Press Releases - MullenLowe Group - MullenLowe Group Press Releases at en-us Copyright 2017 Five Recent Campaigns That Created a Buzz Finally! The dark ages of advertising are coming to an end. One after another, Pakistani advertising agencies are producing award-winning, meaningful, socially-responsible and out-of-the-box campaigns. Is this because brands are losing effectiveness due to over branding and hard-selling, or is it the Ad Mad Dude’s pressure to learn something from Indian advertising or even perhaps the opening of a dozen design and media schools and the departure of old-school marketing and advertising techniques? Whatever the reasons, it is a fresh start and we should keep pushing our limits to make our work relevant. On this note, here is my critical analysis on some recent campaigns.

BRAND: Blue Band
Agency: MullenLowe India, MullenLowe Rauf Pakistan
Campaign: #AchayiBarhneDo
Message: Given that Blue Band’s focus is on children’s health, the campaign emphasises the need to pay attention to the development of their character.
Effectiveness: Prasoon Joshi in his recent article for The Economic Times rightfully wrote: “Today’s companies need to ensure that being socially responsible is part of the brand’s DNA.” The recent Blue Band campaign has lived up to the above suggestion. We have been seeing motivational video clips and commercials on social media for quite some time; for example, the Guinness Beer Wheelchair Basketball TVC or the TED Talk about Lizzie Velasquez. Yet, it never occurred to us that connecting a brand with a strong social message can help change societies. The concept is simple and leaves a deep message with minimal, yet solid branding.
Verdict: A great move!

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2017-10-12 11:23:47
Time Will Be Kind to Singapore’s Creative Industry Singapore’s future as a globally recognised creative hot spot looks promising, according to creative leaders from across the industry, but it needed to better celebrate its local talent, nurture it and create a more supportive community.

The mixed feelings were expressed by a panel for The Drum’s Singapore Creative Cities special supplement, bringing together Singapore-based artist Steve Lawler (Mojoko), MullenLowe Singapore CEO Shannon Cullum, Aaron Yang, senior brand manager at Pernod Ricard and Bryan Seah, head of original content, Southeast Asia, at Discovery Networks, as well as SI Partner’s Sam Olsen, who discussed creativity and technology.

Olsen, said: “I think Singapore is in a very good place strategically to dominate the creative sector going forward in terms of bringing together creative minds, though the marketing and advertising agencies who have been brought here because of good local talent and ease of work. But you also have the technology side and that is doing very well in terms of its relationship with the rest of Asia and the world. Bringing the tech and the creative together is very important for the future because as creative becomes more technology-focused, you have ready-made talent to fuel and boost the creative team.”

On the whole the panel were very positive about Singapore’s creative force and were optimistic about what the industry could output in years to come, but words of warning came around whether it was good at supporting one another.

MullenLowe’s Cullum, said: “Time will be kind to Singapore, as it will attract more global work and more talent, and more and more of the creative industry’s energy will swing this way, simply because of its proximity to Asia. It’s about us in the creative industries preparing to be winners in it and supporting it and I think that’s a big aspect of Singapore- that support mechanic within the creative community isn’t as strong.”

Speaking on the panel, Cullum gave a shout out to BBH Singapore, who was one of the most awarded agencies at Cannes this year, saying that he wasn’t afraid to give recognition to other agencies when they’ve done a good job.

From a content point of view, Discovery Networks is investing heavily in local talent, particularly for students. Discovery’s Seah, said he agreed with Cullum’s sentiment that more support was needed to be proud of having a “made in Singapore” badge on creative endeavours.

“A lot has been said about the strength of the South Korean media industry and how creative it has become and a lot of that has come just over the last two to three years. A lot of that has been built on the fact that Koreans are really almost nationalistic in support of own media. We need Singaporean to start supporting Singaporean artists and content creators and be really proud of what we can do and produce out of where we are,” he explained.

In terms of funding this, Pernod Ricard’s Yang, said that brands have a responsibility to support artists financially, particularly in expensive cities like Singapore, where it’s hard to make a living in more creative roles.

“From a brand point of view, if no one’s going to back artists or say go nuts, it’s very hard because let’s face it, this country runs on money and it’s a very expensive place to live so without the support it is very hard for them to show what they can do,” he said.

Lawler, an artist himself who has worked in agencies and now bridges the art and commercial world with his business Kult, said that linking education in a “hot house” idea to business was becoming ever more important because it created job-ready people.

“The intern type idea is a bit of a dirty word now but what if that was taken to a next level of incubating, with 10 or 20 interns, becoming a creative section of a company and having that as an idea? Or brands could bring in art students to explore, in low risk and expense, and there may be sparks of excitement – it is very doable,” added Lawler.

The Singapore Creative Cities magazine and breakfast created in partnership with SI Partners and The Trade Desk. To see content from the magazine, visit the Creative Cities section of The Drum.

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2017-10-12 10:59:18
Lessons in Integration from MullenLowe and 101 There’s deep history between the senior leadership at MullenLowe and that of its latest purchase, creative agency 101; but don’t expect self-congratulatory backslapping from this boys’ club. As the new team tells The Drum, the merger was never about recreating the good old days but forging a future as both struggled with creativity at scale.

The IPG-owned group’s buyout of the London independenthit the tarmac last week when the teams merged in the former’s Shoreditch offices. The Drum visits 72 hours in, and the move has gone well – remarkably well. What was once 101 has been seamlessly blended into the MullenLowe team.

Despite neither side publicly confirming the deal until the eleventh hour, the process of integration was meticulous planned. Take, for example, the seemingly insignificant choice of office decoration.

In the days before the physical merger, José Miguel Sokoloff, MullenLowe Group UK’s chief creative officer, visited 101’s sprawling Somerset House digs to pick out pieces of furniture and artwork to bring to Shoreditch. To him, these are welcoming non-verbal symbols of union.

“If you go up to the second [creative] floor at least, there are signs that something different has happened,” he says. “Yes, there’s a lot of new energy but we’re also communicating that. We wanted to make a point that things are different.”

From the moment MullenLowe and 101 came together on the “dance floor” (Sokoloff’s analogy), the two were in harmony, according to Mark Elwood, executive creative director. “All of the guys came to our office to present what each different department does,” he recalls.

Elwood, a founding member of 101, is surprisingly nonchalant about burying the brand of his startup agency – a business decision he claims took all of three minutes to make.

“This isn’t a ‘slash 101’ – this is a full-on MullenLowe London office and that’s the way it will be,” he states.

Perhaps any heartbreak that may come from retiring the name was alleviated by something of a family reunion that’s taken place because of the merger. Elwood launched 101 with fellow Fallon executives Laurence Green and Steve Waring, alongside their client, Cadbury marketer Phil Rumbol.

Alex Leikikh, global chief executive of MullenLowe Group, spent his early career with the trio at Fallon, while Green and Rumbol “earned their advertising spurs” as strategist and client at what was once Lowe and Partners alongside MullenLowe’s executive partner, Tom Knox.

It’s a reunion that’s hard to ignore, and in a press release confirming the deal earlier this year Leikikh admitted he was “thrilled” to “work with old friends.”

Working with old friends sounds great in theory, but the familiarities of a past relationship have the power to hinder boundary pushing creative. Is there a risk that chumminess will lead to a lot of back-slapping – and a lot of average work?

“The answer is a straight, massive no,” asserts Elwood. “I get out of bed every morning to make great work. I’m not interested in slapping anyone’s back. [Our] record speaks for itself enormously … we could have quite easily been slapping each other’s backs at Fallon, but we [launched a new agency] because we love the work.

“Look at the entrepreneurial spirit across each of the partners in the business – we’ve each done startups and all still have that DNA that doesn’t leave you.”

Sokoloff agrees, stressing that “this is not a relationship that’s based on us being friends”.

“I need people that I respect, but this isn’t about the work we admire, or the work we’ve done,” he says. “We haven’t bought each other’s reels or portfolio. What really brings us together is the work we want to do.”

It’s an honest confession and not the first of this interview, which is the first since the merger.

When asked why MullenLowe shelled out the cash for 101, Sokoloff bluntly explains the plan was to enhance the standard of creativity in its London office – a standard he admits has slipped in recent times.

“This is probably the only network left in the world where you can run the world from London,” says Sokoloff. “But London was not our biggest, most important, most creative office anymore and our responsibility was to make it better.”

The creative chief cites his agency’s global distractions as a reason for its local problems – namely, an exodus of senior management and finding itself a casualty of Unilever’s in-house drive.

On the other side of the coin, 101 was struggling to win and retain accounts in its final days largely due to the global servicing demands of its clients that it simply wasn’t able to fulfil.

“We needed more capability, it’s as simple as that,” says Elwood. “It’s so difficult to survive without being full-service, which we weren’t.”

Its former client, Costa, is an obvious example of that: “We gave them an amazing idea, every kind of asset they needed, and then at the end of the process they said: ‘great, now how can you service this globally?’ That was a question we couldn’t answer at the time. Now we can.”

Elwood says MullenLowe wasn’t the only agency to knock on its door as it mulled a sale. But in the end the deal succeeded quite simply because “the only conversations we had were about the work”.

“In some of the conversations we’d had previously, the work wasn’t the first thing on the agenda” he says. “And as creatives, that wasn’t acceptable.”

Logistically things have gone rather smoothly. Only two members of the 101 team (creative director Joe Bruce and head of strategy Clare Hutchinson) have, by choice, left, and there was not a single client conflict that had to be resolved. There is though, still work to be done culturally.

The senior team is blindingly male, and it’s no surprise that it’s taking everyone a while to get used to a new team.

“There are things that have created tension,” admits Sokoloff. “For example, something that Mark [Elwood] presented was questioned by the team, even though he and I had agreed that that was going to happen. But then it gets solved.”

One thing that will take some work is identity. When people talk about MullenLowe, what does the creative team hope they will say?

“That we’re really good,” laughs Sokoloff.

It’s a joke, but surely every shop wants to be known as the “really good” agency?

“We’re integrated…we’ve got a lot of things happening,” he says when pressed. “But the one thing that I really believe in is that we have a challenger mentality. We are not the biggest agency, and if we become the biggest we will always have this challenger mentality. That’s what we bring to the brands.

“It is out mind set, and we can never forget that.”

The revamped team is currently “producing like crazy”. Let’s see if the mind set can withstand the teething problems and empirically prove once and for all that for MullenLowe, it is really is all about the work.

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2017-10-12 10:46:22
Western Power Uses Quirky Tales in Latest Campaign The campaign, running in cinemas and online, includes a secret love triangle and a mad engineer.

Secret love triangles, typical Sunday sessions and mad engineers are all part of Western Power’s new campaign, ‘Stories from the grid’. The energy corporation for Western Australia worked with creative agency 303 MullenLowe to create three short stories, which offers a bird’s eye view of Western Power’s electricity network of the future. A fourth instalment is on its way.

Each of the films has a running theme: how Western Power plays a leading role in the state’s evolving energy landscape – from renewable energy to peer to peer energy sharing and emerging technology.

“Western Power is always trialling new technologies and innovations,” explains Todd Baker, client service director at 303 MullenLowe. “This campaign is about opening up and talking about its innovations and experiments in a fun and relatable way, which represents a huge strategic shift for the brand.”

The first clip, ‘Energy Sharing: A Grid-Powered Love Story’, is all about Lucy, a giver, and Kevin, a taker, who literally consumes all her spare energy, until along comes Tessa – also a giver. This love triangle explains the benefits of a shared energy storage system, which could soon make sharing power between neighbours as easy as lending a cup of sugar.

The second film, ‘Batteries, BBQs and Balls: Energy Your Way’, depicts all the ways the people of Perth are using Western Power energy – from watching the footy to a yoga class. It builds on the launch of an earlier campaign, ‘It’s ON’.

The third tale in the series, ‘Mind control: Directing the Power of Perth, features a seemingly mad engineer and depicts how the team at Western Power collectively make plans to save resources.

“We want to show our customers the many ways Western Power is evolving. The network now connects solar, batteries, advanced meters, microgrids and stand-alone systems seamlessly with the essential poles and wires. It’s an exciting time for energy in Western Australia, and 303 MullenLowe has done a fabulous job of depicting this,” says Jill Goodwin, brand and customer communications manager at Western Power.

The campaign is running in cinemas and online.

Watch the three clips here:

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2017-10-11 11:11:26
Why Returning Shows Like Kevin Can Wait Got Extreme Makeovers This Fall This season, several returning series feel more like brand new shows, after undergoing significant casting and storyline overhauls to give their ratings a jolt. Kevin James’ CBS sitcom Kevin Can Wait added Leah Remini as a cast regular for Season 2, reuniting him with his King of Queens spouse—and killing off his new TV wife (Erinn Hayes) to make room.

Season 7 of Once Upon a Time features a complete storyline reboot and the departure of six cast members, including stars Jennifer Morrison and Ginnifer Goodwin. And when NBC’s Taken—a prequel to the Liam Neeson films—returns in midseason for its second year, it will have jettisoned six regulars, with only Clive Standen (who plays the younger Neeson) and Jennifer Beals returning.

Big cast changes are a regular part of television—like when Ashton Kutcher successfully stepped in for Charlie Sheen on Two and a Half Men in 2011—but buyers approach each series upheaval differently. “You have to look at what the replacement is. It really depends on the casting. For me, that’s the best way to make a decision,” said Carrie Drinkwater, svp, group director of investment activation, Mediahub. “George Clooney left ER, and it went on for many years without him. There certainly is life after a lead character goes.”

“You have to look at what that replacement is. It really depends on the casting.”
-Carrie Drinkwater, svp, group director of investment activation, Mediahub

Drinkwater applauded Remini’s addition to Kevin Can Wait, noting that she and James “have great chemistry,” which made CBS take notice when she guested on the show last year. “Everybody looked at each other and said, ‘This was neat, and gave the show a real jolt of energy.’ Between Kevin and the producers, it was something people wanted to recreate going forward,” said CBS Entertainment president Kelly Kahl. “That necessitated a tough decision” regarding Hayes’ firing, but the idea to flash-forward a year “lets us move forward fairly quickly.” So far, it’s worked out just as CBS had hoped: Kevin Can Wait’s Season 2 premiere drew 10.3 million viewers, and a 2.3 rating in the 18-49 demo, better than all but its first two episodes last season.

NBC is hoping a similar change to Taken can reset that show for the long haul as well. The title “means something to a lot of people,” said NBC Entertainment chairman Robert Greenblatt, who loved his two leads, but “we all said, let’s get rid of these characters that are holding the show back and rejigger it. And you still have the essence of the show.” With only 10 Taken episodes aired so far, “you’re still figuring out what the show is,” added Greenblatt, who helped develop The X-Files and recalled, “it took us 22 episodes to figure out what that show was.”

Buyers are more cynical about the prospects of ABC’s Once Upon a Time’s reboot so late in its run. “It’s dead in the water,” said one. “The ratings were dying, and when you have to retool a program that much, it’ll be a Friday-night program”—its new home this season—“and then it will be gone.”

Last season, Fox attempted a similar—and unsuccessful—overhaul of Sleepy Hollow. “It’s pretty rare that you’re just trying to squeeze another year out of a show” with a big cast overhaul, said Fox Television Group chairman and CEO Gary Newman. “We have a longer-term view than that. We’re looking for our shows to be long-running assets. When we make a change, it’s because we’re looking to infuse a new energy or dynamic that will extend the lifespan of these shows.”

That is what Once’s co-creator Adam Horowitz is hoping to pull off with his show’s reboot, which has been in the works for a year. “Like anything that is successful, it’s a risk,” he said. “If it works, this show could go on for another six years. If it doesn’t, we’ll wrap it up, and seven years is a great run.”

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2017-10-11 10:55:58
Captain Risky Takes a Desert Trek in Latest TV Spot for Budget Direct
Captain Risky’s ‘Desert Trek’ was directed by Hamish Rothwell at Goodoil, with effects by Alt VFX

Captain Risky Takes a Desert Trek in Latest TV Spot for Budget Direct

Captain Risky is lost in the desert in the latest Budget Direct installment, created by 303 MullenLowe Sydney, which builds on the idea that at Budget Direct you don’t pay for extras that you don’t need – like flood cover.

With only 20% of homes in Australia having some risk of flood, according to flood data based on analysis conducted by Auto & General Insurance Company Ltd, Budget Direct customers only pay for flood cover if they want to. It’s another way customers can tailor their policy and ‘get more’ with Budget Direct.

Client: Budget Direct
Director, Marketing & Digital: Jonathan Kerr
General Manager – Brand and Media Marketing: Warren Marsh
Marketing Manager – New Customer Acquisition: Catherine Harty
Agency: 303MullenLowe Sydney
ECD: Richard Morgan
Creative Directors: Sean Larkin & Adam Whitehead
Agency Producer: Sean Ascroft
Head of Business Management: Tony Dunseath
Business Director: James Lammert
Production Company: Goodoil Films
Director: Hamish Rothwell
Producer: Llew Griffiths
Executive Producer: Sam Long
DOP: Crighton Bone
Editor: ARC Edit
Sound Engineer: Barry Stewart, Sound Reservoir
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2017-10-06 07:36:49
MullenLowe Hires Kate Higgins as President of Its Winston-Salem Office After a roughly five-month talent search, MullenLowe has hired Kate Higgins as president of its Winston-Salem office, replacing Brad Higdon who left unexpectedly in May.

“I’m incredibly excited to have Kate on board. She’s a smart, hard-working, straight-talking builder of things—relationships, teams, brands and agencies. She’s going to be a great fit in Winston,” said MullenLowe U.S. CEO Lee Newman, whom Higgins will report to. In the new role, Higgins will help attract talent, guide the agency’s creative vision and grow the office.

Higgins has 20-plus years of agency experience, most recently with independent San Francisco agency Erich & Kallman, where she led all accounts including recent adds General Mills and Chick-fil-A. Higgins has also held positions at Y&R Austin, Fallon, Carmichael Lynch and Crispin Porter + Bogusky.

“I couldn’t be more excited,” Higgins told Adweek today, adding that she is a “huge fan” of MullenLowe’s work and its particular focus on helping challenger brands. Higgins described herself to Adweek as a “bit of a nut,” enjoying extreme sports in her spare time like ice climbing. “I’m excited to bring that intensity to MullenLowe,” she said.

Higgins said she enjoyed pushing General Mills out of its comfort zone when she was at Erich & Kallman with campaigns such as Go-Gurt’s comical “Tim and Charlie,” which promoted the brand’s new EZ Open Go-Gurt containers. The ads take viewers through a day with two fourth-graders dressed up as old geezers, as they reflect on the younger generation, third-graders, who never had to deal with hard-to-open yogurt containers.

MullenLowe’s Winston-Salem office provides services for clients including Ulta Beauty, ADP and CSX Transportation.

Higdon, who joined the office last May as head of accounts, was promoted to president six months after coming on board and then left six months after that, although it is unclear why. Chief strategy officer Shaun Campbell Stripling led the Winston-Salem team while the agency searched for a replacement.

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2017-10-06 07:32:46
303 MullenLowe Launches New Graduate Program for 2017

303 MullenLowe has launched a graduate program with the goal of luring top university graduates nationally into the advertising industry, and training them from the ground up.

Says Tony Dunseath, managing partner and client services director at 303 MullenLowe: “We’re looking for 2017 graduates across all disciplines to join our industry as full- time, paid employees in November 2017.”


Shortlisted applicants will participate in a full-day workshop where they’ll be introduced to 303 MullenLowe’s integrated model, with advertising, data, technology and media buying located under one roof to deliver brands an unfair share of attention.

Says Dunseath: “As an industry, we need to encourage more people to choose a career in advertising and support their growth from the outset. This program will help us identify creative thinkers who have a genuine interest in and affinity with advertising – people who will grow with the agency and enjoy a long future with 303 MullenLowe.”

Top-performing applicants will be offered full-time, paid positions in the agency’s account management, media and planning departments starting in November 2017, and will rotate between different business units throughout their first 12 months.

According to the MFA’s 2016 industry census, only 48% of media agency employees have less than four years’ experience. Meanwhile, only 8% of the Australian digital workforce is under 25, which suggests many agencies are not focussed on supporting young graduates with on-the-job training, according to AIMIA.

Applications close October 15 2017.

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2017-10-06 07:23:29
Slick, Cookie-Cutter Digital Customer Experience Fails to Differentiate Brands

Think providing a seamless digital CX is all you need to maintain your brand in the eyes of the consumer? Chris Henderson, MullenLowe Profero’s Sydney MD warns that slick, generic out-of-the box solutions could actually be doing more harm than good.

The last thing any marketer wants is for their brand to look and feel just like the competitor. However, our industry’s current focus on streamlining customer experience via tech platforms risks exactly that.

The scramble for next generation customer experiences (CX) has agencies, consultancies and marketers making brand interactions more intuitive. Innovating to find more efficiency is an important part of refining customer experiences, but it offers no competitive advantage if everyone else follows a category-generic playbook.

Brands using technology as their differentiator run the risk of creating generic interfaces and experiences. We’ve all heard about the out-of-the-box solutions that vendors promise will fix everything. Smooth and integrated customer experiences might create satisfied punters, but this is only half the battle. Brands looking for proper ROI need to consider emotional motivators when devising strategies to win and retain high-value customers.

When you hear about companies setting up a ‘design thinking team’ or ‘an innovation team’, you have to wonder what the strategic objective is. Are they just there to make platforms and processes better? Or are they driving at something deeper? I tend to worry there’s a lot of, ‘keeping up with the Joneses’ afoot – innovation towards greater CX efficiency, without overarching emotional purpose or vision that knits the experience together.

Modern CX requires customer intelligence around emotion, psychology and context to add competitive value. Building great big platforms around guesswork or the business capability, rather than the customer, would be repeating past behaviour.

Next-generation CX is about knowing who the customer will be, not who the business wants them to be. Foresight is more valuable than insight, because it forever pulls CX back to the customer’s motivations and behaviours, forcing brands to stop thinking about themselves.

When creating quality customer experiences, emotional motivators offer a guiding objective that can be threaded through each touch point along the customer journey. A 2016 study from Harvard Business Review found consumers exhibit around 40 emotional motivators across most brand interactions (with varying intensity). In no particular order, the most prevalent include desire for ‘a sense of belonging, ‘to succeed in life’, ‘to feel secure’ ‘to have a sense of freedom’ and ‘to have confidence in the future’.

The study also goes on to explain that brand relationships transition through four stages: (1) being unconnected (2) being highly satisfied (3) perceiving brand differentiation (4) being fully connected. At ‘fully connected’, the customer feels a meaningful relationship with the brand through one or more key emotional motivators, like the ones listed above. Through extensive research and case study analysis, Harvard Business Review concluded customers in this category are twice as valuable to the brand as ‘highly satisfied customers’ over the lifetime of the relationship.

Furthermore, moving a customer from the ‘highly satisfied’ category to ‘fully connected’ is three times more valuable than moving them from ‘unconnected’ to ‘highly satisfied’. Fully connected customers spend more, are less price sensitive, pay more attention to brand comms, and are much more likely to recommend the brand to others.

Importantly, the research shows that while slick platforms might keep a customer satisfied, that customer’s value stagnates unless they feel a deeper connection to the brand.

The value of pushing for enhanced emotional connection is huge. The industry’s current focus on innovation and efficiency risks overlooking that value, and creating a world where brands offer a seamless experience but not a differentiated one.

Focussing on emotion enables the ability to deliver CX that impacts a person’s heuristics (how they make intuitive, simple decisions). It’s accepted that heuristics inform habits and bed down patterns of behaviour to create a cumulative advantage for businesses. Sustained differentiation is good for business.

Today’s digital experiences have core features that customers have come to expect, like intelligent recommendations, online self-service or chatbots and predictive search terms. As brands rush to bring themselves into line with those expectations, everyone is pretty much working from the same formula – make it simple and clean. Sooner or later, we’re going to nail that methodology and everyone is gonna be pretty slick, and pretty samey.

Elevating your brand above the competition is soon going to take more than technology platforms. If CX is the new battleground, emotion is the not-so-secret weapon. Your partner, agency or consultant’s ability to unlock that power is what will create a truly unique customer experience. This process takes research, time, and crucially, expertise that does not yet exist in great quantity.

The alternative is a future of marketing governed by efficiency and technology. Easy to navigate, boring to experience.

Chris Henderson is the Sydney MD of digital transformation agency MullenLowe Profero.

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2017-10-05 04:37:44
Is Experiential Marketing The Next Big Thing? Advertisers haven’t had to look too far for negative news lately. But as broadcast spending dips and clients question the safety and effectiveness of digital buys, more and more agencies are turning toward a rare bright spot in the ad world: experiential marketing.

“Experiential work is where the rubber hits the road—where advertising meets the Amazon review, quote unquote,” says Denise Wong, president of George P. Johnson Experiential Marketing. “We can not only go out with a brand’s message and promise, but give consumers a chance to try it.”

“Two or three years ago, clients saw it as an incremental spend. Now they’re moving dollars previously slated for media or broadcast into experiential.”
-Denise Wong, president of George P. Johnson Experiential Marketing

This sort of work sells both products surrounded by experiences and experiences doubling as products. And brands want in on it.

“Yes, brands are definitely starting to invest more in experiential projects, and you’re seeing more competition from highly creative smaller agencies,” says Debbie Kaplan, evp of experiential marketing at WPP’s Geometry Global. “Ad and PR agencies are all jumping on the bandwagon.”

“Two or three years ago, clients saw it as an incremental spend,” Wong reveals. “Now they’re moving dollars previously slated for media or broadcast into experiential.”

One might attribute this change to basic human nature. Consumers can easily skip, mute or block TV and digital ads, but attending an event or absorbing an experience is a decision. In many cases, it also constitutes a purchase—even if the currency is time or the sort of behavioral and demographic data marketers crave.

“I’m not here to say that traditional channels are dead, but 89 percent of ad content is ignored by the consumer,” says AgencyEA co-founder Fergus Rooney, whose Chicago firm has seen clients increase their experiential spend by 10 to 14 percent year over year. Wong attributes much of this change to the “value of sharing an experience with somebody, which you can’t really do when you’re watching an ad,” as well as the wide range of content that springs from each event.

Giant Spoon project manager Patrick Jong puts things a bit more succinctly: “No one is tweeting or posting about a billboard.”

At Comic-Con in San Diego, the Blade Runner 2049 Experience presented by Johnnie Walker had fans chasing VR replicants.

In almost every case, that’s true—but MullenLowe Open global CEO Anthony Hopper also sees experiential complementing conventional creative rather than displacing it. “The line between traditional and experiential is becoming blurred,” he notes. “More often than not, our events can be turned into ads and broadcast through either digital platforms or TV.”

Rooney, who got his start in catering, now handles projects that range from planning the annual MillerCoors Distributor Convention to setting up a temporary tattoo booth for Clif Bar at the Pitchfork Music Festival. Hopper’s team at MullenLowe Open recently livestreamed a five-man Royal Caribbean cruise to Times Square tourists via Periscope. And for the past eight years, George P. Johnson has managed Dreamforce, a three-day tech spree in which 175,000 would-be thought leaders descend on San Francisco, bringing traffic to a halt while bonding over the not-so-dark arts of IT and email marketing. Past attractions have ranged from a Tesla raffle and a street covered in astroturf to a life-sized bust of Salesforce CEO Marc Benioff made of Legos.

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2017-10-02 12:31:47
What Is The Perfect Work of Art? Art Fund UK has released a new irreverent film featuring a group of eight people attempting to pin down the definitive answer to ‘What is the perfect work of art?’

Created by MullenLowe’s new purchase 101, the quirky spot is set in Dulwich Picture Gallery and sees a stuffy curator present a focus group with a series of artistic choices, such as Barbara Hepworth or Hokusai, and Rodin or William Morris.

The film picks up pace as the eight begin to gain confidence in their choices, and the ‘perfect’ work of art is finally chosen – off camera.

Art Fund UK hopes the ‘ludicrous’ nature of the experiment will demonstrate that there is, in fact, no such thing as the perfect work of art, and that one piece cannot please everyone. The film ends with a promo for the National Art Pass, which can help anyone with an interest discover the works they love.

‘What is the perfect work of art?’, which was directed by Fred Rowson at Colonel Blimp, will be rolled out in cinemas.

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2017-10-02 12:26:52
Singapore Red Cross Unveils “Ella” Chatbot The Singapore Red Cross (SRC) has partnered with KRDS Singapore and MullenLowe Singapore to develop its first Facebook Messenger chatbot “Ella”. Ella is designed to communicate and connect with senior citizens living alone in Singapore.

It messages the community on a daily basis to check on their mood and remind them to consume their medication. If the users respond “I’m not okay”, Ella automatically sends an email alert to SRC, so volunteers can reach them instantly. The chatbot also allows users to sign up as volunteers for Home Monitoring and Eldercare, SRC’s social and wellness programme.

According to the press statement, Ella is an example of how technology and Facebook chatbots, specifically, can potentially be used in social service to help those in need.

“The Singapore Red Cross has been instrumental in assisting the community of citizens in Singapore that need special assistance. Ella was designed with a simple user interface to deliver its objective of lending a helpful hand at all times. We are positive that this will have a considerable impact on assisting this community in Singapore,” Preetham Venkky, director at KRDS Singapore, said.

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2017-09-26 12:20:46
MullenLowe Mediahub Hires Tom Rankin
303 MullenLowe Mediahub has appointed Tom Rankin as general manager, media, responsible for managing client relationships with TK Maxx, Harley-Davidson, Fujitsu Australia, Braintree, Netflix and Western Union, among others.

Rankin is a highly respected media professional who has partnered with some of Australia’s biggest brands as group director at UM Sydney, following seven years at IKON Communications as communications director.

Says Andrew Livingston, chief media officer at 303 MullenLowe Mediahub: “Tom brings a wealth of experience to the business having honed his media expertise with the likes of LEGO, Meat & Livestock Australia, CommBank, Sony Pictures and many other leading brands.

“As we continue to strengthen our media-only credentials, Tom will play an important role in not only adding weight to our media offering, but also support our vision to build an integrated proposition that taps into 303 MullenLowe’s creative capabilities.”

Says Rankin: “Looking at where the advertising world is headed, I believe a full-service model is the future for communications agencies. I’m excited to be in an environment where we can solve any media challenge using a mix of creativity, PR and great thinking.”

Rankin has over 14 years’ experience as an Australian media executive, and joins 303 MullenLowe Media from a six-month role at Publicis One, where he was group business director.

303 MullenLowe announced its alignment with the global MullenLowe Mediahub network in May 2017. Since then, it has ramped up its media team with Sasha Neame joining as digital media director; Bec Oliver joining as media director; Lucinda Kitney as media planner/buyer; and Ali Mackellar, digital media coordinator.

Says Nick Cleaver, CEO of 303 MullenLowe: “Tom will work closely with our clients to inject creative thinking into their media strategies. This is our real point of difference: the power of creativity born of analytics and data insights.”

Globally, Mediahub employs over 450 people in 12 offices worldwide, including Los Angeles, New York, London, Singapore, Tokyo and Shanghai, and is affiliated with IPG Mediabrands for global media buying.

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2017-09-26 12:02:45
Ready, Set, Burger! Wendy’s via MullenLowe Manila decided to disrupt how people normally decide where to eat, through an incentive for potential store visitors.

Using Facebook Live, a newly-launched feature at the time, the brand came up with a live stream game of Finders Keepers, telling Facebook fans that if they could guess the Wendy’s locations and find the burger, they could keep it.

The host slowly gave out clues leading to the new stores. People came for the free burgers, and tagged their friends to join the game as well.


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2017-09-26 11:26:23
303 MullenLowe’s Table Dance Mimics P&N Bank People are attracted to funny things. Less so to the average TV ad. But a bank can hardly show you a funny cat video and retain the respect of its audience.

303 MullenLowe Perth needed to inform its audience about P&N Bank’s Flying Start & Bag product, that offers customers a 12-month rate discount on their first home loan any time in the first five years, providing financial relief whenever they choose to take it.

In other words, it lets people take a breather when they need it.

It needed to do that in a way that would stand out from all the other financial promises on TV.

So 303 MullenLowe created a 30 second table dance – which answered both of P&N Bank’s needs.

It’s eye catching for the “notoriously distracted target audience”, that Richard Berney, executive creative director of 303 Mullenlowe, knew the campaign had to reach, and fun to watch. And when the dance takes a break at the end of the spot, it demonstrates the advantage of P&N Bank’s Flying Start & Bag.

“We worked with Filmgraphics, local choreographers and performers to create a ‘table dance’ that imitates the busy lifestyles of many first homeowners, adding a moment of pause to echo the relief that P&N’s discounted loan delivers,” Berney commented.

Anna Pearce, senior manager, marketing & member value at P&N Bank added, “When you buy your first home there’s lots going on, so we created Flying Start & Bag to let our customers decide when to take a breather. 303 MullenLowe has done a fabulous job of bringing our offer to life and explaining how it will give first home owners a flying start in their journey towards home ownership.”


Client: P&N Bank

Senior Manager, Marketing & Member Value: Anna Pearce

Brand & Campaign Manager: Jessie de San Miguel

Digital Media & Campaign Manager: Alan Bayliss

Agency: 303 MullenLowe

Executive Creative Director: Richard Berney

Creative Team: Dave Wilson, Steve Lorimer

Strategic Planning: John Linton

Agency Producer: Rozanne Fretz

Business Management: Mike Naylor, Eloise Cribb

Production company: Filmgraphics

Director: Matt Richards

Producer: Anna Fawcett

Post production: Boogie Monster

Sound: Braine Storm

Music: Nylon

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2017-09-26 11:10:20
Save India’s Rivers With Isha Foundation Zee Entertainment Enterprises Limited (ZEEL) has announced its support for ‘Rally For Rivers’, a nationwide awareness campaign launched by Isha Foundation to save India’s rivers, in consultation and collaboration with the Ministry of Environment. Conceived by Sadhguru, the Foundation will rally from Coimbatore to Delhi, covering 13 states and 21 major cities, with Sadhguru himself driving the entire stretch of 6,560 km across India. As part of the campaign, ZEE will use the power and reach of its platforms to help drive awareness amongst all sections of society and the government, and encourage people to commit to the cause.

Punit Goenka, MD & CEO, ZEEL, commented, “Depleting rivers are no longer an environmental issue that can be ignored. The cause to revive our rivers is now a national agenda. As a responsible broadcaster, we want to use the breadth of our platforms to bring this cause to people’s attention and encourage them to actively join the movement. We cannot lay more emphasis on the fact that as citizens, we must concentrate our efforts and come out in full support so that Isha Foundation can present the River Rejuvenation Policy to the Government of India. We have full faith in the Government to implement the recommended actions, based on scientific facts.”

Sadhguru, Founder, Isha Foundation, said, “In just one generation, our perennial rivers are turning seasonal. Many smaller rivers have already vanished. If we do not act now to reverse this, the legacy we hand over to the next generation will be one of conflict and deprivation. This is not a protest. This is not an agitation. This is a people’s campaign to raise awareness that our rivers are depleting. Everyone who consumes water must Rally for Rivers.”

Sunil Buch, Head – Corporate Brand & Communications, ZEEL, added here, “In India, rivers hold a special cultural relevance and are seen as more than just a water body. Our civilization has developed on the banks of these rivers, and it is these rivers themselves which are now undergoing a drastic change. The time has now arrived where all citizens need to pledge their vital support to the cause of replenishing them.”

He further said, “At ZEE, our call-to-action campaign centers around two films which will run across all our platforms, reaching out to masses across the nation and driving home the message of ‘Nadi Bahegi, Zindagi Rahegi’. In the first film, our aim is to tap into people’s emotions and remind them that in our country, children are the cynosure of our eyes. We do everything for our children, so why not pick up our phones for their sake and give a Missed Call towards this cause. The second film, on the other hand, reiterates the harsh reality that if we do not take immediate action, the depletion of our rivers could threaten the very existence of life on this planet.”

ZEE’s two films have been conceptualised and executed by Lowe Lintas.

This article was first published on Ad Gully.

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2017-09-22 11:48:19
That’s My Girl: BIBA’s Latest Ad Conceptualized by the Bangalore office of Lowe Lintas, BIBA Girls’ latest film brings alive a mother-daughter relationship, capturing a little child attempting to dress up on her own in a BIBA Girls lehenga.

BIBA Girls – An Indian wear range for young girls between the ages 2 to 15 years launches their first television commercial –“That’s my girl”, a short film narrating the special bond between a mother and her growing daughter.

Conceptualized by the Bangalore office of Lowe Lintas, the film captures a little girl attempting to dress up on her own in a BIBA Girls lehenga.

Watch the spot:

The commercial aims to highlight the brand’s new philosophy across the television medium and will be promoted extensively through a 360-degree plan that includes print, outdoor and digital media.

Sharing the views on the campaign, Siddharath Bindra, MD, BIBA, said, “BIBA is the first brand in the market to introduce Indian attires for young girls aged between 2-12 years around six years ago. We have built the category over the years with lot of care and attention and now with the launch of this television commercial we are looking to connect with a larger audience and create BIBA as a destination for Indian wear for both the mother and the daughter. ”

Highlighting the creative thought behind the campaign, Rajesh Ramaswamy, executive director, Lowe Lintas, said “As a brand, BIBA Girls believes that the most beautiful thing about a girl is her confidence. We captured our belief in this film by celebrating a moment of pride when a mother realizes that her little girl is growing up. Here, she dresses up for an occasion all by herself, for the very first time. The little girl takes her first step towards becoming an independent woman. And while it may be a small step, it’s enough to make a mother say, ‘That’s my girl’.”

This article was first published on Brand Equity.

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2017-09-22 11:21:24
Spinning Tea Cups Make the World Go Round This World Peace Day

Brooke Bond Tea has launched an online film campaign for World Peace Day, supporting Unilever´s working partnership with Peace One Day and reinforcing their brand mission that common ground is just a cup away. The campaign was created by LOLA MullenLowe Madrid and airs today, September 21st.

The Brooke Bond Family (Unilever) is a collection of 27 tea brands from around the world. For World Peace Day they wanted to inspire people to come together for a conversation over tea and show how this simple act can break down barriers and open hearts and minds.

“For hundreds of years tea has been a catalyst for people of all backgrounds to relax, connect and find common ground where perhaps there was none before; A practice that we need more than ever in today’s increasingly divided society,” said Ben Curtis, Global Brand Director, Brooke Bond.

The TV spot is set in a dreamlike realm that shows how in today’s divided world, people often put themselves and others into groups based on their belief systems. Until they find that they have a lot more in common than not.

Tomás Ostiglia, Global Creative Director at LOLA MullenLowe, says: “Working with the team at Brooke Bond is inspiring. We don´t want to seem naive about solving the world’s problems, but it’s a good start when brands bring these issues to the forefront and get us thinking.”


ADVERTISER: Brooke Bond Tea


PRODUCER: Florencia Caputo, Diego Baltazar


HEAD OF ART: Fabio Brigido


DIRECTOR: David Vergés



COPYWRITER: André Toledo



ART DIRECTOR: Diego Limberti








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2017-09-21 12:31:58
Edith Cowan University Reappoints 303MullenLowe to Creative Account Edith Cowan University has reappointed 303MullenLowe to its creative agency account.

303MullenLowe was first appointed to the account 2001, and has been retained for another six years.

Julia Turner, ECU’s director of marketing and communications, said in a statement: “With offices in both Perth and Sydney, they offer personalised, responsive service as well as the opportunity to tap into their wider experience on the east coast.”

Perth based agency Rare has also been appointed to the roster to work on selected campaigns.

“We’re looking forward to seeing Rare’s fresh perspective on future special projects involving either traditional or digital advertising, or both,” Turner said.

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2017-09-19 10:15:52
MullenLowe Group Indonesia Helps Indomie Celebrate 45-Year Anniversary Celebrating 45 years of feeding Indonesians their favourite instant noodles, Indofood brand Indomie has released a nostalgic commercial that tracks its much-loved local heritage from the 1970s, 1980s, 1990s and all the way through to the present day.

Produced by Seven Sunday Films via MullenLowe Group Indonesia, the campaign was shot by award winning director Mark Toia and follows a young man as he goes through the most important stages of his life: from 1972 as a boy (when Indomie first launched), through to starting his own business and seeing his children grow up.


The campaign idea also celebrates important periods in Indonesian history, including: the construction of landmark building Monas in the 70s; the victorious day in the 80s when Indonesian won the Thomas Cup; during the 90s when Indonesia suffered through the Asian financial crisis; and, in 2008, when the country was acknowledged as the original creators of Batik.

Indomie 2.jpg

Throughout the story, the TVC also spotlights the successful global expansion of the Indomie brand, particularly in Africa where instant noodles have become a staple in people’s diets. The epic spot was shot in just two days locally in Indonesia.

Seven Sunday Films executive producer, Rodney Vincent, says: “We are pleased with this beautifully composed Indofood story and we feel that the storyline and the characters spotlighted throughout will resonate with audiences all around the country. Long live Indomie!”

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2017-09-19 10:09:55
How 303 MullenLowe’s ECD Thinks Advertising Can Help Humanity The 303 MullenLowe Perth ECD on getting fired, the virtues of his hometown and supporting his wife in her role as a ‘Period Preacher’

5 Minutes with… Richard Berney

Perth is by no means the centre of Australian advertising, but it has a lot to brag about. Richard Berney, Executive Creative Director of 303 MullenLowe there, was born in Zimbabwe, but grew up in Perth and is proud of its unique offering. In many ways he represents everything the city is about. He’s balanced, compassionate and creative and has many strings to his bow, including a stage show with his wife about the menstrual cycle.
The agency’s work is evidence for how fertile a creative landscape the Western Australian capital can be, from their low-key comedy road safety webseries, ‘Time with Mum’ to ‘Passes with a Purpose’ – a neat project that’s no doubt saved lives at public pools around Australia.
LBB’s Alex Reeves caught up with Richard to find out what drives him and how he approaches creativity.
LBB> How did you end up in advertising? Were you interested from a young age or did you stumble into it?
RB> It wasn’t even on my radar, really. I was really interested in film and telling stories. I’ve always loved to draw. My mum’s an artist and I was encouraged to express myself. It never occurred to me that advertising would be right for me.
I went off to film school and I realised quite quickly that I didn’t have any stories to tell yet. I just felt a bit young to be a filmmaker. I experimented…I was just questioning the film school. I didn’t think that they were doing things all the right way. I was worried about my career and how I was going to get a job out of it.
I think a uni lecturer pointed me in that direction. I can’t remember exactly how it happened. I think I just chose an elective. I thought I’d spend a few weeks in advertising and it just took immediately. It felt like a good fit. I was good at it, I enjoyed it and I haven’t really ever looked back.
I loved how dynamic it was. I didn’t have to sit and do one story for 18 months. I could do one in a few weeks and then another one and another one. It suited my attention span. It still does [suit me]. I love that I’ve got three projects on the go and there’s never enough time to get bored of anything.
LBB> Then quite early in your career you moved to Europe. How did that come about?
RB> I think I was in Sydney for two years. I had a run in with an account service person at a place called Singo’s – Singleton Ogilvy & Mather. John Singleton is a bit of kingpin of the Australian advertising scene. He’s a bit like Crocodile Dundee in an ivory tower. He’s this really ocker bloke. He owns a lot of media. He’s rough as guts – always getting in fights and there’s always some whack story in the media about who he’s punched or [what he’s] bought. He’s just an Australiana folk tale in the business world.
They gave me nice cheque and sent me on my way. It was time to move on. But there was this worldwide sort of support group of people who’d been fired by John Singleton, so I found my feet quickly. I went over to London and didn’t spend too long there. I freelanced around but fell in love with Amsterdam.
LBB> What was it like moving to Amsterdam, having grown up on the other side of the world?
RB> It was super cool. I went over for a party with a bunch of London cousins who wanted to go to Amsterdam for the same reasons that most young men do. I remember I popped up from the subway into the central square and there was beautiful golden-age architecture and bicycles whizzing past with beautiful blonde women with long hair sitting on the backs of them. Then I smelt weed and I just thought “I think I need to move here.”
The next thing was I bumped into this copywriter who was looking for a partner. I think he was just as pleased to see me as I was to see him. And then I was on the creative team on Canon. That was fantastic for me because I’ve always loved photography and photographers. I was in a real hotspot for that there so that was a great time.
And then I travelled the world a bit because the weather was never good enough to shoot in Amsterdam. We shot in lots of spots in South America and South Africa – it was super. We shot in France a couple of times, in LA, Buenos Aires. The trick was to find places that looked European but had great weather that you could depend on.
LBB> But in 2006 you came back to Perth. How did that happen?
RB> I got a beautiful girl pregnant and the next thing I knew, I was heading home very soon after just starting this wonderful trajectory. Back to the hometown. So I’ve been a dad in Western Australia ever since and it’s been wonderful.
I landed at a very nice agency over here that’s part of the MullenLowe network. I’ve sort of grown up with two offices here – one in Perth and one in Sydney. I’ve worked between them for the last 10 or 11 years. It’s nice because you’ve got a really different market on both sides of the country.
LBB> How would you compare the two coasts in terms of advertising?
RB> I sort of specialise in behaviour change on the West Coast. We have lots of government clients, healthy eating, ‘put your seatbelts on’ and all those kinds of things. Which I really love because mostly’ it’s positive. The East Coast also does that but they’ve got some of those high-energy, fast moving consumer goods [clients]. And that’s nice to dip in and out of too. So it’s a nice spread between the two sides of Australia. We do share the clients but they’re very different markets.
It’s similar to the American East and West Coasts. LA vs New York. LA is a little bit sunnier and more relaxed and people don’t smoke as much. We like to think that we have the West-Coast vibe. I think we do things a little slower and surer. We’re very careful. And I think on the East Coast it’s a busier environment, so you have to tighten up all your screws and have more process and be very nimble. But we’re talking about advertising here. It is all very nimble and fast. wouldn’t describe it as relaxed, for sure. Comparatively speaking it’s probably a slightly more organic approach to each project.
LBB> What else defines the Perth advertising community?
RB> In terms of billings and creative rankings and those things I think we rank fourth. I think Brisbane might even have a larger market than us. There are five major agencies here and scores of smaller ones.
If I’m honest, I think most creatives come here to get some balance. People don’t want to be working 16-hour days until 10 or 11 at night. They want to come into work every day and do great work but they want some life balance.
This is going into what I’ve tried to do with the agency – to offer a bit of sustainability in people’s lives so they do their best work but go home to their family and are happy enough to come in the next day. [We need to] keep doing that because we don’t have an endless supply of great creatives here. We need the creatives we have to be happy. Most of them have moved here because they want to be happy. It’s a nice lifestyle in Perth.
I learnt this from the guy who started this agency, Lindsay Medalia. He’s not a great believer in working late every night. He’s a really smart guy and that was his philosophy. You’ll do better work. You’ll be happier, more enthusiastic and psyched about the work. All that stuff’s really important and it’s tough to hold onto. It’s super competitive and you’re just trying to get an edge. But the edge you have is working smart, calling it and using the enthusiasm you have, rather than an endless exhaustive drive. I think the work is better if it has that humanity in it, that fun and that spark.
LBB> Speaking of humanity, you’ve spoken in the past about how creative professionals are in pole position to help humanity get to a better place. Why do you think that and what can people do to help?
RB> I’m an environmentalist at heart, so I follow environmental stories and news carefully. A few years ago when it became clear that we are in real trouble. It occurred to me that the science wasn’t enough. I think that’s really sad. Let’s say it was when An Inconvenient Truth [the 2006 documentary] came out. That was the one that really hit it to the mainstream. It was like there’s no excuses. Everyone’s seen it. We’ve got to change our behaviour. Then nothing changed and it’s got progressively worse.
I suppose the reason that I think creatives have that responsibility is because science has not been enough. You need persuasion, storytelling and it’s up to the artists, commercial artists and storytellers who are most persuasive or who can find alternative ways to open people’s eyes. The science is there and it’s failed. So there is nobody else.
I can’t just sit around taking briefs and enjoying the salary. I think we’re at a crisis in the world and I’m armed with all these skills and resources.
LBB> What projects are you particularly proud of working on?
RB> There are two. If you’re talking about what we’re talking about, it was a campaign that I did for the Greens, which was creative but also really effective. Basically it was to help a Green senator get re-elected who was coming under a lot of fire a couple of years ago. I think it helped.
The other one was just getting people to slow down on the roads. It was a few years ago now, called Enjoy the Ride. ( It harnessed the slow movement for speed on our roads. It didn’t say speed is bad; it just said slow is good. It was a three minute ad and we really didn’t push it out but it got three million hits and spoken of all over the place. It won the Golden Effie over here. It made quite an impression on road safety advertising. That was quite hefty one.
LBB> It must be nice to win Effies because they prove you’re doing the job properly and making a tangible difference.
RB> I wear those Effies as a badge of honour. It’s easy to walk into a room and say you’ve got awards but most clients don’t care. You talk about Effies and they’re interested in what you can do for them. I can be more creative from then on because they know you’re doing things for the right reasons and creativity will give them effectiveness. We talk about Effies a lot here.
LBB> You’ve kept up your interest in film on the side, making music videos and such. How did you get into that?
RB> I don’t think it was natural. I just forced my way into it. I really just wanted to make films and so I started directing music videos when I could and I just learnt so much from doing it. I learnt how to edit. I used to take lots of photographs and it was just a natural progression to shoot motion. I’m surrounded by music. My brother’s always been in bands. He’s in a pretty big one called Birds of Tokyo. My wife, Lucy Peach, is a great musician. Now I pretty much just do music videos for her.
LBB> What’s it like working creatively with your partner?
RB> It’s fantastic. I’m really in love with my wife and she’s a really cool woman. I don’t get sick of her. We have a great creative relationship. We haven’t done heaps. Two music videos and before that clips for other people.
LBB> And lately you’ve been working on a stage show together called ‘My Greatest Period Ever’. Can you tell us a bit about that?
RB> I didn’t see that one coming. I’ll tell you that. She’s a Period Preacher. As far as I know, that’s not a thing… but it’s the best way to describe what she does. She has a background in sexual education and she’s a musician. We have the Fringe festival here. We were asked to do a show there. She developed it.
It talks about the power of the menstrual cycle. It goes into the science about it – what the chemicals in the female body are doing throughout the month. You’ve got testosterone, progesterone and oestrogen and they kick in four different ways over a month. So one different punch per week for a month. And the show is all about that. She tells stories and science and sings songs about it. I’m on stage as well as a live doodler. I am the husband, listening intently and taking notes, but I draw interpretive things to explain the concepts, stories and songs.
I think it’s fantastic and it seems everybody wants to talk about their periods, or at least half the population. I have an iPad pro connected to a projector. For most of it I know what I’m going to do but I do try to change it up. It’s better when she doesn’t know what’s happening because it creates energy and it’s funny. It’s quite a different way to present. I don’t just draw. Sometimes I select and expand and animate and twist. It’s quite a cool thing, the iPad allows you to do. Although I don’t know who else would bother. It’s really fun.
It’s wonderful working with Lucy. To work with your wife in a creative capacity, especially if you’re an ECD and used to everybody doing what you say. That gets thrown out the window a bit when you’re working with your wife. She’s really the boss. Nobody in this town knows who the fuck I am. She’s the one and I’m just a guy. That’s really good for my ego.
LBB> I’ve heard you’re into rock climbing, too. What’s the deal with that?
RB> I’ve always been into climbing. It was mostly trees when I was a kid. It was actually an ex-girlfriend who was a rock climber that got me into it. She said she was going to a wedding in Thailand and asked me if I wanted to come. It’s one of the climbing hot spots of the world, so I got put in the deep end and I loved it.
I love how focused you are and you really don’t think about anything else because you have to concentrate really hard. I love the places it takes you – really beautiful places. I love that it’s always a bit of a mission to get there as well as the climbing itself. The breathing and strategy is as important as all of the hard things.
The people who do it are really interesting. They’re not knobs. They’re somewhere between jocks and geeks. They look like total nerds and then they take their shirt off and they’re just ripped. You can’t be a fool out there because there’s too much to think about.

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2017-09-19 09:58:54
How To Win A Cannes Cyber Lion LOLA MullenLowe Madrid art director on making the move from Brazil to Spain and his Cyber Lion-winning Voice of the Drought campaign

New Talent: Pedro Sattin

Born and raised in Sao Paulo, Pedro Sattin is, in his own words, a “Brazilian who does not play soccer, who does not dance samba, but who knows how to make caipirinhas.” After a few stints at DDB Brasil and W+K Sao Paulo, Pedro found himself infected with the travel bug, and decided to make his way to Spain, where he now works as an art director at LOLA MullenLowe.
LBB’s Liam Smith sat down with Pedro to browse his impressive portfolio and gleam some insight into Spanish advertising.
LBB> Where did you grow up, and how did creativity impact your formative years?
Pedro Sattin> I was born in Sao Paulo, Brazil, and lived there for 23 years, before moving to Spain last year. There’s always something going on in Sao Paulo, it’s a city full of nightclubs, bars, restaurants, people and really good pizza! The city definitely had a huge impact on my view on creativity, it makes you want to be up-to-date on everything. Although my parents do not work in creative-related careers, they used to take me and my brother to museums, movies, fairs, expositions, parks and concerts on the weekends. It was a routine for us and I guess it made me grow a taste for it.
LBB> What made you want to study advertising?
PS> It’s a total cliché, but I guess it all started when I was a child. I was very interested in drawing and painting. And a great-aunt of mine used to paint and it always amazed me. I even made a few paintings – that are currently hanging on the wall of my parents’ beach apartment (I’m sorry for whoever sees it). So, the years went by, my dedication to school took over my drawing time, and I lost that skill completely – nowadays I can barely draw a stickman. But that gave me an interest in the visual universe, which led me to studying advertising in college back in 2011.
LBB> How and why did you end up becoming an Art Director?
PS> When I was about 15 I started experimenting with Photoshop and learning from online tutorials. At some point I began designing posters for my friends’ band’s concerts, flyers and websites. After a while I started having my first small clients. And I felt that was something I could do for a living, and during college it was clear that I wanted to work with art direction. So I started aiming for it. Firstly I joined my college’s experimental agency, then I spent some time working on my portfolio, and in my third year of college I was hired by DDB Sao Paulo.
LBB> What drew you to move to Spain, and to join LOLA MullenLowe Madrid?
PS> The best agencies in Brazil are in Sao Paulo, so everybody from the rest of the country moves there to work. But in my case I already had spent my whole life there, so I guess I just wanted to see what’s outside of it. Then I started to consider moving abroad. I felt it would be a great personal and professional experience – and the fact that I’m a creative would make things easier, as Brazilian advertising is well-known abroad. Then I started talking with friends living abroad, reading about it, and the idea of moving to Spain started to grow on me. LOLA was already an agency I admired, so I got in touch, sent my portfolio, and ended up with a job offer.
LBB> How does the advertising climate in Spain compare to your homeland of Brazil?
PS> Actually, both markets feel very similar to me in many ways. That’s something that helped me during my first few months. It was easy to adapt, we’ve got similar culture. People are passionate about it. And LOLA’s team is very welcoming and open, which helps a lot to blend in. From my point of view, the thing that I feel is most different in the advertising world here is that there are lots of independent agencies with big clients and good creative work – meanwhile in Brazil almost all big accounts are centred in a few big agencies.
LBB> Your Voice of the Drought project won a Cyber Lion back in 2015. The way you turned dry soil cracks into typography is super cool. Can you tell us a bit more about this project?
PS> Sao Paulo was going through its worst drought. The whole city and its almost 11 million inhabitants were being affected daily by it. The city’s main water reserve was almost dry, houses went for hours without water… It was the most talked about topic at that moment and to raise awareness about it, we made up this dry-soil typography that could be used on Twitter, giving a voice to the earth. And happily, it worked well, people used our typography to talk about this topic and we got a lot of media exposure on it.
LBB> I also really love the cards you worked on for Old Spice. What inspired the bold, bombastic designs on them?
PS> Thank you! It all started because Old Spice was promoting a Truco (popular trick-taking card game) championship between some universities. We thought, “they can’t just use a regular playing cards deck. After all, it’s Old Spice!”. So we proposed designing a weird crazy deck of cards, and the client liked the idea. My goal was to play with random, funny and ‘macho’ elements on it, making it as bold as the brand. So the cards ended up filled with guns, knives, bombs and… some things I can’t even name!
LBB> What other pieces of work are you most proud of and why?
PS> I really like one of the most recent projects we made at LOLA for Pescanova, a Spanish fishing company. They were launching a new product – a ring of shrimp – and we thought, “what if we pretend these shrimps are fished in rings?”. We don’t know how, but the client bought it! So we made up a 5-minute-long fake documentary telling its story. It turns out lots of Spanish people believe in fake news, so we played with it and put these people to a test, to see if they’d believe our documentary or not. The documentary is an interactive video on YouTube, so people can learn more about the shrimp ring (if they believe it) or jump straight to the truth (if they want to miss the fun!).
LBB> Who and what are your inspirations?
PS> That’s a tricky question for me! I actually find it very hard to answer this one. I guess I get impacted by everything that surrounds me. I think the one thing that inspires me the most is travelling, which I gladly do a lot. But if I had to say one person, I guess I’d probably pick Stefan Sagmeister. I really like how he uses design in a fresh way, mainly his use of typography. And recently my creative partners and I had the honour of being featured on his Instagram. He does some design reviews, and he posted a personal project we did – a series of posters using Trump’s quotes on propaganda-like art (check out the Instagram here).

LBB> What’s the one thing you’d like people to know about living in Spain?
PS> Really nice people. Seriously, I did not expect anything like this when I got to Spain. Brazilian people are known for being nice and open, so I always had the idea that moving abroad would mean living with cold people. And that’s exactly what the Spanish are not. I can’t tell you the amount of great people I’ve met here, and definitely can’t tell you the amount of beer I’ve had either! People are super open, welcoming and they’re always up to something.

LBB> When you’re not working, what do you like to do with your downtime?
PS> I’m really into photography. I enjoy travelling with my film cameras; I own a few of them and I love how film gives me some unexpected results in each photo. I like to experiment with film. For example, I’ve cooked film, reversed film and double-exposed film. Sometimes it works, sometimes it doesn’t, sometimes it gets awful, but that’s what’s entertaining about it. And of course, I really like Instagram.
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2017-09-18 12:26:59
Two Ads Erick Rosa Likes and One He Doesn’t f you’ll permit me, for the first of the two ads that I like, I will go back in time. Back to 2004 when I was just starting out as a copywriter and I first saw Honda’s Grrr. It completely blew me away then—and it still does now.

At the time I was working on a car brand and if you have ever worked on one, you know this film blows up any template, formula—everything.

It is a commercial about a very unsexy thing: a diesel engine.

But one that is lysergically animated with an infectious soundtrack and the perfect voice of Garrison Keillor taking us on the ride.

I did some Googling for its date of release—and soon found myself on a Wikipedia page dedicated just to the ad. My brief description paragraph doesn’t do justice to it. Go there yourself and be immersed in the story of this masterpiece. From how the idea came to life to the list of credits.

And of course, watch the ad for yourself.

Another I like

The second ad that I love won big this year in Cannes: The World’s Biggest Asshole. For over 2 minutes and 30 seconds, you closely follow the life of the biggest asshole you have ever seen on screen.

Scene after scene, the asshole Coleman Sweeney piles on reason after reason for you to hate him. Coleman is the kind of character you love to hate and hate to love.

And, in the end, he makes you think and care about something that a lot us don’t think about: donating our organs. I have seen several commercials that use emotion and buckets of tears to tug at your heartstrings and convince you to donate your organs. This one makes you smile, not cry. And by doing so, makes it stand out significantly from all the rest.

And one that I hate

The ad that I hate is one that follows me around the web –for a JBL bluetooth speaker I once checked the price for on Amazon. It haunts me.

I checked it only once, placed it in the check out cart and then had second thoughts.

And now– I am sitting there watching the live score of my hometown soccer team on a sports site, and boom, the bluetooth speaker says “Hi!”

I’m following the Red Sox on youtube, the bluetooth speaker casually waves “Hi, you here?”

I’m buying groceries, and the bluetooth speaker peeks from behind the tomatoes and winks at me suggestively.

I am 100% sure, when I read this article online, the same bluetooth speaker will come to say hi and ask: “Why all the hate, Erick? I thought we were a thing.”

We’re not.

This article was first published on

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2017-09-18 12:18:53
This Year’s 23 Best Media Plans With a constant stream of information inundating consumers at every turn, it’s becoming harder than ever for advertisers to reach their target audiences in meaningful ways. That’s where our Media Plan of the Year honorees come in. Whether they were turning social media outrage into candy sales like Snickers (see more on our Media Plan of the Year here) or showing beer drinkers how their empty bottles can help save the environment, these 23 winning teams took media planning innovation to new heights in 2017, proving that creative thinking and bold strategies are still able to cut through the clutter.

The Judges
Many thanks to our esteemed panel of jurors who carved out time to judge another record year of Media Plan of the Year entries. If you’re interested in serving as a juror in 2018, please contact Jemima Mendenhall at

• Sasha Savic (chair), MediaCom
• Kamran Asghar, Crossmedia
• Neil Goodspeed, Carmichael Lynch
• Carmen Graf, GSD&M
• Trevor Guthrie, Giant Spoon
• Sarah Kramer, Mediavest | Spark
• Lynn Lewis, UM
• Maureen McCloskey, Kinetic U.S.
• Rachel Mercer, Deutsch New York
• Eric Perko, MUH-TAY-ZIK | HOF-FER
• Sheri Roder, Horizon Media
• Neil Smith, 360i
• David Song, BARKER
• Mel Stern, J3
• Jeff Tan, Dentsu Aegis Network USA

MullenLowe Mediahub | Netflix, Earn Your Power

Category: Campaign ($500,000-$1 million)

Netflix knew that the sweet-spot audience for its new Iron Fist series wasn’t going to be easy to reach. The people most aware of the Marvel comic book—and likeliest to watch its TV adaptation—were overwhelmingly male, millennial and hard-core gamers.

“Gamers are highly aware of product placement and integrations, and if done wrong it can be pretty lame,” says Shauna Spenley, vp for marketing, licensing and merchandising, North America at Netflix.

The platform and its agency, MullenLowe Mediahub, found a way to engage gamers by inviting them to activate a code on the gaming news and info sites IGN and GameSpot. Once the code was accessed, users were treated to footage from the series. The campaign continued with a livestream of two gaming superstars, Justin Wong and Daigo Umehara, facing off on the platform Twitch.

The campaign resulted in 215,000 views of the Twitch stream, which was 58 percent above the benchmark, while Iron Fist became the most-binged Netflix drama during first-quarter 2017. One key takeaway: “By leaning into cultural gamer insights—their love for nostalgia and competition—we could create experiences that the audience loved and appreciated,” Spenley says. —Janet Stilson

MullenLowe Mediahub | Netflix, Black Mirror, Season 3: Unblockable Ads

Category: Campaign (less than $500,000)

Targeting an audience that is highly skilled at avoiding ads certainly was a head-scratcher for Netflix and MullenLowe Mediahub when they were looking to develop a campaign for the third season of Black Mirror.

Research showed that about two-thirds of the audience in their sight lines—tech savvy sci-fi fans ages 24-34—used ad blockers. So Netflix simply went around the ad blockers. The company worked with Mashable, The Next Wave and Slate to build a native content message directly into the publishers’ CMS in order to avoid triggering ad blockers. The message was appropriately eerie: “Hello ad blocker user,” it read. “You cannot see the ad, but the ad can see you. What’s on the other side of your Black Mirror?”

If applied improperly, the strategy might have backfired, given the target’s aversion to ads. “With the anti-blocker concept, we felt it struck the right balance of getting what the show was about and reaching its intended audience,” says Shauna Spenley, vp for marketing, licensing and merchandising, North America at Netflix.

The results were strikingly better than the previous season’s campaign had been, driving five times more search volume and 30 times more conversation—or more than 1 million posts. The series also became a top 15 original streamed show in 2016, according to Symphony Advanced Media. —J.S.

Read the full article at

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2017-09-18 12:10:12
MullenLowe Group wins big at the WARC Awards The WARC Awards scheme is a global search for next-generation marketing effectiveness.

This is the first year that WARC has introduced this awards scheme. They have set it up to focus on the effective use of emerging marketing disciplines. We are very proud to announce that our Network has bagged two awards for Effective Social Strategy and one for Effective Content Strategy.

Winning a WARC Award is a sign that you are ahead of the curve – mastering new techniques and delivering business results for clients.

Have a look at the winning work:

Gold, Effective Social Strategy: JetBlue, “Flybabies”, MullenLowe Boston

MullenLowe Boston’s campaign ‘FlyBabies’ for airline brand JetBlue, won a Gold for increasing brand awareness and sales in the US by showing flyers and mothers alike that they understand the hardships of a crying baby on a flight.

Judge Mobbie Nazir, Chief Strategy Officer, We Are Social, said: “They turned a negative into a positive and the topicality of it was great.”

Gold, Effective Content Strategy: Knorr, Love at first taste, MullenLowe London, MullenLowe US

Knorr’s global ‘Love at First Taste’ gold-winning campaign attracted a new generation of cooks with a social media strategy that tapped into passion points rather than pushing products. It was praised for its originality in both content and distribution, stemming from good insight.

Jury member Nick Kendall, founding partner, Broken, Electric Glue and The Garage Soho, said of the campaign: “It showed true understanding of the role of food as a good metric for people deciding whether they like each other.”

Bronze, Effective Social Strategy: JetBlue, “Reach across the aisle”, MullenLowe Boston

WARC winners for the Brand Purpose category will be announced on the 20th of September.

In this category we have been shortlisted for:

  • Surf Excel, “When embracing dirt became an art of faith”, MullenLowe Lintas Group
  • Lifebuoy, “Future Child”, MullenLowe Singapore/Lintas Group India

Stay tuned for more trophies!

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2017-09-15 06:40:04
Burger King Spain’s Most Popular Campaign Happened on…Myspace LOLA MullenLowe Madrid take customers back in time in search of Chicken Fries.
Chicken Fries are one of Burger King´s most beloved and iconic products from the 2000s and, thanks to a campaign by LOLA MullenLowe Madrid, they are back on the menu in Spain for first time in 12 years. They brand is also back on Myspace, the most popular social network of the 2000s.
To celebrate their triumphant return, Burger King took customers back to the era of 8-bit and flip-phones and opened a profile on MySpace, while closing their Facebook page for a full week this summer.
Content fresh from the 2000s led users on a journey where they could win free Chicken Fries and take trip back in time.
Watch the video here.
This article was first published on LBBO.

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2017-09-15 04:54:34
Calor: Clever Choice by MullenLowe London Calor Gas, supplier of liquefied petroleum gas (LPG), has launched its ‘Clever Choice’ campaign, which showcases its unique autumn/winter offerings.

The ads juxtapose clever and not-so clever choices to showcase the fact that Calor gas tanks live underground, and come with auto top-up technology.

The campaign launches with two versions of the TV execution, ‘Horny Bull’. In the films, shot by Spendser from MadCow, Calor humourously dramatises the advert’s protagonist making a not-so clever choice (using a metal detector in a field with an angry bull), and a clever choice (choosing to heat his off-grid home with Calor’s auto top-up technology in one version and discreet underground tank in the other).

The campaign will run as across social, press, radio and digital display. The targeted gifs that will run across Instagram and Facebook have been inspired by popular viral ‘fails’.


Client Name: Calor

Campaign Name: Clever Choice

Agency: MullenLowe London

Chief Creative Officer: JMS

Creative Team: Ben Evans, Adam Sears

Planner: Will Allen-Mersh

Account Team: Sophie Arnett, Megan Kelly

Agency Producers: Vanessa Hunt, Rose Reynolds, Bel January, Lisa Tuck

Media Agency: Blue 449

Designer: Ryan Self

TVC “Horny Bull”

Production Company: Madcow

Director: Spendser

DOP: Richard Mott

Executive Producer: Jonas Blanchard

Editing House: Madcow films

Editor: Lee Mitchell

Post Production: Grade Time Based Arts, Post- Yeti

Recording Studio: 750 mph


Agency Producer: Bel January, Lisa Tuck

Account Team: Sophie Arnett, Megan Kelly

Creative Team: Ben Evans, Adam Sears

Designer: Ryan Self

Retoucher: Pete Stedman


Production Company: Fly

DOP: Dan Gahnstrom

Executive Producer: Jon Rose

Editing House: Yeti

Editor: Anthony Lee

Post Production: Grade- time based arts. Online- Yeti


Agency Producer: David underwood

Account Team: Sophie Arnett, Megan Kelly

Creative Team: Ben Evans, Adam Sears

Designer: Ben Gilpin

Developer: James Fraser

QA: Ben May

This article was first published in The Drum.

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2017-09-15 04:35:37
Flipkart Hopes To Beat The Mehengaai Blues Lowe Lintas Bangalore has launched a campaign ahead of Flipkart’s Big Billion Day sale.

The campaign is a series of eight films, set in relatable, humorous situations that will be visible on and offline. Featuring the now familiar, endearing world of ‘Flipkart Kidults’, each film is centred around 2 characters. A frustrated one complaining about the ever-growing inflation, and the other who presents Flipkart’s The Big Billion Days 2017 as a solution to rising prices.

The insight behind the campaign is that ‘Mehengaai’ is a very colloquial word used by the common populace for rising prices or inflation which also happens to be a common grouse of the country. It is a frequently used term and rings true across all generations, genders and regions. What if, for 5 days, you could forget ‘mehengaai’ (inflation) and get the freedom to indulge?

The idea of ‘Ab mehengaai giregi’ – (now inflation will fall) was born and BBD 2017 was positioned as the antidote to rising prices. In one film, a police informer sees a role reversal as he gets a tip off from a police inspector. The second film links rising prices to rising hypertension using the example of a restaurant owner. Watch the second film here.

Arun Iyer, Chairman & CCO, Lowe Lintas said, “At a time when rising prices are on everyone’s minds, Flipkart is making it possible for people to afford the things they’ve always wanted. That’s where the line “Ab mehengaai giregi” comes in. Our intention was to make BBD more than just a mere sale event. Which is why we tackled the cultural problem of ‘mehengaai’ as a whole.”

Shoumyan Biswas, CMO, Flipkart, adds: “Our campaign ‘Ab Mehengaai Giregi’ puts out the biggest offers that are not just worth the claim but also address the daily life woes of every Indian about ‘Mehengaai’. Nothing is ordinary about the Big Billion Days for us, and we are well prepared to reach out to our consumers with highly engaging communication and epic offers”.

The third film in the series moves the discussion to a family quibbling about what to eat in-flight.

Watch the film here:

Agency credits:

Creative: Arun Iyer Rajesh Ramaswamy Ujjwal Kabra Lohith Chengappa Adarsh Atal Sukumaran N Rangaprasad M Sudheesh Sreedharan

Planning: Kunal Joshi Ajay Ravindran

Account management: Hari Krishnan Anand Narayan Parshuram Mendekar Jayendra Katti Ketaki Joshi

Production house: Ramesh Deo Productions (Abhinay Deo, Satyajit Kadam)

This article was first published on Campaign India.

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2017-09-15 03:53:31
MullenLowe Open Appoints Ben Knight as Global Creative Lead Knight brings over 20 years of experience in brand activation and advertising, of which nine years have been spent in the UAE

MullenLowe Open, the global activation boutique of creative communications network MullenLowe Group, welcomes Ben Knight as Global Creative Lead of the MullenLowe Open network, and Executive Creative Director, MullenLowe Open UAE. He’ll be based in Abu Dhabi and report to Anthony Hopper, Global CEO, MullenLowe Open, and Jose Miguel Sokoloff, President of MullenLowe Group Global Creative Council.

“Knight’s strong background in consumer activation and CRM disciplines is recognised throughout the industry, and he has a deep understanding of the consumer landscape in the Middle East,” said Hopper. “Under his creative leadership, we plan to expand our offering and increase our product innovation to drive an Unfair Share of Attention for our clients’ brands. Our reputation is growing quickly and Ben can help us take another important step in our ambition to become the world’s most respected activation agency.”

The MullenLowe Open UAE office was established in 2015 to service the Etihad Airways business, following the appointment of MullenLowe Open as the airline’s global CRM and DM AOR. Over the last two years the office has expanded to become a strategic CRM and loyalty centre of excellence for the MullenLowe Open network. Knight will join Louise Roberts, General Manager, MullenLowe Open UAE to continue to grow and develop the agency’s offering in the region.

“MullenLowe Open’s smart challenger thinking grabbed my attention as the team has the bold ambition to launch creatively respected CRM and brand activations for global brands,” said Knight. “I’m also excited that I’ll be based out of Abu Dhabi, as the city is an amazing intersection of diverse cultures and nationalities.”

Knight brings over 20 years of experience in brand activation and advertising, of which nine years have been spent in the United Arab Emirates. He was most recently ECD at Geometry Global, WPP’s largest brand activation agency working on a client roster including Unilever, Coca-Cola, Dubai Tourism and Commerce, and Audi. He was most recently honoured for his work with Lifebuoy’s Handle on Hygiene – a campaign that was showcased at the UN Sustainable Development Summit, and won Cannes Lions awards for its creativity and effectiveness.

With over 150 industry awards, Knight’s work has been recognised at the world’s most respected industry award shows including Cannes Lions, D&AD, One Show New York, CLIO and LIAA. He holds a Bachelor of Technology in Art and Design from West Kent College.
This article was first published on LBBO.

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2017-09-12 11:29:34
“Un-Laming” Brands Through Advertising MullenLowe Group UK’s José Miguel Sokoloff likes to cite an infamous quote about how “advertising is the price you pay for having lame products” to illustrate that today’s brands need to do more than simply sell stuff.

“What we [as advertisers] do is make unlame brands,” he says. “You can do it through social purpose, as an activist brand, or by being a famous brand.”

But ultimately, says the agency’s chief creative officer, “you can’t escape lacking having things to say. You don’t doubt when you buy laundry detergent that it will clean your clothes, so what makes you buy one brand over another?”

Sokoloff spoke about his efforts to develop socially responsible campaigns during the Genius 100: Innovation Summit held over the weekend in Montreal.

“Creativity is an act of optimism,” Sokoloff says. “We can use communication tools to solve societal issues.”

Sokoloff’s passion for cause-related advertising was sparked through his agency’s partnership with the Ministry of Defense in Colombia, Sokoloff’s native country. The nation’s Defense Ministry sought his advice and talents to demobilize FARC guerrilla rebels as the country pushed towards reconciliation. “We needed to get as many guerrillas out of the jungle in a peaceful way.”

And the most effective tactic was through his work. “Advertising is just tackling old problems in new ways. You just have to understand the motivation,” he says.

One key realization was that all prior communication was macro-targeted, such as government to guerrillas or army to army. Instead, “we concentrated on humans and what unites us,” he says.
The campaign first launched via radio since most guerrillas were close enough to receive audio transmission.

Other components were added including the introduction of several 25-meter tall Christmas trees during the holiday season that suggested, “If Christmas can come to the jungle, you can come home,” says Sokoloff.

The agency also released gifts wrapped in balls of lights to float down the river and soccer balls dropped into the jungle encouraging guerrillas to watch the World Cup.

Another phase of the campaign included posting photos of the soldiers as children to remind them that they are still part of a family that misses them.
Out of 38,000 rebels, the 10-year multi-faceted campaign demobilized 24,000 soldiers, including 18,000 specifically attributed to MullenLowe’s efforts. The initiative was also recognized with numerous awards, including the gold Cannes Lion in 2014.

This campaign now underscores the agency’s approach with its clients, meaning that brands need actionable goals that encapsulate a brand’s core philosophy. “There is so much BS about social purpose and trying to have a purpose that brands try to make it worthwhile through a power point chart.”

But his experience has taught him what works and what doesn’t when crafting these messages. “You cannot, for instance, get everyone to stop using plastic or pretend to clean the world from plastic. Or have a brand say they are for carbon-free fuels. What works is a real message that resonates.”

This article was first published on MediaPost.

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2017-09-12 11:19:36
Adrian Sng Named Managing Director at MullenLowe Malaysia MullenLowe Malaysia has appointed former Saatchi & Saatchi Malaysia CEO Adrian Sng as its new managing director. Sng replaces former managing director Mazuin Zin who has decided to step down from her role to pursue other opportunities within the industry.

Sng has over 20 years of industry experience, and brings with him rich leadership experience having worked at leading international agency brands such as Ogilvy, Leo Burnett, BBDO and most recently Saatchi & Saatchi Malaysia. He has been selected for the new role under the guidance of Vincent Digonnet, APAC CEO, MullenLowe Group.

He is responsible for building on the reputation MullenLowe has established as a challenger agency brand in the Malaysia market. Through its hyperbundling of operations globally, MullenLowe Group provides channel agnostic communication solutions to marketers, in addition to facilitating strategy and execution of technology and customer journey solutions.

“I am very pleased and privileged to have this opportunity to build on Mazuin’s achievements. She has a great team and built an expanded capability and client base which puts us in a strong position for further growth. I am excited by the vision of MullenLowe Group working within Malaysia and the wider region to deliver exceptional client outcomes,” Sng said.

“I am both proud and sad at the same time to leave this business and my team. The great work the team has done ensures that MullenLowe Malaysia is in a rock solid position to continue its trajectory in the very capable hands of Adrian. I feel confident that MullenLowe Group will continue to be an important partner for their clients in Malaysia,” Zin said.

Zin first joined the agency in 2012 as managing director. She took on the role from Leo Burnett, where she spent over a decade in various roles based in Malaysia and Singapore. Through her career, she managed numerous global brands and large local clients including Samsung, P&G, Dutch Lady, Petronas, Proton, Malaysia Airports, McDonald’s, Philip Morris, ING, Pepsi, Unilever and Nestle. Prior to her role with MullenLowe, she was the general manager for Leo Burnett and Arc Worldwide in Malaysia.

CEO Digonnet said: “Understandably we are sad that Zin can’t complete the journey with us to build MullenLowe Malaysia into a modern channel-neutral solutions provider, using our hyperbundling approach. Thankfully in Adrian we have acquired a seasoned leader who relishes the challenges this market provides, and we wish them both well in their new roles.”

In January 2016, the group also unveiled plans for its new global corporate identity. This follows the formation of the network from the merger of IPG agencies Mullen in the US with global creative network Lowe and Partners. The new brand identity aimed to position MullenLowe Group as a global creative boutique, with a challenger approach delivered through a “hyperbundled operating model”.

The MullenLowe Group network will now consist of four main brands: MullenLowe, delivering integrated marketing communications solutions, MullenLowe Profero, the digital pure-play network, MullenLowe Mediahub, providing media planning and buying solutions, and MullenLowe Open offering behavior driven activation and shopper marketing.

As of January 2016, all Lowe agencies were renamed as MullenLowe, across the 90 offices in over 65 markets globally.

This article was first published on

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2017-09-11 05:59:58
Dabur Honey Plays the Obesity Manager in Latest Film by Mullen Lintas India As a brand, Dabur Honey has reaffirmed its position as a market leader by specifically talking about the need to focus on healthy living. In fact, apart from offering other health benefits, Dabur Honey has also been labelled as the perfect ingredient for managing one’s weight. To highlight this specific attribute, Dabur India has rolled out a new film promoting Dabur Honey as the perfect ingredient for weight management.

VIEW THE SPOT (in Hindi)

The ancient Ayurvedic scriptures state that consuming honey with lukewarm water in the morning helps fight obesity and manage weight. In today’s world when everyone is getting highly conscious about their health and are going the natural way, honey is the perfect route to take for a healthy tomorrow. As a custodian of Ayurveda and the market leader in the branded honey category, Dabur is propagating the health benefits of Dabur Honey and helping consumers lead a healthy lifestyle.

Dabur Honey2.jpgDabur Honey 3.jpg

Commenting on the objective behind the latest communication, Rajeev John, Marketing Head-Health Supplements of Dabur India Ltd. said: “With Dabur Honey, we have always promoted a healthy life. One of the core benefits of Dabur Honey is that it helps manage your weight if consumed regularly. Thus, in our new campaign, we are communicating the message that consuming Dabur Honey every morning with warm water helps you ‘Stay Fit and Feel Young’. Targeted specifically towards married women, the campaign is based on very strong insight and we feel that everyone should make it a daily habit… A ritual. We feel that this will strongly resonate with our target audience.”

The film by Mullen Lintas Delhi is based on a common perception that most women gain weight after getting married. As a brand, Dabur Honey is trying to build a healthy habit by telling them that drinking Dabur Honey with warm water every morning will help them keep their weight in check. Through this campaign, the brand hopes that consumers will adhere to the idea of consuming Dabur Honey every day for a healthy living.

Highlighting the creative concept behind the film, Shriram Iyer, NCD, Mullen Lintas said: “We believe, every individual should take advantage of the benefits of Dabur Honey by making it a part of their daily routine. Hence, the task set for the new campaign was to encourage women to have a spoon full of Dabur Honey in the morning as it can help them stay fit and feel young. The communication has been targeted at married women and is based on a strong observation that people, in general, believe that after marriage a woman tends to put on weight. As post marriage, the lifestyle of a woman changes and this may result in weight gain.

Dabur Honey challenges the perception and reinforces the fact that consuming Dabur Honey every morning can help you keep your weight in check.

We feel every married woman will find the communication very relevant and will take a step towards a healthy life by making Dabur Honey a part of her daily routine.”

Credits –
Account Management: Syed Amjad Ali, KRK Ganesh, Chaarvee Kumar, Priya Agarwal
Creative: Shriram Iyer, Sindhu Sharma, Abhinav Karwal, Satyajit Ganu
Planning: Ekta Relan, Srishti Khandelwal
Production House: Bubblewrap Films
Director: Parikshit Vaidya
Client Team: Rajeev John, Vineet Jain

This article was first published on

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2017-09-08 09:45:50
How To Keep Your Employees Engaged At Work Why do so many organisations – including ours on occasion – get skillfully managed employee engagement so wrong?

In July we made the biggest change in our agency’s history, when we became part of MullenLowe. Some people love change – but not all – and we are acutely aware of the need to bring all our employees with us as we transition onto the next, exciting stage our journey.

The experience, for me, has demonstrated the value of skilfully managed employee engagement. So why do so many organisations – including ours on occasion – get this so wrong? And this despite the mounting evidence of its importance: according to Gallup, 87% of employees are not engaged at work, yet studies show that the “100 best places to work” consistently outperform major stock indices by a factor of 2 and have half the staff turnover of their competitors.

I believe that the reasons are simple, but often overlooked: managers thinking it’s solely about internal communications rather than engagement, pushing out news rather than pulling people in; under-valuing the role, under-estimating the challenge and under-investing in programmes; forgetting practicalities (a digital programme for employees without access to computers, for example); using corporate speak, rather than talking human; and failing to put themselves in the employees’ shoes, to feel what it’s like to receive the message.

At MullenLowe salt, we don’t ‘do’ engagement, we create initiatives that lead to engagement – and use well planned, highly targeted, creative communication as a catalyst to bring these initiatives to life.

We see many organisations creating great external communications, investing properly in insight and creativity to get a great result, then leaving the job of employee communication as a lesser priority, with access to a photocopier and no budget.

We say treat employees like consumers; and, in particular, design communication to meet their changing needs. According to a recent report by Kollective, 65% of the world’s population are ‘visual learners’, who best engage with content through sight and sound, yet 76% of companies still rely on mass e-mails to communicate news to their staff. And although 3.7 million US workers work from home half of the time, 32% of their employers still use posters to communicate with them. No external campaign would lack such vital audience insight, creativity or measurement metrics.

Providing employees with premium content, through channels they chose to use (predominantly digital – 66% of US employees in the Kollective survey said they found visual content easier to digest and understand than written documents and printed materials) means these messages land and actually do something – rather than frustrate and waste resource.

Businesses that have the courage to transfer ownership of the challenge to their staff do even better, building a level of engagement few top-down campaigns can hope to achieve.

And the real winners, in our experience, are the businesses that put company values at the heart of engagement. Our favourite programmes inspire employees using Purpose; creating pride, energy and a tangible impact on productivity – the key ROI.

Engaged employees are as powerful as any other brand asset; disengaged as damaging as any crisis. Hidden in these tough times is a defining moment to create real, meaningful connections that inspire, maintain productivity and drive momentum. Investing in people like this has never been more important.

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2017-09-07 11:51:48
Lowe Lintas Chennai Launches MRF Perfinza

India’s largest tyre manufacturer, MRF Tyres has unveiled an integrated campaign for its recently launched brand Perfinza. Targeted specifically towards users of luxury cars, brand ambassador and ace cricketer AB de Villiers promotes Perfinza’s core message of being a ‘perfectionist’ on the roads.


A perfectionist always strives for details and has a burning desire to outperform. This also means that he/she has an acute eye for precision. Perfinza by MRF brings all these attributes together so that riders can feel the perfection as they drive their cars.

Perfinza by MRF2.jpgPerfinza by MRF3.jpg

Highlighting the insight behind the latest campaign, Koshy K Varghese, Executive Vice-President Marketing, MRF Ltd. said, “Our R&D engineers had one word in mind when they engineered this tyre – Perfection. Perfinza by MRF is a tyre that delivers the perfect drive every time. The communication uses AB de’ Villiers, another outstanding example of perfection on the field and off it, to showcase how perfection in a tyre results in an exceptional driving experience.”

The campaign by Lowe Lintas Chennai works to seamlessly facilitate MRF’s first-time foray into the luxury car tyre segment. With an approach that goes beyond communicating just the product, the attempt is to make the brand relatable to the TG, for whom perfection in everything they do is a way of life.

Commenting on the film, Hari Krishnan, President, Lowe Lintas said, “Perfinza targets the luxury car segment. There is significant technology & research that has gone into the making of the product. The communication effort has been to establish the idea of perfection – which is the core expectation of the user and the core attribute of the brand Perfinza.”

Credits –
Creatives: Arun Iyer, Bikramjeet Ghosh, Gowthaman K., Gous Basha, Manisha Kumar
Account Management: Hari Krishnan, Varghese John, Debapratim Moulik, NJ Ramesh
Production House: Mindblowing Productions
Director: Matthias Berndt

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2017-09-06 10:29:30
Find Out Why Rajesh’s New Phone is the Talk of the Town The ad campaign has been conceptualised and executed by Mullen Lintas Bangalore.

Mullen Lintas launched its first television campaign for Quikr. The latest campaign by Quikr, India’s No. 1 classifieds business, is themed around buying high quality pre-owned smartphones at affordable prices from QuikrBazaar, its C2C vertical. The aim of the ad campaign is to drive pre-owned smart phone purchase intent among people through the assurance of a high-quality product from Quikr.

The ad campaign titled ‘Have you seen Rajesh’s new phone?’ conceptualized and executed by Mullen Lintas Bangalore will run on all popular channels spanning the genres of Entertainment, News, Sports etc.

Watch the spot:

Commenting on the new campaign Vineet Sehgal, chief marketing officer at Quikr said “At Quikr, we have always innovated for our consumers either to make them online users, to address privacy issues or to provide secure platform for C2C transactions. With the latest ad campaign we want to address trust issues associated with the used products and mobile phones in particular. The campaign points out the several benefits such as best price, 36+ point quality check, six months warranty and seven-day replacement policy offered by QuikrBazaar and demystifies worries associated with pre-owned mobile phones. The ad campaign is result of a great collaborative effort with our new agency partner that effectively captures the essence that anybody can now own a high-end mobile phone.”

The campaign brings alive the story of an unassuming person who becomes the center of attention at his work place, as his colleagues become envious about the high-end phone he’s recently got.

Highlighting the creative premise behind the film, Shriram Iyer, NCD, Mullen Lintas said: “Mobiles carry a lot of flaunt value, right? So what happens when a very junior employee at a firm walks around with a high-end phone? One which looks and feels like a brand new phone? It leads to a crazy chain of Chinese whispers, all speculating how he could afford it. And given that Quikr and quirk go hand in hand, we went lateral in treatment by giving it a retro, Bollywood caper kind of feel to the whole thing. A simple human insight tuned for super fun.”

Campaign credits:

Client: Quikr
Team: Vineet Sehgal, Ruchika Gupta
Agency: Mullen Lintas
Account Management: Kishore Subramanian, Anil Nair, Arjun KD, Akshata Srivastava
Creative: Shriram Iyer, Santosh Ramakrishnan
Planning: Sushma Rao
Production House: Absolute Productions
Director: Vasan Bala
Producer: Prafull Sharma & Sadhya Vyas

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2017-09-06 08:08:58
Nicola Rovetta Joins MullenLowe Group Italy As Chief Creative Officer Today, MullenLowe Group Italy announced the appointment of Nicola Rovetta to the role of Chief Creative Officer. Rovetta has been tasked with helping the Group develop and deliver its hyperbundled vision in the Italian market.

In this role, Nicola Rovetta – a skilled creative leader with unique multidisciplinary experience – will partner with the MullenLowe Group Italy management team to help create and deliver best-in-class integrated creative for MullenLowe Group clients including Unilever, San Pellegrino, Harley Davidson, Sloggi, Eurosport, and recently won Rancilio Group and Tapì Group.

“I have had the opportunity to work with Nicola in the past and I like both his optimism and energy. Over the past few years, he has gained significant experience in traditional advertising, digital, social and PR and I’m convinced that his appointment will help MullenLowe Group successfully apply the hyperbundled model in Italy,” commented Diego Ricchiuti, CEO and President MullenLowe Group Italy.

Rovetta has experience in both advertising and consulting, and has developed digital and integrated campaigns for brands such as UniCredit Group, easyJet, Lufthansa, Nivea, Sony Playstation, Google, and Nissan among others.

Rovetta noted, “When I spoke with the management team about the MullenLowe Group hyperbundled model and challenger mentality, I decided it was the natural next step for me to join the agency. I want to be part of the development of this model in Italy, and I am looking forward to partnering with all the creative talent around the network. I personally think that hyperbundled, highly specialized and seamlessly tuned units are the best solution in terms of consistency, optimization and results for brands today.”

“I believe that the multi-disciplinary, integrated experience that Nicola brings will help our Italian office grow and develop work that will deliver an Unfair Share of Attention for our clients’ brands,” commented Josè Miguel Sokoloff, President of MullenLowe Group Global Creative Council.

Rovetta, a first-mover in digital, has been part of the digital transformation in communications for over 20 years, leading creative departments in digital, promo and activation, advertising, PR & social media; his experience spans consumer goods, automotive, financial, travel, utilities and technology, healthcare and beauty. He is a respected speaker, a teacher and a lecturer in Universities and a regular juror for international and national creativity festivals and awards. He is active in the local Art Directors’ Club and a member of the board.

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2017-09-05 12:56:59
10 of the Best Ads from August Advertisers got creative in August, experimenting with the increasingly popular six-second ad format, contributing to the buzz surrounding the solar eclipse, and building a mountain of sugar in Times Square.

5) JetBlue

There are now souvenirs for workaholics who never take a vacation, celebrating the very place they never, ever leave.

JetBlue worked with MullenLowe to produce a line of delightfully kitschy keepsakes to remind you of the vacation you need to take. The line of mugs, decorative plates, candles, and other trinkets usually reserved for tourist trap gift shops feature phrases like: “Paper jams are my jam,” and “Remember the free bagels?”

“If your last good memory is that time free bagels were left in the break room, we feel for you,” said Heather Berko, manager of advertising and content at JetBlue. “These Office Souvenirs are just our way of reminding everyone there are blue skies and fresh air waiting to provide much happier memories.”

See the full list on

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2017-09-04 10:02:56
The Dying Art of Being Predictable Jon McKie kicks off the session by showing a video featuring members of the public attempting to guess brands from their strap lines. As you’d expect, the brands with the most consistent lines across the decades were the most easily guessed by the public. But does this mean that consistency is always the best policy?

BMF co-founder Warren Brown says marketers looking for new creative work can often mistakenly believe they should discard everything and start again from the beginning: “It’s so easy to change your execution but people tend to throw the baby out with the bath water,” Brown says. “They go ‘Oh, I’m not sure this is working, we need to change everything’. No you don’t.

“You can get the execution wrong, that is easily done, but why walk away from everything after spending so much time and energy trying to find a clear and unique and distinctive strategy? You just need to explore a different execution of your creative strategy, not walk away from it all.”

Derry Simpson, managing director of strategy and innovation at 303 MullenLowe and a former VB brand manager, agrees.

She says: “They feel there is a need to throw out the old strategy and start again. There is a lot of ‘We need a new idea, let’s go out and pitch for an agency and see who comes up with the best idea’.

“There is less acceptance that brand is a long journey. There is a lot more pitching and project work for agencies so there is less of the long relationship, trusted advisor role.”

Asked about Budget Direct’s creative changes over the years, which have seen the “boojay, boojay” jingle replaced with aliens who were then dropped for Captain Risky, the firm’s director of marketing and digital, Jonathan Kerr, says what has been consistent is Budget’s “DNA”.

“We have never moved away from being the best value, that is our DNA and everyone understands that,” he says. “Although we have been through some creative changes over the years we have always been number one in Australia for best value.”

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2017-09-04 09:47:51
Transparency Demands are Pushing Ad Tech Companies into Specialising Focus is coming to ad tech. Ad tech companies have reaped huge profits by serving publishers and media buyers alike. But with the increased demand for transparency, companies are finding they’re better off choosing one side.

This month, Tremor Video agreed to sell its demand-side platform to Taptica for $50 million. Singtel-owned Amobee shut down its supply-side business last year and acquired demand-side platform Turn for $310 million in February. Sizmek, on the other hand, announced in July that it would buy DSP Rocket Fuel for $145 million as part of a plan to build the largest independent demand-only stacks.

“The shift from a combined sell-side and buy-side stack to singular stacks for ad tech staples highlight the evolution and maturation of the digital media industry,” said Mike Caprio, chief growth officer for Sizmek. “Tremor selling off its demand-side stack is the latest in a series of dominos driven by the desire for transparency and focus.”

Lauren Wiener, CEO for Tremor Video DSP, agreed that focus is important in ad tech right now, as DSPs and SSPs have competing goals: The former wants to acquire the highest ad value at the lowest price possible, while the latter tends to sell the lowest ad value at the highest price possible.

Chris Wexler, executive director of media and analytics for agency Cramer-Krasselt, said advertisers have been burned by murky technology and vendors’ high margins for a long time, so trust in ad tech is low. His team only works with pure DSPs now and is auditing media contracts more in the wake of an Association of National Advertisers transparency report that shed light on sketchy programmatic deals. Typically, 30-40 percent of the ad inventory his team buys for a brand across different channels — not just programmatic — is under audit now, compared to 20 percent a couple of years ago, said Wexler.

“In the early days, there were situations where vendors were double dipping without telling us,” said Wexler. “It is impossible to verify when a firm crosses the buy-sell divide.”

Focus is another incentive. Yieldbot laid off around 30 percent of its workforce and closed its national sales offices in Chicago and Los Angeles last month to focus more on “digital-to-physical attribution” products, CEO Jonathan Mendez said.

“Facebook and Google have taken around 70 percent of the ad tech pie, and there are so many companies fighting for the remaining 30 percent,” said Mendez. “As ad tech is becoming more complicated, clarity is important. Nobody wants to acquire a company that is doing four things simultaneously yet not doing them well.”

There’s another side, though. Dan Davies, svp and director of media sciences for agency MullenLowe’s Mediahub, said his team works with pure DSPs for more transparency. By working with companies that have both SSP and DSP solutions, an agency can take advantage of their direct relationships with publishers for better, cheaper ad inventory.

“Straddlers have a conflict of interest as they need to fill that inventory for their own financial reasons,” said Davies. “But historically, most agencies work with companies that have solutions on both sides, so they may not necessarily have the luxury of choosing a pure DSP.”

As for investors, they will still back companies that serve both sides if their financial numbers add up, according to John Matthews, managing director for investment bank DeSilva+Phillips.

“The focus on the sell side seems to be the more prevalent trend at the moment,” said Matthews. “On the buy side, I don’t see in the future that there will be buy-side video, buy-side audio, buy-side mobile, et cetera. The buy-side players will be ‘omnichannel,’ reflecting the needs of their customers.”

Brian Wieser, senior analyst for research firm Pivotal, sees more opportunity for supply-side companies, though. Ad tech companies have more chances to generate higher margins monetizing low-value ad inventory, or otherwise optimizing a publisher’s yield. This means an ad tech company on the supply side is likelier to generate more cash flow sooner, according to Wieser.

“On the buy side, the problem is that fees might be relatively tighter, and there is less opportunity to demonstrate value in a way that gets the tech company paid an incremental amount,” he said. “What makes this complicated is that Google is so big on both sides, and we have no real transparency into the financials of its ad tech business.”

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2017-09-01 12:14:38
Tata Tea Urges Parents to Give Sports as much Importance as Academics Tata Tea’s latest film part of its ‘Jaago Re’ campaign urges parents to give sports as much importance as academics. The film has been conceptualised by Mullen Lintas.

The film follows how children are made to sacrifice a future in sports and ‘retire’ early because of the importance given to academics. The message it delivers at the end is ‘Don’t let your kids retire early from sports. Preact. Pledge to give sports as much importance as academics.’

Sushant Dash, regional president – India, Tata Global Beverages, said, “The latest Jaago Re 2.0 film tackles the root cause of our nation’s under-performance in the field of sports by exposing a glaring flaw in our society’s outlook towards sports. While parents pay close attention to how well their children perform in mathematics or science, not many know whether their child can comfortably run a 400-metre race. Through this film, we hope to spark a change in our nation’s mindset towards sports education and establish the need to give sports as much importance as academics. By making sports a compulsory subject in schools, we aim to create an environment that will also produce more sporting talent that can go on to represent our country in future local and international sporting events.”

Shriram Iyer, president and NCD, Mullen Lintas, said, “Academics edges out sports and as a child reaches pivotal academic years like class 10, sports totally disappears. A consequence of the pressures that an academic system and the society put on children, education is of paramount importance. More importantly, we believe, sports is education too. This led us to put out a campaign that points at the idea that most 14-year olds who were inclined towards sport tend to prematurely retire from it. We are hoping that a campaign that presents sports drop outs as RETIRED will help up the ante on the importance of sports within the academic system. This message dovetails into the larger petition that the brand Tata Tea is spearheading currently. May sports win. May champions be born.”

The digital film was published on 28 August 2017.


Client: Tata Global Beverages

Creative agency: Mullen Lintas

Creative: Amer Jaleel, Shriram Iyer, Garima Khandelwal, Sangeetha Sampath, Vaishali Jain

Account management: Kishore Subramanian, Lopamudra Bhattacharya, Anahita Brar, Stacia Tholar Planning: Ekta Relan, Sushma R Rao

Production house: Red Carpet Moving Pictures

Director: Altamash Jaleel Producers: Sanjay Bhutiani, Sajida Sharma

Film department: Satyajit Ganu

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2017-09-01 11:42:37
Lowe Lintas Puts Mum in the Driving Seat

Axis Bank, country’s third largest private sector bank has launched a new Home Loan campaign with a unique product differentiator – “Home Loans with 12 EMIs Off”. Typically, the male in the household makes the decision to buy a home as well as choosing the home loan provider. However, the film, created by Lowe Lintas Mumbai has put the woman in the centre of the campaign as key influencer and the decision maker. Through this campaign Lowe Lintas has portrayed an Indian Mother as the ‘change-maker’, by putting her in the ‘driver’s seat’.

VIEW THE SPOT (in Hindi)

Asha Kharga, CMO, Axis Bank said, “The dominant language in the Home Loans category is around interest rates and percentages. Hence the new campaign aims to differentiate Axis with a simple proposition “of 12 EMIs off”. Consumer work revealed that home buying discussions usually start during important life events like marriage. With that context, the insight that we honed on was that typical Indian moms don’t want to let go of their sons. If the ad encourages mothers to introspect and have authentic, honest conversations, it would have truly struck a chord and made Axis relevant and memorable.”

Axis Bank 3.jpgAxis Bank 2.jpgThe campaign conceptualized by Lowe Lintas Mumbai directed by Gauri Shinde showcases veteran actress Revathi and Bollywood actor Vikrant Massey in conversation with each other while shopping for his wedding. Revathi as the mother brings up the important aspect of having one’s own living space post getting married.

Arun Iyer, Chairman & Chief Creative Officer – Lowe Lintas said, “The brief was to differentiate ourselves within the category – wherein the conversations are always about interests and percentages. The product had a clear differentiator and the communication required to reflect that. Therefore we decided that the communication should challenge conventional thinking just like the product proposition does. We chose to depict a warm and cheerful conversation between a mother and son, where the change maker is the mother which is not what is expected in our culture. We deliberately chose Revathi, adorned her as conventional as expected but she’s ingrained with progressive thinking. She advises her son who is about to get married to move into a home of his own. This helped us entrench the central idea which is ‘Ghar ki kushi bani rahe, EMI’s nahi’.

Credits –
Creative: Arun Iyer, Amar Singh, Akash Das, Prathamesh Gharat, Joshua Thomas, Tejas Dangre, Katya Mohan, Adelle Rodirigues, Nayan Sarmah
Account Management: Shantanu Sapre, Danny Nathani, Jay Ladhani, Neal Kurian
Planning: Saji Abraham, Abhijith Shetty, Abhishek Joshi
Client Team: Asha Kharga, Ananya Shukla, Amit Vishwakarma

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2017-09-01 11:33:47
Why Brands Must be Careful When ‘Supporting Culture’ By failing to see the big picture, they can do more harm than good, according to the leader of a new cultural insights programme in Tokyo.

Brands these days are constantly encouraged to listen to, shape and generally “be part of” culture. If studies are to be believed, consumers everywhere have (at least some) faith in brands’ ability to make society better. No one expects a single brand to save the world. But it seems logical to pick an under-represented area of society and help it grow. The movement (whatever it might be) flourishes thanks to the brand’s generous support, and grateful consumers reward the brand by buying lots of its products—right?

Not always. That’s why Mike Sunda, a planner at MullenLowe in Tokyo, recently initiated Tokyo 20XX. Billed as a ‘cultural insights specialism’, its aim is to give brands a realistic view of various communities and subcultures in Tokyo and make them aware of all the nuances before they think about getting involved.

The project debuted in July with three short documentaries. They look at the current state of the club, urban sports and LGBTQ scenes in Shibuya, all of which face unique challenges.

In particular, the club scene is still finding its feet after the authorities lifted an absurd anti-dancing law in 2014. The decree dated back to an anti-prostitution crackdown in 1948 and made a comeback around 2010 after a series of undesirable incidents at clubs. While it’s no longer in place, Sunda says many in the scene still feel vulnerable to police heavy-handedness. It’s also an expensive pastime, yet a difficult industry in which to make a living.

Sunda notes that many brands have tried to engage, including Red Bull. Some years ago the energy drink brand ran an academy and offered up a number of free events for a period, he says, having worked on the project as a freelancer. It seemed like a great move, giving wide exposure to artists and accessibility to young people. But the drawback was that club promoters subsequently struggled to persuade people to pay the regular 4,000-yen entry fees.

Brands understandably tend to focus on the end consumer, Sunda says—although even then, it’s easy to get it wrong. As a keen club-goer, he says conspicuous signage for tobacco brands like iQOS pulls the experience down. “There are levels of visibility that don’t have to begin and end with branded signage,” he notes.

They do sometimes take into account the creators too, but not necessarily the overall system. “It’s important to look at the whole scene in its entirety as a living, breathing ecosystem,” he stresses. “It’s not something you do through desk research; it’s something you can only do through fully immersing yourself in the scene.”

That applies to any community that a brand hopes to engage with. The dynamics and challenges people face in any given area are rarely obvious at a surface level. Few brands other than those immersed in the skateboarding environment, such as certain streetwear labels, would be aware that Shibuya’s skaters are being gradually edged out of the area that’s central to their identity. As parks they have grown up in close, “they can’t just relocate to Ikebukuro [a less colourful Tokyo subcentre]”, Sunda says. Street dancers and basketball players are subject to similar marginalisation.

The LGBTQ community also faces a lot of challenges that aren’t visible, despite gaining more acceptance in recent years. Shibuya ward became one of the first to officially recognise same-sex partnerships in 2015. But elsewhere, the community still faces discrimination at an institutional level. Sunda says: “We’re at a moment of potentially positive change, but it could go either way depending on how big brands decide to show their support, or not.”

Most support so far has been tentative, revolving around Pride. But it would be a mistake for brands to assume the LGBTQ community in Japan shares the same characteristics as elsewhere, he adds. In parallel, brands that have supported a community in other markets should not assume that that gives them a cache of goodwill in Japan.

“People who work on the brand side are full of positive intentions, but it can be very difficult for some brands to expand their perspective outside of what has historically been their agenda or default understanding,” Sunda concludes. “So we’re coming to them as an impartial third party that can look beyond the flashy creator in Tokyo and also consider the 16-year-old playing football in a car park in Saitama. We’re not just interested in the glamorous side but the wider implications of potential growth. Whether or not a brand wants to get involved, I think this is a discussion the majority should be open to. We don’t have to force this project upon them, but if it encourages them to have these discussions internally we would still consider it a success.”

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2017-08-29 10:43:38
Minute Maid Launches Magical Willy-Wonka Inspired Campaign Minute Maid has created the magical world of The Pulpy Factory in a Willy-Wonka inspired campaign for the China market.

The campaign stars Chinese celebrity Hu Ge as the flamboyant President of Pulpy, who takes visitors on a tour of the factory to launch the brand’s new Minute Maid Pulpy Drink.

As Ge travels through The Pulpy Factory, he showcases the drink’s features such as using three different types of pulp for added flavour.

The campaign incorporates TV, digital, social, content and events and was created by MullenLowe China.

Cheelip Ong, chief creative officer of MullenLowe China says: “Minute Maid has always been about breaking the dullness and injecting taste pleasure and positivity into the lives of its audience. By reimagining a Pulpy Factory that is filled with fun and fantastical elements, we were able to better engage our audience and let them learn about the product story in an entertaining way.”

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2017-08-24 09:27:41
JetBlue Is Selling Kitschy ‘Office Souvenirs’ for Workaholics Who Never Take a Vacation Among other indignities, people who never take a vacation don’t get to bring home souvenirs from their travels—those cheesy tchotchkes, like mugs, plates and hats, that remind you of your week away in some exotic locale.

JetBlue feels sorry for these people. It would like them, first and foremost, to actually take a vacation (preferably a JetBlue Vacation). But failing that, the carrier has another solution. It’s come up with a line of “Office Souvenirs” merchandise, so workaholics everywhere can take home a cherished piece of their most recent (and constant) destination—the workplace.

The items are available at JetBlue’s online store, and range from snow globes with an office printer inside, to “Remember those free bagels?” commemorative plates, to “Let’s circle back on that” mugs, to Human Resources-scented candles, to beach towels with a blank spreadsheet printed on them.

Most of the items are $10 or $15, though the cheapskates out there can snag a little statue of an office phone for just $5.99.

The kitschy, sarcastic products, courtesy of MullenLowe New York, are a fun way to illustrate an actual problem—that Americans love to make memories on vacation, but are taking fewer such trips all the time.

“If your last good memory is that time free bagels were left in the break room, we feel for you,” says Heather Berko, manager of advertising and content at JetBlue. “These Office Souvenirs are just our way of reminding everyone there are blue skies and fresh air waiting to provide much happier memories.”

The creatives at MullenLowe were inspired by research, then put a twist on it.

“We came across the fact that 91 percent of people agree that some of their best memories are from vacation. And yet, as a country, we’ve stopped going on vacation,” says creative director Amy Ferguson. “That begged the question: What kind of memories are we making? The answer must be boring work memories. That’s when Office Souvenirs was born.

“Of course, everyone knows cheesy vacation souvenirs, but cheesy vacation souvenirs from a sad, drab place like the office? That felt weird and new. And when we started brainstorming souvenirs we could actually make, we couldn’t stop laughing. That’s when we knew we’d stumbled onto a really funny idea.”

Everyone seems to have a favorite office souvenir, adds creative director Julia Neumann.

“The Circle Back mug is a top seller, and the Spreadsheet Towel was an early client and fan favorite,” she says. “As for the creative team, we all have lot of love for the Printer Snow Globe because it was one of the very first ideas we came up with that brought this idea to life. We still think it’s funny.”

Neumann adds: “There’s never enough PTO, yet the little PTO we get we don’t take. That’s just plain wrong. Reminding people at their work place to go on vacation felt right and different.”

The souvenirs are being promoted in a variety of ways, from Instagram ads to a pop-up shop in Manhattan (which was open for a single day earlier this month) to a partnership with Reddit featuring promoted ads in travel and office-related sub-Reddits.

“As fulfilling as your work may be, it’s probably not healthy to fondly reminisce about office lighting and your latest TPS report,” says JetBlue’s Berko. “Our Office Souvenirs are a fun reminder that there really is something better to look forward to.”

See pics from the pop-up store below.

Client: JetBlue Vacations
Title: Office Souvenirs
Agency: MullenLowe

Chief Creative Officer: Mark Wenneker
Executive Creative Director: Tim Vaccarino
Executive Creative Director: Dave Weist
Creative Director: Julia Neumann
Creative Director: Amy Ferguson
Associate Creative Director/Copywriter: Ian Fairbrother
Associate Creative Director/Art Director: Chris Cavalieri
Art Director: Alyssa Cavanaugh

Production Partners
Experiential Production Company: NA Collective
Director: Kevin Starkes
Executive Producer: Nicolette Coan

Photographer: Andrew B. Myers
Producer: Ahmer Khan
Prop Stylist: Wendy Schelah

Production Co: Apostrophe
Director: Andrew B. Myers
Line Producer: Ahmer Khan

Editing House: PS260
Editor/Animator: Matt Posey
Executive Producer: Zarina Mak

Audio Mix: Plush
Engineer: Rob Fielack

Account Management
SVP, Group Account Director: Emily Brooks
Account Director: Molly Bluhm
Account Supervisor: Matthew Duerr
Account Executive: Bayla Werman

VP Group Strategy Director: Ellie Gogan-Tilstone
Senior Strategist: Mike Patrick

Production – Agency
Executive Director of Integrated Production: Lisa Setten
Director of Broadcast Production: Zeke Bowman
Executive Producer: Melissa Bemis
Art Producer: Kate Moore
Motion Art Director: Jorge Noujaim

Photographer: Erika LaPresto
Digital Imaging Supervisor: Nick Bleil
Digital Imaging Artist: Alex Abdalian
Associate Digital Imaging Artist: Jana Heidenreich
Associate Director, Print Production and Experiential: Kristine Ring-Janicki
Senior Project Manager: Christina Gratton

SVP, Group Media Director: Jade Watts
Associate Digital Media Director: Paula Berkel
Media Supervisor: Lauren Meyers
Digital Media Planner: Ellie Clayman

SVP Account Director: Jaclyn Ruelle
Account Director: Becky Brand
Account Supervisor: Brittany Zahoruiko
Senior Account Executive: Kelsey Labrot
Assistant Account Executive: Meg Weldon

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2017-08-24 07:51:00
MullenLowe London Announces Acquisition of Creative Agency 101 MullenLowe London has completed its acquisition of independent creative shop 101 in a move that marks the end of the six-year-old agency brand.

The deal, which was revealed by Campaign in July, will tie the independent shop’s founders to a three-year earn-out.

The 101 brand will be axed and the six-year-old agency’s 40 staff members will move across London from Somerset House to Shoreditch in October.

Mark Elwood, founding creative partner at 101, will become executive creative director at MullenLowe, reporting to existing chief creative officer Jose Miguel Sokoloff.

Tom Knox, chairman of MullenLowe, will become an executive partner, alongside 101 founding partners Laurence Green and Phil Rumbol, who will also become executive partners.

Dale Gall will remain as group chief executive of MullenLowe London, having replaced Richard Warren last year. He has presided over an exodus of senior management, including ad agency chief executive Jamie Elliott, chief creative officer Dave Henderson, and executive creative directors Richard Denney, Emma Perkins and Eloise Smith.

Green, Knox and Rumbol will report to Gall.

Steve Waring, the fourth 101 founding partner, will become chief financial officer at MullenLowe London, replacing Alan Adamson, who is leaving the Interpublic agency.

Rumbol, a former marketer, was a client of MullenLowe predecessor Lowe Worldwide, when he was at Stella Artois, working with Green, who was a strategist at the agency. The duo also worked together when Rumbol was at Cadbury and Green was at Fallon London, creating the multi-award-winning “Gorilla”.

The purchase of 101 immediately expands MullenLowe’s roster of clients. Brands that will move to the agency include Heineken-owned Amstel and Desperados, Subaru and Zoopla.

MullenLowe has suffered a number of setbacks in the last year. In addition to parting with a number of senior staff, its major client Unilever cut its marketing spend significantly. In July it acquired PR agency Salt to bolster its integrated offering.

Green said: “Becoming part of MullenLowe doesn’t just mean a broader offering for our clients and a bigger stage for our colleagues.

“We know, like and respect the team, and we share their mission to win an unfair share of attention and success for their clients. It’s an exciting new chapter for us all, perhaps especially for Phil and I as people who earnt their advertising spurs at Lowe, as client and strategist respectively.”

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2017-08-23 04:07:50
Spikes Asia Rolls Out Its Jury List Spikes Asia has today announced the names of the 98 jury members from 17 countries who will judge entries from across the Asia Pacific region, 40% of whom will be female.

The Asia Pacific region once again had notable success at Cannes Lions 2017, bringing home four Grands Prix awards at the International Festival of Creativity: Dentsu Y&R Tokyo won in Mobile for Recruit Lifestyle’s “The Family Way”; AP Thailand was awarded a Design Grand Prix for “The Unusual Football Field”, and Clemenger BBDO Melbourne took home two Grands Prix (Cyber and Health & Wellness) for the much acclaimed “Meet Graham” for the Transport Accident Commission Victoria.

“Judged on a global level, the breadth and vision of the Lion-winning work from Asia Pacific at Cannes Lions ably demonstrates the rich and vibrant creative talent in the region, and we look forward to seeing more exciting work rise through the ranks at this year’s Spikes Asia Festival. We’re delighted to announce the full jury line-up. These judges represent the best industry talent across a spectrum of creativity disciplines. They’re tasked with determining the future path of creative communications, and I’m confident it’s a duty they will discharge with the rigour and passion for which the Spikes juries are famous,” said Terry Savage, Chairman of Spikes Asia.


Leigh Reyes, President & Chief Creative Officer, MullenLowe (The Philippines)


Naomi Troni, Global Chief Growth Officer, MullenLowe Group (Asia Pacific)

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2017-08-18 06:50:14
From the Idea to the Big Screen: “Pennies for Life” Got a great idea but not sure how to get it off the ground?

Simply enter Ocean Outdoor’s 2017 digital outdoor creative competition, run in partnership with Campaign. You come up with a winning concept, Ocean will help make it reality on its network and Campaign will make you famous. Easy.

The glory starts at an awards ceremony where you will be feted in front of a 500-strong audience and on Britain’s biggest (20m x 26m) screen at London’s BFI iMax.

We’re bringing you inspiration over six weeks from past winners who have seen their entries go from an idea to the big screen. This time: Microloan Foundation’s “Pennies For Life”.

Tom Knox, chairman at MullenLowe London, talks us through the journey from the idea to the big screen

Tom Knox, chairman, MullenLowe London

Tell us about the project

MicroLoan Foundation is a London-based charity that provides small business loans to some of the poorest women in Africa. The money means they’re able to set up their own sustainable businesses so they can support their families, often for the first time in their lives.

How did the idea come about?

The campaign was called Pennies for Life – which created an interesting interactive digital poster opportunity which the agency – then called DLKW Lowe – entered in to the Ocean Digital Creative Competition, run with Campaign.

We used Ocean’s Eat Street @Westfield London full motion digital location. We created a giant unfinished picture of a woman in Africa – made entirely of pennies from Britain. Then we invited people to ‘complete’ the picture using their phones, by texting us the word CHANGE and their name. This automatically donates £1 to the charity.

As soon as we received the text, the donor’s name appeared on the poster, with a thank you. And then a handful of pennies suddenly appeared on the screen and dropped into place in our picture.

The more people texted us, the faster the picture was built. And then we built another one. And another. And so on. Every time we completed a portrait we transferred it to a virtual gallery on our website. And a text message told the people who created the picture where they could find their work on display, complete with their credit as one of the ‘artists’.

Meanwhile, at Westfield London, the interactive donation continued: drawing crowds and collecting small change; to make the largest possible difference in Africa.

What did success look like?

In its first morning, one screen raised enough money to enable 21 of Africa’s poorest women to start their own businesses.

Not only did the concept win in the Ocean Digital Creative competition in 2011, the ad went on to win a Cannes Gold Lion too.

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2017-08-17 10:12:05
S Subramanyeswar on Jay Chiat Awards Jury The jury for the Jay Chiat Awards 2017 has been announced. Representing India on the list is S Subramanyeswar, chief strategy officer, Lowe Lintas. Subramanyeswar is part of the global strategy jury.

The Jay Chiat Awards are hosted by the 4A’s, a national trade association that represents advertising agencies from the USA. These awards recognise and celebrate strategic thinking in marketing, media and advertising worldwide.

Subramanyeswar said, “In terms of significance, Jay Chiat is to the world of strategy what Cannes Lions is to the world of creativity, but with a unique spin. Unlike other effectiveness awards that emphasise and reward output (creative and results), Jay Chiat rewards the input (strategy) that goes behind a piece of effective work. It will be a fantastic experience to be judging the awards alongside global greats. Clearly, this is one award show that’s hard to miss for those who’ve got even little or a lot to do with strategic thinking.”

The awards will be held as part of the 4A’s Strategy Festival 2017 and will be held in New York from 12-14 September 2017.

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2017-08-17 09:35:02
Hyatt Celebrates Understanding 50 Years After It Opened Its Doors to Civil Rights Leaders

MullenLowe helped bring the latest campaign to life

Fifty years ago today, the Hyatt Regency in Atlanta opened its doors to a group of civil rights leaders in need of a place to congregate for the 11th annual Southern Christian Leadership Conference. Many other establishments had turned them away, but not the Hyatt.

Today, the brand launched a new film as part of its World of Hyatt platform that launched earlier this year alongside the equally inclusive “For a World of Understanding” Oscars ad. Hyatt teamed up with agency MullenLowe on both campaigns after selecting the agency to head up global creative work in March 2016.

“We continue to be inspired by the events that happened at Hyatt Regency Atlanta 50 years ago and are very proud to create a film that celebrates when groups of people come together to foster understanding,” Maryam Banikarim, global CMO of Hyatt, said.

The new spot, “Come Together,” has a similar tone as the brand’s past work, leaning on its rich history of inclusivity and celebrating having opened its doors to all since 1967. It features spoken word artist Tarriona “Tank” Ball with direction from Simon Benjamin.

“When people come together and allow their commonalities to supersede their differences, they cloak themselves in a suit of armor galvanized by open-mindedness and wield a sword of understanding cured in the flames of love,” Ball says in the spot, “a blade so sharp that it renders the threat of indifference and stereotypes and prejudice null and void and the barriers of language, race, religion, sex and sexual preference invalid.”

Ball’s words are perhaps the most powerful part of the campaign and deliver exactly what Hyatt and MullenLowe were aiming for. According to both agency and client, the goal was to find someone who could speak powerfully and deliver powerful thoughts and ideas to an audience to pay homage to the great oratory skills of Martin Luther King Jr.

“Words do matter so much, and obviously Martin Luther King is so known for his words,” Dave Weist, ecd at MullenLowe, said. “To modernize that idea and bring it to a new audience was pretty interesting.”

According to Banikarim, the Hyatt team had a long, drawn-out conversation about whether or not it would run the spot following the violence in Charlottesville, Va., over the weekend. The brand didn’t want to seem like it was exploiting a violent and tragic event to promote itself. However, Hyatt felt obligated to share the work and its message at a time when the brand feels like the world needs it the most.

Hyatt is launching the campaign in partnership with The Atlantic. Starting today, you can find the film on The Atlantic’s website along with an exclusive interview with Ball and civil rights leader Xernona Clayton.

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2017-08-17 05:52:36
Campaigns for Pakistan’s Independence Day 2017 Teamwork, diversity, inclusion, hard work and perhaps inevitably, cricket, feature in our look at some of this year’s brand campaigns and promotions.

In honor of Pakistan’s 70th independence day, we take a look at some of the brand campaigns and promotions celebrating the only country to have been created in the name of Islam.

Wall’s Pakistan: Using the ingredients from a National Day recipe to tell the story of how teamwork, patience, and hard work created a nation from nothing, this light-hearted ad from Wall’s is both eye candy and heartwarming. The advert was directed by Imran Taighoon Shah of Pixel Perfect Films while the agency was MullenLowe Rauf, with the account led by Muhammad Saeed Durrani, Nabil Nasir, and Mahreen Pasha. At the time of campaign conceptualization, the brand was led by Asad Malik, assisted by Azka Waqar and Khaula Hafeez.

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2017-08-16 05:54:42