the Microsoft refreshed
were challenging but thankfully we
worked with a well-organised client
who was available for approvals.
Our station and website teams also
needed to be on the same page.
0. he Mechanics?
A. Destination Durban involved many different facets:
0n air live reads and spot advertising utilised
Jacaranda FM and East Coast Radio. IMPERIAL
sponsored weekend shows as well as drive time
trafc reports. Live reads were used to drive action
(either to the microsite or activations)
A speciall] designed microsite included. Route
map; Things to Do; Map of Durban, Hot spots,
Shopping destinations, Places to stay, Beaches,
Events, Restaurants, Tourist attractions, Car rentals,
Shopping, Markets, Clubs, Family entertainment
venues, Important contact details: Ambulances, Police
Stations, Imperial Patrol Car Route info, I-Pledge Road
Safety Tips, Best driving hits, Games to play with
children, Travel Do & Donts and Security
0n the ground Activations and hand-outs at strategic
Petrol Stations along the way with Jacaranda FMs
Street Busters and East Coast Radio Hot Squad.
Imperial handed out branded goods such as safety
leaets and buckets and spades for the kids
0. he 8esuIts?
A. Destination Durban was aligned to our projects over
the festive season. The microsite offered a one-stop
shop of information so that the listener and their
family could reach your destination safely. Our project
with the N3TC and Bakwena over the festive season
through Europcar made nine cars available for patrol
work, road clearance as well as emergency and post-
crash support. This was communicated through the
on air mentions in order to create awareness about
our projects to drivers travelling the route. In the
context of the I-Pledge its certainly about awareness
of our brand. Road safety is a public imperative due to
the rate of accidents, fatalities and injuries in SA.
Niki Cronje, Imperial Group marketing manager.
0. key innevatiens andI Iearnings?
A. Marketing law says the average person needs to
hear something 27 times before it really sinks in,
and thats not even in December when everyones
shouting. But it also doesnt mean they want
27 copies of the same memo. By using multiple
channels and orchestrating those in a way that gave
Imperial different options for getting the
point across, it meant that the same
content could be packaged in different
ways, and delivered repeatedly over
time. Imperial I-pledge was able to
engage with listeners and commuters
who were planning their trip right up to
them sitting on the beach with branded
buckets and spades.
Radio gets active
CASE STUDY
SENSORY MARKETING. For the old-school
marketers, this often elicits the same response as all
the other tools that we must include in our strategy,
such as Facebook, or Twitter which is: Sighhhhhhh...
Something else I should pay attention to but I am not
really au fait with what it entails, so lets leave it for
tomorrow. And thus it gets pushed to the back burner.
Yet we know the value in it. Multi-sensory marketing is
no passing fad, but rather based on clear neurological
behavioural patterns. Brands that
incorporate multi-sensory elements
into their POS marketing through
packaging or on-pack devices send
signals that the brain converts into
buying impulses.
Research conducted in Europe recently
reveals that when it comes to
consumers purchasing decisions,
sight is not the only sense that has
a say. For instance, if the smell
of a product (or its packaging) is
appealing, it has been shown to
increase sales by up to 45%. The study also cited
sound (41%), taste (31%) and touch (25%) as strong
factors that can inuence sales.
Furthermore, when consumers recall multiple sensory
impressions that a product has conveyed (such as
sight, touch and smell), product loyalty is estimated to
be at around 60%. If only one sensory impression is
conveyed (such as sight), consumer loyalty decreases
to around 30%.
In other words, the more the senses are engaged at that
critical point of purchase, the better it is for your bottom
line. And brands all around the globe are embracing this
tactic with glee.
One of the most talked-about developments has been
the creation of beer bottle labels that indicate when
the beers temperature is just right. Castle Lite kicked
off this trend locally with its Thermotech label, which
incorporates a temperature indicator in its design. When
the beer is perfectly chilled, a blue snowake
appears on the label.
Or what about that famous Chanel N5
sound? The package of Miss Monroes
preferred bedroom attire not only looks
and smells expensive, it sounds expensive
too. When the package is opened, a
magnetic mechanism produces a heavy,
luxurious suction sound. You can literally
smell the money.
Wine farms have cottoned onto this, which
Sensory marketing:
Giving brands a taste of the unexpected
By Timothy Beattie, GM, Pyrotec PackMedia
KEY INSIGHTS
There are a number of on-pack dev|ces that offer
a qu|ck and affordab|e way to breathe new ||fe
|nto your brand. ||sten to your customer. S|mp|e
th|ngs that make peop|e`s ||ves a ||tt|e eas|er
are a|ways a b|g h|t. For examp|e, when He|nz
re|eased |ts D|p & Squeeze ketchup package, |ts
sa|es soared.
The new des|gn enab|ed consumers to access
the cond|ment |n two ways: the top of the
packag|ng can be pee|ed back for dunk|ng or the
end can be torn off for squeez|ng onto food. Th|s
|nnovat|ve product won an |nternat|ona| DuPont
Award for 'captur|ng the sp|r|t of |nnovat|on to
reso|ve consumer cha||enges`.
Sensory market|ng |s not ||m|ted to product
packag|ng on|y. There are hote|s famous for the|r
un|que|y-scented rooms, a tact|c a|so emp|oyed
by car dea|ersh|ps. Oustomer exper|ence |s key.
is why many of them are still opting for old-fashioned
cork closures. While winemakers may argue that corks
allow for optimal maturation, for the greater wine-
drinking population the reason for our preference is much
more supercial: the anticipation we feel when we hear
the sound of a cork slowly eased from a bottleneck,
culminating in a satisfying pop.
Although we may associate these sensory features with
premium goods, the truth is that they can have a strong
lure for commodities too. In a saturated FMCG market
where over 70% of purchasing decisions are made in-
store, the only thing that may make your product more
desirable than another is the appeal of its packaging.
Another interesting fact that research has established is
that when we feel the texture of an object, the process
actually resets our thought patterns, forcing our mind to
focus. Think of toothpaste, for example. A textured box,
overlaid with shiny, holographic bits, is so much more
alluring than a plain ol white box with a couple of minty-
looking stripes.
Rather than viewing sensory marketing as yet another tool
that needs to be adopted, brands need to focus on the
overall experience they offer consumers across various
contact points. What is the user experience online?
And in-store? How can you separate yourself from your
competition? It is critical that we bring the entire brand
experience to life instead of relying on tried-and-tested
and often tired methods.
So, as an element of the greater brand experience that we
offer customers, sensory marketing denitely makes
scents. And cents.
Timothy Beattie
WOMENSANDMENSMEDIA
48

I-commcrcc sltcs lor womcn`s brands arc growlng lrom local
magazlncs runnlng thclr own onllnc storcs to lntcrnatlonal bcauty
brands scttlng up shop on thc lntcrnct. ^lcc as lt sounds. can thls do
much damagc to SA`s womcn`s rctall scctor asks Magdcl Iouw:
MEDIA24S AFRIKAANS womens
daily, SARIE, has made great inroads since
the launch of the SARIE.com Winkel (SARIE.com
Shop) a year ago. Even with limited marketing
efforts after announcing it in SARIEs April issue,
visitors to SARIE.com online shop grew by over
400% and the revenue grew almost 150%, says
Louna Lohann, CEO of SARIE.com.
However, its not just that which excites her its
the entire expanding e-commerce offering in
SA and every online shop doing well in its own
arena, she remarks. What SARIE.com is offering
as an added value to this space, is the curated
choice of product and the information and
advice around the product. The customer can feel
comfortable that products were hand-selected
and that SARIE.com will tell you about the
product and show you how to wear it.
This has earned them a very loyal customer base,
with the team even knowing their regular
customers by name. These regulars visit the
site and buy often, especially when new items
arrive in store, and also engage with
SARIE.com when seeking advice. Apart from
our regular and loyal customer base, we attract
50% new visitors monthly. Our customers
not only enjoy the products, but also the
information about the products and our digital
magazines and lookbooks.
Testimony to its success is that the site not only
attracts its Afrikaans readers, but also many
other customers who are interested in online
shopping and fashion. With most customers
being in the 35 to 40 age group, they have many
English customers as well most customers are
from Gauteng, and 26% of customers from
Cape Town. SARIE.com also sports different price
categories, from higher priced designer items to
less pricey fashion fun items, she points out.
SARIE is a trusted brand and in this uncertain
world of e-commerce our customer feels
comfortable with doing business with a brand
that theyve trusted for years. They feel safe and
secure with SARIE.com and know that there will
be good products, top fashionability, excellent
customer service and exceptional communication
visually and written.
Aiming to grow the online store, in the coming
year they will use all possible marketing
platforms to market it. SARIE magazine will also
play a part in this. This is the beauty of our
businessthe synergies between the magazine
and the online store. The magazine focuses
on being a top magazine and the online store
focuses on being a top e-commerce offering, but
we feed from each other.
Lohann however, insists they still offer
the magazine reader a further choice in
the magazine. We do not overpower the
magazine, nor compete with our valuable
advertisers. We co-exist.
THE BEAUTY OF ONLINE
Este Lauders online shopping portal also went live
in SA in December last year, the beauty brand
projecting it to be one of their most important
and largest retail outlets in the near future,
says Kerry Evans, brand GM for Este Lauder and
Tom Ford. They not only launched e-commerce,
but m-commerce as well. Este Lauder SA is
one of the rst markets to introduce mobile
commerce outright together with traditional PC
based e-commerce. Digital is having an ever-
increasing impact on the way consumers make
purchase decisions, and helps brands such
as Este Lauder to keep in touch and engage
with customers. We are aware that many of
our customers use the web to research specic
skincare or beauty concerns, want to look up
product information, or view how-to-tips and
techniques videos. Mobile technology is thus an
essential empowerment and communication tool
in SA aimed at ensuring that no matter where
our customer chooses to shop for our products,
she is able to get the information and support
she needs to make the best choices.
MAKING CUSTOMERS COMFORTABLE
But seeing as Este Lauder is not the cheapest
beauty brand on the market, how do
they intend making customers comfortable with
blindly purchasing their products online? Evans
points out that consumers purchase online for
a variety of reasons, ranging from convenience
to exclusivity, or because they cannot easily
access a traditional retail store. Our e-commerce
offering is safe, secure, backed up by speedy
delivery capability and customer service. It
E-tail therapy
JII IIJAII
IIAI WAI
Louna Lohann
WOMENSANDMENSMEDIA
also provides a consistent, comprehensive new
approach to browsing for our full range of products
and services, whether the consumer wishes to
purchase online or not. We rmly believe that as
in traditional retail, the high level of quality and
service we are offering will translate into rapid
adoption and word of mouth referral.
In fact, theyve carefully designed the site to
ensure customers have as little trouble possible.
The layout offers intuitive product groupings
that make it easier for consumers to nd the
products they are looking for. It also includes a
skincare nder, whereby theyve made nding
an appropriate skincare regimen easy through
an interactive diagnostic tool that uses a step-
by-step series of questions to analyse individual
skincare concerns, she explains.
It also offers an interactive foundation nder
that helps customers nd their ideal match
through a series of simple steps that assess their
skins intensity, undertone and type, as well as
individual coverage preference. Step-by-step
instructional videos have also been added to
the site to help make it easy for customers to
create different makeup looks for everyday. With
all these tools available, we are condent that
the consumer will experience seamless brand
interaction from the website to the counter.
A COMPLETE EXPERIENCE
She stresses though that its not to be seen as just
an e-commerce platform it is also offering a
complete online store experience, with all their
products and services displayed. Ensuring that
this experience can be enjoyed in the workplace,
in the comfort of home, or on the go via PC and
mobile technology is key. It will offer a different
shopping experience for consumers willing to
purchase online, but it also strongly supports our
in-store retail experience. Those two channels do
not compete with one another they complement
each other. Fundamentally, online shopping
provides our customers with an increased choice
of shopping experiences and more direct access
to our expertise on fragrance, skincare and
makeup. Our new website is also an empowerment
tool for our consumers, giving them access to
information, self-diagnostic tools and how to
videos. It allows our customers to engage directly
with us via our customer service line or live chat
or with one another via our product rating and
review functionality.
It will attract those consumers who are currently
unable to visit a retail store or prefer to shop
online. Furthermore it will help educate
consumers, enabling them to research products
online prior to going to the store. This new
capability is a key support for self-service
environments where there may not be any
Este Lauder beauty advisors to assist the
customers.Our new store locator functionality
with Google Map functionality available both
on PC and mobile is now also making the task
of nding your nearest counter easier.
BREAKING THE CHAIN
Dubbing it retail disruption, trend analyst Dion
Changs take on the scenario is less rosy. He
remarks that SARIE has a very loyal customer
base, or tribe, and serves a very strong, niche
market now expanded with SARIE.com
enabling them to buy items featured in the
magazine, on their own website. This has
already expanded from just fashion, to lifestyle
and home products too. But the retailers are
still their advertising and revenue stream. Yet,
the publishing house is now also a retailer
and as such competing with them.
Este Lauders e-commerce platform is another
example of this disruption of the value chain,
since the department stores that have always been
their distribution channel are now effectively also
in competition with the products online store.
Thus bearing in mind that SAs e-commerce is
up 30% in the last year, following the same
trajectory of growth as around the world, he
points out.
The online shopping industry is not a threat in SA
yet, but will increasingly be a disruption as we go
along. I think where its especially going to wean
customers off traditional channels, is with repeat
orders. For new products and launches though, it
will not be such a big disruption yet.
It will nonetheless change the whole game plan
though, as many stores are now forced to go
online because everyone else is doing it. In
fact, he nds that many companies are in a state
of confusion, as theyre not sure if the online
commerce will cannibalise their old market share,
but they feel the pressure to go online, regardless.
According to the Financial Times, of the 13 000 malls
in the USA almost 15% are predicted to close in the
next ve years due to this online trend combined
with the dire nancial situation, he states.
The knock-on effect of this is that mall owners
will have to be careful who they take on as
tenants, and will increasingly have to offer
services like nail bars, health spas and dry
cleaners to drive trafc to the mall. If I was a
retailer, Id be shitting in my pants really the
retail environment is going to be a real war zone
for the next few years, he remarks.
Fact is no one is quite sure how to do things. Its all
a stab in the dark but everyone acknowledges
that the old rulebook is no longer relevant. Its
disrupting tried and tested business methods,
such as technology that is throwing everything
up in the air.
I^\II^MI^J IS GI^G J II A
ZÎ II JII ÎXJ IIW YIAIS
Kerry Evans
WOMENSANDMENSMEDIA
50

8A0IF0L 08A088
Wc askcd thc cdltors ol SA`s womcn`s magazlncs
a hard qucstlon what othcr womcn`s tltlc thcy
thlnk ls also dolng a good |ob. ôt surprlslngly.
only a lcw wcrc wllllng to conlcss...
NOLUTHANDO GWEBA, MOVE!
MAGAZINE
I think Womens Health is the best publication. I like
the fact that its not only about exercise and eating
healthy, but it looks at the holistic needs of a woman. I
also like that its one of those publications that doesnt
only speak to a particular race, but to women in general
(whether youre black or white, you can relate to their
stories). Its not important whos on the cover but the
content is great. Its also not a hard read as its very
simple and straight to the point. I buy it every month and
I was surprised when some of my friends admitted that
they like it too. I think the editor is doing a great job.
ASPASIA KARRAS, MARIE
CLAIRE
House and Leisure is one of my favourite reads. Who
doesnt want to glimpse into other lives particularly
if they are so well styled and luscious. Vicarious
snooping is simply marvellous. I think Naomi Larkin
strikes the perfect balance between fresh, newsworthy
information that keeps you ahead of the pack and a
very accessible yet aspirational sensibility.
DANIELLE WEAKLEY,
GRAZIA
Ive landed my all-time dream job editing Grazia
South Africa, but if it werent fashion and womens
weeklies for me, Id have to go for Womens
Health Great international brand, fresh design and
an editorial line-up that, I think, completely captures
the Zeitgeist of a modern 21st century woman.
KAY KARRIEM, KUIER
Thats a difcult question with an easy answer at least
for me! I must say Move! I believe I left a piece of my
heart with its team when I had to return to Cape Town
due to illness. At that time I was assistant publisher and
not editor, but its at that magazine where I really found
my niche in the industry. After that I knew the emerging
market is where its happening. Move! was also the rst
magazine that could really reduce the distance between
the reader and editorial team, and they still do very
valuable work being the communitys other university.
Its where you can get information that makes the world
easier to understand, and where you dont have to be
ashamed to be yourself.
JACKIE BURGER, ELLE
SARIE stands out as a truly iconic South African media
brand. Continuously innovated and reinvented it sustains
the basic business principal of not just delivering
excellent content value to her readers; it secures a
relevant market for advertisers as well. SARIE leads as a
media brand through considered brand extensions once
again meeting the lifestyle opportunities appropriate to
her reader, including one of the best digital platforms
and of course Sarie Winkel, the online shopping
experience. Michlle van Breda really speaks to the
heartbeat of her reader and always takes her on the next
journey of the spirit of the times. I nd both SARIE and
Michlle inspirational.
KATE WILSON, WOMENS
HEALTH
Id say Grazia, because I have been a fan of the
magazine since the UK launch and I think the local
edition is very well translated. The fashion pages
are some of the best in the industry here, combining
trends and service with a real understanding of how
SA women dress and shop. The local edition is also
slick, but unpretentious, and the team have managed
to capture that classic mix of news and fashion (which
was originated by Marie Claire) very effectively, and
with an upbeat voice, despite having to appeal to a
very diverse audience Jozi style vs. Cape Town,
for example. Personally, Ive always loved that Grazia
doesnt pigeonhole the female audience into being
interested in either current affairs or celebrity glamour,
never both. Thats not how women are. We can be
smart and still be interested in escapist stories or
passing trends; it also acknowledges that you may
want to see the latest Louis Vuitton/artist collaboration,
even if you cant afford the bag right now. Magazines
are still about dreams and stories, and Grazia is a fast
x: an edited-down version of exactly what a busy
woman in their target audience wants to nd in her
weekly update.
Icstlny magazlnc has
unlqucly ccmcntcd lts
posltlon ln a vcry spcclhc
markct. Ioundlng cdltor
Khanyl Ihlomo cxplalns
thclr posltlonlng
At an A80 circuIatien ef 27 822 {0ct - 0ec 2012),
Destiny magazine is perferming weII at this stage?
Yes, the circulation has been stable which is great at a time
like this where a lot of magazines are struggling.

when Destiny was Iaunched in 2007, what was the
thinking behind it?
The idea was to launch SAs rst business and lifestyle
magazine.

8e its fecus is a Iet different than that ef ether
wemen's magazines en the market. ew weuId yeu
dene it?
Our focus is in producing compelling lifestyle and business
content.

And the target market?
Our target market is South African businesswomen,
entrepreneurs as well as professionals of all races. The
magazine seeks to inform and educate.

what is the benchmark in terms ef whe appears en the
cevers?
The cover stars are usually women who are inspirational and
are a force to be reckoned with in their industry.

what is its digitaI effering?
Launched in October 2008, DestinyConnect
(www.destinyconnect.com) is a digital social network for
Destiny readers, business professionals and entrepreneurs. It
offers the same combination of business and lifestyle content
as its print partner, Destiny magazine, but combines this with
social media tools that encourage peer to-peer engagement
via the generation of unique content. It has been growing well
and its a space that we are excited about as it has endless
opportunities.

ew many subscribers dees Destiny have?
We currently have 2 500 subscribers and its been stable
which is great.
A rosy
future
WOMENSANDMENSMEDIA
WIIII ÎIÎ IISIAICI IS GIWI^G. IJ
SJIII IIAIS J I^-SJII I!ICIASI
One of SAs largest diversied retailers which commenced trading in 1924 as a family business
and has been listed on the JSE since 1941, Foschini Limited rebranded to The Foschini Group
(TFG) two years ago. Now theyre winning even more hearts and buying power
THE REBRANDING encompassed cultural as
well as physical changes, Kathryn Sakalis, GM:
CRM and corporate communications, explained.
Physically all staff buildings were redone, as well
as all corporate stationary, recruitment vehicles,
AR and analyst communication, CSI, and general
HR/internet communication.
Culturally they reviewed the groups whole brand
strategy and corporate values, including re-
evaluating the name and corporate identity of
the holding company to be more representative
of the other brands also in the group, apart from
Foschini. Representing only one of our operating
divisions, the previous name did not do justice
to the strength of our group today which extends
beyond Foschini to 16 other retail brands.
To reinforce and ne-tune the groups corporate values,
input was received from all 15 000 staff members
from all job levels countrywide, to bring them into
the new TFG corporate brand. Many corporates
execute such procedures from the top down, but
we thought it much better to do it from the bottom
up. And according to engagement surveys amongst
staff, this resulted in the largest shift in terms of
commitment to the company compared to the year
before the relaunch. We thought it important to
rst nish the rebranding internally and strengthen
the corporate identity to have our staffs buy-in,
before taking it public since late last year.
Apart from the fact that its reinforced the company
culture, its also resulted in a strong marketing
platform. We now had an extremely succinct
and well dened vision and identity which was
denitely stronger than before which makes it
easy to do strong marketing.
SMILES ALL AROUND
Today theyre happy to say the rebranding served
the group well.
Last year TFG added Fabiani and G-Star Raw to their
retail brands, and also launched a completely
new mobile brand called Hi! in Canal Walk in Cape
Town. This month theyre also launching another
new retail brand something very different to
anything currently available in SA, she hints.
AND GROWING
According to the data from their 2012 nancial
year, theyve also had a 17% growth in turnover
to R11.6 billion, a 22% growth in headline
earnings per share, a 25% growth in nal
dividend per share, plus theyve had market
share gain. In
addition theyve
experienced
strong customer
growth 8%
growth in 2012
on 10% growth
in 2011. Over
the past ve
years their
number of
stores increased
from 1 332 to
1 857, their
turnover from
R7. 2 billion to
R11.6 billion
and their share
price (in cents)
from 6 910 to 12 368.
Using mobile marketing quite extensively, TGI also
won a gold and one Inkosi (grand prix) award
at the Assegai awards, both for their mystery
mobile campaign. They also won another gold
Assegai award for their rewards programme in the
database and analytics innovation category.
I think whats key to this growth is our strong
culture and value system; the centralisation of
key services to leverage synergies and economies
of scale, including Customer Relationship
Management (CRM); our large portfolio of brands
spanning various market segments like no
other local group and our inhouse design centre
towards our commitment to creation of jobs
through our supply chain.
RINGING IN THE CHANGES
As their offering spans various female segments,
shes witnessed a few changes in womens retail
and shopping behaviour. There are the subtle
changes depending on whats trending regarding
store and fashion design trends, such as a greater
focus on green energy from a store design point
of view. Theres also more theatre and in-store
engagement to assist with shopping top to toe
giving customers the condence to put together
whole outts in the way mannequins are dressed.
Behaviourally I also nd that while online
research is growing, it still leads to in-store
purchase, which is why we also re-did Foschinis
website to assist customers. Women are also more
prone to crowd sourcing, nding out what friends
think before making the purchase. Theyre also
more savvy because of the economic climate,
mixing and matching smartly to pair value with a
few high priced items.
This year TGI will be focusing even more on
their stores, as she believes thats their best
advertisement in the end. Were also shifting
away from mass marketing and branding and
moving more towards direct targeting with
personalised messages using digital channels. In
addition, were working hard on various customer
self service tools, ensuring consistent brand
experience across the channels.
Ircsslng lor succcss
By Magdel Louw
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52

Maganomics
- why magazines still capture the hearts of consumers
DESPITE SPECULATION in the South African
market around recent magazine closures and pressure
on circulations, there is compelling evidence both globally
and locally to show that magazines continue to hold a
unique place in consumers lives and offer advertisers a
real return on investment.
Research conducted by the MPA (US) shows
that globally magazine audiences are
expanding across different platforms. We can
take heart from this, as we are witnessing
similar trends here, albeit at a much slower
pace. The number of magazine websites
and mobile apps is increasing, e-readers are
projected to grow rapidly and consumers
want to see magazine content on them.
However, this growth has not been at the
expense of magazine brands generally.
Indeed, research conducted last year by the
UCT Graduate School of Business locally,
focusing specically on female readers
revealed that if anything, it seems more
likely that online magazines are under threat.
Despite the rapid growth of web consumers
in SA, even the most popular print magazines
are battling to attract readers to their online
counterparts, wrote the authors Mlenga
Jere, senior lecturer in marketing at the UCT
Graduate School of Business and Susan
Davis publishing manager at Media24.
Another recent study in the UK called
Maganomics commissioned by the
PPA in association with media agency
specialists MindShare and Ohal, provides
further magazine insights. In the study
18 000 readers of 96 different magazine brands were
interviewed. The ndings show that in an ever-evolving
media market, magazines remain an oasis of engagement
due the intimate and unique relationship readers enjoy
with their favourite magazines. Importantly, engagement
levels for advertising and editorial content are very
similar. We often think of editorial and advertsing as
different things but readers dont. To them, a magazine
is a seamless blend of relevant copy. As a result both
editorial and advertising content enjoy high levels of
engagement clearly showing that ad avoidance is not a
problem for magazines.
CLOSE FRIENDS
Magazines drive consumers closer to brands, and those
brands, which are heavy investors in magazines, reap
the benets of substantially increased bonding scores.
Magazines are the only medium, which showed a
consistent positive correlation between higher levels
of investment and higher levels of bonding. I quote the
PPA case study on Olay, which is a well-established
brand in the UK and uses magazines as a key element
of their media activity proved this relationship. In total
Olay spent more than 15m in magazines since 2008
with an average share of 17%, second only to TV. The
researchers noted an increase in their bonding score
over time, associated with this sustained investment.
An increase, eight in 2008 to 11 by 2010, or nearly
38% uplift in bonding scores. In a competitive FMCG
market, where emotion is a critical factor, having a
higher positive bonding score is a real asset. Another
study by Yankelovich and Experian Simmons in the US
also reported that consumers are more likely to have
a positive attitude toward advertising in magazines
compared to other media.
The Maganomics research also reminds us that magazine
readers discover content at their own pace in a calm,
unhurried fashion, which is unlike the way other media
is consumed. In fact, the average monthly title takes
four weeks to deliver 81% of its audience and will
continue to build audience over a period as long as 30
weeks.
Back to the UCT study, which noted internet use
by females provided superior gratication in fewer
areas than magazines did: The internet lost by a
wide margin, outperforming magazines in six areas,
versus the triumph of print in 20. The internet only
trumped print in terms of process, i.e. quick, easy
access to information or affordable and free content.
But considering that women are not motivated most
strongly by these factors, it is perhaps unsurprising
that the old adage still holds true content is king.
Of course, magazines like most media are not immune
to economic calamity and like all media have been
negatively impacted by the advertising budget cuts
that accompany recent recessionary times. However,
good magazine publishers understand that while
tough times may require a review of business models,
they must continue to ensure magazines reign
supreme as the primary consumer choice to stay
abreast of trends, lifestyle issues, self-development,
career advice, information and shopping.
Publishers are mastering the art of engaging with
consumers through events, bespoke television
programmes, radio, PR, blogs, social media
interactions such as Facebook, Twitter, Pinterest and
have even transformed brands into saleable merchandise.
They have embraced all that is digital and sell their
magazines on global and local digital newsstands like
Zinio while developing their own apps. Now and with
more to come, they will venture into the e-tailing territory,
using their strong brand relationships to sell merchandise
online and create new revenue streams.
This ability to adapt to a fast changing world and focus
on delivering relevant quality content will undoubtedly
ensure magazines will long remain close to the hearts of
consumers and enjoy longevity in years to come.
Gisele Wertheim Ayms
DES
mar
on c
d
WOMENSANDMENSMEDIA
By Gisele Wertheim Ayms, owner and publishing editor
of Longevity and shareholder in Stuff South Africa
DESTINY and DESTINY MAN speak to affl uent, educated and ambi ti ous men and
women. They are entrepreneuri al , opti mi sti c and proudl y South Afri can.
DESTINY and DESTINY MAN are the onl y publ i cati ons that offer a uni que
mi x of busi ness and l i festyl e content, packaged i n
an accessi bl e and ori gi nal way.
DESTINY & DESTINY MAN
MAGAZINE
:DQWWRUHDFKD\RXQJG\QDPLFSURIHVVLRQDO
RUDQHVWDEOLVKHGEXVLQHVVSHUVRQ"
WWW.DESTINYCONNECT.COM
WWW.DESTINYMAN.COM
-HDQQH0DULH9DQ5RR\HQ
National Sales Manager
011 300 6700/082 784 0237
j.vanrooyen@ndalomedia.com
1L[:RRGKRXVH
Regional Accounts Manager
011 300 6700/083 650 9060
nix.woodhouse@ndalomedia.com
&DUPHQ5DELQRZLW]
Advertising Sales Executive: CPT
082 783 9708
carmen.rabinowitz@ndalomedia.com
=HH$KPHG
New Business and Digital Sales Executive
011 300 6700/ 071 238 4417
zee.ahmed@ndalomedia.com
(OOHQ%DWVKHJL
Advertising Controller
011 300 6700/ 079 143 0821
Ellen.Batshegi@ndalomedia.com
NDALO MEDIA SALES TEAM
WOMENSANDMENSMEDIA
54

In the last two years FHM in SA has been hit hard with a plunging circulation. But
theyre still here. Brendan Cooper, editor, confessed to Magdel Louw about first
admitting the hard truth and the slow turn of their ship that followed
OVER THE YEARS FHM has realised that they
have fallen a little out of step with the needs
and Zeitgeist of its readership, Cooper concedes.
One of the huge challenges when you have been
the market-leading mens magazine
in SA for many years, as well as the
biggest mens magazine on the planet,
is that you can get so married to your
successful editorial formula that you
dont react swiftly enough when you
need to, he remarks.
Magazines need to remain relentlessly
relevant to their readers, and perhaps
our ship was too slow to turn when it
was evident that the lads mag era
was over and that mens needs from
magazines had changed.
The fact is guys simply dont want the
same things as they used to ve to 10
years ago. Even internationally FHMs
challenge has been one of relevance
in the face of a changing male psyche
and dynamic. To his mind guys are
looking for more instructional, useful
content more information on how
to make their lives better and
theyre more serious than they were a
decade ago.
So, Cooper says, they nally did what
they had to do they turned the ship
and went in a new direction.
SEXY, BUT CLASSY
Today theyve got a newly refreshed editorial
offering that has placed a lot of focus on a more
sophisticated look and feel. Our model shoots
had become too risqu in a more conservative
landscape and we have placed much emphasis
on ensuring that our shoots are hot, but classy.
Theyve also upped the useful content as part
of their editorial offering, he adds. FHMs
editorial pillars have always been sexy, funny,
useful and relevant. In the past we focused more
heavily on sexy and funny; today the balance
has more useful and relevant focus, in line with
international trends in mens mags. We have also
put a lot of effort into our fashion pages, and I
really believe we are producing the best mens
fashion editorial in the county.
In addition, he says theyve once again placed
a strong emphasis on providing proper,
investigative, well-written reportage, as a
cornerstone of FHMs editorial offering over the
years has been good, solid journalism. However
eight months ago I felt this had been
compromised by more light-hearted,
uffy reads which remain a core of our
mag; we love light-hearted and funny
pieces and publish features that no other
mag in the country can get away with,
but the balance has to be there so that
not everything is throwaway. We have
run some excellent features of late, by
SAs best writers.
An added focus was to bring the design
up to date with international design
trends. And were getting there. Our
photography, I would humbly say, has
improved greatly and is my love and an
area I spend much time on.
SAFELY ANCHORED
Has all the effort paid off though?
Whats certainly doing well is FHM as
a brand, he says. He points out that
they remain one of the most protable
magazines in the Media24 Lifestyle
Division, way ahead of many well-
known brands, and that their digital
platforms are ying. They now have
a Facebook audience of over 50 000,
webpage impressions in excess of one
million per month and unique users of over
100 000 regularly. And the numbers speak for
themselves, he points out. fhm.co.za is one
of Media24s best-performing websites and the
digital division contributes signicantly to our
prots as well as creating an opportunity for
advertisers to more directly touch our readers
Enter the modern man cave
The holy grail of
WOMENSANDMENSMEDIA
a reality. We are also placing major
focus on our digi-mag sales and our
move onto tablet publications.
But their circulation, like all titles, remains under
pressure, he admits. Their fourth quarter ABCs
(October-December 2012) shows a circulation of
29382, down from 38873 the year before. One of our
challenges is that when making a more sophisticated
product, you lose your overt sexiness on your covers,
and as we know, sex sells. However, it is my belief that
for the long-term future of the brand, we had to make
the change to more girlfriend friendly covers and
photography.
BOYS WILL BE BOYS
Very heartening though is that amid all the big shifts,
some things dont change. SA guys remain pretty
much the same they change to some extent, but they
are always going to like girls, beer, sport, funny, arb
stuff, stories of gore and glory, sexy content, things
that make them laugh. More than any other mag in the
country, FHM delivers on all these guy things. There is
still a signicant readership out there for FHM to tap
into, and the love of the brand is very, very strong.
Which doesnt mean they ll fall back on their old ways.
They realise they need to get with what their market
is telling them now, and theyre doing just that. The
challenge is to get old readers and new readers to pick
up the mag and see what were doing. With marketing
budgets cut to smithereens in all industries, getting
the message out there is difcult, but I promise you
that if you pick up the mag today, you will notice
the change and I believe we are making a great, more
contemporary magazine.
Which is what leads him to proclaim that theyre not
going anywhere. We are one of the best contributors
to Media24s bottom-line and we have massive brand
equity, renewed energy and a long future ahead of us.
Watch this space.
ad antage April 2013 55
PERHAPS OUR SHIP WAS TOO
SLOW TO TURN WHEN IT WAS
EVIDENT THAT THE LADS MAG
ERA WAS OVER
what men want
Brendan Cooper
WOMENSANDMENSMEDIA
56

If youre trying to find out what men really want, be prepared for a
rollercoaster ride, says Brandon de Kock, creative director of RamsayMedia
Lust or love?
THERES NOTHING AS noisy as a head full of
numbers and theres nothing like research to generate
digits. At the risk of bothering you with the noises in my
head, here are some useful insights from RamsayMedia
Research Solutions most recent surveys information
that sheds some light on the mystery we know as the
male of the species.
First up, there was something called CREAM in essence,
a massive magazine reader survey that delivered more
than 10 000 responses. For editors and publishers, the
endless reams of data yielded countless gems in terms of
what people wanted to read and read about. But it was
the moment when Alan Todd of Bateleur Brand Planning
(and partner in RMRS) presented the male vs. female
reading behaviour slides that bells started ringing. As
he puts it, When youre dealing with a sample this big,
you ignore anomalies at your peril this is one of those
times. We asked a simple set of questions about how
often people were buying magazines and whether they
were reading them cover-to-cover or just dipping in, etc.
What we discovered is that women are extremely brand-
loyal and engaged with their media as much as ever.
But men, well, theyre a ckle bunch, it appears: not your
ideal repeat-customer and even when youve got them,
their attention span seems limited!
In direct terms, it might explain why, for example, mens
magazine circulation seems volatile compared with
womens. A free beach bag or pair of sunglasses will
make women love their favourite magazine more
whereas a free pack of trump cards or a DVD will make
men lust after that particular issue just dont bet on
it being more than a one-night stand. Sure, this is one
possible interpretation, and we need to take into account
the fact that alternative options and choices in the
marketplace these days are almost overwhelming, but
even if its only half right, the implications for marketers
across the board are obvious and extreme: men need
constant cuddling.
Further complicating the issue is that theres ample
evidence in another survey to suggest that modern men
are not quite the predictable creatures they used to be.
The latest TopEnd study, a project that successfully
targets the most afuent sector of society that neither
AMPS nor any other survey manages to do, yields
a massive sample of almost 8 500 South African
males (70% of whom are white) who we describe
as economically active TopEnders i.e. they live in
households with a monthly income of R25 000 or more.
And although theres an endless amount of useful,
amazing and strategically invaluable insight to be drawn
from the entire data set, the what hobbies, pastimes and
activities are you interested in section alone tells the kind
of stories that keep marketers awake at night.
It probably comes as no surprise that 45% list rugby, 37%
tick the cricket box, 31% like soccer and 27% are golf
fanatics. And its also not exactly earth shattering to
discover that art, bird watching and woodwork all attract
less than 20% of these well-to-do males. But if you are
looking for evidence of real shifts in behaviour, consider
that in 2013, there are more cyclists among them (20%)
than there are runners (16%). If that trend continues,
expect the idea that cycling is the new golf to become
a reality. And theres surely a story to be told in the 36%
who claim to be into DIY perhaps an indicator that in
tough times, even the wealthy realise it makes no sense
to hire help for things you can easily x yourself.
But perhaps the most interesting results are the ones that
show a distinct softening of the traditional red-blooded
South African male. Ive been watching the metrosexual
revolution for some time now and, thanks to TopEnd,
Im happy to report that its not so much theory as fact.
Compared to the above results, its eye opening that 31%
of wealthy men are into gardening, 30% like photography
(perhaps because their smart-phones all have cameras?),
22% are theatregoers and a similar number are into
wine-tastings! But the real gem for me was the discovery
that somewhere between Masterchef, Jamie Oliver and
the appeal of kitchen goddesses like Nigella Lawson,
the upper echelons of male society in our country are
far more interested in all things cuisine than you might
have thought: 29% list dining out as an interest and a
staggering 32% didnt hesitate to check cooking.
So ladies, next weekend, if Man United and Chelsea are
playing for a championship title, dont be surprised to
nd the TV room empty and not a beer bottle in sight. If
hes not out cycling, your man may well be in the kitchen,
sipping a lightly-wooded Chenin Blanc, listening to the
soundtrack of Phantom of the Opera and julienning
carrots for a gourmet stir fry!
NEXT
WEEKEND,
DONT BE
SURPRISED TO
FIND THE
TV ROOM
EMPTY
AND NOT
A BEER
BOTTLE IN
SIGHT
WOMENSANDMENSMEDIA
Jason Brown, editor of Mens Health, reveals his take on the healthy life men
aspire to. And that yes, theres always room for a(nother) story about abs
WHAT MEN WANT above all, is to be the best
versions of themselves, Brown reckons. We all
want to be healthy, successful and happy. We
believe that guys have more in common than
they are different: were striving to lead balanced
lives that give us the rewards we seek. We know
that sometimes it doesnt always fall into place at
the same time and we like to believe thats where
Mens Health comes in. Like our readers, were
constantly trying to nd the answers
and the magazine (and digital
properties) acts as a manual, a guide
to offer accessible solutions.
So while guys generally aspire to the
same things, he muses, things do
change. Sure, style and grooming
coverage has increased as readers
have become more aware of whats
out there. But the biggest change
we experienced, by far, is the way
we communicate. Were constantly
in touch and have access to more
information and networks of people
than ever before. What this means
is that theyve become closer to
their readers. Before, the only
communication they had with readers
was competitions and letters pages, so
that magazines were slightly removed
from readers. Now, were talking to
them daily. Over the past ve years
weve used this as an opportunity
to get closer to our community.
Weve also repurposed some of our
major brand projects to be driven by
social media and reader interaction.
Our readers have been incredibly responsive to
everything from our Belly Off Readers Challenge
to the Cover Guy Competition. And on a daily basis
were talking to them about what really matters and
this has inuenced our editorial coverage.
In fact, he believes Mens Health accurately reects
the lifestyle of the average South African man
their leadership position in the mens market
indicating that men regard it as the go-to guide,
especially as it has had the best January sales
ever this year. Mens Health has always been a
general interest lifestyle brand, but we use the
lter of a healthy life to inform our coverage of
everything a man needs to live a great life. They
say that health is the new wealth and I think
that sums up our positioning we empower men
to live their best possible life, giving
them actionable advice on health, tness and
weight loss, but also on style, grooming, career,
tech, gear, relationships, adventure,
travel and more.
ABS APLENTY
But I had to ask, how many stories about
abs can one write? I wont shy away
from abs theyre a key part of our tness
coverage, and everyone wants abs, he
maintains. Of course youre going to see
abs cover lines on Mens Health, but not
every month. I think thats one of those
myths, like every month Cosmopolitan
has the word orgasm on the cover. With
such a strong brand like Mens Health, we
acknowledge what works (and when), but
are also very aware of the need to switch it
up. Like most successful magazines, they
have an editorial formula, he explains, but
the secret is nding ways to re-interpret
and re-imagine the core content areas.
Sex and Abs are core content areas, but
theyre not the only ones. Of course they work
well, but so does weight loss, and career, and
more recently nutrition and food. By the way, abs
stories work well for a reason: I havent met a lot
of men (and women) who dont want abs!
Health the new wealth
By Magdel Louw
Jason Brown
I HAVENT MET A LOT OF MEN (AND
WOMEN) WHO DONT WANT ABS!
Sometimes, a controversial ad can do wonders for
a business. And the use of strategy is fairly obvious:
most brands have very little money and need to make
a disproportionate amount of impact in an extremely
cluttered media environment. But be warned, not all
controversy is equal.
Firstly I want to say, a back-fred ad does not count.
So, an ad that is badly placed or not intended to stir
up controversy, does not qualify e.g. Outsurances
legless disability cover ad placed under the Oscar
Pistorius story. This is not what I mean about getting
in trouble. Not all press is good press. This kind of
exposure will inevitably hurt the brand.
What I mean is: getting noticed. There are many
ways to do it humour, shock, fear, topicality, sex,
God, etc. (basically all the good stuf). Research
shows that controversy and shock appeal can
signifcantly beneft memory, increase attention and
efectively change behaviours (Dahl, Frankenberger
& Manchanda, 2003). However, the technique
should never overshadow the idea. Controversy, for
controversys sake never works.
In the early 90s the term shockvertising was often
thrown around and was mostly applied to campaigns
for charities or public service, employing factors such
as nudity, violation of norms or moral ofensiveness.
A very crude form of attention-seeking.
Controversy is about not pleasing everyone and
being true to oneself (and ones customers). The
sheer nature of segmentation and relevancy is the
recognition that we are different, and that to be
relevant to one segment you will most likely alienate
another. It is about understanding your brand
personality and leveraging it to your advantage.
Nandos get this right... sometimes. Controversy
allows you to start a conversation and encourage
people to interact with your brand. You need to have
a point of view and not be afraid to stand up for what
you believe in.

Most importantly, dont try and be controversial if
bravery isnt part of your brand ethos. In addition,
never use the safer side of the sword. You need
to go big, but plan it through: Plan social media
and PR strategies as well as efective follow-up
communication.

Make sure you strike while the iron is hot. Remember
why you used this type of strategy (to grab attention).
Now use it. The second step is always more important
than the frst. And remember it is never a bad thing to
stir up a bit of trouble and get people thinking.
NOT TO BE IN TROUBLE.
YOU CANT AFFORD
by Rob Van Rooyen
BUT BE WARNED,
NOT ALL CONTROVERSY
IS EQUAL.
CONTROVERSY AND
SHOCK APPEAL CAN
SIGNIFICANTLY BENEFIT
MEMORY, INCREASE
ATTENTION AND
EFFECTIVELY CHANGE
BEHAVIOURS
Shockvertising at its best.
Bad attemp at controversy.
An oldie but a goodie.
LASTWORD
58

On 7 March 2013, at around 6:30pm,
launch-party guests of Primedia Out-
door and south-bound commuters
along the stretch of the N1 between
Malibongwe and Beyers Naude, wit-
nessed the powering up of South Af-
ULFDVUVWHYHU/('VFUHHQELOOERDUG
on a national road.
At 4.5 m by 18 m, the new freeway
giant was an impressive sight, as it
beamed out the high-res, bright mes-
sages of exclusive client, MTN South
Africa.
Dave Roberts, CEO of Primedia Out-
door, told industry guests and media
at the launch party that securing the
UVWHYHU DSSURYDO IRU D GLJLWDO ERDUG
along a freeway and breaking into
a new space for the medium was a
huge coup.
The screen is manufactured by the
worlds premier LED manufacturer,
Daktronics, which translates into su-
perior-quality visuals, and unparalleled
reliability.
MTN South Africas signature yellow
will dominate the screen and its stretch
of freeway for the next three years.
Primedia Outdoor is currently pursu-
ing approvals for additional sites, and
anticipates erecting a number of new
LED-screen signs within the next few
months.
Why digital?
Aside from a huge, iconic presence
on the freeway, both day and night,
ZKDWDUHWKHPDMRUEHQHWV071ZLOO
enjoy from owning the new screen?
0DVVLYHFUHDWLYHH[LELOLW\
2QOLQH DUWZRUN FKDQJHV HDV\
FRVWHIIHFWLYH LJKWLQJ RI PXOWLSOH
DGVWKHDELOLW\WRGRGD\SDUWPHV-
saging, addressing consumers con-
text and state of mind.
1HZ PDWHULDO JRHV XS ZLWKLQ DQ
KRXUWDFWLFDOWDFWLFDOWDFWLFDO
5HDFWLQJWDFWLFDOO\ERRVWVHIFDF\
since relevance and context are sig-
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Vital stats
7KHVFUHHQLVPE\P
,W KDV WRQV RI /(' WHFKQRORJ\
on board.
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Nichia LEDs.
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motely reporting any failure of LEDs.
&DOLEUDWLRQ VRIWZDUH HQVXUHV XQL-
form LED brightness.
,W XVHV XS WR OHVV SRZHU WKDQ
equivalent low-cost screens sourced
from the East to achieve the same
brightness.
/HVVSRZHUOHVVKHDWDORQJHU
lasting screen.
Switching on
the future
www.primeoutdoor.co.za
This screen is going to help trans-
form the face of out-of-home in
South Africa. Whats most exciting
about it is that it gives MTN the
opportunity to be highly relevant.
Day-part messaging will play a huge
role in the success of campaigns run
on the board, ensuring the brand is
right there in the moment with com-
muters.
Peter Monaise, invention and digital
partner, Mindshare South Africa.
ADVE RT OR I AL
071 LV H[FLWHG WR EH UVW EUDQG WR
advertise on this screen, not only be-
cause our brand will take pole position
in terms of visibility and presence, but
because we will be able to feed peoples
hunger for fresh and current content,
communicating relevant messages to
our customers on a daily basis.
Serame Taukobong, chief marketing of-
FHU0716$
+27 21 912 5000

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