15671 SAPPI adS UD R 13/10/08 13:25 Page 1

C M Y CM MY CY CMY K

ADVERTISING ANNUAL

2 — The ANNUAL 2008

CONTENTS
— The Annual 2008

7 Introduction by Jeremy Maggs

8 Profiling e.tv

13 The Research. A survey by TNS Research Surveys on public

perception towards advertising in South Africa

21 The Top 100. SA’s most influential media and advertising people
22 Academic & Training 118 Coley Porter Bell
24 Advertising 120 Cross Colours Consultancy
Branding & Design 122 DDB
26 Magazines 126 Draftfcb
Media Owners 12 Ebony & Ivory
28 New Media 130 Elements
Newspaper 134 Euro RSCG
30 Public Relations 137 Fearless Executive, The
Radio 138 FoxP2
32 Television 140 Grey
143 Hammer Live Brands
33 The Awards 144 Hardy Boys, The
34 2008 South African Creative Review 146 Initiative Media
Cannes Lions 148 Interbrand Sampson
The One Show Awards 151 Ireland Davenport
The Clio Awards 153 Jigsaw
D&AD Awards 154 Joe Public
36 The Loerie Awards 2008 156 Jupiter Drawing Room SA & Partners, The
40 Creative Circle Ad of the Year 158 Jupiter Drawing Room (Cape Town), The
42 Apex Awards 162 Jupiter Drawing Room (Johannesburg), The
46 Pendoring Awards 164 JWT
166 King James
51 The Case Studies 171 Leo Burnett
52 Case study #1: Absa 172 Letsema Communications
53 Case study #2: Allan Gray 174 Lowe Bull
54 Case study # 3: Audi 176 McCann Worldgroup
58 Case study #4: ACSA 178 MediaCompete
60 Case study #5: Coca-Cola 180 Media Shop. The
62 Case study #6: Nike 182 Mercury
64 Case study #7: Nashua Mobile 186 MetropolitanRepublic
190 Mick&Nick
67 The Media 192 Morrisjones
68 Year at a glance incorporating Television, Radio, Newspapers, 195 New World Communications
Magazines, Outdoor and Online 196 Ogilvy
82 Think Design 50 Old Shanghai Firecracker Factory, The
199 OMD
87 The Agencies 200 One Digital Media
88 8t Image & Brand 204 Pod Communications
90 Actuate 207 Proximity#ttp
92 AdMakers 208 Publicis
94 ARM 210 REX
96 Atmosphere Communications 214 Saatchi & Saatchi
98 Berge Farrell 216 Switch Design
100 Black Brand & Strategy 220 TBWA
105 Black River FC Cape Town 223 thirtyfour
106 Black River FC Johannesburg 226 Tomcat
108 Blue Moon Corporate Communications 228 Troika Imagineering Works
113 Boomtown 230 Yellowwood Future Architects
114 Brand Union, The 232 Zinto

4 — The ANNUAL 2008

235 The Rockstars
236 Adelle Wapnick
238 Alistair Duff
240 Andy Sutcliffe
242 Anthony Swart
244 Aubrey Malden
246 Ben Wagner & Evan Milton
248 Brett Morris
250 Brian Wright
252 Dale Tomlinson
254 Dan Pinch
256 Francis Blitz
258 Gail Schimmel
260 Glen James
262 Gordon Patterson
264 Harry Herber
266 Ingrid Veysie
268 Ivan Moroke
270 Jason Knight
272 Johan Prins
274 Jonathan Hall
276 Josh Dovey
278 Keith Stevens & Ginny Felps
280 Larry Shiller
282 Michael Blore
284 Michelle Caldeira
286 Mike Abel
288 Mike Bosman
290 Modise Makhene
292 Muzi Kuzwayo
294 Neil Clarence
296 Neil van der Weele
298 Nina Morris
300 Paul Middleton
302 Ronald Wohlman
304 Steve Miller
306 Terry Behan
308 Tim Beckerling
310 Tim Byrne

313 The Industry Associations

314 ABC – Audit Bureau of Circulation
ACA – Association for Communication & Advertising
AMASA – Advertising Media Association of South Africa
315 AMF – Advertising Media Forum
ASA – Advertising Standards Authority
CC – Creative Circle
316 ICASA – Independent Communications Authority of South Africa
MA(SA) – Marketing Association of South Africa
NAB – National Association of Broadcasters
317 OHMSA – Out of Home Media South Africa
OPA – Online Publishers Association
PMSA – Print Media South Africa
318 PRISA – Public Relations Institute of South Africa
SAARF – South African Advertising Advertising Research Foundation
SAMRA – Southern African Marketing Research Association

The ANNUAL 2008 — 5

CREDITS
— The Annual 2008

The team

PUBLISHER Fiona Kalk DESIGN & LAYOUT The Annual is published by

Richard Lendrum Christina Kennedy Simone Anderson Future Publishing (Pty) Ltd
Anne Maggs Colin Double PO Box 3355, Rivonia 2128
EDITOR Sarah Mann Sean Izaakse 9, 3rd Avenue, Rivonia 2128
Jeremy Maggs Jayne Morgan Lazlo Kissimon Tel: (011) 803-2040
Gareth Richards Michélle van der Walt Fax: (011) 803-2022
PROJECT MANAGERS Lisa Witepski
Bronwen James PRODUCTION Note: Opinions expressed in The Annual
Marcia Minnaar PHOTOGRAPHERS Tanya Lane are not necessarily those of the publishers.
Jeremy Glyn Permission to re-publish any article or
SUB EDITOR Stuart Williams ACCOUNTS image or part thereof must be obtained in
Gareth Richards Zoom Photography Desiree Roos writing from the publisher.

EDITORIAL TEAM DESIGN CONSULTANTS PRINTING

Debbie Derry REX Typo Colour Printing Specialist
Lynette Dicey Printed on Sappi Avalon Triple Green Silk
Francis Herd 135g/m2 (Paper supplied by Sappi, Triple
Cheryl Hunter Green Initiative)

6 — THE ANNUAL 2008


A Big Book For A Tough Year
In the crazy two months in which this
book is compiled I was struck by one tell-
ing phrase from a leading creative direc-
tor who said she was worried that South
African advertising agencies had lost their
differentiation.
By that she meant there were times
when you could say with supreme confi-
dence that an ad was made by this or that
agency and probably be right.
And the reason, I inquired. “Well
we’re all too safe, she said.” “We don’t
go out on a limb any more for fear of
breaking one.”
Is that the state of advertising, mar-
keting, branding and design in 2008 and
2009 as we enter what many believe will
be the toughest year in the business since
tough was measured?
This is a time for marketers to engage
and test and even torture their agencies for
results, and agencies need to push back
and become real partners. Keep an eye
on the margins of safety but don’t let
them constrain you to the margins
where mediocrity lives.
It was telling to read just a few weeks
ago in the authoritative brand value sur-
vey published by Interbrand that the
winners, those who were worth more,
had not only pushed the envelope, but in
many cases had discarded them and found
other solutions.
Welcome to the second edition of
The Annual, my review of the commu-
nications year 2008, written and com-
piled by a team that is now large enough
to qualify for name tags at our planning
and progress meetings.
This is a genuine attempt to give an
overview of the calendar year in our wildly
unpredictable industry and for agencies to
tell their own stories.
To those who’ve come back, thank
you. To newcomers, my appreciation,
and to those who are absent, come back
next year, we still love you.
Agency profiles give an excellent indi-
cation of how the entrants have performed
through their own eyes. This gives clients
the chance to read, compare and make
some decisions, if and when they need to.
But we’ve added more this year.
We publish the first ever comprehensive
survey of the public perception towards
advertising and agencies. It’s hard hit-
ting, truthful and telling, and my thanks
to Neil Higgs and his team at TNS
Research Surveys.
We’ve also upped the opinion piec-
es this year from 15 to around 40, give
or take an ego or two. The contribu-
tors have been thoughtful, insightful and
measured and I thank them for moving
the industry debate forward.
While we’re dishing thanks around,
well done to Rex Creative, who took on
the task this year of design conceptualisa-
tion. Their brief was as good as any crea-
tive wants: “make it look good and au-
thoritative and deliver it on time.”
We hope we’ll take some stick for our
list of the country’s most influential media
practitioners. We had a team of engaged
and competent judges. If you’re not on
OPENING STATEMENT
the list, bitch like mad. If you’re surprised
and flattered, use it on your CV.
My team of writers have worked ad-
mirably hard, but none more so than joint
project managers Bronwen James and
Marcia Minnaar who have taken the word
cajole to a new and fearful art form.
Bless you both, for I know not what I
do most of the time.
A final special thanks as well to my
broadcast colleagues at e.tv who have be-
come our new media partners.
It is simply the most exciting televi-
sion station in the country and moves at
the speed of light.
I’m confident that the advertising,
branding and design sector will survive
2009, battered, bruised and a little wiser.
I hope this publication helps as some-
thing of a blueprint.
Jeremy Maggs
Editor
The ANNUAL 2008 — 7
PROFILE

The DNA of e.tv

When e.tv launched an entirely new concept in broadcasting in 1998 – that of a free-to-air station, driven solely by advertising – it was met with scepticism. As the station celebrates
its 10th anniversary, it proudly proves the cynics wrong; so wrong, in fact, that e.tv has become the station of choice for a large portion of South Africa’s viewers.

The passion of e.tv’s sales management
team, as they discuss the station’s tri-
umphs and milestones, is almost palpable
– and it’s this passion, they believe, that
has seen it emerge as a stellar success.
However, credit manager Marilyn Se-
vathiyan, who has been a part of the team
since its inception, recalls that e.tv’s early
days were something of a struggle: “We
were the first station to launch in South
Africa’s new broadcasting environment.
The notion of a free-to-air station was
completely novel back then; not to men-
tion the fact that many felt it would be
almost impossible to break the national
broadcaster’s stronghold.”
So, what was it that enabled e.tv to do
just this? “Our DNA,” says Cape Town
sales manager Marc Frampton simply.
“e.tv’s DNA is an irrepressible blend
of passion, loyalty, honesty, dedication
and perseverance.”
“For us, it was a matter of believing
in a dream and a vision: providing a truly
great product,” adds Lynn Adams, sales
manager: Gauteng. The team has done
this by keeping an eye on the competition
and by also focusing far more emphati-
cally on the station’s own activities. This
approach has allowed e.tv to emerge as
a trendsetter, insists Jonathan Cooke,
sales manager: eNews Channel. “For ex-
ample, while other stations traditionally
screened their news bulletins at 8pm, we
broke the mould by introducing ours at
7pm,” he points out.
Team Spirit
The team adds that e.tv’s staff has also
played a great part in the station’s suc-
cess. CEO Marcel Golding maintains that
the staff is the station’s greatest asset, and
this shows in the way the station rewards
staff for their skill and enthusiasm. Says
Jay Dayaljee, sales manager: Gauteng,
“We all love coming to work, because
of our exciting work environment. e.tv’s
drive and culture make it one of the best
places to work.” And with little extras like
an office popcorn machine, foosball and a
cricket side, who would argue that e.tv has
a great atmosphere?
More specifically, it’s the team’s di-
versity, their enjoyment of a healthy de-
bate, and the fact that they’re empowered
to make decisions quickly, that thrills the

Back Row: Jay Dayaljee, Jonathan Cooke Front Row: Lynn Adams, Santie Raubenheimer, Marc Frampton

8 — The ANNUAL 2008

 PROFILE

team. Sales operations manager Teresa
Kay maintains that at the heart of the
team’s unity is the vision of chief com-
mercial officer Khalik Sherrif, whom she
describes as “a great mentor”. “We share
many of his beliefs – such as his ethos that
work is worship.”
Add to this the fact that most mem-
bers of the sales management team have
been sharing their ideas and pooling their
passion for more than six years, and it’s
easy to understand the root of e.tv’s stabil-
ity and common philosophy. Importantly,
too, most of the station’s managers have
been promoted from within – another
example of the station’s dedication to its
hard workers – so they’ve grown with the
company. “And we continue to grow even
more, together,” says Jay, describing the
sales team’s annual conference as the ulti-
mate growth opportunity. Hosted in vari-
ous venues since the station’s birth – from
Nelspruit, it moved on to Magaliesberg,
then Victoria Falls, the Commores, India,
Dubai, Bangkok and, next year, Brazil
– it’s an intensive learning experience.
Through Project Excellence, the team
is broken into small groups, each tasked
with researching a Harvard case study,
such as the growth of Google. “This gives
us examples of success, and broadens our
horizons,” points out Marc.
a local spin on two giant international
hit series (Fear Factor and The Biggest
Loser), and has proved its mettle in pro-
ducing its own, immensely popular, local
drama series.
Marc explains that e.tv’s program-
ming is based on five pillars: news,
movies, football, wrestling, and local
productions. Of these, news is undoubt-
edly e.tv’s shining star: in fact, e.tv’s offer-
ing is the most watched news channel on
South African television.
Jonathan notes with pride that e.tv
effectively changed the face of news in
South Africa; in addition to its earlier time
slot (introduced because of the belief that
“by eight it’s too late”), e.tv’s presenters
also offered a more relaxed appearance
than the traditional, deskbound news
reader. “We’ve tailored our news pro-
grammes to match our viewers,” Lynn
says. “For example, the 7pm slot targets
Riaz Ebrahim
the general viewers; the 10pm bulletin
has a stronger business focus; and we’ve
recently introduced Zulu and Sotho
broadcasts at 6pm.”
The success of e.tv’s news encouraged
the station to become the first South Afri-
can broadcaster to launch a 24-hour news
channel (located on DStv channel 403).
Likened to a blend of Al Jazeera and Sky
News by media guru Chris Moerdyk, the
channel is a full spectrum lifestyle offering
featuring programmes on current affairs,
media, sport and weather, presented by
the cream of South African journalists, in-
cluding the likes of Debora Patta, Jeremy
Maggs and Redi Direko.
Like e.tv’s news, movie programming
has also been themed to suit viewers’
needs: Thursday nights feature popular
“chick flicks”, Fridays are for action films,
Saturday nights are family time and Sun-
day is about blockbusters. “This lineup

Content With Kudos

Lynn maintains that another reason for
the station’s success lies in its solid lineup;
a programme that’s so varied and wide-
ranging that it confirms e.tv as a “broad-
caster”. “There really is something for
everyone,” Teresa agrees. While at its
outset e.tv focused primarily on entertain-
ment, it has since garnered a reputation
for producing credible and unbiased news
– but more about that later.
Marilyn believes that e.tv reached
a milestone as a broadcaster when it
screened the 2002 Fifa World Cup; a ma-
jor coup for a small station. Since then,
it has repeated this success by putting
Teresa Kay and Marilyn Sevathiyan

The ANNUAL 2008 — 9

PROFILE
Left to right: Jay, Teresa, Marilyn, Riaz, Santie, Jonathan, Lynn and Marc
allows us to attain dominant market share:
from Thursday night until Sunday night,
we are the channel of choice,” says trade
marketing manager Riaz Ebrahim.
Wrestling, a previous poor performer,
has become the station’s most watched
offering. This is largely thanks to the per-
suasive insights of the sales team, opines
Adams, who were able to prove to adver-
tisers the value of being associated with a
very popular pastime.
Speaking of popular pastimes – e.tv
caters to the soccer-loving public by
screening major global football events, in-
cluding the UEFA championship, with a
live match on Tuesdays and a postponed
fixture on Wednesdays.
Local productions complete the sta-
tion’s offerings – and e.tv does, indeed,
have much to offer here, with programmes
including Scandal, Rhythm City (both of
which have proved firm favourites with
viewers), the Showbiz Report; eShibobo;
Great Expectations; Third Degree; 20some-
thing; Shooting Stars; and Forgive and
Forget. “This wide range, once again,
ensures there is something for everyone,
10 — The ANNUAL 2008
from local soaps with gripping storylines
that people can identify with, to Let’s Fix
It, a programme that lets us give back to
our community.”
Sales Stars
The team firmly believes that this stun-
ning lineup serves as a great incentive to
advertisers who want to be associated with
e.tv. Says Jay, with justifiable pride, “e.tv
generates more revenue than any single
South African channel” – annual revenue
of more than R1 billion.
However, he’s quick to mention the
strength and experience of the sales team,
too, as well as their flexibility and willing-
ness to accommodate clients.
“We’ve been very careful with the
pricing of our rates,” adds Jay. “e.tv ad-
vertising may not necessarily be a cheap
buy, but it’s a good one. We’re careful not
to overprice our product, but nor are we
going to cheapen it by offering ridiculous
prices. Our focus is on value for money
– and this has created demand.”
At the heart of e.tv’s sales success is
the relationship that the station enjoys
with clients. “We take time to get know
our clients – and their needs – thor-
oughly,” Marilyn explains. “As a result,
we have long-lasting partnerships built
on trust.”
e.tv takes time to nurture that trust
with exciting trade marketing initiatives.
The most memorable of these, says Riaz,
is e.tv’s Mumbai “MBA in a day.” In the
three years since it was launched, e.tv has
taken almost 200 clients to the vibrant In-
dian city, “which offers the most intense
shopping experience in the world; there
are at least 10 versions of every product,
and traders don’t take no for an answer”,
Riaz says. In other words, it’s the perfect
destination for clients and the sales team
alike to see peerless negotiating skills in
action; to learn the power of persuasive-
ness, and to understand the principles of
client retention.
Another long-standing tradition,
this time aimed more at relationship
building, is the annual client trip to ma-
jor footballing events. Whether it’s the
World Cup or the UEFA Championship,
whichever international tournament is
taking place in the year, clients are treated
to excellent seats.
Then there’s the PGe, e.tv’s special
golf day. Every year, more than 100 golf-
ers are invited to take up their tees and
clubs at The Wanderers, and to make the
event even more of an occasion, they’re
treated to a major welcome from the
grandstand crowd at the eighteenth hole
– just like Tiger Woods.
“These initiatives are entirely
unique and help set us apart from our
competitors,” Riaz notes. Marc adds
that the station pays just as much atten-
tion to building relationships with em-
ployees, and every quarter the entire e.tv
Commercial Time Sales team joins on
exciting, spirit-building adventures – from
trout fishing to human foosball and the
mini-Olympics, they all help entrench the
e.tv ethos.
Into The Future
With 10 memorable years behind it, what
lies ahead for e.tv?
First, says Jonathan, the station plans
to capitalise on the success of eNews
Channel with the launch of more chan-
nels.
Next, continues Santie Raubenheim-
er, sales manager: new business, the sta-
tion will establish itself as a content aggre-
gator and expand deeper into Africa. The
first steps have already been made in this
direction, with e.tv acquiring Botswana’s
Gaborone Broadcasting Corporation in
2007. “As of May, we have been provid-
ing the station’s sales and programming
functions,” Santie reveals. She adds that
the station’s progress into the continent
will continue, with plans already afoot for
media channels in Ghana.
In the meantime, e.tv is preparing for
the introduction of digital television next
year. “We think it’s very noteworthy that
we are the only licensed free-to-air station
to have been granted a satellite licence in
the same country. We think it’s a true sign
that e.tv and its management have come
of age,” Jonathan concludes.
FULL SERVICE AGENCY + ebonyivory.co.za + no 5 seventh avenue parktown north
 THE ROCKSTARS

The Research

THE ANNUAL 2008 — 1

RESEARCH
ATTITUDES TO ADVERTISING
A Survey Into Public Perception
Why is this important?
A 1995 paper (American Academy
of Advertising) showed that, for maga-
zines, attitudes to advertising had an ef-
fect on subsequent purchase outcomes,
suggesting that it is both important and
useful to know –
• what these attitudes are; and
• who is more negative or positive –
to develop an “attitudes to advertis-
ing” spectrum.
A literature search led to the devel-
opment of a broad model that yielded a
framework for research.
14 — The ANNUAL 2008
A set of agree/disagree statements to
tap into these various constructs, as well
as a set of additional questions to address
particular issues, were devised. A core
statement set (34) were administered to
a sample of 2 000 adults face-to-face in
their homes in the metro areas of South
Africa in September 2008. This, along
with an expanded set and additional ques-
tions were posed to TNS Research Sur-
veys’ online access panel, 880 responses
being received by the cut-off date.
Executive summary
Almost half of metro adults have a posi-
tive attitude towards advertising (19%
extremely so), engaging with, approving
of, talking about and actively enjoying
advertising. Just over a third are ambiva-
lent, having positive views but with many
reservations. The remainder (17%) are
negative (6% extremely so), feeling ads
are intrusive, untrustworthy, boring and
damaging to society. Positive people are
more likely to be younger, black, and
in Gauteng (especially Soweto) whereas
negative people skew towards whites
and Indian/Asians, older and English
speaking people.
Advertising is felt to be too ubiquitous
but is reflective of today’s society although
concern over its effect on beliefs and val-
ues is evident, especially where sexual
innuendo is present. Its place as both a
source of information and entertainment
is undisputed, although many have reser-
vations about the credibility of perform-
ance and quality claims in ads: six out
of ten people trust the opinion of friends
and family more than they trust advertis-
ing and a quarter prefer the internet as a
source of information. Ads that are clever
and humourous are felt to be best, with
ordinary people in everyday situations
evoking a positive response. Good music
is clearly crucial for relevant media as is
the quality of the execution.
Whilst half the sample feels that there
are too many boring ads around, over half
say that ads brighten their lives. A quarter
feel that billboards make the environment
look ugly.
The need for brands to advertise is
almost universally recognised.
Part of everyday culture/contribution
to society
Three-quarters of the metro sample feel
that ads reflect society but a third say that
advertising “often damages our values and
beliefs”. This response rises to over 40%
for whites (especially English speakers)
and Indians/Asians and to 50% for Mus-
lims. However, 71% feel that advertising
sponsorships help many sports to grow
and develop (86% in Soweto).
That advertising is ubiquitous is
reflected in the finding that 69% of metro
adults (46% in the online study) feel that
there is far too much advertising around
these days. However, half of metro
respondents say that they often talk about
ads with other people (especially blacks
at 55% but less for whites (35%); more
so for those below the age of 34 (55%)
compared with those over 50 (37%)).
Soweto (64%) is particularly buzzy in
this respect as are LSMs 5 to 8 (55%),

Tswana speakers (67%) and the online
community (70%).
Entertainment value and what constitutes
“best” advertising
According to metro adults, the best
advertising –
• is clever (77%) (Soweto 88%);
• involves humour (76%) (less so
for blacks (71%) and LSMs 2 to
5 (64%) but 83% in Soweto); and
• shows people in everyday situations
(69%).
Four out of ten of the online sam-
ple don’t always understand the humour
in ads.
People feel that music makes a big
difference to ads (79% – especially white
females at 86% and residents of Soweto
(92%)) whilst 77% love ads with children
and 58% love ads with animals (less so
for blacks at 49%, especially LSMs 2 to
6). But 41% feel that there is too much
reference to sex in ads (especially whites
(49%) and Indians/Asians (51%) and
those in Pretoria, the West Rand and East
London (online 52%). However, 36% of
the online sample likes pictures of pretty
girls in ads (males – 67%).
More generally, 69% feel that adver-
tising provides entertainment (especially
blacks at 74%) (Soweto 81%) and people
under 35 (72%), but less so for whites
(56%), those over 60 (50%) and Mus-
lims (49%). Three-quarters love seeing or
hearing new ads, especially blacks at 80%
(Soweto 89%) (whites 66%).
On a more cautionary note, two-
thirds of people feel that ads that are not
well made reflect badly on what is being
advertised (90% in the online study). This
attitude is particularly high for whites
(79%), coloureds (77%) and Indians/
Asians (83%) and Hindus and Muslims
(83%) but much lower for blacks at 61%.
A quarter of people feel that billboards
make the environment look ugly (mostly
whites and Indians/Asians at 33%) but
58% feel that ads in general do brighten
up their lives (78% in Soweto and 65% in
Durban but 37% amongst those in LSM
10). Two-thirds of the online sample said
that life would be dull without ads; 45%
feel that billboards brighten up the envi-
ronment. One person in six hates ads,
this rising to one in four amongst whites
and Indians/Asians and Muslims.
Information value and language issues
An encouraging 80% of people feel that
it is important for brands to advertise
(whites and Indians/Asians are higher
at 88%, perhaps surprisingly) with 65%
preferring ads in their home language
(62% for blacks), this rising to over 70%
in Cape Town and Durban and to 75%
amongst English speakers (60% for black-
language speakers and 66% for Afrikaans
speakers). By contrast, 58% of people
prefer English (there is some overlap)
with blacks at 52%, whites at 60%, col-
oureds at 72% and Indians/Asians at 88%
(online 69%). By language group, this fig-
ure is 81% for English speakers, 52% for
Afrikaans speakers and averages 50% for
black-language speakers.
People feel that ads help them to
know what is “in” (79% but less so for
those over 60 (69%)), gives them the con-
fidence to make correct buying decisions
(69% but less so for whites at 56% and
those over 60 (50%)) and that, without
ads, they would miss out on new products
and services (70% with 76% of those aged
under 24 saying this compared with 58%
of those aged 60 and over)(93% in the on-
line study). Further, 74% feel that ads of-
ten make them think. Nine out of ten of the
online sample feels that ads promote com-
petition. However, 47% of metro dwellers
say that advertising is not reliable when it
comes to claims about performance and
quality, especially Indians/Asians at 63%
and English speakers (55%) as well as the
online community (71%) but less so for
LSMs 2 to 5 (37%). A quarter prefer the
internet (55% online).
Irritation levels and what puts people off
Half the sample do not trust perform-
ance and quality claims, four in ten feel
that there is too much sexual innuendo
in ads and a third are concerned about
advertising that damages beliefs and val-
ues. In addition, 55% feel that there are
“lots of boring ads around these days”
– especially whites and coloureds and the
online community. People in Cape Town
are particularly critical here (67%). Black-
language speakers averaged 45% with
Afrikaans speakers (76%) and English
speakers (69%) being the most critical.
Ads that use people who cannot speak the
language properly annoy two-thirds of the
online community (“funny accents” irri-
tate 34%) whilst “terms and conditions
apply” and small print annoy 59%. Ads
that come on the screen during favourite
sporting events are also a source of irrita-
tion for half the online people.
Pet hates about advertising amongst
the online sample include repetitive ads
(11%) and untrue ads (9%) followed by
ads with a sexual connotation at 6% (8%
amongst females). Other mentions of 5%
or more included “senseless ads”, ads that
interrupt, ads that do not relate to prod-
ucts, boring ads and long ads. Only 2% of
people did NOT make a comment here.
Credibility, ethics and self-regulation
We recall that half our sample do not
trust performance and quality claims in
advertising and a third feel ads can dam-
age beliefs and values. Beyond that, 61%
say that they trust the opinions of friends
and family more than they trust adver-
tising (73% for Indians/Asians and 69%
in Cape Town) and 23% use the in-
ternet rather than advertising for in-
formation about products and services
(Soweto – 15%). This rises to 55% in
the online study where 34% feel that the
RESEARCH
ad industry is not to be trusted.
Half of those surveyed say that, if they
find an ad offensive, they know that there
is an organisation they can turn to (blacks
– 40%, whites – 63%, others – 51%; Pre-
toria – 55%, Cape Town – 60%, Soweto
and East London – only 28%). This rises
to 84% in the online study. Further, 57%
feel that ads aimed at vulnerable people
should be regulated (especially LSM 6 to
10 and English and Afrikaans speakers
as well as the online community (76%)
where 88% felt that ads aimed specifically
at children should be regulated).
General issues – the Loeries and ad agencies
Just 23% of the metro sample has
heard of the Loeries, this rising to 44%
amongst whites but dropping to 16%
amongst blacks. Fully 80% of the online
sample knows of the Loeries.
A third of the metro sample says that
they know the names of quite a few ad
agencies. This is across all races except
for Indians/Asians where it rises to a half.
There is no correlation with LSM.
Segmenting people along an “attitudes to
advertising” spectrum
Using the core battery, we segmented
people into five groups:
1. 19% fall into a group that loves
advertising, engages with it, talks
about it, trusts it, is not at all critical
about it, seeing it as a fundamental
and important part of society that
provides both entertainment and
crucial information - but it does not
know much about the industry or
the ASA.
2. 28% are positive about advertising.
3. 36% are ambivalent – they can
be quite critical but also see ads
as an important contributor to deci-
sion-making.
4. 11% are negative.
5. 6% are highly negative. They hate
ads, want regulation, feel there is
The ANNUAL 2008 — 15
RESEARCH

too much sex in ads, do not trust

claims made, feel ads damage val-
ues, are boring and too ubiquitous,
and prefer the internet. They mostly
know who to complain to about ads
they find offensive.

The most positive people are

black, younger, in Gauteng (especially
Soweto), LSM 5 to 7, with a tendency
towards Tswana and Sotho speakers.
Conversely, the more negative groups skew
towards whites (especially males) and Indi-
ans/Asians, older people, LSMs 9 and 10,
and English speakers.

Other highlights from the online component

• Costs – 73% of the online panel
realise that, without advertising, TV,
radio, newspapers and magazines
would cost more but 39% feel
that, without advertising, other things
would cost less.
• BEE – 21% feel that there should be
more black people in the ad indus-
try (66% amongst blacks, though, as
against just 7% of whites).

Imagery of the media

People were asked to associate attributes
with different media types on the online
panel. The resulting correspondence anal-
ysis map shows how the different media are
differentiated.
Special interest magazines are much
more likely to be associated with “ads
that I trust the most” and “would be too
expensive without the ads” than average.
“Ads that are relevant to me” is also in this
space. Other print media are in this image
arena but are less strongly differentiated
with newspapers also being differentiated
on “tells me about prices and promo-
tions”. Specialist magazines share “has ads
I notice” with cinema and, to some extent,
DStv which is differentiated on having par-
ticularly enjoyable ads and “ads that liven
up my day”. However, all the TV stations

16 — The ANNUAL 2008


are felt to have too many repetitive ads, this
being the main differentiator of SABC TV
and e-tv, although they do share to some
extent the enjoyable and livening attributes
with DStv. Newspapers are distinguished
by not having ads that interrupt what peo-
ple are doing – this is associated more with
the free-to-air TV stations. The left of the
map is about a lack of trust, irritation,
avoidance and offence and is associated
more with telesales, direct mail, e-mail,
cell-phone ads and ads on the internet.
Most memorable pay-off line
Some 50 pay-off lines were given by the
online sample. The most popular was “Just
do it” (Nike)(7%) (more amongst younger
people) with “Today, tomorrow, together”
(ABSA) (6%) and “It’s not inside, it’s
on top” (Cremora)(6%) next (especially
amongst older people). However, this
hides differences between race groups:
• For blacks, “Today, tomorrow, to-
gether” (13%) and “How can we help
you?” (FNB)(12%) were top, the lat-
ter especially amongst females. Cell
C’s “For yourself” (8%) was third.
RESEARCH
• For whites, “It’s not inside, it’s on
top” was the leader at 9% with Nike
at 8%.
• The coloured sample’s top three were
Nike, ABSA and “Spar, good for you”
all at 7%.
• The Indian sample gave “Coke
adds life” (7%), Nike (7%)
and ABSA (6%).
Best ad at the moment
Fast food outlets (19%) dominated with
KFC ads the highest (9%), followed by
Nandos (5%). Beverages were next at
17% – mainly Coca Cola ads (11%).
Cell phone service providers (10%)
were led by Vodacom (7%). Car brands
(8%) had no clear leader. One person in
ten could not give a best ad.
Most memorable character/device
Vodacom ads were cited by 17%
of people, particularly the meerkat
(8%) with other characters together be-
ing mentioned by 7%. Thereafter, no
one character or device emerged as a
clear leader.
The ANNUAL 2008 — 17
ReSeARCh
PROFILING OUR RESEARCHERS
TNS Research Surveys
We are a passionate team of marketers and re-
searchers who cannot rest until we’ve found the
answers to unresolved issues. Since 1979, TNS
Research Surveys has provided its clients with
the highest quality marketing research expertise,
coupled with sound marketing insight, and con-
sistently delivered actionable solutions to mar-
keting problems.
Formerly part of the JSE listed company Ad-
corp Holdings Limited, Research Surveys has
recently been acquired by a consortium led by
one of the world’s leading market research firms,
TNS, a new BEE partner, Kapela Investment
Holdings (Pty) Ltd, and the senior management
of Research Surveys.
Our promise to our clients is the delivery of
a solution – the answer to your marketing ques-
tion. The starting point of our business is to live
our clients’ brands and products. It becomes our
brand or product and ensures that we intimately
understand our clients’ marketing strategy and
18 — The ANNUAL 2008
problem. Our research approach is tailor-made to
address this problem, and our brand and product
knowledge turns the research findings into ac-
tionable, strategic solutions. It is our investment
into our clients’ brands however, that makes our
solution a unique, relevant and personal one. We
pride ourselves on our long-standing partner-
ships with our clients that help us turn research
information into strategic marketing solutions.
TNS, a world leader in market information,
is also the largest provider in the world of cus-
tom research and analysis and is a major provider
of consumer panel data, media intelligence and
TV audience measurement. It has a global net-
work of over 14 000 people employed in over
70 countries and is a world leader in delivering
value-added information and insights. In addi-
tion, TNS holds the global rights to the world’s
leading measure of brand commitment, the Con-
version Model™, originally developed by TNS
Research Surveys. We are very proud of our lever
4 contributer, ‘A’ Empowerdex rating.
Our team of researchers and marketers have
decades of collective experience, including the
best technical research experts in the industry
and marketers with in-house experience at some
of the top marketing companies around. Our of-
fering to our clients is based on a collaboration of
these skills and ensures sound, high quality and
relevant solutions.
The quality of our input ensures that our solu-
tions are based on what consumers really say, feel and
how they behave. Whether the approach be
qualitative, face-to-face quantitative, telephonic
or webbased, our people, quality checks and ac-
curate data production services deliver data with
integrity.
Curious? Phone us on:
Cape Town: 021 657 9500 and ask for
Mark Molenaar or Peter Wilson
Johannesburg: 011 778 7500 and ask for
Ivan Motlogoloa or Karin Du Chenne
Durban: 031 583 3500 and ask for
Debbie Booth
Or visit our Website:
www.tnsresearchsurveys.co.za
CEO: Margarita Putter, COO: Andrew
Lancefield, MD: Karin Du Chenne

Black DiamondTM
Why is the Black DiamondTM segment important?
In any society, a vibrant, significant middle class is an
essential prerequisite for sustainable long-term eco-
nomic growth. In general, such a group is associated
with the ownership of key items such as property and
homes, cars, electronics and appliances. But, in times
of great social disruption, there can be exceptional
leaps in a single generation.
This is the case here in South Africa. There is good
evidence of the speed of this phenomenon:
GDP growth has risen from 1.9% in 2001 to
just under 5% in 2007, despite static or even slightly
declining white buying power and black unemploy-
ment of over 40%.
There have been massive changes in black
ownership, achievement, and status over the last
15 years. For example, from 1994 to 2008, the black
share of:
• Microwave ownership has risen from 6% to
57%;
• Fridges has risen from 45% to 67% and electric
stoves has risen from 36% to 62%.
TNS has done research in this segment and call
this segment the Black DiamondTM segment. Inter-
esting facts about Black DiamondsTM include that:
• This segment of three million adults is respon-
sible for R250 billion worth of consumer spend.
This represents more than half of the black South
African population’s spending power.
• This segment is growing fast; it has grown by 50%
from 2005 to 2008 and is currently growing at
15% per year.
Remain leaps and bounds ahead of your competitors
Is your business always speaking about this ‘emerging
black middle class’ in South Africa? Does your business
understand this segment? Which of your products are in
demand in this segment?
TNS has a few options to help you target this
segment.
The Black DiamondTM Media pack:
Is your business concerned about where to place adver-
tising aimed at this important market to best leverage
your budget?
Do you want to get maximum ROI (return on in-
vestment) on your marketing spend?
The media pack has been used by TNS Research
Surveys’ clients to draw up media plans and some
of these clients have seen increased usage and sales
from this emerging market. The media pack tells you
what the black middle class is watching, listening to
and reading.
Black DiamondTM OmniTM
Is your business confident about targeting this segment?
Do Black DiamondsTM know your brand? The Black
DiamondTM OmniTM is a syndicated study that incorpo-
rates a collection of questions from a number of differ-
ent clients on the same questionnaire. The shared nature
RESEARCH
of this study enables shared costs, shared demographic
information, and a cost-effective means of conducting
research amongst this lucrative market. The questions
included by a particular client remain confidential and
clients only receive the results of the questions they pay
for. A total of 1 500 Black DiamondsTM, male and fe-
male, are interviewed. The interviews are conducted
face to face in the seven major areas of South Africa:
• Johannesburg
• Pretoria
• Cape Town
• Durban
• Bloemfontein
• East London and
• Port Elizabeth
The Black DiamondTM Financial pack:
Does your business understand how this segment
handles its finances? The financial pack looks at per-
sonal monthly income amongst Black DiamondsTM
and identifies who is personally benefitting from this
income. The financial pack also looks at the type of
debt Black DiamondsTM have and the average amount
currently owed for each type of debt. It then looks at
the types of financial products Black DiamondsTM cur-
rently hold and concludes by looking at how Black Dia-
mondsTM currently feel about their financial standings.
Contact: Rudo Maponga 011 778 7772 or
Ivan Motlogeloa 011 778 7748
The ANNUAL 2008 — 19
13911 - Questions 273x210 7/21/08 2:04 PM Page 1
RESEARCH C M Y CM MY CY CMY K

If you know the

answer to the puzzle
or have any theories
of your own please
phone Rob Powell
(011) 778 7725
or Neil Higgs
(011) 778 7725

20 — The ANNUAL 2008

Composite
 THE ROCKSTARS

The Top 100

TOP 100
SA’S TOP 100
MOST INFLUENTIAL PEOPLE IN
ADVERTISING & MEDIA
HOW WE DID IT
The actual premise of this project is by
definition and design tinged with self-
indulgent arrogance. Those of us who
work in this sector think we are terribly
influential. We, after all, shape public
opinion don’t we; and influence bil-
lions of people every day to use and buy
products and services?
We are the kings and queens of the
universe, aren’t we? Sigh. If only it were
true. When it comes to journalism,
practitioners are more often than not
criticised for getting it wrong; missing
the point and being glib and pompous.
On the marketing and advertising
side, we are no longer hidden persuad-
ers but rather purveyors of dark com-
mercial arts. We concede there is a bit
of truth in all of this.
But having said that we embarked
on this endeavour for two reasons,
one readers love lists and so do we;
secondly, people in any industry love
being on them.
Mark my words, we’ll be inundated
with complaints from people and their
acolytes about omission, and those who
cracked the nod, will feature this on
their CV’s. That’s the whole point. We
want people to argue and next year we
want to bump people off and include
new names.
So how did we do it? We commis-
sioned two senior and jaded non-media
space journalists to compile a per sector
list of likely candidates. We chose the
pair because they had to approach this
dispassionately and with some degree of
naiveté. Inside knowledge is a danger-
ous thing.
They ended up with a total of
around 500 names in all categories.
22 — The ANNUAL 2008
Category: Academic & Training
Fackson Banda Guy Berger
Unesco chair of media & democracy: Head, School of Journalism & Media
School of Journalism & Media studies, Studies, Rhodes University and former
They compiled their initial list by talk- Rhodes University deputy chair, SA National Editors Forum
ing to people and asking for advice and
referrals.
Once they had the list we invited a
panel of eminent people in the industry
to sit around a large table one morning
and reach consensus per category.
There was argument, persuasion,
hostility and humour in the four-hour
session. Some categories were easier to Gordon Cook Anton Harber
National school navigator, Vega Brand Caxton chair of journalism & director
conclude than others. At the end we Communications School of the journalism & media studies pro-
gramme, Wits University
had 10 people per category.
Then there was some debate as to
whether to rank them in order of influ-
ence and then put that into a bigger
consolidated list. Could we find the
most influential person across all cat-
egories? Not this year but maybe in the
future.
So what constituted influence? We
Chris Kabwato Frans Kruger
judged the group on the amount of pow- Director, Highway Africa Senior lecturer, Journalism & Media
Studies Programme, Wits University
er they wield in their chosen sector; did
they have the ability to change thinking
and behaviour; and were they widely re-
spected by their peers.
For good measure I chucked in
these quotes into the brief:
• Influence may be the highest level of
all human skills
• You cannot antagonise and influ-
ence at the same time Professor Tawana Kupe Lizette Rabie
Dean of Humanities, University of the Director: Department of Journalism,
• Because everything we say and do is Witwatersrand Stellenbosch University
the length and shadow of our own
souls, our influence is determined by
the quality of our being
If you didn’t crack the nod this year, don’t
fret, its just a list for goodness sakes. If
you did, show your friends and stand a
round of drinks.
Jeremy Maggs.
Reg Rumney Ruth Teer-Tomaselli
Director, Centre of Economic Journalism Unesco chair of communication for
in Africa at Rhodes South Africa, deputy dean of humani-
ties, development & social sciences
Univeristy of Kwazulu Natal
Adver
 GUIDINGTHEYOUTHINTHERIGHTDIRECTION

James Hemphill ~ J13683

8LMAGAZINEISA4HUTHUKA)NITIATIVE

Advert.indd 1 10/7/08 2:47:49 PM

TOP 100

Category: Advertising Category: Branding & Design

Matthew Bull Harry Herber Mike Freedman Sean Harrison

Group chief executive officer, Lowe Bull Group managing director, Partner, Freedthinkers Creative director, Code
The MediaShop

Andrew Human Gerry Human Gary Harwood Thebe Ikalafeng

Managing director, Loeries Company Chief Creative Officer, Ogilvy Executive creative director, HKLM Managing director,
Brand Leadership Group

Muzi Kuzwayo Julian Ribeiro Steve Miller Ravi Naidoo

Group chief executive officer, TBWA/ Managing director, Ogilvy Johannesburg Brand consultant Managing director, Interactive Africa
Hunt/Lascaris

Mike Schalit Paul Warner Nathan Reddy Andy Rice

Chief creative officer, Net#work BBDO Founder & chief creative officer Metropoli- Chief executive officer & executive crea- Chief executive officer, Yellowwood Future
tanRepublic tive director, Grid Architects

Graham Warsop Paul Wilkins Jeremy Sampson Larry Shiller

Group chairman, The Jupiter Drawing Chief executive officer, MediaCompete Chief executive chairman, Group managing partner, The Switch
Room South Africa & Partners; founder & Interbrand Sampson Group
chief creative officer The Jupiter Drawing
Room Johannesburg

24 — The ANNUAL 2008

Adver
 (IDDENINTHEDUSTYSTREETSRURALOUTSKIRTSANDBUSYTOWNSHIPSOF3OUTH!FRICAARE
ASPIRANTBUSINESSMENANDWOMENWHOWITHTHEPLATFORMPROVIDEDBY8LMAGAZINE
ANDTHE4HUTHUKA)NITIATIVESOF3!)#!WILLRISEFROMTHECHALLENGESTHEYFACETOBECOME
#HARTERED!CCOUNTANTS¨THEDESIGNATIONTHATMANYOF3OUTH!FRICA´SPREMIER
BUSINESSLEADERSHOLD

8LMAGAZINEISATRENDYCOLOURFULINFORMATIVEBAG SIZEDCAREERLIFESTYLEPUBLICATION

THATREACHESTHEHANDSOFHIGHSCHOOLAND"#OMUNIVERSITYSTUDENTS
)TISPUBLISHEDQUARTERLYANDDISTRIBUTEDINALLNINEPROVINCESANDTAKESITSREADERSON
AJOURNEYTHATUNPACKSTHESCHOOLCURRICULUMTALKSOPENLYABOUTSOCIALCHALLENGES
GIVESADVICEONCAREERCHOICESANDINTRODUCESTHEOPULENTLIFESTYLEOFTHE#!3! 

)TMOTIVATESINSPIRESANDGIVESOURYOUTHANOPPORTUNITYTOEXCELATLIFE

8L¯GUIDINGYOUTHINTHERIGHTDIRECTION

James Hemphill ~ J13683

0UBLISHEDBY4HE3OUTH!FRICAN)NSTITUTEOF#HARTERED!CCOUNTANTS
#ONTACTFORMOREINFO

Advert.indd 2 10/7/08 2:47:51 PM

TOP 100

Category: Magazines Category: Media OwnerS

Bun Booyens Peter Borchert Koos Bekker Marcel Golding

Editor, Weg Founder of award winning magazine Managing director, Naspers Chairman, Hosken Consolidated Invest-
Africa Geographic ments (etv)

Louis Eksteen Justice Malala Alec Hogg William Kirsh

Chief executive officer, Upper Case Head, Avusa Magazine Division Chief executive officer, Moneyweb Chief executive officer, Primedia
Media

Barney Mthombothi Alan Ramsay Nolo Letele Given Mkhari

Editor, Financial Mail Publisher, Getaway & Car Chief executive officer, Multichoice Chief executive officer, MSG Afrika Media
South Africa Group & director,
Multichoice Africa

Jane Raphaely Esmare Weideman Terry Moolman Murphy Morobe

Founder, Associated Magazines Editor, You; Drum & Huisgenoot Chief executive officer, Caxton Chief executive officer, Kagiso Media Ltd

Martin Welz Makhosazane Zwane Trevor Ncube Tokyo Sexwale

Editor, Noseweek Editor, Move Chief executive officer, Mail & Guardian Executive chairman, Mvelaphanda

26 — The ANNUAL 2008

ASA adve
 TAKE AIM, FOCUS AND

CAPTURE

James Hemphill ~ J13684

www.accountancysa.org.za

ASA advert_bookmark.indd 2 10/7/08 3:16:05 PM

TOP 100

Category: New Media Category: Newspaper

Matthew Buckland Jonathan Cherry Peter Bruce Deon Du Plessis

General manager: publishing & social Managing director, Cherry Flava Media Editor, Business Day Founder, Daily Sun
media, 24.com

Jarred Cinman Khaya Dlanga Tim Du Plessis Ferial Haffajee

Software director, Cambrient Internet Video blogger, most downloaded South Editor, Rapport Chief executive officer & editor-in-chief,
Applications African on youtube.com Mail & Guardian

Dave Duarte Arthur Goldstuck Bareng-Batho Kortjaas Thabo Leshilo

Programme director, UCT Graduate Managing director, World Wide Worx Senior sports writer & columnist, Sunday Former editor-in-chief, The Sowetan, and
School of Business Times this year’s Nieman fellow

Vincent Maher Louise Marsland Mondli Makhanya Xolela Mangcu

Head of social media, Vodacom Editorial director, Bizcommunity.com Editor, Sunday Times Columnist

Duncan McLeod Carly Ritz Jovial Rantao Zapiro

Tech writer & blogger, Multimedia editor, The Times Editor, The Sunday Independent and Cartoonist
Financial Mail deputy editor, The Star

28 — The ANNUAL 2008

ASA ad
 Accountancy SA’s readership allows you to capture
and aim your brand at a dynamic audience that
collectively spend in excess of R108 Billion annually
on lifestyle purchases such as air travel, luxury hotel
accommodation, information and communication
technology, fleet cars, and financial & property
investments.

Our readers are key purchasing decision makers, both

at home and in the market place, so can you really
afford not to focus your brand on our audience?

James Hemphill ~ J13684

Published by The South African Institute of Chartered Accountants.

Contact 08610 72422 for more info.

ASA advert_bookmark.indd 3 10/7/08 3:16:05 PM

TOP 100

Category: PR Category: Radio

Michele Anderson Marcus Brewster Jenny Crwys-Williams Redi Direko

Managing director, Magna Carter MB Publicity Talk show host, 702 Talk show host, 702

Dick Foxton Brian Gibson DJ Sbu Bob Mabena

Managing director, Foxton Brian Gibson Issue Management Morning show presenter, YFM Executive manager: public commercial
Communicating services, SABC

Peter Mann Rich Mkhondo Tsepiso Makwetla Jeremy Mansfield

Chief executive, Meropa Corporate affairs executive, SA Express Morning talk show host, SAFM Morning show host, 94.7 Highveld Stereo
Communications

Ranjeni Munusamy Jenni Newman Thomas (Bad Boy T) Msengana John Perlman
Owner RanjeniM Communications Chief executive officer, Jenni Newman Morning show host, Metro FM Radio show host, Khaya FM
Public Relations

Bridget Van Oerle Chris Vick John Robbie Terry Volkwyn

Founder, Buz Publicity Owner, Black Morning show host, 702 Chief executive officer, Primedia
Broadcasting

30 — The ANNUAL 2008

TOP 100

Category: Television

Carl Fischer Harriet Gavshon

Director, Original Productions Co-founder and managing director,
Curious Pictures

Robert Marawa George Mazarakis

Presenter, Supersport Executive producer, Carte Blanche

Menzi Ngubane Ray Nkwe

Mzansi winner 2008 and Generations General manager, SABC1
actor

Imtiaz Patel Debora Patta

Chief executive officer, Supersport Group editor-in-chief. eNews

Noeleen Maholwana Sangqu Snuki Zikalala

Talk show host Group executive news & current affairs,
SABC

32 — The ANNUAL 2008

 THE ROCKSTARS

The Awards
AWARDS
The awards 2008
2008 South African Creative Review
by Kim Penstone
Three years, three Cannes Grand Prix. First it was Draftfcb, then it was Net#work BBDO. And this year, it was DDB South Africa, making the hat-trick for South Africa with
a delightful campaign for Energiser that highlights all the dodgy antics kids get up to if they aren’t kept occupied by battery-operated toys. Despite this superb achievement, however,
South Africa’s overall performance on the international stage was slightly disappointing this year, having dropped its total award count at all four of the heavy-weight international
shows in which we participate – the Cannes Lions International Advertising Awards, the One Show Awards, the Clio Awards and the D&AD Global Awards. In an effort to get
the best on-the-ground reportage of the whys and wherefores of the industry’s performance, we quizzed a selection of high-profile South African creative directors who were invited
to judge at each award show. Then we tracked down additional commentary from Creative Circle Awards Committee chairman Gerry Human. This is what they had to say ...
CANNES LIONS
INTERNATIONAL
ADVERTISING AWARDS
What Gerry said:
“Although South Africa didn’t win as many Lions as in previous years, there’s no ques-
tion that we featured more prominently at the ‘Olympics of Advertising’ than we did at
the real one!
“Most notable was DDB South Africa and Energizer Batteries’ outstanding Grand Prix
win in the press category, which is well known to be the largest category in the festival by
far, so to actually win the top prize is a truly exceptional achievement.
“Even more remarkable is that this was a Grand Prix hat-trick for South Africa – long
may it continue!
“The Jupiter Drawing Room group headed the agency group points table, with the Grand
Prix, one Silver, one Bronze and 15 Shortlists.”
What our judges on the ground said:
Vanessa Pearson, executive creative director McCann-Erickson, Outdoor Lions judge:
“Unfortunately, across most of the categories at Cannes 2008, the depth and range of our metal
performance is down from previous years. Overall our thinking and crafting just seems to lack a
certain kind of lustre. We seem to have lost that ‘look at me, look at me, love me’ magic.
But it’s not all doom and gloom. Apart from the glory of taking home the Press Grand Prix,
and King James bringing in a Silver Lions in the Film category, we are also beginning to see
many more local agencies appearing on the awards tables, even if only for Shortlists.”
Kirk Gainsford, creative director Lowe Bull Cape Town, Press Lions judge:
“South Africa can – and does – compete well in categories where it can design for the show,
but I believe we are falling behind in the digital and massive-budget film world
“I would like us to build on the Grand Prix hat-rick, but please let’s not judge our entire in-
dustry on these three awards because it may camouflage the real situation. I think we need to
grab back our rightful place in world advertising, and quickly.”
THE ONE SHOW AWARDS
What Gerry said:
“Just as the work recognised at the British D&AD tends to be quintessentially English,
so the winners at the One Show are typically American: funny and to the point. As such,
South African work isn’t well known for being covered in glory at this competition, but
nevertheless this year’s tally of five Pencils was respectable when you consider how few are
actually handed out to countries outside of the US.
“As a country, we have only won five Gold One Show Pencils in four years – it’s worth
noting that they were all in the design category, and all produced by Cape Town studios.
“This year JWT Cape Town upheld the Mother City’s reputation by, once again, win-
ning Gold in the design category.
“And contrary to my point about the American-ness of the awards, this year’s Gold
winner was actually typically African! The cleverly crafted poster for a hair salon obviously
stood out as a truly original idea.”
What our judges on the ground said:
Jenny Ehlers, creative director King James rsvp, One Show Design judge:
“South Africa definitely featured at the 2008 One Show Design and most of our work was put
through for consideration in the final round of judging, which was great to see and to know that
SA design is up there.”
Pete Case, creative director Gloo, One Show Interactive judge:
“South African work didn’t shine through this year in digital.
“But our digital industry is alive and well and creating great work. It’s worth noting that South
African digital work has seen some success at other international awards recently such as at
Cannes, Echos, Clios, Promax and D&AD. So the standard is there, but perhaps the size of
campaign, especially integrated campaigns, is not there yet.
“In my view the key to future success here is in increased collaboration between the various
creative agencies servicing brands, working together with brave clients. Add this approach to
great conceptual thinking and despite the connectivity disadvantages we have here, we’ll still
see great work shine through.”
34 — The ANNUAL 2008
THE CLIO AWARDS
What Gerry said:
“There were fewer of the coveted statues for South Africa overall than in previ-
ous years, but DDB South Africa and Energizer batteries’ print campaign collected
the first Gold for SA since 2005 (and one of only 10 handed out in the print category
this year).
“It’s notable that nine out of a total of 15 statues won by South Africa were in the
print category, which obviously suggests that the standard of print work in SA ain’t
too bad!”
What our judges on the ground said:
Ross Chowles, executive creative director of The Jupiter Drawing Room Cape Town, Print/
Poster/Billboard/Innovative Media/Integrated Campaigns judge:
“Entering awards is really like playing roulette. South Africa did very well. We mustn’t
measure ourselves in actual medals (though we did get quite a few) but rather that to bubble
up through the thousands of hopefuls from around the world is amazing. For such a small
economy/industry, we really stand out above the average.”
Garth Walker, Orange Juice Design, chairman of the Design Jury:
“South Africa didn’t feature in the design category – nothing made the final selection. Local
design has an inflated view of our standard relative to current global design. We need to
focus more on the idea, and less on the execution. However, clients have much to answer for,
as (in general) business has been slow to recognise the added value that good design brings.
Business is not demanding enough of designers, and the ‘corporate standard’ of acceptance
is low. The design market is still price driven, and design companies are increasingly profit
driven over creativity. The work comes second.
“Business needs to raise the bar, demand more from their designers, and designers themselves
need to understand we have a long way to go if we want to catch up with competing ‘emerg-
ing design nations’. It’s a partnership really. To date, we haven’t quite gotten the marriage
right. Our future depends on it. Designers are up for the challenge. Is business?...”
D&AD AWARDS
What Gerry said:
“For some reason, the miserly D&AD jurors seem to think South African radio
advertising is a bit of alright. Following Grey Worldwide’s success in the radio category
last year with Geronimo Condoms (two Silver Pencils), this year the top prize went to
BBDO Cape Town and Marshall Music Store, again for brilliant radio advertising.
The ad illustrates just how easy it is to play drums if you put a face to different drum
sounds, encouraging aspiring drummers to ‘give drums a go’ at Marshall Music.
“To put the significance of this award in sharp perspective, there was only one
other Pencil awarded in the entire category!”
What our judges on the ground said:
Jenny Glover, creative director Net#work BBDO, Radio Advertising judge:
“Our performance at D&AD, the most elusive of the awards, wasn’t bad. South Africa has
only ever won a handful of Pencils and in recent years we seem to be steadily increasing our
collection. Radio in particular seems to be our strong suit. Listening to all the entries during
judging it’s evident that our radio really pops. There’s an under-production and a fresh
charm. And then there’s that special flat South African accent. Always a winner.
“My overall impression of the work across all categories was not that the rest of the world
is necessarily better than us, just that they enter more. We should submit more stuff and
specifically more non-traditional stuff. You’d be amazed at the scope of the entries in the
design categories. I spotted a carpet on one of the judging tables. Basically, if you’ve got a
beautiful smart thingie-ma-bob, and South Africa has lots of those, then enter it. It could
win you a P encil.”
The final word goes to Gerry, but ultimately, to the glittering Jupiter
Drawing Room Group:
“Special mention must be made of the The Jupiter Drawing Room Group, which
headed the agency group points table at every International award show this year,”
comments Gerry Human, Creative Circle Awards Committee Chairman.
 AWARDS

01. DDB South Africa won a Cannes Grand Prix in the press category for their Energizer Batteries campaign.

The ANNUAL 2008 — 35

AWARDS

THE LOERIE AWARDS 2008

In 2008, The Loerie Awards celebrated 30 years of recognising and rewarding outstanding work in brand communication. Launched in the late 1970s in an effort to support and
grow the fledgling television advertising industry, they have since been expanded to include all areas of communication, including traditional formats such as television, radio, print
and outdoor advertising to design communication, internal marketing, strategic CRM, digital campaigns and even live events and interior design.

In 2008, The Loerie Awards celebrated
30 years of recognising and rewarding
outstanding work in brand communica-
tion. Launched in the late 1970s in an
effort to support and grow the f ledgling
television adver tising industr y, they
have since been expanded to include
all areas of communication, including
traditional formats such as television,
radio, print and outdoor adver tising
to desig n com mu nication, i nter nal
ma rket i ng, st rateg ic CR M, dig ital
campaig ns and even live events and
interior design.
Today, the Loerie board and com-
mittee represent all areas of the brand
communication industr y – including
t he Association for Communication
a nd Adver t isi ng (AC A), t he Crea-
tive Circle (CC), t he Sout h A f r ican
Graphic Design Council (Think), the
Commercial Producers Association
(CPA), t he Dig ital For um, and t he
Communication & Advertising Forum
for Empowerment (Café).
The brand also aims to extend its
reach beyond that of two evenings of
creative celebration, to a year-round
focus on creative inspiration – helping
marketers, agencies and consumers
appreciate the value of ideas and fresh
thinking. The Loeries’ calendar now
includes the hard-cover printed annual
and DVD of the year’s leading brands
and agencies, the Travelling Exhibition
showcasing the year’s winning work,
the Judges’ seminars and two editions
of Migrate magazine.
I n 2007, t he L oer ies committee
launched The Young Creatives Award
and t he Marketing L eadership and
Innovation Award. In 2008, it topped
this with the initiation of a high-school
scholarship to assist creatively talent-
ed youth from a disadvantaged back-
ground. The scholarship, in partner-
ship with the SABC and Woolworths
Making the Difference through Design,
is the largest of its kind in the indus-
tr y – covering fees, materials, travel
and board as well as mentorship and
guaranteed employment.
I n t he 30t h a n n iver sa r y yea r, a
record number of entries was received
and a record number of delegates at-
tended the awards ceremony in Margate
- - testimony to the successful turna-
round of the Loerie brand.
Og ilv y Sout h A f r ica ( Johan nes-
burg) topped the creative charts with
a whopping 3 850 points, followed by
K ing James Cape Tow n w it h 3 000
points, and Net#work BBDO with 2
350 points.
The judging panels awarded four
G ra nds Pr i x, to K i ng James i n t he
T V and Cinema categor y; Trigger in
t he A rchitecture & I nter ior Desig n
categor y; Am I Collective in Craft Il-
lustration; and Net#work BBDO and
Gloo Dig ital Desig n, in t he Dig ital
categor y.

The Winners
GRAND PRIX
Allan Gray “ Beautiful ”
King James
A l la n G ray L i m ited is one of Sout h A f r ica’s top i nvest ment compa n ies,
t he suc c e s s of wh ic h i s l a r g ely ba s e d on it s abi l it y to ide nt i f y a nd buy
u nder va lued stock s a nd h ave t he pat ience to wa it for t hem to reac h t hei r
f u l l p ote nt i a l. C r e ate d by K i n g Ja me s , t h i s b e aut i f u l ly s hot tele v i s ion
spot i s a n a n a log y of t h i s i nve st me nt ph i lo sophy, ba se d on t he a g e - old
say i n g: I f you wa nt to k now wh at a g i rl is goi n g to look l i ke one d ay, look
at her mot her.
for use, a nd t he bold sy mbol - based de sig n st yle of t he site was a lso u sed
to c reate t- s h i r t s a nd ot her awa rene ss item s, i n t he rea l world.
Wit h i n t he f i r st t h ree mont hs of t he ca mpa ig n, more t ha n 1 0 0 0 causes
were c re ate d, g ener at i n g more t h a n 5 0 0 0 com ment s. E ig ht y percent of
t he site content was gener ated by t he aud ience it sel f.
I n novat ively, t he most d isc ussed cause was t hen r u n by 5FM as a rea l-
world n at ionw ide c a mpa ig n, for t he people a nd by t he people.

Nike Be True Pop Up Store

Trigger
Br iefe d to lau nc h Ni ke spor t swe a r to t he c y n ic a l 18 - to 2 4 -ye a r - old
ma rket seg ment, wh ich t y pica l ly shu ns t r ad it iona l med ia, Tr ig ger c reated
a tempora r y si x-mont h “pop -up space” i n Melv i lle, Joha n nesbu rg, t hat was
neit her a shop nor a n a r t ga ller y, but rat her a ma rket i ng a rena w it h i n wh ich
t he bra nd cou ld come to l i fe a nd i nterac t one - on- one w it h consu mer s. Us -
i ng soc ia l med ia, t he agenc y t hen developed a yout h c u lt u re - d r iven events
prog r a m me t hat took place i n a nd a rou nd t h is space, i nclud i ng showcases
of photog r aphy, g r aph ic de sig n, fas h ion de sig n, music a nd objec t de sig n,
as wel l as t he f i l m i n g of a doc u ment a r y ser ie s w it h MT V.
S crabble
Am I Collec tive
Com m issioned by Og i lv y Pa r is, A m I Collec t ive was br iefed to i llust rate
t he conc e pt of a sc r abble g a me – u si n g pic t u r e s i n ste ad of wor d s. T he
re su lt is a v isu a l feast of h a nd- d r aw n i mager y t h at (qu ite l iter a l ly) h a n g s
toget her to for m a n u n m ist a k able sc r abble g r id. A feast for t he eye s.
Youngblood5
Net# work BBDO and Gloo Digital Design
To help 5FM R ad io com memor ate Yout h Day, Net # work BBD O a nd
Gloo D ig it a l De sig n c reated a ca mpa ig n t hat g ave t he aud ience t hei r ow n
voice, let t i n g t hem c reate a nd d isc uss t hei r ow n topic s of concer n a mon g
t hem selve s. T he c ho se n me d i a for m at w a s a web site t h at w a s neit he r a
blog nor a for u m, but r at her a t wo -way i nter ac t ive plat for m t h at si mu l-
t a ne ou sly com mu n ic ate d t he br a nd ener g y of 5f m, wh i le a l low i n g u ser s
a nd t he br a nd a l i ke to g a i n a n i n - de pt h u nde r st a nd i n g of wh at w a s on
t he m i nds of it s aud ience.
To d r ive eyeba lls to t he site, awa reness poster s were desig ned by fa mous
a r t ist s a nd placed i n schools, t hen ad apted a nd of fered as dow n load able
screensaver s. St icker s a nd a nimat ions could also be created a nd dow n loaded
SPECIAL AWARDS
Marketing Leadership and Innovation Award
T he M a rke t i n g L e ade r s h ip a nd I n nov at ion Aw a r d , w h ic h w a s f i r st
i nt r o duc e d i n 2 0 0 7 to r e c og n i s e i nd i v idu a l s for t he i r lon g - te r m c om -
m it me nt to a nd ac h ie ve me nt s i n br a nd com mu n ic at ion, w a s pr e se nte d
to M i ke G lend i n n i n g , sa le s a nd m a rket i n g d i rec tor at Vol k swagen, Aud i
a nd Seat.
G lend i n n i n g joi ne d Vol k s wa g en Sout h A f r ic a a s a g r adu ate t r a i ne e.
O ver t he subsequent 23 yea r s, he has held va r ious posit ions w it h i n t he sales
a nd ma rket i ng d iv ision a nd c u r rent ly over see s t he sa le s a nd ma rket i ng of
t he Vol k swagen, Aud i a nd Vol k swagen Com merc ia l Veh icle s br a nds.
He was selec ted f rom a g roup of f i n a l ist s f rom Cel l C , Vi r g i n a nd M -
Net / DSt v for h is c a r e er - lon g cont r ibut ion to out st a nd i n g cl ient- a g enc y
r el at ion s h ip s , h i s i n - de pt h u nde r st a nd i n g of w h at it t a ke s to de velop,
nu r t u r e a nd bu i ld icon ic br a nd s a nd h i s k n ack for spot t i n g g r e at ide a s
when t hey come h is way.
Creative Achievement Award
M i ke Sch a l it, ch ief c reat ive of f icer of BBDO Sout h A f r ica, took home
t he Creat ive Ach ievement Awa rd, a new awa rd t h is yea r, for h is record of
con si stent ac h ie vement ove r t he ye a r s, h av i n g b e en r a n ke d t he nu mb e r
one c reat ive by t he C reat ive Ci rcle for t he last 10 yea r s i n a row.
The Young Creatives Award
L au nc hed last yea r to recog n ise out st a nd i n g ac h ievement by t a lented
i nd iv idu a ls at t he beg i n n i n g of t hei r ca reer s, t he You n g Creat ive s Awa rd
2 0 0 8 went to Da r ren C ronje f rom Net # work BBD O a nd Si mone Rosu m
f rom Joe P ubl ic. T hey eac h received a G old L oer ie a nd a n a l l - ex pen se s -
pa id t r ip to a n i nter n at ion a l adver t isi n g awa rd s how of t hei r c hoice.

36 — The ANNUAL 2008

 AWARDS

01. Loerie Grand Prix Winner: Allan Gray

‘Beautiful’ (King James)
02. Loerie Grand Prix Winner: Nike Be True Pop-
up store (Trigger)

01. 02.

The ANNUAL 2008 — 37

AWARDS

03. Loerie Grand Prix Winner: Scrabble (Am I Collective)

38 — The ANNUAL 2008

 AWARDS

04. Loerie Grand Prix Winner: YoungBlood5 (Net#work BBDO and Gloo Digital Design)

The ANNUAL 2008 — 39

AWARDS

CREATIVE CIRCLE AD OF THE YEAR 2007

Small Cape-based agency FoxP2 came up trumps in the Creative Circle Ad of the Year 2007, taking top spot in the magazine category, as well as both first and second place
in the recently established experiential category. The Lowe Group (if you combine wins from the Cape Town and Johannesburg agency) fared equally well, also taking home
two first places, in the newspaper category (for Lowe Bull Cape Town) and radio category (for Lowe Bull Johannesburg), as well as a second spot in the film category (Lowe
Bull Johannesburg). The hotly contested film category was won by JWT Johannesburg, for Ford Bantam’s “Ubuntu”, while Ogilvy Cape Town took top honours in the outdoor cat-
egory for Eskom “Save”. The Creative Circle Ad of the Year 2007 takes cognisance of work produced from January 2007 to December 2007. The 2008 Ad of the Year will be judged
in March 2009.

The Winners
MAGAZINE
1) 8Ink Media/National Geographic Magazine “Freak of the Deep/Exploding
Toads/Cyclops Kitten” – FoxP2
2) Nampak/Cuddles “Protection/Comfort/Happiness” – Grey Advertising
3) VWSA/The Epos Cabriolet “Monkey/Hadeda/Cat” – Ogilvy Cape Town

NEWSPAPER
1) Independent Newspapers/Cape Times “JFK/Hiroshima/Soweto”
– Lowe Bull CT
2) Independent Newspapers/Cape Argus “Aids Stats” – KingJames CT

OUTDOOR
1) Eskom “Save”, by Ogilvy Cape Town
2) WWF “Global Warming” – TBWA Hunt Lascaris

FILM
1) Ford Bantam “Ubuntu” – JWT JHB
2) Unilver/Axe “Gold Fish”/Magician/Bokrdrol” – Lowe Bull JHB

RADIO
1) Unilver/Axe “Answering Machine/Announcements/Fart/Gnome”
– Lowe Bull JHB
2) Toyota/Genuine Parts ‘Godfather/6th Sense/Gone with the Wind”
– Draftfcb Johannesburg

EXPERIENTIAL
1) 8 Ink Media/National Geographic Magazine “Comic Book Cover” – FoxP2
2) Addis “Hot & Cold Mailer” – FoxP2
3) Standard Bank “Fridge Magnet” – TBWA Hunt Lascaris

01. FoxP2 won two first place positions

for client 8Ink Media, for work
on its National Geographic Kids
magazine. In keeping with the brand’s
philosophy of “Edu-tainment’, both
campaigns used a comic book style to
educate kids about an amazing fact
in nature. The winning campaign in
the Experiential category involved the
production of fake comic book covers
to cover existing school exercise
books, which were then handed out
at schools around the country.

40 — The ANNUAL 2008

 AWARDS

02. After a series of power cuts caused by rapidly increasing demand for electricity, Ogilvy Cape Town switched off all the unnecessary lights on this Eskom billboard in an appeal to the public to use electricity wisely.

03. Based on the precept that “The world can change in a day”, Lowe Bull Cape Town created this stirring campaign for the
Cape Times to demonstrate the importance of daily news.

The ANNUAL 2008 — 41

AWARDS

APEX AWARDS 2008

The APEX Awards are South Africa’s only brand communication awards that recognise and reward a measured return on investment. Launched in 1995 by the Association for
Communication and Advertising (ACA), the awards have been held every alternate year since. But, in recognition of the growing necessity of branding communications adding
to the bottom line, the ACA announced this year that it would henceforward be holding the awards on an annual basis. In addition, from 2009, the awards will be open to the
entire African continent.

Odette Roper, CEO of the ACA says: “We
have entered an era where accountability and
return on investment are of key importance,
where a holistic approach to buying and sell-
ing in this complex and rapidly evolving era
is required. The objectives of the APEX
awards are to demonstrate that the purpose of
communications campaigns is to contribute to
business success. In this way, APEX encour-
ages best practice in creating and executing
effective communications campaigns.”
Awards are made in three categories:
Launch, for brands or services that are less
than 12 months old with no significant history
of advertising; Change, for new campaigns
from previously advertised brands, which re-
sulted in significant short-term effects on sales
and/or behavior; and Sustain, for campaigns
that benefited a business by maintaining or
strengthening a brand over a long period.
In 2008, the judges elected to not award
a Grand Prix. The highest accolades went to
Ogilvy Johannesburg, which took home one
gold in the Change category for its work on
the Audi South Africa campaign as well as
one silver and a bronze for KFC, plus a silver
award in the Sustain category and two of the
three Special Awards for longtime client Ex-
clusive Books. Draftfcb Johannesburg won the
Launch category for the Toyota Yaris launch
campaign, while Draftfcb Cape Town won
gold in the Sustain category for The Cider
House Rules campaign for Savanna. TBWA
won the final Special Award, for the Tsotsi
Stop Piracy Stop Crime campaign.
According to chair of the APEX judging
panel and chairman of Yellowwood Future
Architects Andy Rice, the entries for APEX
2008 were of a slightly lower standard than
in previous years, primarily because of time
constraints.
“Putting together an APEX entry involves
seriously hard work, and very strong analysis
– particularly when it comes to proving, in as
much as you can, that the desired result was
brought about predominantly by the com-
munications campaign in question. Agencies
tend to underestimate how much time and
effort is involved in creating a convincing
argument.”
That said, he also believes that the agen-
cies in question should be mining this evidence
as a matter of course for each of the campaigns
that they undertake. It should become
less of a task to compile the entries, given
that clients should be demanding the
selfsame information of their agencies
year round.
“Agencies should start placing more
importance on the APEX Awards. In
fact, I believe that the APEX Awards
ought to be the single most important
brand communications award on the
calendar, because your clients are not
with you to win awards, they’re with you
to do business – and winning an APEX
Award proves that you’re doing just that,”
concludes Rice.

The Winners

CHANGE
Gold - Ogilvy Johannesburg for Audi South Africa
Responding to a challenge issued from Audi International to create a more emotional
positioning for the Audi brand, Ogilvy Johannesburg created a full 360 degree campaign
around what it dubbed the “Spirit of Vorsprung.” Although there is no literal transla-
tion of the word “Vorsprung,” the agency created a campaign that demonstrated the
term – and was subsequently adopted for use in 12 other markets around the world.
Since the introduction of this campaign, Audi’s brand image has improved year by
year, against marked declines in competitor image. For the past five years, Audi of
South Africa has achieved and sustained a 20% to 30% YOY growth in sales, making
it the fastest growing premium car brand in the local market. Over this period, it has
also outstripped market growth – the premium car market has grown by 85%, while
Audi has grown by 106%
Gold – Net#work BBDO for repositioning Nedbank
The brief was to rebuild the brand relevance, health and reputation of Nedbank, and
Net#work BBDO proposed using a change in advertising to project a fundamentally
new brand image, one that changed the bank’s image from niche elite to mass aspira-
tional, from unashamedly not for everyone to proudly for everyone.
In January 2006 a comprehensive new multimedia campaign was launched to
reposition Nedbank as a brand committed to understanding and meeting the needs
and aspirations of all South Africans. This campaign introduced the new Nedbank
brand expression “Make Things Happen,” with the intent of positioning Nedbank as
the enabling bank for all.
Today, the Nedbank brand presence and awareness is at a new high, so too are con-
sideration, loyalty and the brand relationship score. Brand usage is also at a new high,
and most importantly, Nedbank’s financial results and headline earnings are too.
Silver Award – Ogilvy Johannesburg for KFC Streetwise campaign
Silver Award – Jupiter Drawing room for MTN go – going to town campaign
Bronze Award – Ogilvy Johannesburg for KFC Twister campaign
most units sold during a launch month, exceeding 2005 sales targets by 47% and 2006 targets
by 16%. Bateleur’s Earlybird Research proclaimed the Yaris hatch and sedan launches the
most noted car launches in the six month period.
Bronze Award – Net#work BBDO for Cell C - Hola 7 campaign
Bronze Award – Net#work BBDO for Nedbank Children’s Affinity campaign
Bronze Award – Black River FC for Virgin Money Bling it on campaign
Certificate of Commendation – Net#work BBDO Cape Town for Royco campaign
SUSTAIN
Gold Award - Draft FCB Cape Town for Savannah The Cider House Rules campaign
Savanna Premium Cider was launched just more than 10 years ago, but faced increased
competition from newer entrants with hefty advertising budgets. Draftfcb Cape Town
was briefed to capitalise on the growth of the Flavoured Alcoholic Beverages sector and
increase Savanna’s share of throat, which it did by implementing a through-the-line brand
experience that stayed true to the brand’s essence of being “seriously humorous.”
The campaign consisted of TV, cinema, radio, print; online and ambient (tactical)
media that would instantly break out of the clutter and create brand hype. This was
supported by both trade and consumer promotions that brought the brand to life, while
various sponsorship and public relation opportunities were utilised to create further word
of mouth and drive awareness.
Savanna experienced a substantial growth in market share year-on-year in a category
where most competitors experienced a decline or stagnation, noticeably impacting the
bottom line.
Silver Award – Ogilvy Johannesburg for Exclusive Books campaign
Bronze Award – Net#work BBDO for Cell C - Sustaining Cell C campaign
Bronze Award – Ogilvy Cape Town for South African Breweries Carling Black Label campaign

LAUNCH SPECIAL AWARDS

Gold Award – Draft FCB Johannesburg for Toyota Yaris launch campaign
With the launch of the Toyota Yaris, Draftfcb Johannesburg was tasked with not only selling
a truck load of new vehicles, but also warming the hearts of a new generation of car buyers to
the Toyota master brand. In order to do so, the agency positioned the Yaris as the symbol of
“realistic ambition”, representing a celebration of present achievement and future possibility
with its action-oriented pay-off line, “Move on. Move up.” With this line and campaign built
around it, Toyota found a way to touch its traditional audience and a new generation.
The proof is in the numbers. Yaris broke South African motor industry records for the
Most ingenious response to advertising or research funds
Ogilvy Johannesburg for its Exclusive Books campaign.
Best example of innovative strategic or executional thinking
TBWA for Tsotsi Stop Piracy Stop Crime campaign.
The case representing uniquely South African advertising
Ogilvy Johannesburg for its Exclusive Books campaign.

42 — The ANNUAL 2008

 AWARDS

01. Apex Gold Winner – Ogilvy Johannesburg for Audi South Africa

The ANNUAL 2008 — 43

AWARDS

02. Apex Gold Winner – Net#work BBDO for Nedbank

44 — The ANNUAL 2008

 AWARDS

04. Apex Gold Winner – Draft FCB Johannesburg for Toyota

Yaris launch campaign

03. Apex Gold Winner – Draft FCB Cape Town for Savanna – The Cider House Rules campaign

The ANNUAL 2008 — 45

AWARDS

PENDORING AWARDS
“It is as if a new and fresh breeze has blown through the Afrikaans advertising landscape. This
year’s Pendoring entries are some of the best that have yet been received in the 14 years of this
competition’s existence. I believe that the standard of the winners’ work will silence those sceptics
who feel that Afrikaans advertising and Pendoring are struggling to survive.”

T h at i s t he opi n ion of L e on Jacob s , e xe c ut ive c r e at ive d i r e c tor of Sa atc h i &

Saatch i Hon g Kon g a nd t h is yea r ’s i nter n at ion a l Pendor i n g jud ge.
Accord i n g to Jacobs, t he pr i nte d me d ia - ent r ie s stood out he ad a nd s hou lder s
a mon g t he ent r ie s.
Pe pe M a r a is, exe c ut ive c re at ive d i re c tor a nd pa r t ner at Joe P ubl ic, s h a re s
Jacobs’ v iew of t he g ener a l ly h ig h st a nd a rd but com mente d t h at t he c ateg or y
for a lter nat ive med ia rema i ns d isappoi nt i n g a nd t h at t he v i r a l a nd on l i ne work
is si mply not up to t he st a nd a rd t h at it s hou ld be i n a fast developi n g tec h no -
log ic a l world.
A not her cause for concer n, accord i n g to Coen ie de Vi l l ier s, d i rec tor of Br a nd-
wea lt h, is t he not able absence of work f rom la r ge Sout h A f r ic a n cor por ate s.
“ I a m at a loss to u nder st a nd why people spend le ss on A f r i k aa n s adver t isi n g ,
be c au se r e se a rc h h as t i me a nd a g a i n i nd ic ate d t h at a t h i rd of t he pu rc h asi n g
power l ie s i n t he h a nds of A f r i k aa n s - spea ker s,” he say s.
Adds Daw id Br a nd, co - ord i n ator of t he Pendor i n g adver t isi n g compet it ion
a nd proje c t: “ R e se a rc h h as s how n t h at more t h a n 8 0% of A f r i k a a n s - spe a ker s
w ish to be add ressed i n t hei r ow n la ng uage. Compa n ies t hat a re i ncl i ned to g ive
t h is g roup t he cold shou lder w i l l t herefore pay at t he cash-reg ister as consu mer s
st a r t to t ig hten t hei r belt s even more. M a rket i ng profe ssiona ls w i l l perh aps not
feel t he c ut i n t he A f r i k aa n s seg ment at t he moment , but i n t he lon g r u n t here
a re ch a l len g i n g t i me s a head.”
Accord i ng to Br a nd, t he Pendor i ng adver t isi ng compet it ion a nd projec t h as
now more t ha n ever a responsibi l it y i n t h is rega rd. “ Not on ly do we ack nowledge
excel lent f ront ier -mov i ng adver t isi ng i n A f r i k aa ns, Pendor i ng a lso play s a n ever
big ger role at t he subconsc ious level to c u lt ivate A f r i k aa ns w it h t he r ig ht fac t ua l
fer t i l iser as pa r t of t he la r ger Sout h A f r ic a n adver t isi n g la ndsc ape.”
Br a nd say s t he whole va lue c h a i n s hou ld be sc hooled i n t he i mpor t a nce of
A f r i k aa ns adver t isi ng. “M a ny compa n ies a re st a r t i ng to rol l up t hei r sleeves a nd
rea l isi n g t h at i f you sow, you w i l l a lso reap succe ssf u l ly i n A f r i k aa n s. We wa nt
to encou r age a l l who hold A f r i k aa n s dea r, to t a ke a f re s h look at t he la n g u age
a s adve r t i si n g ve h icle. T h i s i s not ab out e xclu siv it y. Not at a l l. A f r i k a a n s i s
pa r t of a n exc it i n g a nd d iver se adver t isi n g r a i nbow.”

T he W inners
Ta k i ng over f rom long t i me top - of-t he -log w i n ner s D r a f t fcb, Joe P ubl ic was t he
big h it ter at t he 20 08 Pendor i ng Awa rds, wa l k i ng of f not on ly w it h t he P re st ige
Awa rd (t he Pendor i ng ’s G r a nd P r i x equ iva lent) for cl ient K a la ha r i.net, but a lso
t h ree gold awa rds.
S e cond pl ace we nt to B a ie - L i n g u a l Bl i n k Stef a nu s w it h t wo g old aw a rd s ,
wh i le t he rema i nder of t he f ield was even ly spl it, w it h fou r agenc ie s (i nclud i n g
D r a f t fcb Joh a n ne sbu r g , Og i lv y Joh a n ne sbu r g , McCa n n Worldg roup a nd 2Bu f-
fels Mel ker y) each t a k i n g home one gold a nd one si lver awa rd eac h.
T h i s movement away f r om t he dom i n at ion of one a g enc y a nd i nde e d, one
br a nd, to t h at of a va r iet y of newer ag enc ie s enter i n g a nd w i n n i n g ac ross t he
boa rd for a nu mber of d i f ferent cl ient s, repre sent s a posit ive step for A f r i k aa ns
adver t isi n g i n t h at it s how s a n i nc rease i n usage of t he la n g u age ac ross a w ider
r a n ge of cl ient s.

T he L egend Award
Fr a ncois de Vi l l ier s, exec ut ive c reat ive d i rec tor of D r a f t fcb (Cape Tow n), was
awa rde d t he L eg end Awa rd, b e stowe d for on ly t he se cond t i me i n Pendor i n g
Awa rd h istor y.
C re ate d to pay hom ag e to t hose who h ave m ade a re a l i mpac t on t he A f r i -
k aa ns adver t isi ng la ndscape a nd who have c reated a leg ac y t hat ca n not be easi ly
equ a l led, t he awa rd cou ld not h ave fou nd a more apt home t h a n i n De Vi l l ier s’
h a nds – he h as been lon g- ad m i red for t he work on awa rd-w i n n i n g br a nds suc h
as K l ipd r i f t, Vod acom, Sava n n a a nd Pol k a.

46 — The ANNUAL 2008

 AWARDS

03. Genuine South African Gold Award winner: Redd’s “Pilot, Vanishing Act, Savings Plan”, by Lowe Bull Cape Town

01. Prestige Award and Original Afrikaans Gold: Kalahari.net “Tweedehandse Anatomie, Tweedehandse
Raka” by Joe Public to promote Kalahari.net’s wide range of affordable academic books, Joe Public
tapped into the insight that secondhand books are often vandalized, making them quite difficult to
use as study aids. By ‘vandalising’ N.P. van Wyk Louw’s epic poem, Raka – which is a prescribed work
in Afrikaans literature – the agency created a print advertisement that speaks directly to its target
market, and simultaneously makes for pretty entertaining reading.

02. Overall Student Winner: Sunlight “Fo*of”, by Roela Hattingh, Kate Binge, Trish Stewart and Mukondi
Ralushayi of Vega The Brand Communication School 04. Genuine South African Gold Award winner: Metro FM “Xenophobia”, by Net#work BBDO

The ANNUAL 2008 — 47

CC MM YY CM MY
CM MY CY
CY CMY
CMY KK
CC MM YY CM MY
CM MY CY
CY CMY
CMY KK
SK_10037 OSFF Annual1.indd 1 10/7/08 11:48:27 AM
 THE ROCKSTARS

The Case Studies

48:27 AM
CASE STUDIES
Case study #1
AGENCY: ACTUATE
Client: ABSA
Advertising format: inTERACTIVE
Actuate agency responded to Absa’s need to modernise the electronic voice at a call centre with a lightening campaign that was fun for
staff and the agency and resulted in unexpectedly large buy-in from employees.
N eil Clarence, Actuate creative di-
rector, says Absa needed to ensure
that the contact centre staff understood
that the new voice was not replacing
them, but becoming a member of their
team. “Our target market was all call
centre staff. Most are under 25, young,
fun and very techno savvy. With this in
mind we proposed a highly interactive,
fun, amusing campaign, something that
would make this cynical lot sit up and
take notice. We wanted staff to vote for
their voice of choice as a way of includ-
ing them in the process and as a vehicle
to reassure them that AI, the new voice,
was not a threat to them.”
Four options were chosen
as the new voice of Absa.
“Since the entire campaign was about
voice we decided to use voice as our
52 — The ANNUAL 2008
primary medium of communication.
And as we were looking for the ‘voice of
Absa’ what better way to get everyone
on board and interested than by having
random ‘voice wannabes’ calling Absa
Call Centre employees in the build-up to
the vote all trying to audition for the role
of voice of Absa?” says Clarence.
The agency set this up by placing
posters in the call centre saying the com-
pany was looking for the voice of Absa.
“Then we sat back and listened as the
most inappropriate, worst-fit candidates
phoned to enquire about the job. The
terrible voices calling served to reinforce
how important it was for Absa call centre
employees to vote – or they could be stuck
with one of the candidates applying,”
says Clarence.
The agency used a selection of the
countr y’s top comedians to bring a
number of characters to life: imagine a
call centre employee’s phone rings, the
employee answers…“Dddduuuuude its
Waaayyne from Durbs. I’m calling to um,
um..who am I talking to again…oh yes,
I think I would be the most rad, totally
bodacious voice of. …Dude check those
waves…hey man.”
Among the characters the comedians
took off were:
• An Indian with the best price
• The “Alberton-ese” gym monkey
• The kugel, calling from Sandton,
doll
• The white R to the A double P E R
(rapper)
• The SHOUTER!
• Old fashioned private school WASP
Each time these “voice wannabe’s”
called in to audition, the centre employees
were reminded to vote . For three days
call centre staff fielded calls from the
absurd to the outright ridiculous.
“Then we put stickers over the posters
asking staff to vote for the four options
Absa had pre-selected. We supported
the call to action with desk drops and
stickers placed on call centre agents’
desks. The message was simple: vote
or you could be stuck with one of these
losers,” says Clarence.
Absa’s objective was to get a 10% re-
sponse. In the end, over 30% of those
eligible voted.
“It was a fantastic campaign and
demonstrates how easy it can be, with a
bit of imagination, to turn an otherwise
routine type of process into an oppor-
tunity to obtain staff buy-in, re-enforce
what your brand stands for and have some
fun,” says Actuate managing director
Grace Harding. “It was all over inside
of a month.”

Case study #2
AGENCY: KING JAMES
Client: ALLAN GRAY
Advertising format: TELEVISION
King James working beautifully for Allan Gray
A llan Gray is respected for its unri-
valled investment performance track
record. This success is attributed to its
unique investment philosophy that hinges
on a long-term view to wealth creation.
It has persistently stuck to this approach
for the past 34 years, never deviating no
matter what.
As a brand, Allan Gray has an abiding
belief in the values of integrity, consist-
ency, transparency, respect, and simplic-
ity. It’s these values and Allan Gray’s
distinctive investment philosophy that
advertising agency King James is tasked
to communicate to South African inves-
tors.
Over the years, the brand’s corporate
campaigns have been consistently devel-
oped around a single-minded creative
premise: focus on Allan Gray’s approach
to investing and bring it to life by giving
it a human dimension and relevance.
These campaigns speak to the minds
and hearts of investors, recognising and
respecting their intelligence and reflect-
ing their own behaviour and attitudes
to investing with insight and empathy.
Observations relevant to investing have
been used to bring this to life. In a cat-
egory characterised by choice, clutter
and confusion, Allan Gray’s down-to-
earth pragmatism and single-minded
simplicity make investing reassuringly
uncomplicated and credible.
What has set Allan Gray’s advertising
apart is the delivery of a simple message
presented in a fresh way. Historically,
the campaigns have been executed with
intimacy, insight and engagement not
previously experienced in the category.
This year King James enjoyed fan-
tastic success at The Loeries, winning
a Grand Prix for Allan Gray’s latest TV
commercial, “Beautiful”. The TV ad also
scooped a Gold, two Craft Golds and two
Craft Certificates at the awards. It won a
Silver Lion (one of two for South Africa)
at Cannes the month before.
The ad depicts a young boy’s fascina-
tion with a seemingly plain young girl.
Although the attraction is unclear, he
continues to dote on her, despite being
teased and having to defend her honour.
At the end his motivation for wooing
the girl becomes apparent as the little
girl’s mother is revealed. She is absolutely
CASE STUDIES
beautiful – a good indication of what
the little girl might ultimately grow up
to look like.
The ad is an analogy of Allan Gray’s
ability to identify investment potential and
then have the patience to realise it.
The commercial was shot to feel like
a real story rather than an ad; an honest,
authentic portrayal of a day in the life
of a young boy and girl with all its highs
and lows. It was filmed in Buenos Aires
by Velocity’s Keith Rose and introduces
grain to give it an older cinematic feel
that enhances the beautiful, touching
story. According to Rose, “What stood
out the most for me was working with the
children who aren’t actors. It was their
first time in front of the camera and they
did not speak English so this presented
some challenges. But I think the resultant Frame grabs from Allan Gray’s ‘Beautiful’ TVC
performances are authentic and bring a
certain sensitivity to a single-minded idea
that works. We were especially lucky with
our leads. The boy and girl were amaz-
ing and had all the qualities we needed
to bring empathy to the story.”
Asked why he believes the ad has been
such a success, King James creative direc-
tor Devin Kennedy says, “It’s a simple
story that draws you in with beautiful
imagery and emotive music. But I think
the success of the ad lies largely in the
fact that you don’t see the end coming.
If you can surprise the audience and
make them smile, then you’re more than
halfway there.”
The decision to shoot abroad was
driven by the fact that, as a love story,
it required a location with a sense of
romance. Buenos Aires provided the
answer with its amazing architecture
and interesting people. It was a three-day
shoot spent largely in the city’s slums –
which wouldn’t typically be considered
romantic, but resulted in something fresh
and interesting.
Tracy Hirst, marketing manager of
Allan Gray, says the commercial follows
on well from previous campaigns. “It is a
captivating expression of the long-term
nature of Allan Gray’s investment ap-
proach. It has all the values we look for
in a commercial such as warmth, emo-
tion, and honesty; and conveys a strong,
simple message wrapped up in a human
truth people can relate to.”
The ANNUAL 2008 — 53
CASE STUDIES
Case study #3
AGENCY: OGILVY JOHANNESBURG
Client: AUDI
Advertising format: VARIOUS
Audi: moving more than metal
A udi has this decade achieved a rare
improvement in brand perception
as a luxur y marque – and a consequent
d ra mat ic su rge i n sa les.
Ca r s have become so much more
t ha n t he metal out of wh ich t hey a re
m ade. Ve h icle br a nd n a me s c a r r y
sig n i f ica nt i nta ng ible value – to t he
poi nt t h at, i n t he lu x u r y categor y,
i nta ng ible bra nd benef its almost en-
tirely dominate the tangible and often
ut ilita r ia n product benef its.
T h is is no accident. T he veh icle
i ndust r y is beset by product pa r it y.
Eve n i n t he lu x u r y s e g me nt , d i s -
t i nct ion is ra re. Ma rketer s a re more
aw a r e t h a n e ve r t h at t he pr i m a r y
def i n i ng cha rac ter ist ic of a ny veh i-
cle – a nd t hus its key sales tool – is
bra nd i mage.
54 — The ANNUAL 2008
T h is t heor y beca me sta rk realit y
for Audi of Sout h A f r ica i n t he early
2000s. Despite t he ar r ival of a range
of t r u ly mag n if icent veh icle models,
sa les of t he Aud i ma rque rema i ned
stat ic, lag g i ng sig n i f ica nt ly beh i nd
competitor sales in a market t hat was
g row i ng at a n u nprecedented rate.
R icha rd R ice, one of Sout h A f-
rica’s most respected market research-
ers in t he vehicle indust r y comments
t hat, at t he t i me, “Audi had ver y lit-
t le sta nd i ng i n t he prem iu m veh icle
ma rket. It was m isu nder stood a nd
u nder rated, a nd merely t he defau lt
bra nd to BMW a nd Mercedes.”
Unsur pr isingly, sales were static.
I n a bid to re - energ ise t he bra nd
at an inter national level, Audi AG is-
sued a challenge to its markets around

t he world to create a more emotional
plat for m for t he Aud i bra nd.
Ogilv y Johannesburg took the seed
of t h is i nter nat iona l cha l lenge a nd
nu r t u red it i nto a new st rateg ic po -
sitioning for t he Audi brand t hat has
helped t ra nsfor m Audi f rom a “mis-
u nder stood a nd u nder rated bra nd”
into t he fastest-g rowing premium car
bra nd i n t he Sout h A f r ica n ma rket.
At t he hear t of t his campaig n lies
the Audi payoff line “Vorsprung durch
Tech n i k ”, but wh i le prev iously t he
br a nd h ad foc u sed on t he tec h no -
log ical aspect of t h is ph rase, Og ilv y
proposed a foc us on “ Vor spr u n g ”.
Because t here was no literal t ra nsla-
tion of t his word, t he agenc y created
a ca mpa ig n t h at demonst r ated t he
spi r it of Vor spr u ng w it hout hav i ng
to ex plai n it.
T h is k icked of f w it h t he popu la r
“Snails, Frogs and Tur tles” television
ca mpa ig n i n 20 02/3. Not i ng i n t he
f i r st f ive week s a f ter t he ca mpa ig n
r e ac he d 62% , si g n i f ic a nt ly ab ove
nor ms of 52% for t he categor y. T he
campaign also achieved exceptionally
h ig h lik i ng scores, bet ween 8.2 a nd
9.7%. On ly 1.5% of com mercia ls
ach ieve a l i k i ng score above 8.5%.
T he c a mpa i g n a lso scor e d above -
average linking scores of 37% (against
a nor m of 32% i n t he categor y), a nd
recog n it ion levels of 70% (ag a i n st
nor ms of 53%). T h is leaps to 50%
li n k i ng a nd 90% recog n it ion a mong
ma les watch i ng DSt v, accord i ng to
M illwa rd Brow n.
Post-test research revealed that the
dom i na nt bra nd message to emerge
f rom t he campaig n i ncluded charac-
teristics such as initiative, innovative,
a he ad , s m a r t a nd te c h nolog ic a l ly
adva nced. T he ca mpa ig n was sub -
sequent ly used i n 12 ot her ma rkets
a rou nd t he world.
Wit hin t he f ramework of t his new
strategic direction and despite a budg-
et t hat was sig n i f ica nt ly lower t ha n
t he brand’s t wo pr imar y competitors,
Ogilv y brought the Vorsprung strateg y
to life t h roug h a 360 deg ree commu-
n icat ions ca mpa ig n t hat con nec ted
w it h consu mer s at nu merous touch-
poi nts, f rom t rad it iona l above -t he -
li ne telev ision com mercials t h roug h
to dealer suppor t and a revolutionar y
CASE STUDIES
CR M prog ra m me.
T his strateg y remained at the core
of ever y piece of bra nd com mu n ica-
tion, including indiv idual campaig ns
for dif ferent vehicle models, t hereby
creating a cohesive brand image across
t he m a rque. T he re su lt s spea k for
t hemselves.
A pa r t ic u la rly successf u l lau nch
stor y was t hat i n Ma rch 2005, when
Og i lv y was tasked w it h i nt roduci ng
t he t h i rd- generat ion Aud i A4, w it h
t he dua l a i m of f u r t her closi ng t he
i mage gap bet ween Audi a nd its t wo
pr imar y competitors in t he premium
seg ment, a nd ac h iev i n g a pla n ned
volu me sa le s t a r get of 6 073 u n it s
f rom March to December 2005. T he
BMW 3 Ser ies a nd t he Mercedes C
Class were st rong contender s i n t h is
seg ment. At t he time of lau nch, bot h
brands were selling more t han double
Aud i’s volu mes.
The new Audi A4 was the f irst true
example of the brand idea “Vorspr ung
du rch Tech n i k ” bei ng t a ken i nto a
produc t ca mpaig n.
T he resu lts f rom a n i mage per -
spec t ive exceeded a l l ex pec tat ions.
Accordi ng to Sy novate resea rch, t he
Brand Value Index rating of t he Audi
A4 improved f rom eig ht h position in
20 04 pr ior to ca mpa ig n lau nch, to
f irst position in 2006, post-campaign
lau nch.
Since t he introduction of t he new
s t r ate g ic d i r e c t io n, Aud i’s br a nd
i m age h as i mproved yea r - on -yea r,
wh i le its t wo compet itor s a re show-
i n g m a rke d de cl i ne s ( Pe pp e r cor n
Bra nd I mage St udy 20 06). T he new
statement upon wh ich t h is st rateg y
rests – Vor spr u ng du rch Tech n i k –
is t he most spont a neously reca l led
payof f l i ne i n t he prem iu m veh icle
categor y ( Peppercor n Bra nd I mage
St udy 20 06/7).
Og ilv y and Audi recog nized black
buyer s as c r it ica l to t he g row t h of
t he s t at u r e a nd s a le s of t he Aud i
br a nd. I n 20 06, Og i lv y i nt roduced
t he Aud i “ Vor spr u ng Per son of t he
Week” followed up by the “Vorspr ung
You r L i fe” radio prog ra m m i ng con-
tent i nitiatives, w it h t he objective of
building t he Audi brand in t he black
ma rket by ex plai n i ng t he concept of
Vor spr u ng.
The ANNUAL 2008 — 55
CASE STUDIES
“Vorspr u ng Person of t he Week ”,
wh ich ra n on U k hozi a nd Um h lobo
Wenene FM, illust rated how a well-
k now n person in t he commu nit y had
demonst rated “Vorspr u ng” by doi ng
t hings dif ferently and being one step
a he ad of e ve r yone else - a nd u lt i -
mately, being rewarded for t hat effor t
and achievement. Ogilv y believes t his
was t he f i r st t i me t h at a prem iu m
c a r br a nd c reated adver t isi n g i n a
ver nac u la r la ng uage.
I n t he most recent Aud i Br a nd
Image study done by Peppercor n, t he
consider at ion of Aud i i n t he black
ma rket h as i nc reased f rom 19% i n
20 06 pre - ca mpa ig n lau nch to 43%
i n 20 07, post- ca mpa ig n lau nch. I n
56 — The ANNUAL 2008
20 04, pre - ca mpa ig n, 20% of Aud i
purchasers were black. By 2007, post-
ca mpaig n, t h is f ig u re had i ncreased
to 40%.
Fo r t h e p a s t f i v e y e a r s , A u d i
of Sout h A f r ic a h a s ac h ie ve d a nd
su st a i ne d a 2 0% to 30% ye a r - on -
yea r g row t h i n sa les, ma k i ng it t he
fastest-g row i ng prem iu m ca r bra nd
i n t he Sout h A f r ica n ma rket. O ver
t h is per iod, it has a lso outst r ipped
m a rket g r ow t h - t he pr em iu m c a r
market has grown by 85%, while Audi
h a s g r ow n by 10 6% (accord i n g to
f ig u res f rom t he Nat iona l A ssoc ia-
t ion of Automobi le M a na fac t u rer s
of Sout h A f r ic a for 20 0 0 – 20 06).
I n 20 02 , Mercedes-Ben z a nd BMW
were outselli ng Aud i by 3:1. Today,
t h is rat io is 1.5:1.
From a brand loyalt y perspective,
t he Aud i loy a lt y i nde x h a s g r ow n
f rom 22% i n 20 03, to 37% i n 20 07,
ac cor d i n g to a Pe pp e r cor n B r a nd
Image Study. L oyalt y, which is meas-
u red by repeat pu rchase, is a cr ucial
element in t he Audi g row t h st rateg y.
T he C R M st r ateg y, le d by Og i lv y
One, has been i nst r u menta l i n t h is
g row t h.
Say s R icha rd R ice of Sy novate:
“T he combi nat ion of t he new Aud i
vehicles and the communication ema-
nating from Ogilv y and Audi of South
A f r ica have sh i f ted t he i mage of t he
Audi brand from a middle-of-the-road
family car to a premium luxury vehicle.
I f irmly believe that the change in the
product could not have shifted the im-
age on its own – in this categor y, you
simply can’t move product if it doesn’t
have the right image.”
Greg Levine, Managing Director of
Audi of South Africa, says: “Ogilv y’s
contr ibution to t he success stor y of
Audi of South Africa is tough to meas-
ure, because it’s not only about sales
over the past f ive years. This strategy,
and the resultant campaign, effectively
transformed the brand, positioning it
for future growth and ensuring future
sales. T he results to date, measured
by sales alone, are phenomena l. But
t hey a re t he t ip of t he iceberg.”
 CASE STUDIES

The ANNUAL 2008 — 57

CASE STUDIES
Case study #4
AGENCY: BLUE MOON
Client: ACSA
Advertising format: INTERNAL COMMUNICATIONS
Helping clients’ employees to see the strategic big picture – literally
T he company’s integrated employee
engagement department spends
months crafting detailed colour illustra-
tions that depict their clients’ activities
and envisaged changes. In conjunction
with comprehensive facilitation guides
and audio-visual material, these pictures
are used by line managers in explaining
company strategy to their teams, in order
to get their buy-in.
“Studies show that managers are the
most effective carriers of news to staff –
they are up to nine times more likely to
be believed than other media,” explains
Blue Moon managing director Michelle
Caldeira. “That is why we make managers
key to the process. The communication
aids allow managers to create conversa-
tions with their staff about their roles in
the business. From conversation f lows
understanding, which leads to action that
is measureable,” she says.
“Blue Moon does not actually craft
company strategies. What we do is help
to communicate the strategy to staff,”
Caldeira explains. “The challenge is to
make the strategy relevant to employees
at all levels and in all areas of work; to
simplify complex material without being
simplistic.”
A recent such project was the com-
munication of the business strategy and
balanced scorecard for Airports Company
South Africa (ACSA), whose managing
director, Monhla Hlahla, gave it absolute
priority.
ACSA, like many other companies,
uses a balanced scorecard as a tool to meas-
ure the achievement of its strategic goals.
Developed three years ago, the system
uses detailed scorecards for every division
and department, setting out what is to
be achieved and how it is measured, and
these are linked to individual perform-
ance goals.
In ACSA’s case, a major spur has been
to gear the company to deliver both in-
frastructure and customer service to the
required world-class standards, in antici-
pation of the influx of foreign visitors to
the 2010 FIFA World Cup. “The aim is to
achieve seamless processing of passengers
58 — The ANNUAL 2008
through the airports,” Caldeira says. “To
do this, all employees must know and
understand how and where they fit in to
and affect this process.”
ACSA’s brief to Blue Moon was to
demystify seemingly complex material
so as to make it accessible to a diverse
audience of 2 116 staff at 10 airports and
in the corporate office.
“Monhla’s policy is that all communi-
cation goes to all staff, and the company
already has a culture of openness,” Cal-
deira says. The project’s communication
approach was based on the letters in the
word AVIATE: (To be) Accessible, Vis-
ible, Inclusive, Accountable, Transparent
and Empowering – a pledge to which all
ACSA managers have publicly aligned
themselves.
Blue Moon’s first task was to simplify
heavily academic and scientific content so
that it would be understood by, for example,
a trolley pusher. This involved absorbing
dense material, stripping it down, building
it up again, testing it, fine-tuning it and
then packaging it before handing it over
to managers for implementation.
“We needed to start at the core of ex-
ecutives and work our way outwards.We
were fortunate in that ACSA’s top 100
people meet every quarter and we were able
to use one such meeting to test our mate-
rial with them for veracity and clarity. We
also ran pilot groups with staff to test their
understanding of the material. We asked
questions and more questions. No question
was too dumb,” says Caldeira. “ACSA’s
willingness to be interrogated in this way
was key to our success. The time invested
by senior people was remarkable.”
“Then Monhla’s challenge went out
to the management: ‘You are the leaders,
I want to see you out and about among
your people,’ she said. She also told all the
staff that their managers would activate
the project.”
In the initial phase, managers were
required to have face-to-face sessions with
staff within a certain period.
The managers’ kit includes a large
end-to-end process map, showing a cross-
section of an airport and how people move
through it. “This map is the visual tool
that enables the conversation between
managers and staff. Through its simplic-
ity, it creates a line of sight for staff to see
how they fit in to the company strategy
and operations,” says Caldeira.
The kit also consists of an A-frame
facilitation file in a mini-flipchart arrange-
ment, which guides the manager through
the session on one side of a sheet while
providing a simple, diagramatic explanation
to staff members on the other, as well as
building blocks that physically depict how
the balanced scorecard is composed.
“The end-to-end process map has
become a kind of language in the busi-
ness and elements of it are used in other
communication media, such as the annual
report to staff, and the launch of the Air-
port Management Centre at O.R. Tambo
International Airport,” says Caldeira. As
a matter of course, the material is also
used for induction of new staff, career
development discussions, and strategy
implementation.
“This kind of strategy visualisation is
used all over the world to tell simplified
stories. The secret is to make it relevant.
It is work that needs to be constantly re-
fined and clarified. It can, and is being,
extrapolated across further aspects of
ACSA’s business,” Caldeira says. “The
next phase will look at ACSA’s relation-
ships with all its stakeholders – and there
are many, if you think of how many other
organisations operate within any airport!
ACSA really is an organisation with many
challenges. An airport is an emotionally
charged place, where there can also be
confusion, leading to flared tempers and
staff being put on edge. It is not an easy
environment in which to operate.”
“The bulk of our work is done, but
the greatest measure of our success will
only be 2010. It will be seen in the staff’s
adeptness at embracing the multiple new
technologies that are available and making
best use of the vast infrastructure develop-
ments and customer service facilities the
airports. It is about staff being able to be
resilient and cope with change,” Caldeira
concludes.
 CASE STUDIES

A process map showing a cross-section of an

airport and how people move through it.

The ANNUAL 2008 — 59

CASE STUDIES
Case study #5
AGENCY: OGILVY
Client: COCA-COLA
Advertising format: TELEVISION
The iconic “Brrr” pay-off line that was developed by Ogilvy Johannesburg for Coca-Cola Africa is now synonymous with the world
drink giant. It’s also a catchphrase that has travelled far, riding on a campaign that has caused a frenzy of interest online and in many
countries across the world.
“ I t ’s h a d a m a z i n g s u c c e s s ,”
say s Og i lv y busi ness d i rec tor
Caree Ferrari, who points out that
t he agenc y won t he project i n a
pitch.
“ T he br ief was to develop a
campaig n about ref resh ment for
f lighting in A f r ica t hat could be
transpor ted globally. It was quite
unique in that it was a project for
Og ilv y Joha n nesbu rg to develop
a n ad for f lig ht i ng i n A f r ica, as
opposed to adapting / localising a
global Coke ad.
“ W hat was also ama zi ng was
that Coke took the idea up straight
away from the pitch. Ver y often an
agenc y w ill w i n a pitch on a hy-
pothetical brief and then be given
t he ‘real’ br ief to beg i n work i ng
on. In this case the end result was
not sig n i f ica nt ly d i f ferent f rom
our initial presentation, which was
fantastic.”
T he ad has been used ex ten-
sively in A f r ica, cer tain West In-
dian countries and Japan, and the
idea has been adapted for use in
Turkey and Pakistan. In all t hese
env i ron ments, it did a g reat job
of selli ng a n ice - cold ref resh i ng
Coke in hot environments. “Even
the US is looking at using the radio
campaign,” says Fer rari.
“It really blew us away. I don’t
think anybody envisaged how well
Brrr would be adopted and used as
a catch phrase. Our nation took up
the phrase and ran with it. A nd all
it took was a simple, yet powerful
idea.”
Julian R ibeiro, M D of Og ilv y
Johannesburg, says the group’s phi-
losophy of brand liberation is clearly
evidenced by the Big Idea and Roger
Garlick awards. “The public reac-
tion and lik ing of Coke Br r r has
been exceptional and it’s become a
hugely successful campaign, beyond
60 — The ANNUAL 2008
anyone’s w ildest dreams. Not h-
ing points to universal liking more
than when a catchphrase becomes
pa r t of t he com mon ver nacu la r,
ev idenced by how Coke Br r r has
ver y much entrenched itself as part
of ever yday speech.”
Ogilvy creative director Jonath-
a n Begg s says: “It was phenom-
enal to see vendors on beaches last
summer spontaneously tak ing up
the call to sell drinks – it just ex-
ploded. T here were 8 Facebook
g roups, one wit h 8 509 members
and YouTube clips of people doing
their interpretations of Brrrr. A nd
at the Nedbank Million Dollar Golf
challenge the ‘Brrr’ broke out like
a Mexican wave in t he stands on
the 18th hole. School sports teams
have even adopted it for use in their
wa r c r ies. Most of t he at tempts
marketers make to leverage t heir
campaigns are orchestrated through
activations and online seeding –
it was a ma zi ng to have ou r idea
a mpli f ied sponta neously by t he
general public.”
T he ad has won t he 2008 Ad
Review Big Idea Award and Coca-
Cola’s Global Ma rket i ng Excel-
lence Award. It is also t he Coke
chairman’s favourite ad of 2007/8.
T he radio campaign was voted by
teens as t he best of 20 07 i n t he
K huza Awards and in the Sunday
Ti mes G enerat ion Nex t Awa rds
2008, Coke was voted SA’s coolest
brand.
Internationally the campaign has
been compared in terms of creative
excellence to t he br illiant “Hap -
piness Factor y” commercial shot
in A msterdam by agency Wieden
& Kennedy.
“I t h i nk we’ve sta r ted some -
t h i ng. T h is may not be t he last
time you’ll be hearing Br r r,” says Frame grabs from the Coke ‘Brrr’ TVC
Fer rari.
 CASE STUDIES

The ANNUAL 2008 — 61

CASE STUDIES
Case study #6
AGENCY: TRIGGER
Client: NIKE
Advertising format: INTERACTIVE
A South African full-service digital direct marketing agency has piloted a new retailing concept of “pop-up stores” for the global sports
goods giants, Nike, to market a range of street wear. The agency, Trigger, was awarded a Gold and a Grand Prix at the 2008 Loerie
Awards for its project based in a rescued art gallery in Melville, Johannesburg.
T he campaig n integ rates retail store
desig n w it h d ig it a l ma rket i ng a nd
one -to - one consu mer engagement.
Tr igger, which has had Nike SA as a
client for some six years, was br iefed
by t he Sout h A f r ican div ision of t he
company w it hin t he EM EA div ision
of Nike, to identif y, engage and t hen
capture “cool kids” aged 18 to 24 for
its range of st reet wear. Tr igger did
t his by tur ning an empt y ar t galler y
i n Melv ille i nto a u nique retail a nd
a galler y display space. Its pilot i ng
of t his project precedes t he star t of
Ni ke’s g loba l rol l- out by about si x
mont hs.
A s t he Beiji ng Oly mpics k icked
of f, Ni ke beg a n i mplement i ng t he
conce pt of pop -up store s – wh ic h
combi ne reta i l a nd a r t ist ic or per -
for ma nce ex h ibit ion space - - i n si x
cities t hat have hosted t he Oly mpic
Games. A long wit h t he new clot hing
goes a new pay- of f line of “Be tr ue”,
as opposed to the iconic Nike sporting
goods’ “Just do it”.
“The kids in the target group were
not by def inition sporty – though they
mig ht be skateboarder s or BM Xer s
– a nd t hey cer t a i n ly da nce a lot,”
says Trigger creative head Roelof van
Wyk. “Nike wanted to reach t hem in
a physical way. Nike has always con-
centrated on spor t. We were to take
t hei r reputat ion for excellence – i n
t he use of tech nolog y, i n desig n i n
clothing, and precision watch making
- - as t he basis for tak i ng t he bra nd
into t he street wear env ironment – a
place where it has always been well
presented because of its good qualit y
and w ide appeal.
“We chose Melv ille because it is
a meet i ng place for all colou r s a nd
creeds of youth in the city. It is a melt-
ing pot and already was a gat her ing
place for you ng people, w it h lots of
music and ar t galler ies and pubs and
restaurants. We found the abandoned
62 — The ANNUAL 2008
galler y in Fourth Avenue and decided
to use it as a pop -up space, wh ich
would resonate with the youth because
they are used to seeing unused spaces
taken over for unexpected purposes. In
t his case it was an unexpected space
being put to an unexpected use in an
unexpected place.”
T he a g enc y c r e ate d a phy sic a l
ma n i fe st at ion of t he br a nd i n t he
pop -up shop/galler y. A schedu le of
social events was conceptualised and
planned to involve people with inf lu-
ence, such as ar tists and musicians,
a nd a net work of soc ia l med ia was
engaged to credibly broadcast infor-
mat ion on t he bra nd. T he buildi ng
was transfor med into retail space on
t he g round f loor and ex hibition and
event space upstai r s a nd i n t he old
f ra m i ng fac tor y i n t he back. I n its
initial execution, spor t was a strong
t heme, w it h change room lockers, a
basketball court, white tiles to simulate
a swimming pool env ironment and a
space made to look like a g ymnasium,
complete w it h exercise equipment.
T he agency indentif ied 30 “edg y”
young artists – illustrators, photogra-
phers, musicians and graphic, fashion
a nd objec t desig ner s – to “ex press
t hemselves i n t heir ar tistic f ield on
what it mea ns to be t r ue i n Sout h
A f r ica today”.
“ T he yout h a re able to qu ick ly
see t h roug h ma rket i ng t hat is not
aut hentic to t hem and t hey reject it.
So we broug ht t hem in to link Nike
with the youth in a 3-D environment,”
says Van Wyk. Work produced for the
f irst exhibition included photographic
essays. One of t hese had as a subject
Osca r P istor ius, t he at h lete whose
lower legs were amputated and who
runs with the help of prostheses. “We
took him out of the spor ting environ-
ment and photographed him wit h his
ar tif icial legs that help him fulf ill his
prom ise, a nd w it hout t hem, where
you see just t he 21-year- old look ing
almost lost. It is ver y emotional. We
photographed Nomsebenzi Tsotsobe,
t he black female r ugby team captain
who is strong and at hletic, but looks
like a fash ion model. T h is was de -
liver i ng on t he ‘Be Tr ue’ spir it a nd
ex hor tation.”
The pop-up store, called simply Gal-
lery on 4th, serves not only as a unique
retail space for the brand, but also a
physical hub where the brand engages
with a network of creative individuals
and consumers alike. The outside of
the building was given a “skin” that
allows displays to easily be changed
– essential since the schedule is for
a new campaign every three months.
“We treated the building as kids would
their clothes – they are keen to look
fashionable and want to keep up with
change. The galler y is a place where
they can find new art or music and new
clothing. K ids will have a curiosity
about what is to be found there next
by way of exhibitions or clothes, so it
is a place that has a natural attraction
for them,” says Van Wyk.
A third phase of the project is its
amplification to and through the web
and electronic media through blogs,
YouTube, Facebook and the like. “To
connect with traditional media, in this
case television, Nike has produced in
collaboration with the music channel,
MTV, three amazing documentaries on
some of the creatives who have taken
part in creating work for the Galler y
on 4th - - a DJ, an illustrator and a
fashion designer. The documentaries
show another side of the South African
yout h. It is about individual young
South Africans who deliver on the ‘Be
True’ spirit. One is a young fashion
designer who is a community anti-hero
in Soweto. He is incredibly creative.
The films show their subjects in a very
realistic light too,” says Van Wyk.
“I think the project delivers on many
levels,” says Van Wyk. “As a venue,
Melville has proved to be ideal. It is
a haven for the kind of youth who are
the target market. They come from all
parts of the city to meet likeminded
people. They are coming to the gal-
lery. The brand has effectively become
the people.
“In the region, South Africa is a
strongly growing arena for Nike – it
has delivered consistently good sales.
This project has been a success from
many approaches, not least the retail
aspect. So much so t hat we will be
looking at other possible executions
of brand activation, possibly involving
mobile stores. Because of its success,
the client is satisf ied that this edg y
kind of approach is good for business
and is amenable to looking at other new
approaches,” Van Wyk says.
The success has also been good for
the agency’s people. “Trigger is a direct
marketing agency mainly in the online
space. If you keep doing that, eventually
all your work feels virtual. That’s why
we always link our work to the physical,
real world, including traditional media
like print, press and in this case televi-
sion. This project was a prime example
of that,” says Van Wyk.
“We obviously enjoy the success of
delivering on the overall objectives of
the project, including and most impor-
tantly, the business case deliverables.
We were 100% surprised that the Loerie
judges had the time to go through the
lengthy and sizable presentation and
greatly appreciate the honour they have
bestowed.”
Of the 3 337 Loerie entries, only
23 Gold awards were awarded and only
four were Grand Prix. Remarkably,
Trigger entered only one piece of work
and won both a Gold Loerie and Grand
Prix for its integrated campaign for
Nike SA in the categor y communica-
tion design in t hree dimensional and
env ironmental desig n.
 CASE STUDIES

The ANNUAL 2008 — 63

CASE STUDIES
Case study #7
AGENCY: STARCOM
Client: NASHUA MOBILE
Advertising format: INTERACTIVE
Starcom media agency used the new Japanese-sourced quick response (QR) code technology for a campaign that achieved spectacular
results for Nashua Mobile. QR is a two-dimensional but code that, when read by the scan function on a 3-5 cellphone, takes the user to
any URL you care to choose, or present on the user’s phone any image and audio you wish to have available.
QR was developed in Japan, primarily
to complement the highly popular cult
of youth comic books. All over Japanese
cities are posters made up of QRs that are
so small the posters or other wall covering
look to the initiated as if they are very
roughly pixillated. Passers-by are able
to read any QR with a suitably equipped
cellphone to obtain a complete edition of
a comic book on their phones. The cost is
charged as air time. The phone compa-
nies are happy, and the comic producers
save on production costs but still get an
income for their creative works.
Starcom managing director Gordon
Patterson saw the technology when he
was a judge at the Cannes Media Lion
awards last year. He brought the idea
back and threw it at his team. Jason van
der Berg picked it up and immediately
the potential opened up.
The primary objective was to engage
with cellular phone users and potential
customers on the Nashua website. “Be-
cause cellphone ownership is so wide, the
challenge was to segment and identify the
target market. The sort of person Nashua
Mobile wants to make contact with is curi-
ous and has an above average knowledge
of technology,” says Patterson.
The approach was to position Nashua
Mobile as being particularly for those
who appreciate and are curious about
new technology. All attempts to access
the technology should benefit the caller
and offer engagement opportunity to
Nashua. “They worked hard to find out
how it would play out in a South Afri-
can situation. We wanted to make a big
bang for the South African launch,” says
Patterson.
Van der Berg suggested they find a
media partner and identified the then rela-
tively new daily newspaper, The Times, as
a candidate, seeing that it was launched
as an interactive platform. The newspa-
per’s parents – The Sunday Times and
Avusa – embraced the concept and gave
it their full backing.
64 — The ANNUAL 2008
The campaign launch consisted of
Sunday Times news posters carrying the
strange QR matrix coupled to a compre-
hensive education campaign presented
on the front page as news. Subscribers
who would not obviously see the street
posters received bagged and branded
delivery of their copy, with, of course,
extensive invitations to cellphone users
to read the messages in the QRs.
Following the launch was a well cho-
reographed presence of educational arti-
cles and advertisements spanning several
platforms: online sites and solus positions
in several sections of the Sunday Times
and The Times.
A maintenance campaign followed
with weekly communication for four
weeks.
Starcom capitalised on the rugby
world cup hype by offering prizes of a
cellphone a day, a free ring-tone and
video download of the “Zulu Haka” and a
chance to win a signed copy of then Bok
coach Jake White’s autobiography.
“The response was phenomenal,” says
Van der Berg. “Downloads were seven
times higher than the average online
response expected from Sunday Times
promotions with incentives worth up R100
000. The results were more than three-
and-half times larger than the previous
most successful competition run by the
Sunday Times irrespective of prize money.
And if you look at the prizes that were
offered, their cost to Nashua Mobile was
really negligible.”
Nashua Mobile’s customer data base
grew by achieving more than 10 000
WAP interactions and by recording 1
523 unsolicited website mentions and
blogs. Only 44 downloads failed. “In
these cases, even rejection was valuable
in that it provided Nashua Mobile with a
database of people to whom it could offer
cellphone upgrades,” says Patterson.
“In effect the prizes weren’t the incen-
tive,” says Patterson. “Rather it was for
participants to realise they knew some-
thing other people didn’t, and that they
were smart enough to be part of an elite,
informed group. People in this situation
then tell as many people as they can, so
that they can also share the experience and
you have a whole lot of people who become
ambassadors for the project, stimulating
curiosity among their peers.”
Says Van der Berg: “QR builds on our
relatively newfound ability to consume
media when you want to, by for instance,
PVR pay-television. It is huge in Japan.
Comic book sales are in decline, but their
consumption on cellphones has taken
over on a pay-as-you-go basis. This is
great for the comic companies in that
their costs of production are reduced
to producing a single version.”
Patterson says QR has vast potential.
“We have been taught a lot about the
capability of the medium. We obtained
data on people Nashua Mobile might
wish to contact to ask if they wish to
upgrade their phones. On the other
hand, their next campaign might be
designed to reach only those who have
the functionality to access the QR code.
The codes do not have to be the weird
looking stamps that were featured in
our campaign. They can be embedded
in, say, a photograph so that you would
not notice them, but they would still be
recognised by the cellphone’s reader.
“If you had a small QR in the form
of a newspaper front page ear, that could
take you to a site where you could play
a 30-second commercial, or a two-hour
documentary. In this way, QR could
open up a whole new spectrum on the
sharing of advertising income. It has
many applications. You could use it
as a business card, which would be a
virtually timeless connection to your
personal website, or you could have
video images and audio, or just your
cellphone details. You can put up as
much information as you wish. This
could be the ultimate in direct connec-
tion,” says Patterson.
PRIME TIME.
ALL THE TIME.
CHANNEL 403 ONLY ON DStv PREMIUM AND DStv COMPACT
 THE ROCKSTARS

The Media
MEDIA

the media

The year at a glance

Until about June, all was rosy for the Primedia Outdoor
economy and the industry. All the
trends were up though it would have
been preferable to have had infla-
tion and interest rates going the oth-
er way. Nielsen figures 2008 showed
above-the-line adspend was up more
than 16% last year to some R23.4 bil-
lion. TV overtook total print last year,
to a record spend of R9.379bn, or
40.1% of the cake, compared to print’s
R9.112bn. In 2006 print had 39.9%
compared to TV’s 38.3%.

Other notable moves on adspend were

that cinema lost a massive 25%, for a
1.5% share of total spend; community
newspapers’ share reduced from 7% to
6.6%, radio from 13.2% to 12.7% while
that of the internet was up from 0.9%
to 1.2%.
But on media opportunities, as
sourced from Media Manager, the big-
gest growth was in the number of com-
munity newspapers and magazines, from
375 in 2006 to 475 last year. Other significant moves were an increase of TV sta-
tions from 74 to 85, radio stations from 115 to 135, consumer magazines and news-
papers from 610 to 690, and internet web pages from 9.7bn to more than 12bn.
The South African Research Foundation’s latest All Media and Products
(AMPS) report says there was significant growth in media consumption in the year
to March. It coincided with findings of gains in the development of South African
society, with improvements being seen in the SAARF wealth measure, as well as in
education and access to services and amenities.
More homes have TV sets – from 77.4% to 80.1% currently – with gains espe-
cially in the Eastern Cape, KwaZulu-Natal, Mpumalanga, Limpopo and Gauteng.
SAARF says print has grown its share of the media pie to 58.0%, significantly
up from the 55.5% seen in its previous report. Growth came through from Gauteng,
where 79.2% of people consume print (up from 74.8%). Mpumalanga has also
delivered more readers, with 55.8% of the adults reading papers or magazines (up
from 47.9%).
But an Audit Bureau of Circulations report for quarter two showed a marked
slowdown in the number of new titles: magazine growth in the six months was only
17, to 486, while that for newspapers was four, to 280. Consumer magazines con-
tinued to lead the way, with 22 new titles, but 10 withdrawn, for a total of 191. It
showed daily newspaper circulation had declined 0.31%, while that of weeklies was
down 8.6% and declining further and community newspapers had shown virtually
no growth, though free newspapers showed real growth of 1.5%.
The traditionally most conservative ABC started lifting its skirts a little: its Au-
gust 2008 circulation report presentation for the first time referred to actual product
titles, though always politely. It also improved access to its data for members.
Major issues for the media include reported plans by the government to outlaw
leaks of information, major differences between most privately owned media and
the SABC over reporting of government affairs and claims that media reporting has
aggravated deadly outbreaks of xenophobia. Media freedom issues were debated
as the Forum of Black Journalists barred white colleagues from a briefing by ANC
president Jacob Zuma. The Sunday Times fired raconteur and feisty columnist of
14 years’ standing, David Bullard, when the editor, Mondli Makanya, received a
flood of complaints that a particular column – which he said he had not seen prior
to publication - was overly racist. Llewellyn Kriel, a sub-editor on the Sowetan, was
fired for criticising the newspaper in a blog. Deon Maas, a Rapport columinst, was
fired after alluding to Satanism. The Sunday Sun was compelled to apologise when
one of its columnists, Jon Qwelane, likened marriages between people of the same
sex to bestiality.

68 — The ANNUAL 2008


The tragic but continuing comedy that the SABC board and top executive man-
agement have become, continues. It started accelerating by the corporation’s loss to
MultiChoice of the rights to film processional soccer. Soon afterwards former Presi-
dent Thabo Mbeki cynically overrode the national assembly’s recommendations
on nominations for the SABC board by appointing people seen as favouring him.
When the leadership of the ANC changed at its Polokwane conference late last year,
a further dimension was added to the struggle for control of the SABC. The public
has witnessed a string of suspensions and re-instatements of the CEO, Dali Mpofu,
and the man he has tried to bring under control, news head Snuki Zikalala, through
continuing court cases and referrals to the Council for Conciliation, Mediation and
Arbitration. At time of writing the government was seeking to enact legislation to
fire the SABC board. Hardly a happy situation for a national broadcaster that con-
trols the means to reach more of the country’s population that any other organisa-
tion. And with the SABC’s finances being far from rosy.
From a public interest perspective, one of the most serious episodes in the saga
was the SABC’s withdrawal from the most senior editorial representative body,
the South African National Editors’ Forum (Sanef), over the forum’s support for
the publication in the Sunday Times of former Health Minister Manto Tshabalala-
Msimang’s medical records.
At a business level, the SABC says the reach and size of its TV and radio plat-
forms, and advanced broadcast technology, such as regional advertising splits across
television (SABC1 and SABC2) and national radio stations, as well as its newly
developed audience segmentation model, gives it the edge over its competitors. The
broadcaster says it has pioneered a concept - which it believes to be a first in broad-
casting - that will see an integrated sales force giving “one-stop” access to all SABC
offerings by March 2009. “The ultimate benefit for advertisers will be in dealing
with people who have an extensive knowledge of all the SABC’s products and the
ability to offer our customers an integrated service,” says SABC acting group chief
executive officer Gab Mampone.
On media ownership issues, in November the competition tribunal approved
the sale of 38% of Johncom’s M-Net/SuperSport stake to Naspers for R4 billion.
Caxton had been opposing the merger.
Various reports during the year suggested the ANC was trying to acquire a me-
dia outlet, company or friendly voice. In November, Koni, a black group made up
of prominent politicians allied to the ANC, said it had bid R7-billion for Johnnic
Communication (Johncom). The next day Johncom closed 1.21 percent higher at
R108.30, valuing the firm at R11.2-billion. Political adviser to the presidency Ti-
tus Mafolo, foreign ministry spokesperson Ronnie Mamoepa and former chief of
state protocol Billy Modise have shares in Koni Media Holdings, with Koni CEO
Groovin Nchabeleng as the majority owner.
News of the bid drew more criticism of former President Thabo Mbeki, whose
opponents say that placing the newspapers under the control of his allies would
damage their editorial independence.
The new Cap
Lucas Radebe is the new captain of the
Penquin Team. He is already a global brand,
let his team help you build yours
MARKETING
t
ADVERTISING
t
EXHIBITIONS
t
STRATEGY
MEDIA
Other reports said the ANC was targeting the Sowetan.
Later ANC heavyweight and Zuma supporter Tokyo Sexwale’s Mvela bought a
quarter of Avusa, alongside interests in a number of media including Moneyweb,
ITWeb, and Business Century, owner of the outspoken magazines Maverick and
Empire. In April, Avusa appointed to its board Yolanda Cuba, CE of Mvela Group;
Mikki Xayiya, executive deputy chair of Mvela Holdings; and Mark Willcox CE of
Mvela Holdings. Avusa – formerly Johncom – continued to divest itself of unwant-
ed or conflicting interests, in the latest cases its M-Net holding and then its huge
share in rival Caxton. The Mvela holding could present an interesting balancing act
should Sunday Times editor continue his mud raking inquiries into the past deeds
of Mbeki on arms acquisitions, and of former Health Minister Manto Tshabalal-
Msimang’s odd proclivities.
Former Rand Daily Mail editor Raymond Louw, new deputy chairman of the
SA Chapter of the Media Institute of Southern Africa told Moneyweb research by
Sanef shows shifting government attitudes towards the media. “In 1994 government
public relations officers and spokespersons fell over themselves to speak to the me-
dia. They answered phones cheerfully and willingly answered questions. This is not
the case now. There has been a complete withdrawal of government information, a
refusal to give information and obstruction in giving out information.”
Media giant Naspers, meanwhile, sailed merrily along with the return from
a year’s sabbatical of its CEO, Koos Bekker, the man who takes no salary but
all his earnings in share options. There was a bump or two, like closure of some
magazines and a circulation figure manipulation scandal, but nothing to seri-
ously derail the giant. It is looking to sell off its internet service provider business
MWEB because it is a said to be a misfit in the media company. As the biggest
media company, Naspers generally weighs its words carefully in addressing pub-
lic issues, which is why this quote from the annual report is a chiller for those
who think the government has already comprehensively displayed a failure to
understand the need to regulate timeously and with a light touch: “Financial
performance in the period ahead will be influenced by the timing of regulatory
approvals for ventures such as mobile television and the development of internet
opportunities.”
Primedia, listed on the JSE Securities Exchange in April 1995, a year after
its founding, terminated its listing on 1 October 2007 following a private equity
transaction. The company is now privately owned by a group of investors com-
prising the Mineworkers Investment Company (a black economic empowerment
company), The Kirsh Consortium (existing founders of the company), manage-
ment and Brait SA. The group’s businesses are mainly in the advertising and
content sectors of the media industry.
In December the Press Council unveiled its new identity that consists of a
new logo, a newly-designed website and a booklet containing an amended press
code to be used by all South African journalists.
it’s all about ideas
The ANNUAL 2008 — 5
www.penquin.co.za
MEDIA
Television
Pay TV is top of the pile as a topic of interest for high-income viewers and marketers
anxious to reach them.
For the population as a whole, though, the SABC remains the broad-
casting behemoth.
The corporation says SABC TV reaches 66,3% of the total adult population
daily and 90% of the TV viewing population.
In August new pay-TV licences were issued - as opposed to approved in princi-
ple - to On Digital Media (ODM) and to Telkom Media. Both have said they plan
to launch bouquet services, but at least one industry pundit says the jury is still out
on whether either has the wherewithal to take on MultiChoice.
Mandla Ngcobo, CEO of Telkom Media, says: “Our business plan consists of
a dual platform, multi-technology service that exploits the full range of convergent
technologies, including IP, and will offer consumers a competitively priced spectrum
of entertainment and interactive services through a single service provider. We look
forward to providing inspiring, dynamic and refreshingly different programming for
our subscribers.” He declined to comment on Telkom’s announced intention to sell
part of its shareholding in Telkom Media.
On Digital Media director Vino Govender says it plans to launch in the second
half of 2009. In what is billed as a first for South Africa, ODM subscribers will be able
to create their own bouquets based on their personal viewing preferences and will pay
only for what they want to watch. Prices will range from R149 to R349 a month for
the mix of channels under the broad category headings of news and knowledge, mov-
ies, family and sport, kids, music and cultural programming.
Subscribers need will a set-top box costing about R400. ODM’s decoders will be
high definition (HD) compliant from the outset, but it will initially broadcast in SD.
A BEE consortium consisting of Lereko Investment Holdings (Pty) Ltd and
a broad-based Women’s Group will own the largest stake in ODM, which has
an international partner in the form of SES, the leading direct-to-home satellite
system in Europe.
An e.tv associate was also granted a licence – but decided to join the Mul-
tiChoice bouquet as the 24-hour e.tv news service rather than compete directly
as a platform.
“They did the right thing, joining a box that is already in a million South Af-
rica households,” says Harry Herber, group managing director of the MediaShop.
“Most people in South Africa don’t have pay television and are happy with their
diet from SABC stations and e.tv. Most are not prepared to pay for more or can’t
afford it.”
If the MultiChoice monopoly is twitchy about the imminent arrival of its first
real competition, it certainly isn’t showing any signs of nervousness. It continues
to launch new services based on technological advances - including high-definition
TV and the launch of the personal video recorder (PVR) and dual- and triple-view
facilities – and new video and sound channels as if these are all in the natural order
of things.
Naspers, owner of DStv, says in its annual report for the year to March 2008
that competition in both South Africa and sub-Saharan Africa is set to intensify in
the year ahead, which will continue to exert pressure on content costs. The entry
of the new competitors has produced an upward spiral in the price of content
rights, squeezing operator margins. The costs for renewing sports rights for vari-
ous sports are high. Naspers is the biggest funder of sport leagues in Africa.
Despite slowing consumer spending, the pay-television business in South Africa
70 — The ANNUAL 2008
experienced subscriber growth. The equated base expanded by 178 000 to 1,57 mil-
lion households, whilst the personal video recorder (PVR) take-up increased from
133 000 to 242 000 homes. The lower-priced DStv Compact bouquet continued
to perform well. Two tiers, DStv Select and EasyView, were, respectively, launched
and relaunched to broaden the base.
The government announced its plans to introduce universal digital signal by way
of set-top decoders to cost about R700 if users wish to be able to communicate with
government departments and R400 without that facility.
In February 2007, the cabinet decided that the digital signal be switched-on on
1 November 2008, and the analogue signal be switched-off on 1 November 2011.
Other snippets:
In August, SABC Africa was dropped from the DStv bouquet.
Bizcommunity reported that after two short runs of a month each in
2005 and 2006, Soweto Community TV went on air for a year in July
2007. The station’s broadcasting licence expired on 30 June 2008 but it
continued broadcasting.
The internet news service also reported that the SABC, the SA Screen Feder-
ation and the Independent Producers Organisation had agreed to jointly research
international best practices on procurement of local TV by public broadcasters
and the issue of intellectual property rights.
For the 17th consecutive year, M-Net and Franz Marx Films, have renewed
their production agreement for the evergreen soap, Egoli.
Early in the year, UK-based broadcaster Free2view said it would beam a
satellite bouquet to much of Africa, including South Africa, at no cost apart
from the R1 400 cost of a decoder. It does not need a licence in South Africa,
it says, but Icasa says it does. Parent MSNBC Africa is a joint-venture between
London-based Great Media Limited and MSNBC and is built on the world-
wide resources of NBC News. The latter is owned by US giant General Electric.
Free2view failed to respond to inquiries about progess in South Africa. One of
the decoder installers listed on their website said he had not installed any yet. “I
don’t think they’ve got going yet,” he said.
The South African Advertising Research Foundation reported that any TV
(Yesterday) viewership has climbed from 70.5% to 73.7%, with growth in Kwa-
Zulu-Natal, Mpumalanga and Gauteng. Across any given week, television view-
ing is also up significantly, from 81.4% to 83.4%, especially in Mpumalanga,
Limpopo and Gauteng.
Most TV channels have fared better across the week compared to the previ-
ous AMPS release.
• Viewership of e.tv went from 58.4% to 59.7%. Growth was mostly in the
Western Cape.
• All three SABC stations have increased their viewership. SABC 1 grew its
audience from 70.2% to 71.6%. SABC 2 increased to 60.7%, from 58.3%,
and SABC 3 grew from 44.9% to 47.8%, with growth in the Northern Cape
and Limpopo.
• DStv is being measured on a number of new channels now, including
Animal Planet, Channel O, Crime and Investigation Network, TCM and
VH1. It grew its audience from 8.3% of adults to 9.7%, with significant
growth in Gauteng.
• M-Net’s reach has declined, from 9.4% to 7.3%, with declines in the West-
ern Cape (from 32.8% to 21.1%) and in KwaZulu-Natal (from 8.9% to
6.1%), most likely due to the exclusion of open time from AMPS 2007B.
 MEDIA

The government will subsidise 70% of the cost of the decoders for the poor. The
first STBs will be available in mid-2009.
The SABC says it will bring the benefits of the new digital technologies to audi-
ences, strengthening and deepening its public service offering as it introduces 10
new channels.
The Independent Communications Authority of South Africa (ICASA) has yet
to decide the extent to which subscription broadcast services must carry the televi-
sion programmes provided by a public broadcasting service licensee.
The Daily Sun continues to do all the right things. Crossing the 4 million reader
mark in the previous AMPS release, the Daily Sun’s reach was up from 13.9% to 15.3%,
with 4,755 million readers in the bag. This growth has come through primarily from
Gauteng.
The second daily to show statistically significant growth was the Sowetan, which grew
its readership from 5.5% to 6.6%, with 2,040 million readers. The paper has grown its
base in Greater Johannesburg and Soweto, on the Reef and in Pretoria.

NAB
Newspapers
Daily and weekly newspapers continue to dominate as the big-issue forums of de-
bate in top levels of society, while there continues to be strong growth in sales of
titles aimed at blue-collar workers.
Despite the depressed economy, rising transportation costs by almost 40%, in-
creasing paper prices and labour costs, some newspapers showed remarkable signs
of recovery and were holding their own, second-quarter results released in August
by the Audit Bureau of Circulations of SA (ABC) showed.
“These results have shown some fantastic developments. Daily newspapers are
stable and have reduced emphasis on PMIE (print media in education) and third-
party bulks, with healthy growth seen in typical blue collar titles,” ABC’s Gordon
Patterson told the audience.
Earlier SAARF data show newspapers have significantly increased readership
across all categories. The latest AMPS release shows that 46.8% of all South Afri-
cans over 16 read a newspaper, up from 44.4% six months previously. There are
now 14,572 million newspaper readers, a gain of 747 000 readers.
Newspaper circulations world-wide rose 2.57% in 2007 while rapid growth of
both free titles and online platforms was expanding the reach of newspapers every-
where, the World Association of Newspapers said at its annual conference in June.
In South Africa, newspapers made good headway into three provinces – Gau- Snippets:
teng, where penetration rose from 63.2% to 67.7%, Limpopo (36.2% to 41.7%) Zingisa Mkhuma was appointed editor of the Pretoria News - the first black
and Mpumalanga (38.6% to 45.0%). woman editor in the newspaper’s 109-year history, in October 2007.
• UP – Any Daily Newspaper: 29.2%, a statistically significant increase from Business Report, Independent Newspapers’ financial daily, launched a rede-
26.7%, with 9,092 million readers, compared with 8,321 million in the previ- sign on 16 October 2007. The Eastern Province Herald did similar two weeks
ous survey. Strong growth was seen in Gauteng where newspaper consumption later. Homeless Talk also re-launched itself in the same month.
rose from 44.9% to 50.8%. Other areas showing strong uptake of newspapers In March 2008, Lucille van Niekerk, GM of Beeld, was made CEO of RCP
included Cape Town (36.7% to 41.9%), Greater Johannesburg and Soweto Media - head of Rapport, Sondag and City Press papers.
(51,7% to 57.1%), on the Reef (41.2% to 47.4%), and in Pretoria (44.1% to Restaurant critic, artist, columnist and racey cookbook author Braam “Kitch-
50.2%). Average number of publications per reader was 1.45 enboy” Kruger died in June 2008.
• UP – Any Weekly Newspaper: This category reaches 34.9% of adults, up from In July 2008, Alan Dunn, editor of the Sunday Tribune, became editor of the
33.2%, with 10,847 million readers – a statistically significant increase. Regional Daily News and the senior editor at Independent KwaZulu-Natal, which has 16
growth was seen in Gauteng. Average number of publications per reader: 2.02 daily and weekly titles. Philani Mgwaba, deputy editor of the Sunday Tribune,
Several titles made significant readership advances over the last AMPS release. became editor.

Marketing
Complete marketing solutions from
it’s all about ideas
concept to final execution – Penquin delivers.

The ANNUAL 2008 — 7

STRATEGY EVENTS
t
ROADSHOWS
t
PRODUCTION
STRATEGY
t
www.penquin.co.za
MEDIA

The Mail & Guardian was up from 1.2% to 1.5%, with 467 000 readers, a growth
of 100 000 readers. It has enjoyed significant growth in Gauteng. City Press grew from
7.5% to 8.6%, with a readership of 2,667 million currently. The paper increased its
reach in Gauteng.
The Independent on Saturday has declined, from 0.7% to 0.5%, with a total of
163 000 readers.
The Sunday Sun attracted 320 000 more readers, pushing up its readership to 2,846
million, with a reach of 9.1%, up from 8.1%.
The Sunday Times picked up a further 260 000 readers, upping its reach from 11.4%
to 12.3%. Much of the title’s growth came from Gauteng, where it grew its readership
base from 1,271 million readers to 1,454 million (a reach of 22.7%, up from 19.9%).
Sunday Times has 3,820 million readers.
Sunday World’s reach has increased from 4.1% to
robust advertising revenue growth, entrenching its growing position in the Sunday
newspaper market. Operating loss contribution from The Weekender totalled R6 mil-
lion, with circulation reaching a “pleasing” 12 600.
Magazines
People in the industry use war terms: battle to the death, survival mode, casualties.
Magazines have been the first big losers as the media industry is backed up for the
first time in years by economic factors.
The biggest operator of them all, Naspers, says of its media24 magazines: “It
was not a good year for magazines, reflected by the slowdown in advertising sup-
port. Looking ahead, advertising budgets are more
conservative.”

Caxton
4.7%, with 1,459 million readers, just over 190 000 The Audit Bureau of Circulations said in Au-
more readers than in the previous AMPS release. gust that the biggest casualty of its second-quarter
Caxton says in its 2008 interim report that despite results “is undoubtedly the consumer magazines,
the absence of growth, progress has been made in new which have taken a real beating as a result of small-
products and there “are a number of exciting oppor- er print runs as well as economising consumers”.
tunities presently being investigated. The property Compounding media24 magazines’ year mis-
and motoring sections of the newspapers have borne a ery was the scandal that saw circulation numbers
disproportionate brunt of the pull-back in advertising having to be restated after an ABC probe, and re-
as these two areas have been massively and negatively funding of affected advertisers.
influenced by the large rise in interest rates and in- The harder times in the sector were alluded to
flation in general. Further launches have taken place in SAARF figures released early in the year. It re-
with good success in the Protea Urban Newspaper ported that the glossier side of the print medium
division.” had enjoyed growth over the previous survey, with
John Bowles, joint managing director of Cax- magazine readership in general going up. Almost
ton subsidiary the Newspaper Advertising Bureau, 40% of adults consume the medium (39.3%, from
says the company is fortunate that its community 37.5% previously), with more readers coming on
freesheets are supported strongly by food, grocery board from Gauteng. Total magazine readership is
and other non-durable advertising. “The durable 12,239 million.
advertisers are in for tougher times without a doubt Weekly and alternate-monthly magazines were
with consumer spend moving towards the semi- and the main contributors to the sector’s growth, being
non-durable categories. Although it may be appeal- the only two magazine categories to achieve signifi-
ing for them to slow their adspend in these times, it’s cant growth. Significant movements were:
more important to be visible now more than ever for • Up – Any weekly: currently with a reach of
that thinner market that is buying,” says Bowles. The 20.8%, from 19.2%. This category has 6,466 million
company has launched 10 township titles inside three readers.
years, mainly in Gauteng. “They are still being very • Down – Any fortnightly: significantly down from
well supported, but it is going to be interesting to see 9.0% to 7.4%, with declines seen specifically in the
how the emerging market consumers are affected by the downturn, which will be the most Western Cape and KwaZulu-Natal. Western Cape readership went from 15.3% to
severe and first of its kind for many of the new economically empowered black commu- 5.6% (primarily in Cape Town and the Cape fringe), and KwaZulu-Natal’s fell from
nity. It’s hard to say what the result will be. Personally, I don’t think that it is the average 6.9% to 4.7% (predominantly in Durban).
township consumer who is heavily burdened with debts, they just have limited disposable • Stable – Any monthly: at 29.6%, with 9,218 million readers.
income right now.” • Up – Any alternate monthly: this category has grown its reach from 5.9% to 7.7%,
Avusa says that since its launch in June 2007, the new daily product, The Times, at- with 2,401 million readers. Significant gains were made in the Western and Eastern
tracted 38000 new subscribers for the Sunday Times. The Times delivered an operating Cape, KwaZulu-Natal and Gauteng.
loss of R39 million net of advertising revenue. The Sowetan maintained steady circulation • Stable – Any newspaper subscriber magazine: at 20.7%, with 6,430 million readers.
growth but, along with the Eastern Cape dailies, The Herald and Daily Dispatch, lagged • Stable – Any quarterly: at 1.8%, with 556 000 readers.
the record profit levels achieved in the previous financial year. The average number of magazine titles per reader is 4.25.
The Sunday World achieved exceptional circulation growth, passing the 200 000 Several titles grew their readership over the previous AMPS survey. A handful
level for the first time, to end the year at 203 400 copies per week. It also enjoyed of magazine titles showed significant declines this period.

72 — The ANNUAL 2008


Caxton
• Auto Trader is up from 1.5% to 1.8%, with 571 000 readers. Significant growth
came from Gauteng.
• Drive 2.0 readership declined from 0.5% to 0.3%, with drops in KwaZulu-Natal.
• Drum readership climbed from 5.0% or 1,562 million readers, to 5.7% and
1,776 million readers.
• Heat’s readership grew, from 1.3% to 1.6%, giving it a current readership of
491 000.
• Kickoff’s readership was 6.0%, up significantly from 5.4% in the previous sur-
vey. Significant growth was seen in Gauteng and the Free State. Readership is
1,880 million.
• Now with its second set of data, Move has grown its readership from 1.7% to 2.5%.
• People is up from 2.5% to 2.9%, bringing it closer to a million readers at 904 000.
• Three club magazines have increased their reach. First is Foschini Group’s
Club Magazine, whose readership has now overshot the million target, at 1,307
million, up from 953 000 in the previous survey. Its reach has grown from 3.1%
to 4.5%, especially in the Western Cape and Gauteng. Lewis/Best Electric’s
Club Magazine now has a readership of 981 000, with its reach increasing from
2.8% to 3.2%. Jet Club’s readership is now firmly in the three millions, growing
from 3,074 million to 3,330 million, with a reach of 10,6%, up from 9.9%.
Caxton’s half-year report for 2008 says “Get It”, a monthly glossy free commu-
nity magazine, has made good progress and has established itself as a firm favourite
among readers and advertisers. There are now a total of 27 editions with a circula-
tion in excess of 400 000 and “as this product is still in a development phase, further
additions and circulation growth can be anticipated”.
It says the company’s share of the magazine advertising market has been in-
Advertising
Concept to implementation, Penquin delivers
through the line advertising to a diverse range
of clients. It’s all about ideas.
CONCEPT
t
DESIGN
t
DTP
t
MEDIA PALNNING
MEDIA
creased but advertising spend is “anything but buoyant.” All this has impacted neg-
atively on the profits of this (magazine) division where budgeted expectations were
not achieved. “Competition continues to be fierce but given the present position it
is anticipated that the number of new entrants to this arena will reduce and in fact a
number of opposition products have already closed down their operations and more
could follow.
“One of the major problems still facing the industry remains the effectiveness
of the distribution channel. Over the past number of years retail supermarkets have
been the main sellers of magazines and yet they still do not devote enough time and
attention to understanding the importance of the sales of magazines for them. Con-
sequently too little selling space is devoted to magazines within the individual stores
and merchandising is poor. There continue to be far too many titles competing for
an insufficient amount of retail selling space.”
Primedia Publishing CEO Jacques Breytenbach says economic factors and fierce
competition were the outstanding factors in the industry in the past year. “Needless
to say, the combined effect of these factors has negative results on magazine circula-
tion. However, it is in these times that titles reinvent themselves through innovative
content and design in order to not only remains relevant, but to act as a leader in
your sector instead of a follower. Content remains king and readers still acknowl-
edge a good read, even in tough times. The biggest challenge I foresee for the next
18 months is the influence of cover mounts and how to prevent a cover mount black
hole in the future which directly/indirectly affects circulation figures.”
The chairperson of the PICA awards, Silke Friedrich, said there were more
categories this year. Organisers had been heartened that the number of entries was
more than 120 up on last year. “We thought the downturn might affect us, but we
it’s all about ideas
The ANNUAL 2008 — 9
www.penquin.co.za
MEDIA

were amazed at the enthusiasm and excitement that

is still being generated,” Friedrich said. The awards
ceremony on 21 November is in Cape Town for the
first time in many years.
Harold Eedes, managing director of Ramsay, Son
& Parker, where he worked for 40 years, died on 20
July 2008 after a long battle with cancer. Stuart Lowe
had replaced him as MD.

Radio
Radio’s star continues to shine brightly, despite the
arrival of so many other new technologies to rival it
for attention.
The South African Advertising Research Foun-
dation’s RAMS is the official currency for radio. Ac-
cording to Bizcommunity, SAARF reported in its lat-
est statistics in June 2008, that total radio listening
has remained stable since RAMS April 2008. Weekly
listening, however, has grown since June 2007, from
91.3% reach to 93.8%, beginning a trend seen in the
RAMS April 2008 release. Average Monday to Friday
listening stands at 76.7%, Saturday listening at 73%,
and Sunday listening is at 71.1%, with gains in Port
Elizabeth, Pretoria and on the Reef.
Despite gains in weekly listening, the declining

74 — The ANNUAL 2008

 MEDIA

trend for time spent listening is continuing. Adult

South Africans listen on average nine minutes less than
in June 2007. Time spent listening per week is now 30
hours, and four hours, 16 minutes per day. Over the
previous survey, KwaZulu-Natal, the Western Cape,
North West (despite the presence of a new commercial
station), and the Free State have all shown declines in
time spent listening.
Listening may be in decline, but listeners them-
selves are not. The profile of radio listeners is steadily
Categories accounting for the most time spent by SA Internet population – August 2007
Rank Category % of total time Total time (hours) Rank by unique browsers
1 News & Weather 23% 1 143 605 1
2 Media & Publishing 16% 802 044 2
3 Entertainment 12% 631 017 3
4 Travel 11% 557 026 4
5 Email, Messaging & Chat 11% 545 838 6
6 Employment 6% 315 219 9
7 Directories & Search 5% 263 826 5

improving. Across an average Monday to Friday, there 8 Sport 4% 217 145 7

9 Financial Services 2% 125 434 8
are significantly fewer SU-LSM 1-3 listeners, and sig-
10 Real Estate 2% 87 418 12
nificantly more SU-LSM 5, 6 and 10 listeners.
The head of a big buying agency – who wishes to
remain anonymous because the SABC is a huge cli- Publishers accounting for the most time spent by SA internet population – August 2007
ent - says the SABC’s Zulu-language radio station is
Rank Publisher % of total time Total time (hours) Rank by unique browsers
the second-biggest in the world. “It’s incredibly com-
1 Media24 27% 949 076 1
petitively priced, but unfortunately suffers the stigma
2 MWeb 11% 376 047 4
of reaching only the lower-income groups. It is mas-
3 Interface 11% 369 028 3
sively important to 90% of the marketers who target
4 Independent Online 10% 353 321 2
its listenership. Somehow it’s just never reached it full
5 CareerJunction 5% 193 038 9
potential. The same applies to some other big black-
6 MSN 5% 164 786 6
language stations.” 7 Ananzi 4% 124 154 5
MediaCompete managing director Paul Wilkins 8 Johncom 3% 109 142 8
says radio was a very successful element of a sustained 9 SuperSport Zone 3% 106 029 7
campaign begun by Mazda about four years ago to woo 10 Auto Trader 3% 98 780 11
the black middle class. As a consequence, Mazda was
the only major new car brand that was growing sales in
the current market. budgets, thus forcing radio stations to look beyond reach and numbers. Podcasts
“If you think about it, radio is actually a monopoly by genre, region and lan- and product placements on SABC radio station websites are some of the initiatives
guage. If you own the 25- to 45-year-old market in any particular area, that’s almost offered by the SABC,” the corporation says.
a licence to print money,” says Wilkins. “There are fewer radio stations than there East Coast Radio says it drive to create content on complementary technology
are TV channels. It should be the other way round. Production costs are virtually platforms is improving its listenership profile, advertising revenues and the skills
non-existent for radio. But if you are talking costs for greenfield services, then the of jocks and sales staff. Trish Taylor, CEO of the station, says: “Our offering to
ratio is 90% for marketing and 10% for actual running, while for an established sta- advertisers has become far more multimedia focused, delivering a far richer bouquet
tion the ratio is reversed.” for media buyers where they can access traditional broadcasting products along with
The SABC says its radio stations reach 65,6 % of the total adult population daily outdoor billboards, online promotions, blogging, podcasts and so on. In turn, we
and 80% of the radio listening population and that many people in outlying areas are creating an entirely new radio creature that is also demanding a far broader skills
can still not access television. It says radio listenership stood at just fewer than 29 base of jocks and sales staff. With the advent of blogs, a jock’s most redeeming fea-
million in 2008, with 86% listening to SABC radio. More than 10 million people tures are no longer just a great voice and sharp mind. We need radio presenters who
claim to listen to SABC radio exclusively. can write well. While we are not looking for masters English students, we are look-
“The biggest challenge for most radio stations after the introduction of new ra- ing for presenters who can create great content on air and online. In essence, it’s all
dio players has been the advertising budget. Advertisers are unlikely to increase their about ‘Radio 2.0’, a whole new ball game that has entirely changed our portfolio of

Exhibitions
Award winning stands from Design and
production to staffing and on site management, it’s all about ideas
we deliver more than just a stand.

The ANNUAL 2008 — 11

DESIGN
t
PROJECT MANAGEMENT
t
STAFFING
t
MEASU REMENT www.penquin.co.za
MEDIA

Wideopen Platforms
offerings to clients and our recruitment strategy when searching
for jocks and great sales people.”

Online
The internet is becoming more powerful by the day, says media
commentator Chris Moerdyk, now living in the Cape and who
reads four daily newspapers online every day.
“We are going into a period of intense change,” says Moer-
dyk. “This will accelerate dramatically when we get true broad-
band internet. Japan has had broadband for a decade and it has
changed living patterns. The newspaper advert is dead. People go
online to find things. At last we are beginning to see a glimmer of
hope as far as the provision of true broadband is concerned. And
television will finally understand that the 30-second commercial
is really and truly dead.”
There will unquestionably remain a place for newspapers,
“but there is not a single medium that isn’t wringing its hands
and asking how one reliably reaches the 18- to 25-year-old group.
They have developed their own social networks that keep them
informed. People are relying less on the mass media,” Moerdyk
says. Naspers, the media giant of South Africa is a prime exam-
ple. “Just look at their name – translated it is National Press.
Now they are huge in broadcasting and run an internet site that
has more readers than any if their print titles,” says Moerdyk.
“The New York Times has become a digital medium that hap-
pens to have a newspaper attached to it. That is the future.” power of the internet as an information resource. Almost one in every four minutes
The South African Advertising Research Foundation reported that internet usage online is accounted for by a news and weather site.”
(past 7 days) had increased from 6.0% to 6.9%, with significant gains seen in Gauteng, Categories where online South Africans spend most of their time are:
while use in past 4 weeks rose from 7.1% to 8.1%. • News and weather sites accounted for 23% of all time spent online (1.1 million
After much confusion and toeing and froing over three separate ventures to lay hours) followed by media and publishing sites – 16% (0.8 million hours)
new undersea cables from South Africa to other parts of the world, mainly Europe, • The 10 most engaging categories account for 92% of all time spent by South Afri-
Trade and Industry Minister Mandisi Mpahlwa said in August progress in deploy- cans online
ing the cables had also been noted by Cabinet. According to Nielsen//NetRatings, it’s also worth noting that the popularity of a sector
Broadband infrastructure company, Infraco, has reserved manufacturing slots isn’t necessarily aligned with how much total time it accounts for. Employment, for
with suppliers for the African West Coast Cable. The cable will boost broadband example, is the ninth most popular category but ranks as the sixth leading sector by
and connectivity with the European markets and make connectivity through Africa total time.
much easier and cheaper. Publishers where online South Africans spend most of their time are:
The digital platforms of newspaper companies are growing at double-digit rates • Media24 accounted for 27% of all time spent by South Africans online (0.9 mil-
world-wide, both in usage and revenue production, according to the World Digital lion hours) followed by MWeb – 11% (0.4 million hours)
Media Trends report presented to the World Newspaper Congress by the World • The 10 most engaging publishers account for 81% of all time spent by South Afri-
Association of Newspapers in June. cans online
In South Africa, the Online Publishers Association (OPA) opened membership Says Burmaster, “The dominance of Media24 in the South African landscape is as-
to smaller online companies, ensuring a more inclusive representative body, and tonishing when one considers that just over one in every four minutes online is spent on
invited advertising agencies to join. The OPA has secured Nielsen’s measurement [its] sites – and when comparing that to the most dominant brands in other countries.
at a heavily discounted rate to accommodate small players. The association also “MSN, for example, is the most dominant brand in the UK in terms of time,
redesigned its logo to comply with international online design trends. yet accounts for ‘just’ 12% of total time. Similarly in Australia it’s Nine/MSN
According to bandwidthblog, Nielsen//NetRatings revealed the sectors and pub- which also accounts for 12% and, in the US, it’s AOL which accounts for ‘just’
lishers where South Africans are spending the most time online – news and weather, 9% of total time.”
media and publishing and entertainment sites. A report from London in July quoted Nielsen Online as saying that the most en-
Alex Burmaster, European internet analyst at Nielsen//NetRatings, comments, gaging South African websites and sectors, as measured by average time per session,
“The online sectors where South Africans spend most of their time highlights the are recruitment and dating sites.

76 — The ANNUAL 2008


Outdoor
A new currency has been developed for outdoor that enables it to directly value its
exposure opportunities on a par with other media.
SAARF has dubbed the new electronic measure OHMS.
Nielsen South Africa’s managing director, Ken McArthur, says the new measure is a
major step forward. “Previously data was statistically modelled. Now they get actual
travel data that is mapped against site locations. This enables us to compute their
potential to be seen in the same way and TV and radio have presented the likelihood
of themselves being seen. It makes outdoor more comparable to sell. It is based on
actual behaviour, not modelled,” he says.
Primedia Outdoor predicts that the new OHMS measure will boost industry invest-
ment. “...We will be able to offer clients, media agencies, and business partners quantifi-
able proof of the medium’s value in terms of reaching their markets,” says S’khumbuzo
Nkosi, Primedia Outdoor’s chief executive officer.
Out of Home Media Association of South Africa (OHMSA) executive director
Les Holley says he is concerned at the level of antagonism displayed to outdoor by
Interactive
Penquin offers a full range of professional
interactive services. Our in-house animation
studio will blow your mind not your budget.
WEB
t
MULTIMEDIA
t

MULTIMEDIA 3D ANIMATION
t
MOTION GRAPHICS
MULTIMEDIA
t

MEDIA
many local authorities. Much time is spent lobbying for more
sympathetic and realistic regulations, he says.
One effect of the hardline approach is that many media
owners spend much of their energy preserving or upgrading
their existing sites, with little time or resource left over to ex-
plore the acquisition of new sites. “An upside is that multi-
faceted outdoor media like electronic boards and scrollers
are becoming more common and owners strive for maximum
returns and try to give their clients exposure in the places
they need to be,” says Holley.
“I believe we will see a reduction in the number of
large, free-standing billboards and a move to smaller
street furniture-type vehicles, like posters, bus shelters,
and bins. These will provide opportunities for marketers
to penetrate new areas that can’t be reached by conven-
tional outdoor media. Another positive development has
been the introduction of advertising within malls, on es-
calators and lift doors. It provides marketers a chance to
take their message directly to the target market just prior
to the point of sale being reached. Another good thing is
that the look of many outdoor advertising structures has
been improving, with decent materials and good design.
The spin-off is that the medium attracts new, more up
market customers like investment chronometers, cars and
perfumes,” says Holley.
But South African media owners have some way to go
to catch up with European counterparts in introducing new technology, and
media buyers in the share that is allocated to outdoors: in Europe the share of
market varies between 6% and 11% compared with South Africa’s 4.5%. Hol-
ley believes high costs are a deterrent, both in terms of the introduction of the
new media types as well as the rates that would need to be charged to clients to
warrant this type of investment.
MediaCompete managing director Paul Wilkins says there has been quite
dramatic change in outdoor media ownership, with many municipalities tend-
ing to give licences to SMMEs. “This is affecting the big players markedly
and changing the structure of outdoor quite dramatically. With more compe-
tition, though, in this case the price to the advertiser can also go up because,
with a split in the market, he may be required to take more space to obtain
the same amount of coverage he had before,” said Wilkins.
Primedia Outdoor says it enjoyed a 14% increase in revenue up from
R229-million, to R262-million this year. The outdoor giant has enjoyed ex-
ceptional growth from Indiza Media, incorporating internal and external sites
at Johannesburg, Durban and Cape Town International Airports.
it’s all about ideas
The ANNUAL 2008 — 13
www.penquin.co.za
 MEDIA
Primedia Outdoor

Wideopen Platforms
The Letter Corporation
Targeting more affluent audiences and brand marketers, Primedia Outdoor launched
Primelites, a major arterials spectacular concept, into secondary markets. Building on this
success, the company recently erected the first large-format, high-resolution, Digital Out-
door Network (LED) in Sandton CBD.

While digital trends have evolved at a rapid pace in the United States, the development
of high-quality local digital networks is in its infancy. “The Primedia Outdoor Digital Net-
work provides top-quality digital outdoor, offering advertisers unique flexibility and spell-
binding clarity and definition, day and night,” adds Nkosi. The network allows advertisers
to achieve high-impact, high-resolution outdoor communication on versatile digital plat-
forms that enable exclusive tactical messaging, day-part message management, real-time
updates and inexpensive creative changes.
Another significant Primedia Outdoor milestone is the inking of a R69-million, 10-year
contract with the Tshwane Metropolitan Municipality to provide modern and attractive
new directional Street Name Signs – at no charge to Tshwane ratepayers.
“Internally illuminated street signs mainly located in metropolitan areas provide direc-
tional signage and at the same time allow for impactful branding 24-hours a day, making
them ideal for retail businesses,” Nkosi says. “Businesses wishing to promote their products
and services will benefit from the medium.”
Virginia Hollis, managing director of The MediaShop, says it is becoming increasingly
difficult to find good sites. “The coastal areas are really lean when it comes to outdoor. I
understand that you don’t want to destroy your beautiful coastal city, but hell, outdoor does
not have to be an eyesore. As councils are looking to grow their budgets, I suggest that me-
dia owners offer them innovative projects that not only generate additional revenue streams,
but also benefit communities.”
Pedestrian bridges are an area that can be exploited to benefit all, Hollis says.
“With the recent influx of new media owners it appears that just about anyone can put up
a board, as long as they have the formal approvals – and I predict this is going to get worse the

78 — The ANNUAL 2008


closer we get to 2010. This is scary for us and for clients, because many start-up companies have no
infrastructure. Agencies take it on the nose because there is a preference to buy from people you know
and trust, rather than do business with a brand new media owner. The agencies have valid reasons why
they are nervous - they are the custodians of their client’s budget. If they invest with a company that
cannot/does not deliver, they are the one with egg on their face.”
Her advice to new media owners when they are selling to agencies was to have everything in place
and to be open and supply information.
Latest available SAARF outdoors figures show only billboards and store ads failed to make a sig-
nificant gain in reach, although even these two outdoor categories are trending up. All other categories
showed statistically significant growth over any given week, compared to the previous AMPS period.
• Billboard ads: trending up from 73.5% to 74.6%.
• Store ads: trending up from 81.2% to 82.0%.
• Bus shelters: up from 37.3% to 39.6%.
• Trailers: climbing from 35.5% to 39.5%.
• Minibus taxi ads: up from 65.0% to 66.9%.
• Train ads: risen from 11.0% to 12.3%.
• Bus ads: from 38.3% to 42.2%.
• Trucks: from 60.0% to 65.5%.
• Mobile TV
• As with so many technology innovations before it, dating back to South Africa’s notorious delay in
taking up television because the National Party government feared voters might learn the modern
world view from it, mobile TV still waits for the powers that be to make the necessary rules for it
to air.
• In August, the Communications Minister, Ivy Matsepe-Casaburri, withdrew her policy direc-
tive that only one company would be licensed to provide a network. Industry watchers had
expected the one provider to be Sentech, which would have had a monopoly similar to that in
pay television.
• MultiChoice has been itching to get ahead with its service, and in its latest annual report laments
lack of progress in getting licences. “The development of this technology is at an early stage, but
worldwide launches are proliferating and business models are evolving. Value-added internet type
services on mobile phones are also growing. The group will continue to develop products and
services in this area. In the current year R86 million was invested in the development of mobile
television services. In South Africa an unfortunate delay has occurred in issuing mobile television
licences. In the interim we continue to make progress with mobile TV trials in several major cit-
ies. For the rest of the African continent full mobile TV services are now operational in Nigeria,
Kenya and Namibia. Licences have been secured in a number of other countries.”
• MTN and Vodacom have expressed interest in the mobile TV market.
• MediaCompete managing director Paul Wilkins says mobile must be the next big thing in South
Africa, considering that there is saturation ownership of cellphones across the spectrum.
• In June, Vodacom launched the first soap opera produced specifically for cellphones, So-
LikeLife, broadcast to more than 1.7 million Vodafone live! users.
The new Cap
Lucas Radebe is the new captain of the
Penquin Team. He is already a global brand,
let his team help you build yours
MARKETING
t
ADVERTISING
t
EXHIBITIONS
t
STRATEGY
MEDIA
Harbingers of gloom
Ladies and gentlemen: sharpen your pencils. That’s the advice veteran media
industry players had for their colleagues as a sudden and severe economic
downturn, if not recession, took effect in mid-2008 because of a combination
of sharply higher food and fuel prices and a spiral in interest rates. Two-thirds
of the way through the year and effects were being felt as spending cutbacks
began. Chief executives and financial directors looked to the age-old first
victim in any slashing: adspend.
“The media are in for a tough time, at least until the 2010 Soccer World
Cup,” says Harry Herber, group managing director of the MediaShop. “I see
the total market shrinking dramatically in the second half of the year. The
recession is making people hungrier, leaner and meaner. What will be inter-
esting to see is how media owners and buyers adjust their businesses to the
tougher times. How are marketers adapting their use of media?”
Marketing consultant and columnist Chris Moerdyk says marketers “will
have to pay the price for the pathetic job they have done in proving their
worth to their organisations. The year 2008 has been a watershed in that the
good times enjoyed since the early 2000s – during which time adspend has
almost trebled – has come crashing to a halt. There is nothing worse for the
industry than when the economists can’t make up their minds which way
sentiment is heading and unfortunately there is no question that marketing
has already been told to tighten its belt. I hope that CEOs are at long last get-
ting the message that they should check the efficiency of their marketing.”
Big international brands will be relatively unaffected because they are
used to operating in boom and bust conditions and run their marketing in-
vestment on the basis of what returns can be expected, says Moerdyk. “Un-
fortunately that is not how the majority of marketers in South Africa work.
And unfortunately the situation will persist where staff in advertising and the
media sit with swords of Damocles hanging over their heads. This is not good
for an industry that is driven by people, and talented ones at that. In the hard
times of the ‘90s most media organisations cut back on people and I am not
sure we had caught up sufficiently before this latest setback. By cutting staff,
the industry is playing games with its quality and there is nothing that dam-
ages a media brand more than poor quality.”
Herber says the big publishing houses were the first to feel the icy blast
of recession because of the plethora of titles in the market, the result of print
being the only unregulated media in the country. “A sort of clearing out
has already started. There was a flood of new titles in the good times as
publishers rushed to be first to market in every niche. The market became
extraordinarily competitive and cluttered. But all media are affected, even
if it is just that they are unable to put up placement pricing or are having to
offer big discounts.”
it’s all about ideas
The ANNUAL 2008 — 15
www.penquin.co.za
DESIGN
The State of SA Design
Glenda Venn – Chairperson of Think (South African Communication Design Council)
Think, formed eight years ago, is committed educational bodies, arranging conferences,
to promoting and protecting the interests meeting with government and contribut-
of the profession for its membership base. ing to the sector charter for transformation,
The organisation is entirely volunteer based have all been undertaken by individuals
and its successful projects, which include who have a commitment to and care for this
the Sappi Thinkahead Student Awards, in- industry and who have invested personally
volvement with the Loeries, consulting with to contribute to their profession.
Figure 3: Design Challenges In South Africa
Lack of real skills
Lack of understanding about
or recognition from client companies
Cost of design
Under-resourced industry
Agencies and companies,
not having concrete knowledge of the market
Companies are too conservative
in their approach to design
Lack of real talent
Companies are not conservative
enough in their approach to design
Other
82 — The ANNUAL 2008
It is remarkable in that Think has sus-
tained itself financially, with the help of
Sappi, the founding sponsor, but also that
very many, very busy people have taken
the time to make it happen. This year is
our most ambitious year to date and has
seen major interventions in three differ-
35
16
7
ent parts of our industry. The Sappi State
of Design research, which is what will be
focused on in this article, speaks to a bet-
ter understanding of the business aspects
of design and beginning a process and
dialogue with our clients to improve the
service and outputs we offer.
63
56
55
49
48
46

On the education front we continue
the unique success of the Sappi Thin-
kahead Student Awards by upping our
game this year, with new entry kits, in-
creased interaction with the tertiary in-
stitutions, and more prizes for them as
well as students. The number of entries in
this awards scheme has increased steadily
each year since its inception seven years
ago. In 2007 Think received 265 entries,
which was a sound 40% increase from
the 187 entries of 2006. The Thinkahead
programme has also extended to include
a workshop in the afternoon prior to the
awards, with our sponsors Woolworths
Figure 13: Measurement Of Return On Design Investment
66%
and Sappi, in which we set up a forum
for school teachers, lecturers and practis-
ing professionals to discuss issues around
design education in South Africa. This
is just the start of our commitment to a
long-term strategic process whereby we
aim to assist in developing a “talent cor-
ridor” for young designers that identifies
them at school, assists them through their
studies, and mentors them once they start
their careers.
A concern with print standards and
varying quality standards was the catalyst
for our third big project for the year. On 19
and 20 November a workshop, sponsored
No
by key industry representatives in print,
among them Sappi, 3M, Adobe, PIFSA,
and Think, was held at 3M’s offices. The
workshop included expert speakers such
as John Panton of Digital Distributors and
Adobe’s Mohammed Jogie, along with ac-
tive demonstrations of technologies to-
wards reaching ISO standards in accurate
print proofing for conventional and digital
print. Combined with a display of the win-
ning pieces from the Sappi International
Printer of the Year Awards, the input and
insights provided valuable working solu-
tions for DTP managers and production
managers within design agencies.
DESIGN
The abovementioned projects are our
focus projects for this year and reflect our
goal to add value to the many facets of
our members’ businesses. Underpinning
this is our ongoing commitment to crea-
tive excellence and The Loerie Awards. A
member of our board sits on the Loeries
executive and through this we constantly
evaluate entry and judging criteria for
the Communication Design categories
in order to ensure that creative excel-
lence is recognised and celebrated. Every
year we nominate international judges
who we think will add value and bring
insight to the process and this year we
32%
Yes
2%
Don’t know
The ANNUAL 2008 — 83
DESIGN

enjoyed hosting Australia’s Vince Frost, ?b`nk^,)3=^lb`gBg]nlmkrÃl:[bebmrMh<hffngb\Zm^=^lb`gOZen^MhHma^kLmZd^ahe]^kl

founder of Frost Design and a renowned
award winner himself, and fellow com-
munication design judges at a well-earned
D^r3 =^lb`g\hÃZ[bebmr
post-judging dinner at Sophiatown restau-
Bg]nlmkrZ[bebmr
rant in Newtown.

The Sappi State of Design Research 2008 –

Key findings
This year Think, with the sponsorship
of Sappi and in partnership with Ipsos -.
Markinor, conducted the first quantative -, ,0
survey of communication and marketing ,1
managers with the intent of finding out
more about how our clients felt about
the design industry.
Initial focus groups with marketing
and communication managers, combined
+) *0
with members from design agencies, set
the framework for the second stage of the
research, a questionnaire that was con-
ducted as a 20-minute phone call with
400 marketing and communication man-
?Zbk(Ihhk @hh] >q\^ee^gm(O^kr`hh]

?b`nk^13;nlbg^llI^k_hkfZg\^:g]=^lb`g3@k^Zm(fh]^kZm^Bg_en^g\^!HgKZm^]"

G^pikh]n\mlhkl^kob\^l 2*

<hfi^mbmbo^g^ll 1/

=^o^ehif^gmh_g^pfZkd^ml 1/

Bg\k^Zl^]ikh_bml 1)

Bg\k^Zl^]fZkd^mlaZk^ 02

Bg\k^Zl^]mnkgho^k 00

Bg\k^Zl^]^fiehrf^gm /)

84 — The ANNUAL 2008

 DESIGN

The definition of what design is, though, is not as

important as defining its value and role in business
in order to be able to sell it on to our clients.

agers drawn from the Matrix Marketing
database. These managers work for com-
panies that employ 100 people or more
and their answers addressed the discipline
of design as used by their company. As
such the survey covers many design dis-
ciplines, ranging from communication
design, product and industrial design to
exhibition design, fashion design and in-
terior design.
In principle, the major challenge to
the design industry, as viewed by our
clients, is the skills shortage and the lack
of resources. Along with the cost of de-
sign, these are fairly global issues and can
only be addressed with long-term strate-
gies and collaboration between industry,
clients and government.
More pressing, however, were the
three issues that also achieved high scores
and that are within the immediate grasp of
local agencies to address:
• Lack of understanding about or
recognition of design from client com-
panies – 56 %
• Agencies and design companies not
having enough concrete knowledge of
the market – 48%
• Design companies being too con-
servative in their approach to
design – 46%
All of the above three points highlight
a lack of dialogue between ourselves and
our clients in terms of us positioning the
real value of the services we offer to their
business. Some consideration was given
in discussion on the research findings that
perhaps we need to be clear about what
design actually is. It has become such a
generic term – engineers and business
consultants “design” outcomes and out-
puts, manufacturers sell wholesale mass
produced “designer” products and busi-
ness process has strategically “designed”
management objectives while the print
and copy shop on the corner will “design”
your company look and feel for R150
for 500 business cards. The definition of
what design is, though, is not as important
as defining its value and role in business
in order to be able to sell it on to our
clients.
So what do we do and how is it valu-
able? Most of our clients don’t measure
the return on investment (figure 13) on
design spend and so, unsurprisingly, are
unable to sell its advantages to stakehold-
ers within their own organisations (figure
30). Worse still, they reckon we aren’t that
good at selling our own value either.
On the whole, though, clients remain
firm believers in the value of design in
their business (figure 8) and the posi-
tive role it has to play in the future of the
South African economy (figure 1).
But the challenge to all design agen-
cies is – are we up to it?
If 46 % of our clients think we are too
conservative, 48% think we don’t under-
stand their business and 63% recognise
we don’t have the skills or resources,
is it any wonder they shop around with
free pitches and take their big projects
off shore, where they feel that they are
getting value?
It is not a desirable state of affairs
but ultimately, as in all business, we
are responsible for the value percep-
tion we create of our industry. In two
years time, when we plan to repeat this
survey, it will be interesting to see if
we have managed to create some more
design “champions” for our services
within our client base. At Think we be-
lieve we can indeed achieve this and,
through the projects we support and
initiate, will continue to build a plat-
form for excellence in South African
Communication Design.

Figure 1: Importance Of Design

1%
Not important at all

84%
Extremely important 15%
Not that important

The ANNUAL 2008 — 85

Independently rated ‘South Africa’s Leading
Sports Marketing Agency’.
Source: BMI Sport

MEGAPRO provides specialist expertise in

MARKET INTELLIGENCE
SPONSORSHIP SALES
STADIUM NAMING RIGHTS SALES
DIGITAL & STATIC STADIUM ADVERTISING AND
VIDEO REPLAY BOARD ADVERTISING

Contact us to find out more about our world-class knowledge in the South African
sports market and commercial opportunities within sport in South Africa.
Tel: +27 11 305 9800 www.megapro.co.za

A Primedia Sport Company

 THE ROCKSTARS

The Agencies
AGENCY PROFILE
8 Image and Brand
Consultancy
Type of Agency:
TTL Branding and Communications Consultancy
Number of accounts/clients:
25
Biggest spending clients:
Zain, Be Mobile, Natrodale, Universal Postal
Union
Accounts won in 2008:
Zain, Universal Postal Union
Accounts lost in 2008:
None
Company ownership:
PTY Ltd. 50% Black-owned
Contact details:
Laine Barnard (CEO)
Tel: +27 11 705 1800
Fax: +27 11 465 8306
Cell: +27 83 675 6340
Email: laine@8imageandbrand.com
Agency billings:
R68 million
Number of staff:
51
Key senior staff:
20
Key MOMent in 2008:
Being selected to develop a global brand identity
to exist in 190 countries for the Universal Postal
Union.
the agency snapshot:
In just under a decade, 8 Image and Brand Consul-
tancy has firmly established itself as a pre-eminent
and reliable specialist agency that provides
branding, TTL marketing communication, strategy
and design.
We integrate strategic thinking with creative
execution and focus on brand development and
positioning, rather than tactical campaigns that do
little for brand or bottom line growth. We are de-
sign gurus and Africa specialists with an appetite
for challenge.
We have the skills, experience and infrastructure
to deliver for large brands.
Agency history
8 Image and Brand Consultancy was
established in the year 2000 by an
ambitious Laine Barnard. At the time the
company had a team of three permanent
employees and today 8 Image and Brand
Consultancy boasts a staff complement
of 51 permanent staff members operating
in more than five countries; namely
South Africa, Nigeria, Kenya, Botswana
and London to name a few. Over the
years 8 Image and Brand Consultancy
has established a strong foothold
throughout the African continent and
is rapidly becoming a strong global
player. Laine’s unfaltering dedication,
passion and tenacity inspires his team to
88 — The ANNUAL 2008
achieve the overall vision and objectives
of the company.
Business performance in 2008
The agency is showing healthy growth
this year. Its strategic decision to re-brand
and re-focus the company has resulted in
a new burst of energy and major client
acquisition. The agency has acquired a
crop of new talent, billings have increased
by 38% and three new client acquisitions
have been secured.
Creative performance in 2008
This year, creative and design excellence
have been high on the agenda. In line with
our “Kaizen” approach to business, the
agency’s focus is on improving design and
production values while promising ever-
better service delivery. Our creative team
is a well-oiled unit that keeps current with
new design trends both on the local and
international front.
Why you should hire this agency
We deliver measurable results for our
clients. This is achieved through strategic
insight and a unique, methodical process
that aims to positively impact the brand
and its bottom line. We are driven by
passion for what we do and stop at nothing
to ensure that our clients are satisfied and
their brands successful. We go against the
grain and constantly seek out inventive
ways of expressing the brand in the market.
8 Image and Brand Consultancy prides
itself in offering an end-to-end brand
solution. Our strategic process is based
on a three tiered approach namely, Learn-
Think-Create. This summarizes a complex
and methodical best-practice approach
that ensures it thoroughly researches its
brand, market and objectives to maximise
campaign effectiveness.
Who are the key people at the agency
Laine Barnard (Chief executive officer
Julanda Dreyer (general manager Africa
Natali Dukhi (general manager Cape
Town)
Tom Windows (general manager Nairobi)
Gavin Pienaar (general manager Lagos)
Warren Bosman (3D design director)
Kevin Bird (creative director)
Yvonne Loxton (events director)
Gregg Rodrigues (group production
manager)
Agency philosophy
8 Image and Brand Consultancy is a
can-do, go-getter type agency. We are
tenacious, enthusiastic, ambitious and most
importantly, we have a sense of humour. As a
brand the agency has an explorer personality
archetype. We encourage individuality, de-
emphasise rules and equalise opportunity,
where every team member can grow and
thrive. In keeping with modern corporate
trends, we empower our professionals to
be independent, flexible and self-directed.
The overall result is a company that can
operate and flourish, irrespective of adverse
conditions.
How the agency is structured and
How it works
8 Image and Brand Consultancy has
agencies in Johannesburg, Cape Town,
Lagos and Nairobi; with affiliates
in London, Brazil, Madrid, Angola,
Mozambique, Cairo and Bahrain. The
agency delivers a comprehensive through-
the-line offering including strategy,
presence/situ/enviro branding, design, TV,
radio, print, web, promotions, events and
internal marketing. All creative is generated
from the Johannesurg office and we can
thus offer our Africa clients a high standard
of creative and design output. 8 Image
and Brand Consultancy is a branding and
design agency with a formal yet innovative
approach to analyzing the critical
components of brand design. We do this
Laine Barnard (Chief Executive Officer)
by identifying the boundaries of product,
service or corporate and utilising research
and strategy to move the brand to its desired
potential. We capture the uniqueness of the
brand experience and create relevant and
strong brand iconography and campaigns
that communicate in the language the
consumer understands.
Future of the agency and growth plans
8 Image and Brand Consultancy is
evolving as an agency. From being solely a
strategic branding agency, it has grown its
core competencies to include a full range
of marketing and advertising services.
It is positioned as a through-the-line
Africa specialist and intends to increase
its footprint with new offices planned for
Angola, Botswana, Mozambique and
Dubai.
Client references
“8 Image and Brand Consultancy’s
experience in the pan African market has
been key to the success of our re-branding
initiative. Their turnkey retail and presence
solutions are unique, innovative and
perfectly suited to our markets. We consider
the agency to be a strategic partner in our
African roll out.”
– George Katendeigwa, group segmentation
manager, Payphones Zain Group
“It has been a pleasure to work with 8
Image and Brand on the creation and
launch of Be Mobile. The agency provided
us with a complete solution in record-
breaking time and stopped at nothing to
ensure consistent and timeous delivery.
They have exceeded our expectations and
proved integral to the successful launch of
our brand in Botswana.”
– Scott Grimley, launch director,
Be Mobile
 AGENCY PROFILE

The ANNUAL 2008 — 89

AGENCY PROFILE

Actuate
Type of Agency:
Internal marketing
Number of accounts/clients:
16
big spending clients:
Standard Bank, SAB, MTN
Accounts WON in 2008:
SARS, Internet Solutions,
Development Bank of South
Africa, De Beers, LexisNexis,
Standard Bank, MTN
Number of staff:
16
Billings:
Not disclosed
Key awards in 2008:
Owner/director winner of CEO
magazine most influential women
in business and government
Key agency staff:
Creative director: Neil Clarence
Strategic director: Terri Brown
Managing director: Grace Harding
Contact details:
Tel: +27 11 343 9100
info@actuate.co.za
www.actuate.co.za
The agency in 50 words:
An internal consultancy combining
expertise in HR, marketing
and advertising. Internal brand
activation aligning employee
behaviour with business objectives.
Full service offering – strategy,
creative conceptualisation and
execution, media planning,
coaching and training.
Here’s an interesting fact: a study
undertaken by Melcrum Publishing
shows that effective employee engagement
results in a 69% increase in customer
satisfaction. The question is if companies
aren’t communicating in a manner that is
relevant and engaging, what’s happening
to their brand? And how is this reflected
to their customers?
It was this thinking that inspired
Grace Harding and Ter ri Brown –
recently named one of South Africa’s 20
most influential women in business and
government – to establish Actuate in 2004.
With backgrounds in HR, marketing and
advertising, the duo were well equipped to
identify, and exploit, the opportunity to
develop a consultancy dedicated purely to
employee engagement, using the principles
and practices of marketing and advertising
– simply applied inwards.
At the time, mention of “internal
marketing” would have been met with
a quizzical expression, if not outright
scepticism. Chat to any successful brand
manager or CEO today, however, and
you’ll note that employee engagement
is high on their list of priorities. Brown
notes that employee engagement has
evolved: where once an “I’m the boss,
that’s why” mentality would have been
sufficient motivation for any employee –
from management’s perspective, anyway
– there’s now a far greater emphasis on
collaboration and information sharing.
“Employee engagement has
evolved,” Brown asserts. “It’s become
more sophisticated, less patronising and
superficial. Employees are now seen as
equal status partners, so previous attempts
at teambuilding, like fire walking, have
given way to integrated interventions with
long-term, quantifiable impact.”
The changing philosophy is reflected
in the growth of Actuate itself, with the
consultancy now providing a full service
offering from strategy to creative execution,
production, training and internal media
optimisation. Driving it forward is the
philosophy that “employees are people too”
– and that’s what makes this agency so good
at what it does. “Marketing to employees
is highly specialised,” Brown notes.
“Effective employee engagement hinges
on a unique approach and execution. We
view employees holistically, and understand
what drives them.”
This insight is demonstrated by
campaigns like the brand activation exercise
where eBucks employees experienced for
themselves the new payoff line, The Reward
of Choice. To do this, they were treated to a
day of endless choices. Throughout the day,
they had the opportunity to pick, choose
and decide – to literally experience choice
and through this experience internalise
the new brand positioning.
A different approach was adopted to
promote service at Absa. The starting point
of this bold campaign was the realisation
that everyone, at some point, ref lects
on what they have achieved during their
workday. Actuate “sold” service messages
to a predominantly under-35 workforce by
hosting a street concert (marketed through
TV ads, posters and digital media), the
highlight of which was an original recorded
song performed by SA kwaito stars Danny
K and Kabelo. Following the launch, the
Absa campus was branded with posters,
door hangers, floor decals and a building
wrap. The countrywide campaign was
particularly effective because it focused
on all employees, with a specific focus on
customer-facing teams.
While Actuate’s adeptness may be
explained by its status as a pioneer in this
specialised field, first-mover advantage
can only get you so far. After that, you
need a compelling proposition, which
Actuate undoubtedly has: it is one of South
Africa’s only completely dedicated internal
communications consultancies, with a full-
spectrum offering and a diverse skills set
embracing HR, advertising and marketing.
Every solution is customised – “nothing
is ‘off the shelf’” – and the agency stands
out for its award-winning creative. “We’re
01.
very focused on producing creative that’s
as good as any external communication.
That’s important, because companies
pay lip service to their staff as their most
valuable asset, but then talk to them with
unattractive, poorly executed creative.”
All executions are built around defined
behaviours that impact on business results,
and are aligned to client strategy objectives.
This is achieved through a backward
engineered process: Actuate identifies the
experience inherent in the brand promise,
then pinpoints the behaviours required of
staff to deliver that experience.
Each point in t his process is a
collaborative effort between experts in
the specialist fields of HR, marketing
and advertising, which means that the
solution is a truly integrated one. Added
to this, Actuate collaborates with above-
the-line and direct agencies, such as The
Jupiter Drawing Room and GreyMatter,
to create for clients a 360 degree offering
with absolute alignment between above-
the-line, below-the-line and in-the-line
communication.
Key to this collaborative process is the
consultancy’s f lat structure, where
guidance is provided by Harding as
HR specialist and marketing strategist
Ter r i Brow n, who lead a tea m of
consultants and creative director and
“go-to guy” Neil Clarence.
Brown reports that the agency has
enjoyed steady growth, with a number of
prestigious new clients – including SARS,
Internet Solutions, the Development Bank
of South Africa, MTN and Standard Bank

90 — The ANNUAL 2008


02.
joining the fold this year.
How is the industry landscape likely
to change as employee engagement gains
momentum? Brown maintains that the
discipline has reached a tipping point,
and is fast becoming entrenched as part
of the marketing mix.
This is increasingly salient as companies
carefully evaluate their marketing spend.
In current climes, the advertising rand
has to work that much harder – and the
appeal of employee engagement is that the
results are far more sustainable than most
external communications. “Think about
it: no company will use the same brand ad
for 5 years, but their employees will likely
stay for far longer – so communicating
with them is a true investment.”
Brown adds that many industries have
reached a parity point – think banks and
telecommunications – and their sameness
is reinforced by regulatory environments.
In these situations, differentiation comes
through service – and the best way of
ensuring great service is bringing staff
on board.
That said, tight budgets remain
a problem, and although employee
engagement is an integral part of the
marketing mix, it tends to be considered
long after other elements – which means
less lead time is available for excellent
executions.
That’s why Brown insists that client
education will continue to be a central
focus for Actuate. “Company leaders are
a special target in this regard: 48% of staff
interviewed in the Melcrum Employee
Engagement Research Report said that the
actions of senior and front-line leadership
are the single most influential factor in
driving engagement, so we would like
AGENCY PROFILE
03.
01. Neil Clarence, Grace Harding, Terri Brown,
Phephile Simelane
02. Absa ‘What have you done today’ event
03. eBucks campaign
to develop and upskill more leaders in
this area.”
That’s just one area that will garner
attention in the future. With employee
engagement still regarded as a fairly new
discipline, there’s still plenty of room for
growth – and Actuate is poised to take
advantage.
The ANNUAL 2008 — 91
AGENCY PROFILE

AdMakers
International
Type of Agency:
Full-service agency
Number of accounts/clients:
71
BIGGEST SPENDING CLIENTS:
Urban Ocean Group, General Motors,
PB Shores, Banyan Tree Properties.
Accounts won in 2008:
Amari Holdings, Crystal Towers, Banyan
Tree Seychelles, Tongaat Developments,
Trident Investments, Ingleside,
selected projects for Dubai World.
Accounts lost in 2008:
None
Company Ownership:
Independent with 25% equity ownership.
Number of staff:
37
Billings:
R125m financial year
ending 28 Feb 2008.
Key awards in 2008: 01.
As a business optimisation agency,
AdMakers only enters International Established in 1989, AdMakers is a non- their team. “Christo has the qualifications, In line with their global profile
awards judging strategy in conjunction conformist, top-notch, through-the-line has worked abroad, has travelled extensively and this hard-line business orientation,
with creativity. agency. Specialising in high-end luxury and adds yet another international frame AdMakers doesn’t compete in the Loerie
11 CNBC International awards for goods in the global arena, it deals with or of reference to the AdMakers team.” To Awards and other local creative awards.
Luxury marketing in 2007. consults to top brands, including some of complete their international credentials they JP explains that they are business opti-
1 US Benni Premier Award out of the world’s largest property developers. have established permanent representations misers that deliver results in partnership
10 000 American entries.
Appreciating the faith required of in the US, Brazil and Canada. with their clients and that the shine of
A further 7 CNBC International awards
clients when spending millions on an ad In spite of this international expansion, any creative award fades very quickly if
for 2008 already awarded to date.
campaign with no guarantees on return, most high-end creative is still handled the sales results do not support it. His
Key aGENCY STAFF:
Chairman: Duan Coetzee
founder Duan Coetzee pioneered the risk- exclusively by the same team that started experience backs this up. “I’ve sat with a
Chief executive officer: JP Fourie sharing approach to marketing in the late the agency almost 20 years ago – resulting lot of clients whose agencies are winning
Financial director: Calla Wessels eighties. “It is amazing how the outlook on in a collective experience base spanning awards left, right and centre but they are
Studio manager & creative a creative idea changes if the agency has more than a century. not achieving the client’s objectives. This
director: Mandy Crossley to put its own money where its mouth is!’ Additionally, being a specialist in the wears thin after a while.
New business executive: Lara Colliani he remarks. Although some of AdMakers luxury good market, the agency offers “So, we only enter awards that judge
Media manager: Johan Giliomee clients use the agency according to more in-depth research on the top end of the strategy, creative and the final product. We
Production manager: Mia Muylaert conventional billing methods, there is always market and first-hand current experience also prefer to focus on global recognition,
Account manager: Nadia Railoun a risk-sharing tweak to every campaign. is immediately accessible. Today the agency and we are the most awarded agency in
Key moment in 2008:
2008 has been a busy year with a high is recognised globally as a specialist in the world at the prestigious CNBC awards
”The opportunity of a Lifetime comes
demand from international clients. “We this arena. For this reason the agency is with almost 50 CNBC International awards
along twice a day” is one of AdMakers
have travelled extensively to consult on unabashedly selective in terms of clients since 2002 to confirm our international
propriety quotes. Thus every single day
various brands and property developments,” it will represent. dominance in its field.”
that we are alive represents hundreds
of key moments to do the right thing.
says CEO JP Fourie. The rationale is that it’s not plausible Duan is appreciative of their clients.
Contact details: “Our credo for this year is: ‘Everyone for the same company to sell a multi-million “We are only as good as our next job” is
Cape Town Office may not yet be aware of the fact that we are dollar tropical paradise and washing pow- another propriety AdMakers saying. “At
Tel: +27 21 448 7074 the world’s foremost luxury goods market- der. JP expands: “What applies to buying AdMakers we are fortunate to have clients
Fax: +27 21 448 7095 ing and advertising agency – but tomorrow high-ticket property applies to an expensive that allow us to explore new frontiers.” As
Email: jp@admakers.com is another day.’ vehicle or jet. We have all the experience, proof he refers to a recent campaign for
The agency in 50 words: All indicators point to success. Locally research and insight in to luxury brands at Florida-based Dolce Vita – ultra luxuri-
A refreshing common-sense business the agency has added six new clients to its hand. Our clients know that they can trust ous apartments priced between $1.5 and
success approach to the luxury end books and has launched new campaigns for our expertise, track record and first-hand $ 12 million. A target market of high net
of the market backed by a 20-year
Isuzu, Saab, HUMMER and Cadillac. In experience base.” worth individuals the world over took per-
track record – a unique phenomenon
support of their international aspirations, As they are passionate about the bot- sonal delivery of a Chinese lacquer wooden
in the agency world. AdMakers has a
Christo Smeda has joined the team to work tom line and seek to boost sales, smooth box showcasing a spectacular collateral
long history of success for clients and
is regularly consulted by some of the
alongside Coetzee on international new efficiencies and minimise wastage, they set that included a Hollywood-produced
world’s most influential business people. business development and service. stick to original guru David Ogilvy’s credo mini-movie – a captivating and truly unique
JP is pleased about the new addition to “If it doesn’t sell it isn’t creative.” piece of work that immediately generated

92 — The ANNUAL 2008


maximum desire and impact.
With growth targets that are qualitative
rather than quantitative, coupled with its
outstanding performance, over the past
seven years the agency has had to show
away more clients than it was able to take
on. JP ponders their success: “We operate
according to a strong set of values and will
not take on a client whose ethics don’t
conform to ours or a project that we don’t
believe we can make work. That tends to
weed out a lot of possible clients in today’s
day and age.”
He adds that those clients whose profiles
and product fit the AdMakers skills set
won’t find better knowledge, talent, focus,
accountability, partnership and results
anywhere else around the globe.
He unpacks partnership: “We are not
just ‘the agency’ to our clients; we are an
integral and trustworthy part of the mar-
keting team – involved in every fibre of
their business.” This is a strategy that has
certainly borne fruit in the form of long-
term relationships for AdMakers.
“Some of our key client relationships
span 20 years,” JP continues. “Long rela-
tionships result in the accumulation of a
wealth of knowledge about our clients’ busi-
ness, which is hugely beneficial. We know
what they need before they ask for it.”
It takes a well-established team to
deliver this level of service and, with a
focus on creating awesome advertising
and delivering excellent results, there is no
time to stand on ceremony at AdMakers
International. “Another differential is that
we are not title or position bound when it
comes to delivery. A creative director will
help pack boxes if the need exists – it’s all
about getting the job done, whatever it
takes,” says Duan.
The management team is available
to whoever needs to see them – 24-hours
per day, while daily morning meetings
about all work in the system ensure that
everyone is on the same page and nothing
slips through the cracks.
JP praises this system. “We have found
these daily status meetings to be invalu-
able to enable us to deliver turn-around
times that set new industry benchmarks.
AdMakers is not a heavy, fuel-burning
battleship, but a fast, highly manoeuver-
able strike craft.”
And, they intend to apply this agility
to the future. As usual they aim to in-
novate and are working on introducing
travelling “Strike Force Teams” to their
menu. This will see mobile teams of client
AGENCY PROFILE
service and creative people travelling the
world to complete projects on site – from
initial brief to production.
This supports a two-year strategy to
work with select local and international
clients offering exciting business oppor-
tunities to further expand on the agency’s
unique risk-sharing model.
It is this international exposure plus the
economic resilience of the luxury market
that has protected AdMakers from local
economic woes to a large degree. “But,”
says JP, “this is also the time of opportu-
nity – experience has taught us that mar-
keters that increase spend and engage in
brand-building in difficult times will end
up with more market share when boom
times return.”
In the meantime, AdMakers invests
in the future of the local industry through
mentorship programmes for junior staff and 02.
students. Duan comments: “Agencies need
to dedicate time and resources to developing
skills in the junior staff they employ and
to arm them with the knowledge required
to move to the next level.” And, in their
opinion, it is only this and the time it takes
that will mitigate the current lack of quali-
fied previously disadvantaged individuals
in the mid-executive level.
Client references
“AdMakers know our business extremely
well and deliver work that is on time, stra-
tegically aligned and results driven – ex-
actly what we require. AdMakers is the
best client service agency I have worked
with globally.”
– Brian Olson: general manager –
marketing, General Motors South Africa
“They are conceptually very strong and in-
novative, they understand our business and
where we are going with our product. They
develop great relationships with their clients
and their service is really excellent.”
– Mark Taylor: CEO,
eLan Property Developments
‘Everyone may not yet
be aware of the fact 01. The AdMakers Cape Town team
03.
that we are the world’s 02. An example of work completed for Dolcevita in Florida
03. Cadillac CTS
foremost luxury goods
marketing and advertising
agency – but tomorrow
is another day.’
The ANNUAL 2008 — 93
AGENCY PROFILE
ARM Advertising
& Design
Type of agency:
Through the line
Number of accounts/clients:
14
Biggest spending clients:
Hertz, Cobra, Cliffe Dekker Hofmeyr
Accounts won in 2008:
2
Accounts lost in 2008:
1 MORE OF A LAW FIRM.
Company ownership:
25,1% BEE
Contact details:
Tel: +27 11 656 9330
Email: :brianw@armcomm.co.za
Agency billings:
R 23 million
Key awards in 2008:
None entered
Number of staff:
14
Key agency staff:
Chairman: Zibusiso Mkhwanazi
Director: Brian Wright
Director: Richard Alcorn
Key moment in 2008:
Appointment of Zibusiso Mkhwanazi as
executive chairman.
The agency snapshot in 50 words:
A small agency, big on experience and
poised for growth. ARM offer a full service,
ensuring high levels of personal involvement
from the top people in the agency. Effective
advertising and the client’s bottom lines take
priority over creative awards.
It’s rare to find a small agency that has
been in business for more than 25 years,
particularly in an industry where agencies
crop up like mushrooms and disappear
just as quickly! The fact that ARM Ad-
vertising and Design’s origins date back
to 1982 says a lot for the stability and
quality of the agency. In fact, two of its
clients have been with the agency for
more than 20 years, which is a rarity in
today’s environment.
ARM has always been a strategy-
based agency. “Strategy builds brands
and if the strategy is right, 90% of the cre-
ative work is effectively done before pen
is put to paper,” says executive director
Brian Wright. The agency does not en-
ter creative awards. According to Wright
this is due to two reasons: “Firstly there
is a considerable cost involved and sec-
94 — The ANNUAL 2008
Zibusiso Mkhwanazi
Brian Wright
Featured are print advertisements from the Cobra, Cliffe Dekker Hofmeyr and Hertz campaigns.
ondly, we belong to that cache of agencies
that believe the reward is in the client’s
bottom line.”
An exciting development for the agen-
cy has been the recent appointment of
Zibusiso Mkhwanazi as executive chair-
man. Last year Mkhwanazi walked away
with the BBQ Young Business Achiever
Award while this year he was a finalist
on the Endeavour International selection
panel. Mkhwanazi is also chairman of
digital agency Krazyboyz Digital. Agency
founder Richard Alcorn is excited about
Mkhwanazi’s investment and future role
within the agency, “It’s an absolute coup
for us to have Zibusiso join our board. He
is an exceptionally talented businessman
and his chairmanship at Krazyboyz is an
added benefit to the agency. There are
natural synergies between ARM and Kra-
Richard Alcorn
London Sydney Johannesburg
New York Dubai
THESE TIMES DEMAND
An increasing number of South African organisations require global representation in
their affairs, which is why our membership of DLA Piper is so important. It positions
Cliffe Dekker Hofmeyr ideally to provide comprehensive and coordinated business
legal services to clients whose needs are local or international.
Because if it matters to our clients, it matters to us.
28825/1
JOHANNESBURG +27 (0)11 286 1100
+27 (0)11 290 7000
CAPE TOWN +27 (0)21 481 6300
+27 (0)21 405 6000
www.cliffedekker-hofmeyr.com
EVERYTHING MATTERS DLA CLIFFE DEKKER
Cliffe Dekker Hofmeyr is a member of DLA Piper Group,
an alliance of legal practices HOFMEYR
Ever wonder why Hertz is
the world’s #1 car rental
company?
Try us. You’ll love our people. You’ll love our service.
ARM 28784
Call 0861 600 136
or visit www.hertz.co.za #1 worldwide
zyboyz. ARM can now extend its service Wright, who recently joined the com-
offering to include the full range of serv- pany, says, “One of the things that was
ices within the digital realm.” apparent to me when I joined was that the
According to Mkhwanazi, transforma- agency was so focused on the promotion
tion within the larger agencies is well un- of its clients’ brands that it neglected the
der way while transformation within the promotion of its own brand. As a result,
small-to-mid sized agencies continues to many advertisers may not have heard of
lag behind. “ARM was the perfect invest- us, which is an unwarranted situation
ment opportunity. They are small, inde- given the number of years the agency has
pendent and yet have a great track record been in business.” Mkhwanazi agrees,
of being well managed. They also handle saying, “It’s not serving the agency well to
some great brands.” be the ‘best-kept secret’ and it is certainly
Mkhwanazi, Alcorn and Wright have one of the key areas that I will be address-
an exciting blend of experience and youth. ing as chairman.”
“I intend to be very hands-on and togeth-
er with the advertising experience of Ri-
chard Alcorn and the strategic marketing
experience of Brian Wright, we can
achieve great things for our clients,” main-
tains Mkhwanazi.
AGENCY PROFILE
Atmosphere
Communications
Type of Agency:
Public relations and marketing
communications
Number of accounts/clients:
15 clients excluding
project-based clients
BIGGEST SPENDING CLIENTS:
MWEB, Sanlam Investments, ghd
Accounts won in 2008:
Triumph Lingerie, kulula.com, KWV,
Capitec Bank, Van Loveren Wines
Accounts lost in 2008:
HBD Venture Capital
Company Ownership:
60% Nicola Nel
20% James Barty
20% Alistair King
Number of staff:
20
Billings:
R8.4-m (Jan-Dec 2007, audited)
Key awards in 2008:
5 PRISM Awards (three gold, one
siver, one bronze) – Winning an award
in each category we entered
Contact details:
Tel: +27 21 461 2117
Tel: +27 11 250 7963
Website: www.atmosphere.co.za
The agency in 50 words:
Atmosphere is a creative,
entrepreneurial business that builds
brands and reputations through
strategic public relations programmes.
Our clients receive out-of-the box,
clever communications strategies
that are aligned to their business
plans and deliver measurable
business results. We are a motivated
bunch who love the work we do.
Atmosphere opened its doors in 2001 and
chatting to managing director Nicola Nel,
public relations (PR) takes on a whole dif-
ferent hue – it becomes artful, fluid and,
dare I say, exciting. Gone are the days of
self-congratulatory media releases and ill-
attended cocktail do’s – make way for speed-
dating media events, quirky brand activations
and brilliant editorial campaigns utilising
Web 2.0 tools.
A continuous year-on-year growth by
a minimum of 15% bears testimony to the
ongoing success of this dynamic agency.
New accounts include kulula.com, Capitec
Bank, Triumph International Lingerie,
and Fitflop with projects for SA Tour-
ism and kulula.com, KWV, Sloggi and
Bushmills Irish Whiskey.
96 — The ANNUAL 2008
01.
Great business performance is well-
matched by their creative performance. The
team excelled at the 2008 PRISM Awards
where it ranked as the second-most awarded
agency with five awards under its belt – secur-
ing awards in each category it entered.
Nicola acknowledges that their award-
winning work is a direct result of their clients
giving them the creative space to excel. In
return for these opportunities, Atmosphere
takes a stand to offer exceptional creative
concepts that deliver measurable, perception-
changing PR campaigns.
“We are upfront about what we can
achieve and we build in measures to ensure
consistency,” says Nicola. “Three months
into a campaign we stop and say: ‘This is
what we said we would do and this is what
we’ve achieved’. Our clients trust us because
of our transparency around our processes
as well as our revenue model.”
The agency’s success is made possible
by its staff, all of whom radiate a passion for
their chosen field. Nicola summarises the
agency’s appeal: “We are a strategic, results-
focused business and will do what it takes to
meet the PR objectives of our clients. To back
this up we offer a strong dose of creativity,
delivered by a motivated team.”
She prizes her team highly and all staff
members are expected to engage equally
in client service and the creative process
with, “strong writing skills, sprinkled with a
good dose of out-of-the-box thinking” being
prerequisites for employment.
The team comprises 20 employees who
work out of offices in Johannesburg and
Cape Town, all of whom thrive in the flat
structure and dynamic culture that create
a supportive environment buzzing with a
high level of energy.
There are two teams – one devoted to
business/corporate communications and the
other to pure brand communications. This
02.
division is somewhat of a formality explains
Nicola: “What I love about Atmosphere is
that we all share ideas and cross-pollinate
skills, we don’t stick to our silos.”
Commenting on changes in the industry,
Nicola believes, that Web 2.0 has created a
shift. “The Web 2.0 environment has added
a new layer of experts who have an opinion
about your brand and business. Their reach,
via blogs for example, is growing rapidly.
Web 2.0 is also giving an opportunity for
PR practitioners to become the editorial
voice of brands or companies – whether
it is through social networks, podcasts or
online video.”
In addition, Atmosphere has experi-
enced a shift in clients’ attitude towards
PR in that it has become a vital part of the
strategic mix and clients are realising that,
in some instances, it is more effective for
PR agencies to lead communication strate-
gies and campaigns.
With a strong team and a finger on the
industry pulse, Nicola is relaxed as she con-
templates the future. “We’ve always believed
in organic growth and our ambitions are
focused on creating industry-leading PR
campaigns and not necessarily on growing
staff numbers or opening new offices in
far-flung places! I believe that if we do good
work and create a dynamic environment,
the clients will follow.”
Client references
“Atmosphere’s expertise, relentless dedica-
tion and hard work have resulted in tangible
growth in media exposure for our busi-
nesses. We love working with this team of
innovative thinkers who are always willing
to go the extra mile. They not only under-
stand our business, they are also passionate
about it.”
– Claire Rabe: marketing manager,
Sanlam Investments
03.
01. Nicola Nel, MD of Atmosphere
02. The Triumph Lingerie Awards was a campaign
aimed at finding new design talent for client,
Triumph International. Atmosphere managed
the event, utilised Facebook and blogs to
communicate with the media, key fashion
industry players and the students. The
campaign generated in excess of R5 million
of media coverage. Pictured with the students
and models is Christian Stolba, GM of
Triumph Lingerie
03. During 2008 Atmosphere managed a media
relations campaign for joint clients, SA Tourism
and kulula.com. The joint venture between
the two companies is aimed at promoting
local tourism. Seen at the media event to
kick off the campaign was, from left to
right, Moeketsi Mosola (CEO of SA Tourism),
Marthinus van Schalkwyk (minister of
Environmental Affairs and Tourism) and
Gidon Novick (joint CEO of kulula.com)
“Nicola Nel and her team have brought new
insights into how we position and promote
the Baileys brand through non conventional
PR channels, contributing significantly to a
growth in awareness in South Africa. Their
understanding of the alcoholic beverage in-
dustry is excellent and they have developed
sound strategies that deliver clear and consist-
ent messages to the marketplace.”
– Clint Hess: brandhouse, portfolio manager
AGENCY PROFILE
Berge Farrell
Type of Agency:
Branding and design
Number of accounts/clients:
12
BIGGEST SPENDING CLIENTS:
Pick n Pay, SAB, BAT
Accounts won in 2008:
Pick n Pay, SABMiller, I&J,
Cadbury, McDonald’s
Accounts lost in 2008:
None
Company Ownership:
Pty limited/Independent
Number of staff:
32
Billings:
R24 million
Key awards in 2008:
Sarita
Key aGENCY STAFF:
All
Contact details:
Cape Town +27 21 671 2001
Johannesburg +27 11 467 1993
www.b-f.co.za
Key moment in 2008:
International pitch successes
The agency in 50 words:
Berge Farrell is a strategically led
design business that, in five years,
has climbed into the top five design
businesses in South Africa (Ad Review
2008). Our design solutions are used
by major blue-chip companies both
in South Africa and abroad, with
particular emphasis on our expertise
in the subject of iconography.
When a leading industry analyst names
you as one of the top five design firms in
the country after only five years in exist-
ence, your reputation has a habit of quietly
building itself.
In 2003, managing director Andrew Nel,
along with Paul Farrell and Steven Berge,
identified a niche for a strategically led design
entity that was adept at building brands and
created Berge Farrell. Johannesburg-based
Richard Seegers makes up the agency’s
quartet of directors.
“Our establishing ethos was that design
without the relevant strategy is design for
the sake of design – transient, thin and with
no longevity,” says Nel.
Having started out with only SABMiller
and Woolworths as clients, today the com-
pany’s blue-chip client portfolio includes
the likes of British American Tobacco,
Cadbury and, more recently, Pick n Pay,
I&J, McDonald’s and Parmalat.
“Our growth is mainly through WORM –
98 — The ANNUAL 2008
01.
word of relevant mouth,” says Nel. “The best
PR at the end of the day is your work.”
Key to Berge Farrell’s rapid growth has
been assembling the right team, he relates.
“We only employ grown-ups – and that has
nothing to do with age. We have calm, smart
people on our team, who understand design
in terms of strategy.”
With offices in Johannesburg and Cape
Town, Berge Farrell has established it-
self as a leading player in brand iconogra-
phy, a term that it has been instrumental
in popularising.
What this entails, explains Nel, is un-
derstanding a brand’s unique selling point
and enduring competitive advantage, and
capturing it emotionally or functionally in
a graphic form or a symbol such as a logo.
Successful iconography is a communication
device employing a visual language that cuts
across language, literacy and cultural and
geographical divides.
“In essence, iconography means: ‘By
seeing you, I know more’.”
The agency only courts blue-chip clients,
and has established itself as a serious player
by revamping the design and packaging of
well-known brands such as Hansa, Castle,
Huggies, Chappies and Dentyne, with its
structural design of the Sarita cider bottle
winning an award from the Institute of
Packaging SA.
The firm recently scored a coup by
adding Pick n Pay to its client stable. To
complement the supermarket chain’s corpo-
rate identity facelift, Berge Farrell has been
redefining and revitalising the packaging
design across Pick n Pay’s bouquet of brands
– undoubtedly one of the largest and most
challenging design jobs in the industry.
Another exciting development is Berge
Farrell’s ventures into the international
02.
03.
arena, which it hopes to expand on in
the coming year.
In Romania, the agency was commis-
sioned by SABMiller to rebrand and pack-
age one of the country’s top beer brands,
Timisoreana. In Ireland, Berge Farrell won
a competitive pitch for the rebrand of the
country’s top toilet roll brand, Kitten Soft.
Perhaps most exciting, though, is their suc-
cessful brand development pitch for Italian
beer Birra Peroni.
“I love it that South Africans are doing
this kind of work in Europe,” declares Nel.
“European design seems to be a bit tired,
and we’ve found the people tremendously
enthusiastic about not only the way we do
business and the way we do design, but
they also really believe in the way we turn
commercial symbols into icons and bring 04. 05.
them to life.”
Packaging has come into its own as a
01. Paul Farrell, Andrew Nel
means for marketers to communicate with
02. Part of 4500 sku’s relaunched for PnP
their audiences, he points out, and design’s
03. The Chappies legend gets an upgrade
role in the marketing mix has increased
04. Sarita, award-winning design
measurably. This is especially important
05. Marzen Gold, part of the Hansa
in an information-driven society where
motherbrand extension
brands must break through the “noise
and clutter” to reach increasingly sophisti-
cated consumers.
Design is a process that goes way beyond
merely creating a “pretty picture” and for
Nel, there is nothing to match the feeling of
when a consumer “gets” an icon’s message.
Having shared a code of sorts, a bond is
forged between the two parties.
With Berge Farrell having grown “inch
by inch” since 2003, Nel is optimistic that
even rosier horizons beckon. “It’s hugely
exciting, with no end in sight.” Meanwhile,
they’ll continue quietly going about the
business of designing the product icons that
help make up our visual landscape.
 OFM covering central South Africa

Wherever you go in
central South Africa,
we’re on your frequency.

Reach central South Africa’s wealthiest people for a song!

OFM delivers the upper LSM market (7 to 10), 25 to 49 years, at the LOWEST
Cost Per Thousand in the country.
OFM has the number ONE penetration into central South Africa in the LSM
7 to 10, 25 - 49 year old market, measured against all available radio and print
options in the region.
To advertise on central South Africa’s number one radio station call United Stations on 08612372346

www.ofm.co.za
www.ofm.co.za
AGENCY PROFILE

Black

Type of agency:
Branding, strategy, design & interiors
Number of accounts/clients:
10
Biggest spending clients:
Not disclosed
Accounts won in 2008:
Kenya Airways, EDI – Electricity Distribu-
tion Industries, Chevrah Kadisha, Freedom
Park, Denel Aviation, Cape Sun, Guvon
Hotels, MTC Namibia, Palazzo
Account lost on 2008:
None
Contact details Southern Africa:
Tel: +27 11 880 1882/2889
Fax: +27 11 880 2266
East Africa
Tel: +254 20 360 1605  
Fax: +254 20 360 1100
Website: www.blackbranding.com
Company ownership:
100% Black. Veejay Archary & Peter Vundla
01.
Agency billings:
Not disclosed
Number of staff:
8 client but rather working from within and world-class status. In fact Black strives to move away
Key agency staff: getting to the very heart of the beast. The new identity needed to reflect from stereotypes, preferring to embrace
Veejay Archary and Marisa Holley
Perhaps this is why, when the econ- SAA’s worldwide credentials and Black, diversity in its truest sense – not just the
Key moment in 2008:
omy threatened to go into free fall at the using its unique ability to capture the narrow rainbow nation cliché.
Beating 48 international agencies to win the
end of last year, Black took on 48 interna- moment, designed a cohesive worldwide “Our South African heritage keeps us
Kenya Airways worldwide rebranding and
tional branding agencies to pitch for the brand evolution programme encompass- humble, we understand people’s cultures,
repositioning programme!
re-positioning and re-branding of Kenya ing signage, interiors, printed materials, it’s a melting pot that forces a tolerance
The agency snapshot in 50 words:
An independent African strategic brand com-
Airways and won. brand book, brochures, magazines, adver- on us and it keeps us down to earth,”
munications consultancy that understands “As a small agency, it was a huge tising, stationery, tags, tickets and fabrics. says Archary. This approach perco-
diverse cultures and business dynamics. thing for us,” said Archary. “The tender Black did not start with humble be- lates through to client work and Archary
was advertised globally in top publications ginnings. With much hoopla it began as fosters a culture of listening, a pivotal
such as the Financial Times and Econo- Herdbuoys Branding & Design, a busi- part of his business.
mist. Initially we were on a list of 48 and ness unit within the HerdBuoys McCann- “We never tell our clients how to
After 18 years of the sturm und drang of then gradually it came down to three of us Erickson group, in 1991, as South Africa’s run their businesses, but we can say with
helping steer the first black communica- – an agency in London, another in Tokyo first all-black agency. confidence that we understand how peo-
tions agency through South Africa’s chop- and us in South Africa.” One of the founding partners was ple think, it’s really a type of universal
py seas – losing partners, gaining them, Archary, in part attributes this to their Peter Vundla, still part of the advertis- truth,” he says.
into the red and then gloriously back into extensive experience in the airline indus- ing old guard, and one of the country’s In the end everything hinges on this
the black again, interspersed with strik- try, first designing a new corporate identi- top businessmen. – the art of understanding and communi-
ingly memorable design moments tied ty for South African Airways in 1995 with He and other partners disinvested cating with people. This is probably why
up with the country’s history – Black has Difenbach Elkins (now FutureBrand) in 2005 rocking the boat somewhat but, the Chevrah Kadisha, the biggest and
evolved into a feisty unit, its quintessential and then updating it 10 years later as in later years Vundla returned as a part- oldest Jewish community organisation,
self, quietly efficient, focussed – perfect the independent Black, as well as ner buying a stake and simultaneously asked Black to help realign and reposi-
branding, perfect positioning creating the brand architecture for all its becoming non-executive chairman of tion its brands. Keeping doors open is
All this has made chief executive of- brands, including Voyager, Flysaa, Cargo, Black. also part of the Black philosophy and its
ficer Veejay Archary and partners Peter and Technical. Black is still an all black-owned agen- design reflects this. Black is now based in
Vundla and Marissa Holley, the practi- When SAA took the strategic decision cy although it is called Black as a reference Rosebank in an open plan office.
tioners they are, with a conviction that all to join the world-renowned Star Alliance that brand design makes business sense After a long history of association with
marketing should stem from a base “root- group with members such as Lufthansa, and as a nod to the accounting term “in the McCann group, first with HerdBuoys
ed in reality” and that branding and strat- Singapore Airways and Thai, it called the black” rather than to a South African McCann Erickson and later with McCann
egy work is not a process of colonising the on Black to take it to the heights of a obsession with colour. Worldgroup in Europe, Black finally “cut

100 — The ANNUAL 2008

 AGENCY PROFILE

the umbilical cord” and bought their

own premises.
By design there are no boardrooms at
Black: “We all talk to each other and work
together. We help solve problems togeth-
er. There is no hierarchy here,” he says.
The décor is edgey, African con-
temporary, clue to another dimension of
Black. Over the past year the company has
branched out into the world of interior de-
sign – “just another part of the customer
experience”, says Holley. .
Archary’s design talents are well re-
corded. Apart from his annual glimpse
into the world stage of design as a vice- adapt to survive,” says Archary. to it, something which should be a neces- spective from an outsider’s point of view.
president on the International Council of Black has already partnered with like- sity. We only use local suppliers,” she And the results are there for the client
Communication and Design Association’s minded agencies – there is a research and says. to see, usually via videotaped interviews,
worldwide board (ICOGRADA), he a strategy agency sharing their offices How does branding and positioning says Holley: “Black is set apart from other
also designed the imagery and identity for now. Sharing resources and skills base is work? By not minding your own busi- agencies by its strategic thinking. Clients
the first Truth and Reconciliation Com- more cost efficient. ness, that’s how. Black staff may take over don’t come to us with problems around
mission and the ballot paper and voter But on to challenges of the times a desk in a client’s office for a week, eat graphics, it’s usually business problems
education campaigns for the first demo- – which Holley describes as exciting: sandwiches in the canteen, chat to staff and we need to work together to find out
cratic election in 1994. “We are starting to think about business and find out just what and how the com- what they are. We hover like a helicopter
Like all other South African agen- in a different way, what we are doing and petition thinks. and get very involved. There is no such
cies, Black is squaring up to the “sombre” why. This is the exploratory phase, where thing as a recipe but rather looking at
economic mood of the times and facing it “Right now we are starting a Black they learn about office politics, inter-de- things with a fresh pair of eyes. And, of
down with a stream of creativity. range of furniture for adults and children. partmental rivalry. So whatever comes out course, to unearth the truth, you need to
“It’s tough out there. We have had to We are also looking at wall design and of that is the real thing. realise the extent of the problem. Some-
streamline our operations. I see a lot of thinking about starting a clothing range,” They may conduct private investiga- times as in the case of MTC we find that
consolidation going on. But tough times she says. tions to find out what true experience of a the products aren’t aligned with the cus-
present opportunities and we need to “We are trying to bring green aspects company really is. This gives them a per- tomer needs.”

The ANNUAL 2008 — 101

AGENCY PROFILE
MTC, a mobile network company
owned by Portugal Telecom and the Na-
mibian Government, had held the mo-
nopoly for the past 10 years. Enter Swed-
ish Telecom with its Cell One and MTC’s
faced with a threat to its huge margins.
It’s tempting in a situation like this
to start panicking and enter in a costly
price war. Instead, MTC realised they
needed to better understand their cli-
ents first, in order to portray a brand that
adds more value.
Black needed to review and re-ener-
gise the brand and began the exploratory
phase by interviewing urban and rural cus-
tomers as well as doing internal reviews.
They had to unpack the entire brand
experience in a way that would get peo-
ple to understand and (hopefully) start
needing MTC. It also identified potential
102 — The ANNUAL 2008
threats from sub-brands potentially dilut-
ing MTC’s brand message.
They found that customers had a dif-
ferent perception of the brand, depend-
ing on what package they subcribed to –
either pre-paid, contract, or the subscrip-
tion offering.
In order to build a concise brand, in-
novative and relevant, both offerings had
to be relegated to mere pay plan descrip-
tors and the market segmentation became
focused on consumers’ lifestyles instead.
They devised an entirely new com-
pany philosophy built around four in-
ternal values – as opposed to the client’s
original 24 – and focused on solving brand
architecture conflict and proposed ARPU
generating features to contracts and pre-
paid users alike.
“Designing a simpler, more impactful
identity reflected the needs of a customer
spoilt for choice,” says Holley.
Once they are confident they have
rooted out the main problem, Black sets
in motion strategies of re-branding and
re-positioning.
Archary points to the kind of
qualitative research done for seda,
the Government’s Small Enterprise De-
velopment Agency.
This was a challenging mandate and
an unusual one – a Government agency
whose sole aim was to promote and fos-
ter entrepreneurial flair. (It’s usually the
other way around.)
So it made sense, therefore, that the
private sector needed to step in! If you
want to appeal to entrepreneurs, you need
to think like one.
seda had a mandate to create jobs and
they weren’t filling quotas. They had big
budgets and many consultants.
The products they were providing
– a complete set of information, coach-
ing and training on starting and running
a business – weren’t clearly packaged and
Black’s research found that there was a
problem of internal staff communications
– the regions didn’t have the power to in-
teract with the head office.
And, as with many corporations, the
marketing was left to the marketing de-
partment and there was no overall vision
for staff to embrace.
“We needed to do a thorough re-
search of the organisation, including face-
to-face interviews with a broad range of
employees as well as “mystery shopping”
at branch level (going undercover!),”
says Archary.

We quickly established that seda was
faced with the daunting paradox of turn-
ing a 500-employee state-driven organi-
sation to think and act with the speed of a
nimble enterprise,” says Archary.
Black needed to review the entire
product offering and the brand architec-
ture. The other challenge was to improve
internal communication so that employ-
ees became more reactive and more rel-
evant.
Black had been briefed by the board
of directors to conduct the necessary
reviews and essentially transform the
body into a truly market-focused and
effective organisation.
“We unpacked their business struc-
ture and helped them change the way
they look and how they sell themselves.
We developed brand workshops and set
out to re-balance the brand, by adding a
more human, more flexible dimension to
seda,” says Archary.
This shift required seda to embrace
a more retail-orientated type of business
model that would maximise its position in
the value chain and play to its strengths.
Black suggested a re-alignment of
seda products and services along four key
business lifecycles: development, growth,
maturity and decline.
This new architecture was brought to
life with a fresh and colourful look and
feel that positioned seda as a friendlier and
more approachable, business dedicated to
helping other businesses to grow.
Says Archary: “Employees often
don’t understand the challenges the com-
pany faces. Sometimes they need to be
taught simple things like how to answer
the phone or to sell a product by under-
standing its value better. We offer more
than just branding and design.
We like to say we are not in the busi-
ness of design but rather in the design
of business.
After this we can conclude where you
actually are and where you want to be. We
show them the gap.”
Like most advertising agencies,
Black believes in corporate social respon-
sibility and at the moment are doing work
for the Adelaide Tambo Trust, Zanele
Mbeki’s charity and other women’s
community groups.
Looking to the future, Black hopes
to further entrench its branding expertise
offering all sorts of other services and is
looking northwards.
Already they have opened an office in
East Africa and are finding partners in Ni-
geria and other parts of West Africa.
This is where their innate skills of im-
mersing themselves into the culture of a
company or country stand them in good
stead. Archary takes pride in the fact that
his agency doesn’t have a marketing budg-
et – all work comes from word of mouth.
Focussing on particular sectors pays
off and Archary believes that Africa’s fu-
ture lies in tourism and communication,
areas that Black is strong in.
In the meantime budget cutting on the
research side here in South Africa has led
to a resurgence and growth in the industry
of brand identities and corporate profiles.
Black isn’t complaining.
Client references
“… now that our nation is free, it is appro-
priate that the airline’s new livery should
reflect the colours and design of our new
national flag. South African Airways will
now have the advantage of being a true
flag carrier representing the free spirit of
our colourful and diverse land. The airline
will be the ambassador for our country,
carrying the symbols, the hopes and the
aspirations of our nation to the far corners
of the globe…”
– Nelson Mandela – SAA brand
“You’ve improved the quality of our on-
board product and standards. You’ve
encouraged us to improve daily and your
support means the world to us. With your
help we are now world class. For this
we thank you.” – Khaya Ngqula – SAA
lounge look and feel rollout
“With the revamped Voyager look and feel,
we can now claim our place in the world with
excellent innovation, simple language
and realigned people, reflecting our
proudly SA roots.”
– Khaya Ngqula – SAA Voyager
“Thank you for initiating the proc-
ess of opening our minds to a fresh
start and a new beginning, centred
around a new corporate ID that is fresh,
bold and strong, and which projects
an image of an entrepreneurial but inter-
national business.” – Andrew Sprague
“I have seen many strategic and brand
proposals in my career in Europe and the
AGENCY PROFILE
US, and the thinking you have put for-
ward for SAIL is up with the best.”
– John Newbury, chairman of SAIL and
ex-chairman of Pentagraph
“Some gifts can never be repaid.
Thank you.” – Zanele Mbeki – First Lady
of South Africa
“seda contracted Black to work with us
to develop seda’s brand positioning and
they have provided high quality of work
and have exceeded our expectations. seda
is looking forward to complete the other
phases of the project. Black has been pro-
fessional and delivered on their promises.”
– Wawa Damane – CEO, seda
“Black Brand Strategy & Design did a
fantastic job of hand walking both the
SA Travel Centre Management Team
and the franchisees from an entrenched
position about our old trading brands.
Their approach won the hearts and
minds of the franchisees as they pre-
sented facts based on thorough research.
The jewel in the crown was when the
re-branding process concluded by deliv-
ering a fresh, arrogant look anchored on
solid value systems.” – Thulani Nzima –
CEO,South African Travel Centre (SATC)
The ANNUAL 2008 — 103
 IDEAS ACTION RESULTS

Your Affordable Marketing Solution

Our Expertise:
• Developing and executing marketing strategies
• Managing marketing budgets
• Designing and producing marketing materials
• Media Planning and auditing
• Managing public relations
• Managing promotions and advertising
• Brand stewardship
• Managing and recruiting marketing staff
• Developing and updating websites

We’d like to become your marketing partner

(and come to your Chrismas party)

Kim Forsyth: 011 803-2040 • kim@thefuture.co.za • www.futuremarketing.co.za IDEAS ACTION RESULTS


Black River FC
(Cape Town)
Type of Agency:
Fully intergrated specialising in ATL
Number of accounts/clients:
4
Biggest spending clients:
Ooba, Canterbury
Accounts won in 2008:
Ooba, Canterbury, propertygenie.
co.za, Harrington street boxing gym
Accounts Lost in 2008:
None
Company Ownership:
100% locally owned
Number of staff:
3
Billings:
R1.4-million
Key awards in 2008:
None
Contact details:
Physical address: 3rd Floor, The
Terraces, Black River Park, Fir
Street, Observatory, Cape Town
key agency staff:
Creative director: Darren Mc Kay
Account director: Alex Du Toit
Art director: Martinique Treadaway
key moment in 2008:
Opening doors and winning
the Canterbury account.
The agency in 50 words:
An agile, free-spirited agency that
prides itself on creating surprising,
intelligent, effective and attractive
advertising. It has a relentless energy
to provide perpetual excellence
through communication and service.
Above all, we love to WIN!
“If you want to make a big splash you need
to throw a big rock.” Audacious words
from a fledgling agency comprising just
three people? Not when between them
they have won every award there is to win –
Cannes, D&AD, Loeries, The One Show,
you name it.
Diamonds do come in small packages
after all and here is no exception. Each armed
with impressive local and international
exposure, the paths of Darren McKay
(creative director), Marty Treadaway (art
director) and Alex du Toit (account director)
converged on the threshold of Black River
Football Club (Cape Town) (Black River
FC 021) in January 2008.
As founder and chief magician, Darren
describes their flavour, “A fair amount of
voodoo goes into making great ads and an
agency. Our magic Potjie is a potent mix – a
Martinique Treadaway, Darren McKay, Alex du Toit
cup of talent and experience, five cups of
energy, eight cups of passion, five cups of
risk (we don’t do middle ground), eight
cups of hard graft and a sprig of parsley
for perfection.”
But don’t be fooled, this colourful
description overlies a steely will to win,
because that is what it is all about, says
Marty. “We are a high-end agency that will
deliver the goods. We believe in winning.
We want our clients to win and we want
to win awards to showcase our talent and
to attract the best young creatives in the
industry.”
Along with their sister agency up north,
they form part of The Jupiter Drawing
Room (South Africa) & Partners group
but with a special mission and modus
operandi – Darren says they are a little
agency with big clout. The goal is to exploit
the creative opportunities inherent in the
smaller business arena and to get really
intimate with the South African context
by exploring the varied textures of our
multicultural environment.
H e e l a b o r a t e s : “ We t a p i n t o
entrepreneurial spirit, we partner little
companies and grow them into the
market by infusing them with vision and
assisting them to realise their potential.
This is definitely the most exciting part
of advertising, although when established
companies launch a campaign it is an
opportunity to refresh too.’”
Marty adds that many agencies get
lazy and churn out the same old ideas for
their clients instead of capitalising on these
opportunities. She also offers a remedy:
“Hire us. We are hungry and dynamic.
We are driven to excel and we promise to
take our clients to places they have never
been – go big or go home.”
Their hearty appetite has resulted
in an already impressive array of clients
including Ooba (formerly MortgageSA),
Springbok apparel makers Canterbury, the
AGENCY PROFILE
Harrington Street Boxing Gym, Nandos
Western Cape, Virgin Energy Shot and
Propertygenie.co.za.
With creative output high on the
agenda, it is no surprise that their viral
and print campaign for Propertygenie.
co.za has been snapped up by the BBC for
their best Ads 2008 reel. Darren sums it
all up: “When you have a great campaign
on your wall and you know it’s going
to happen you get up whistling – it’s a
fantastic feeling.”
A propitious start to what looks like
a bright and creative future as a well-
respected medium-sized company, “With
lots of great clients, where it is fun to
work and where great inspiration is justly
rewarded,” he says.
And they have a mission: they are
passionate about South Africa’s economic
and cultural prospects and are keen to use
their media influence to generate positive
change. Marty explains: “We have a voice
and we can help turn negative perceptions
into positive attitudes – we are committed
to doing this.”
Client references
“Black River FC is a passionate, fun, yet
efficient and hard working agency. They
are able to successfully combine practical
and innovative ideas across the marketing
communication spectrum. Their attention
to detail has paid off to maximise our media
standout.’ – Megan de Maar, Ooba
“The team is exceptionally capable, fresh
and values relationships highly, which is
refreshing. We are partners and friends in
dreaming about and building my brand.
They are always flexible and available. I
feel like they love my brand and what it
stands for – they are fans, supporters and
partakers – it’s cool!”
– Donovan Miller, Gym Manager,
Harrington Street Boxing Club
The ANNUAL 2008 — 105
AGENCY PROFILE

Black River FC
(Johannesburg)
Type of Agency:
Full-service,
Number of accounts/clients:
Six
Biggest spending clients:
Nando’s, 1st for Women, 1Lifedirect
Accounts won in 2008:
Incredible Connection
Accounts lost in 2008:
None
Company Ownership:
100% Locally owned independent
Number of staff:
26
Billings:
R101-million
Key awards in 2007:
• Cannes Finalist Print and
Poster for 1st for Women
“Do you think she is pretty”
• Bronze Loerie TV – Nando’s
Double Thigh Campaign
“Vernon: jeanpant. Koekemoer
you, Double Thigh is kwaai”
• Silver Pendoring Beste Klinreel
Nando’s Mediterranean Flavour shopping precinct where the atmosphere “Our quality does come from our size,” agency operations.”
“ Die smul sonder die brul” is quite different to that of most northern admits Ahmed. And clients seem to like this approach.
Contact details: suburb agencies. “The solution is to attract work that The agency has seen enormous organic
Janine Allem The team insist that’s because they’re attracts good people. Ideally we want to growth from clients this year, with Nan-
Email: janine@blackriverfc.co.za one of the very few ‘authentic’ agencies maintain the same number of clients but do’s, for example, delivering briefs for the
Ahmed Tilly around and this is reflected firstly in their only keep those who respect us and who will International market.
Email: tilly@blackriverfc.co.za choice of location. pay a premium for quality work, enabling Awards are important to Black River
Key agency staff: “This venue is consumerism at its best. us to grow without forfeiting our close FC and they have their fair share of statues
All staff We could have chosen another location relationships.” for a young agency, but Tilly is vehemently
Key moment in 2008: but this keeps us in touch with what is Allem agrees that the quality of work is opposed to the local industry’s reliance
Winning Nando’s real; it ensures that we don’t forget where essential: “When agencies lose interest in on ‘scam’ ads to secure awards: “We have
The agency in 50 words: we work and live and who our consumers clients’ real needs, then clients lose interest never produced a scam ad; they are a dis-
Black River FC believes that if a client are,” says Janine Allem, head of the Client in agencies. If we are growing organically, service to clients, creatives and the industry
has a problem, we will find a creative Service team. this helps to constantly re-ignite the flame. as a whole.
solution. Everything we have produced “We have a more classic ad agency The more success our clients have, the “And don’t let creatives get away with
over the past 4 years has made our atmosphere in what is considered part of more success we have. the old ‘pro-active’ ads story either. Proac-
clients richer! The same work has the CBD. And we will always stay in a “We’re not focused on re-inventing tive ads are the laziest work possible and
performed well in awards locally and retail environment.” the way an ad agency operates. We put irresponsible of a creative department
internationally. Great creative sells. In its fourth year, the agency has all of our energy into thinking about our that should be putting all its energy into
Yes we’ve all heard it, all claimed it, reached a tipping point according to ex- clients’ business and how we can make a making real jobs interesting and deliver-
yet Black River FC believes it with ecutive creative director Ahmed Tilly: difference for our clients. That’s where ing amazing creative work on genuine
such fervour, we have turned down “We’re here to stay. The industry has ac- the excitement lies.” campaigns without breaking the rules by
business when the prospective client cepted that we’re not a fly-by-night and Tilly agrees: “Agencies should focus lying and cheating.”
hasn’t shared the same philosophy. we are definitely poised to expand into less on positioning themselves as unique The agency has excelled creatively on
something bigger.” and more on the clients’ needs. Doing their clients, especially Nando’s and 1st
The agency maintains its emotional things differently is part of the job; it’s a for Women – clients who understand the
Black River FC should be considered a links to The Jupiter Drawing Room (Cape) hygiene factor; if you’re not doing that, need for creative work and have benefited
relatively small boutique agency, but size but has become a fully-fledged independ- you’re failing your clients. hugely from it.
can be misleading, especially in this case. ent agency. “Our position is that we’re authentic, The team at Black River FC is ac-
Here is an agency that truly thinks big; has This has created a dilemma for Ahmed honest and transparent and sometimes cessible, energetic and engaging and cli-
big ideas and seems to be pretty adept at and his team however, who all want to that feels revolutionary in this industry ents are enjoying the enormous benefits
offering big solutions for big business. take the opportunities on offer to grow, where all sorts of gimmicks apply, but that f low from this relationship. This
‘Big boutique’ springs to mind after a but are determined not to lose their in- if we do something revolutionary it agency is on the brink of something big.
morning in their offices at 44 Stanley Ave timacy with their clients, staff and work: will be on our clients’ business, not on Watch this space.

106 — The ANNUAL 2008

 AGENCY PROFILE

“The more success our

clients have, the more
success we have”
01. 1Life Direct print ad 02. 1st for Women print ad

03. Nando’s TV ad

04. Mini Gun print ad

The ANNUAL 2008 — 107

AGENCY PROFILE

Blue Moon Corporate

Communications (Pty) Ltd
Type of Agency:
Corporate Communications
• Integrated Employee Engagement
• Events
Number of accounts/clients:
10 key Clients • 20 Project Clients
Accounts won in 2008:
Absa, Great Basin Gold
Accounts lost in 2008:
None
Biggest spending clients:
Edcon, Discovery, Volkswagen SA, Sasol
Technology, Airports Company SA and
the Recording Institute of SA (SAMAs)
Company Ownership:
25.12% Black owned
Number of staff:
December 2007 – 35
August 2008 – 44
Billings:
01.
Financial year 2007 – R41 million
Key awards in 2008:
None
have to say it’s all held together by our love as ‘your idea’. Ideas fly off one another. and more accessible than a conventional
Contact details:
of cake.” Although there’s a mischievous It’s not ego-driven – it’s all of us together. organogram.
Tel: +27 11 721 4700
twinkle in her eye, the analogy she’s Creative ideas coming to fruition requires “We can take a huge amount of
Michelle Caldeira
sketching is an astute one. a partnership – the producer needs to complicated information, reduce it to its
Email: michelle@bluemoon.co.za
You see, this creative corporate understand the spirit and ethos of the simplest level and make it easier for people
Physical address: 98 Oxford Rd
communications agency loves to celebrate creative, and interpret it. There’s a crossover to understand,” Caldeira explains. “Placing
Houghton Estate Johannesburg
– its clients, its successes, its employees and between the two walks.” all the required data into one picture makes
Key agency staff:
their little joys in life. You could say that On the internal communications learning more memorable.”
Executive creative director: DJ Grant
the sparkle of joie de vivre permeates the side, Blue Moon specialises in facilitating Creative director Moray MacLennan
Creative director: Moray MacLennan
company right down to molecular level. And conversations with employees within a elaborates: “When portraying the big picture
Executive producer,
therefore, even the most vaguely special particular organisation. This engagement in an organisation, the best way to show it
events: Deana Heslop
occasion means it’s time for cake. with employees can be aimed at making is through a visual, not through verbosity,
Executive producer, employee
“We have a passion for fresh, true and a difference in behaviours, creating so that people can see themselves in relation
engagement: Sarah Leftwich
brave ideas,” explains Caldeira. “We enjoy awareness or addressing change management to it.”
Marketing director: Mpho Nkadimeng
challenging ourselves. Our success lies scenarios. Adds executive creative director DJ
Managing director: Michelle Caldeira
in our environment of collaboration and The key, she says, lies in not lecturing Grant: “Pictures are a cue to storytelling
Key moment in 2008:
consultation. We have an appreciation of people about what they should and shouldn’t and articulation. Once employees start to
• Winning the internal Absa
each other’s talents – it takes all of us to make do. Blue Moon draws its inspiration from an tell a story that involves themselves, they
employee engagement account.
what happens, magically happen.” old Chinese proverb: “Tell me and I’ll forget; feel a greater sense of belonging and come
• Creating and producing the best MTN
This spirit of dynamism and progressive show me and I may remember; involve me alive. They are psychologically hooking
SA Music Awards yet – 17.8ARs
thought permeates the ideas hub that is Blue and I’ll understand.” into the organisation.”
The agency in 50 words:
Moon. Its 44 employees, in the production A picture does, indeed, tell a thousand The ultimate aim is for employees to
Collaboration and inter-disciplinary
and creative departments, get a kick out of words and creates involvement. One of feel a heightened sense of belonging, loyalty
exchange are our tools for designing
doing things in new and different ways. the innovative ways in which Blue Moon and commitment toward their employer,
creative communication that is solution-
Blue Moon started out in 1989 as an interprets and communicates a client’s and to not only live the brand but to allow
driven and totally relevant to our clients’
events company and in 2000, decided to strategy is through illustrations such as the values to penetrate into their behaviour
needs. Directed by our values – fresh,
re-evaluate its business model to incorporate route maps and process maps to engage and foster integrity.
true and brave – our highly experienced,
integrated employee engagement as a employees. As Caldeira points out: “Storytelling
cross-functional teams customise
complementary business stream. At first glance, these resemble large, creates conversations, and conversations
integrated employee engagement
Today, its client list includes Edcon, colourful cartoons depicting a bustle create understanding.”
programmes and events to suit the target
Airports Company South Africa, Discovery, of activity. However, their content is Naturally, getting the employee to buy
audience, whether internal or external.
Volkswagen SA, the Recording Industry of painstakingly researched and the pictures are into any corporate engagement process
South Africa (for the South African Music compiled in such a way that they illustrate requires emotional, intellectual and physical
Awards) and Absa. a story about the reality and strategy of involvement on his/her part – which can be
Blue Moon’s philosophy and approach to With its pay-off line, “Engaging people that particular business, aiming to forge a challenging in an organisation whose staff
business can be summarised in a single, through creative exchange”, the company creative connection between the employee, component is deeply segmented in terms of
yet eloquent word: cake. certainly practises what it preaches. their role and company objective. psychographics, demographics, economic
“What makes Blue Moon tick?” ponders “Everyone at Blue Moon is creative,” The cartoon format breaks down status and language.
managing director Michelle Caldeira. “I’d Caldeira declares. “There’s no such thing barriers and is warmer, more inclusive Blue Moon is a communications firm

108 — The ANNUAL 2008


02.
01. Trudy Mofutsanyana, Moray MacLennan, DJ Grant, Deana Heslop, Mpho Nkadimeng, Michelle Caldeira, Lynne Normanton and Sarah Leftwich
02. You Tube style video used to engage Discover leadership
03. Discovery conference thematic
04. Absa leadership campaign
05. Edcon customer service campaign
rather than a training company, Caldeira
emphasises, which guides staff in what
they have to do in their jobs to achieve the
company’s vision. Brand and values both tell
you how to behave, and we have to engage
with top management on the strategic vision
that an employee has to understand.
“We create tools for managers. The
manager has been found to be key to
successful employee communication,
but some lack communication skills,
so we empower managers to speak to
their staff.”
“The key to our success in employee
engagement is our own engagement in the
process,” says Grant.
“We also have a journey to take in any
particular company. One of our skills is
successfully, and with integrity of purpose,
engaging those senior people and finding
out what they really need to say to their
employees. Our challenge is to remain in
touch with our own journey and thread.”
Adds MacLennan: “What makes us
particularly effective is the way we link
all the elements together – we unify the
employee base behind a set of ideas and
goals for the organisation.”
This extends to instilling the same
message in all forms of communication within
the company, so that the repetition helps to
ingrain it in employees’ consciousness.
There is naturally some reluctance
on the part of top executives to bare
their company’s soul and problems and
be brutally honest, and MacLennan
terms this half-baked approach a “Barbie
band-aid”. “They want to position
themselves and market themselves, rather
than reveal themselves.”
AGENCY PROFILE
03.
04.
Of course, a lack of openness will
hamper any intervention in burrowing
to the root cause of the problem, as Blue
Moon needs to understand exactly what
the company’s DNA code is before it can
untangle the strands.
“We attract brave clients, not prissy
ones,” says Caldeira. “You need big
balls to do proper integrated employee
communications!”
They pride themselves in creating
sustainable results for their clients, as is
evident in the measurable improvement
in employee perceptions that have been
recorded by many of their clients. These
results are attested to in the case studies
which Blue Moon have in their portfolio.
Creative synapses firing on all cylinders,
the crack Blue Moon team routinely comes
up with ideas that are often startling in
their ingenuity.
One such creation was an employee
annual report for ACSA, packaged in a
model aeroplane box. The document’s cover
was made up of stickers, which then had to
be stuck into the annual report. Apart from
being a fun and user-friendly concept, it fell
neatly into line with the company’s strategy
of “building a model company”.
“Instead of the usual e-mails and
memos, we use media that surprises people,”
says Caldeira.
They also conceived a novel interactive
board game for Edcon’s merchandise
executives, and have also used new media
such as YouTube-style video clips to get
core messages across.
Another fun idea was making students
available to be at the beck and call of
consultants at the Absa call centre for a 05.
The ANNUAL 2008 — 109
AGENCY PROFILE
06. Edcon HR road ahead
07. Great Basin Gold route map
08. Great Basin Gold “think, say, do” icons
day. Staff had only to ring a butler bell
and they could have their car washed,
photocopies made, a fax fetched, and so
on. Having helpers there to make them feel
special and recognised, and to make their
lives easier, demonstrated to the staff, in a
light-hearted way, how they should treat
their customers.
When Deutsche Bank wished to hold
a recruitment drive, Blue Moon decided
that a fun way to introduce students
was by using a combination of Sudoku
and the “speed dating” principle in the
interview process.
Their work with Sasol Technology’s
monthly employee induction process won
a project award at that company. This
involved a variety of practical, visual and
interactive exercises and activities that had
to keep new employees attentive for the
one-day orientation period while retaining
the integrity of the message.
Great Basin Gold – not your traditional
mining company – asked Blue Moon to
develop a communications programme to
encourage employees to buy into its new,
progressive approach to mining. Based on
the premise that people are defined by what
they think, say and do – and organisations
are defined by the actions of their people
– Blue Moon introduced a campaign that
encourages and equips all Great Basin Gold
employees to examine their own conduct
as well as the values and practices of the
organisation in terms of the simple axiom
and campaign identity, Think, Say, Do.
The programme involved an interactive
launch and extended into safety awareness,
induction route map material, a new
company newsletter and internet cafés
that link Great Basin Gold’s operations
in South Africa, the USA, Mozambique
and Canada.
Events make up a significant portion of
Blue Moon’s work, and key among these
is the one-stop shop the company provides
for the MTN SA Music Awards. From
coming up with the creative concept and
designing the new brand identity to hosting
the nominees party and the glitzy main
event, televised live on SABC 1 – Blue
Moon does it all.
This involves planning and coordinating
the entire awards show and the events
110 — The ANNUAL 2008
leading up to and following from it, from
the invitations right down to the set, the
videos, the scripting, the rehearsal of artists
and presenters, the wardrobe, the technical
aspects such as sound and lighting, the
animation and the after-parties.
Here, again, seamless synergy between
creative and production is integral to the
event’s success, as a consistent look and
feel needs to be maintained for the sake of
harmony and continuity. Working within
predefined parameters, they have to come
up with new and innovative ways of staging
the awards every year. 06.
Even more of a challenge is imparting
that elusive “wow” factor to both the
audience at the Sun City Superbowl and
the viewers at home.
“Telev ision audiences are ver y
sophisticated and TV-literate,” says
MacLennan. “People have seen the MTV
Music Awards and the Grammys on TV,
and we have that to live up to. Luckily, the
technical expertise we use locally is of as
high a standard as that of international
shows.”
I n 2008, t hei r ef for ts paid of f
handsomely: the MTN SA Music Awards
live broadcast notched up a massive 17.8
ARs and a 52,7% audience share – the
largest television audience ever recorded
for the event.
Discovery is another major client and
Blue Moon recently had great fun organising
its year-end street extravaganza. This
carnival-like procession through the streets
of Sandton to the Convention Centre, led by
a marching band, saw employees designing
their own masks and outfits. Staff members
allowed their imaginations to take flight
07.
in flamboyant style, and competed for
individual and team prizes.
Blue Moon also has a knack for highly
personalised and customised events. For
example, instead of hosting a conventional
new car launch, they delivered Audi A6
vehicles to selected executives, with a
restaurant address pre-programmed into
its GPS and brand ambassadors on hand
to unobtrusively welcome the couple for a
special evening out.
“We can customise to the client’s
requirements – big, spectacular events or
chic, intimate events,” relates Caldeira. 08.

09.
10. 11. 12.
“We love both types. Even a small event
is huge for us, and we take great care with
aspects such as first point of contact and
first impressions, right down to registration,
décor and food.”
It’s not hard to deduce that, almost
20 years since it opened its doors, Blue
Moon remains fresh, funky, progressive
14. 15.
and young at heart.
“We reinvent ourselves all the time,”
9 - 13 MTN SA Music Awards 2008
says Grant.
14 - 15 Discovery employee event
Close your eyes and you can almost
hear the tiny explosions of creativity
AGENCY PROFILE
13.
that snap, crackle and pop through this
potent communications company on a
daily basis. They love learning new ways
of communicating old things, they love la
dolce vita – oh, and they love cake.
By this one will have gathered that
Blue Mooners are people who savour
the sweetness of life and their work, and
who clearly relish not only having their
cake and eating it, but gleefully licking
the spoon used for the icing as well. And
their satisfied clients, of course, are the
cherry on the top.
The ANNUAL 2008 — 111
15671 SAPPI adS UD R 13/10/08 13:26 Page 2
C M Y CM MY CY CMY K
 AGENCY PROFILE

Boomtown
Type of Agency:
Strategic Brand Agency
Number of accounts/clients:
20
BIGGEST SPENDING CLIENTS:
Coega, NMMU, Eveready
Accounts won in 2008:
Cacadu District brand
Accounts lost in 2008:
None
Company Ownership:
100% locally owned independent
Number of staff:
35 02.
Billings:
More than R20 million
Key aGENCY STAFF:
All 01. Glen Meier (CD), Robyn Rütters (AM), Neil Hart (MD), Andrew Mackenzie (CD), Luvuyo Bangazi (BD),
key moment in 2008: Anja Clarke (senior designer), Janine Ellis (traffic), Shaun Martin (financial manager)
Refocusing our 14 year-old advertis-
ing agency into a new strategic brand
agency with fresh vigour and vision.
Winning two major pitches in one
their clients,” says Neil, a graphic designer, Client references
month.
who was fresh out of university when he “I enjoy working with Boomtown because they
Contact details:
founded Boomtown. produce high quality work, sometimes at very
Tel: +27 41 364 0180
The agency also offers public relations short notice, and can be relied upon at all times,
Email: neil@boomtown.co.za
as an integral part of its business of brand especially in a crisis. They’re professional and
Email: luvuyo@boomtown.co.za
building, with another team of four offer- willing to go the extra mile and beyond for a
The agency in 50 words:
ing this service to customers. client.” – Cacadu District municipal manager
Boomtown is a strategic brand agency
Honesty, integrity, fairness are all non- Ted Pillay
with an emphasis on delivering
negotiables in their business.
high-quality creative output with a 03.
“Our style philosophy revolves around “Some of the unique characteristics of this
business-driven understanding. We
fairness and values-based business prac- agency are its adaptability, flexibility and
have excellent talent, a determination
tices. We are here to produce exceptional visionary approach. When dealing with
to do well and creative energy to
creative work at a fair price.” Boomtown, it feels exactly like we are their
burn. We’ve been in business for
Or as fellow director Luvuyo Bangazi only client and its entire creative and strategic
14 great years doing through the
puts it: “We want our work to deliver for focus is on us.”
line brand communications.
our clients, so we spend their resources as – Roland Williams director: communications,
if they were ours – responsibly.” Nelson Mandela Bay Municipality
Part of their tough standards approach 04.
This top agency has the creative acumen, is never settling for second best and ever Boomtown has the ability to accurately pre-
business ethic and versatility to meet the seeking improvement. dict a market trend, properly research an 02. Nelson Mandela Bay Tourism
key challenges facing customers in today’s “We have cut our teeth on the tight environment, and give insight into strate- brand building campaign
business and marketing climate outside budgets of the Eastern Cape and, as a gies and policies. The personal touch and 03. Space logo and interior design
of Port Elizabeth, where it has made a result, have learned how to deliver extra personality makes it a true pleasure to work 04. Eveready Fosho
major impact. value. Now we are able to offer this aspect, with their team.”
“We’re a strategic brand agency that is unique in our industry, to a national cli- – Nelson Mandela Bay Municipality
values-driven and determined to achieve ent base.” communications director Roland Williams
business results through good, solid creative So while Boomtown is growing na-
Boomtown has grown 35%
work,” says director Neil Hart. tionally, it is also systematically working “Boomtown is one step ahead with their high in the past financial year
It’s an approach that Boomtown has towards a three-year plan that will seriously standard, good quality and aesthetically pleas- signalling this agency’s
taken since it was established 14 years ago enable it to become the brand agency of ing work which takes international marketing
in another lively phase of South Africa’s the year. trends into consideration.” intent of spreading its
history – 1994. “We know that to become a recognis- – Nelson Mandela Bay Tourism chief execu- value-driven wings into
Unlike most large agencies, Boomtown able force in this industry we need to win tive officer Fezekile Tshiwula
is structured into smaller multidisciplinary awards. It’s a case of watch this space,” says
South Africa’s city of gold
teams of creatives, client service and strat- Neil, whose clients like VWSA, Eveready, “Boomtown is very good at exactly capturing
egy working in the same group. Nelson Mandela Metropolitan University or conveying the customers’ message through
“We find that this works incredibly and Coega Development Corporation, their excellent graphic design.”
well as each member of the team holisti- will be none too surprised when accolades – VWSA Service marketing co-ordinator
cally understands what is going on with come Boomtown’s way. Mfundo Piti

The ANNUAL 2008 — 113

AGENCY PROFILE

The Brand Union

Type of Agency:
Brand, strategy, design, engagement
Number of accounts/clients:
35+
Accounts won in 2008:
Kulula, Momen & Pizza King, Absa,
African Banking Corporation, Momen
& Pizza King. Rean, Cornerstone
Insurance, Dangote, Nedbank, Neotel.
Accounts lost in 2008:
None
Biggest spending clients:
Kulula, Momen & Pizza King,
TDS, Cornerstone Insurance,
Unity Bank, African Petroleum,
Transaction Capital, Autopage
Cellular, TDS Directory Services,
Kerzner International (including
One & Only Restorts and Mazagan
Resorts), Road Accident Fund,
Rogers Brand Engagement
Company Ownership:
70% WPP, 30% Southern
Place Investment
(100% owned by Karl Socikwa)
Number of staff: 01.
73 in Johannesburg
If you were to sum up The Brand Union’s emphasis on exploring and researching the excellent experience in client liaison, and
Billings:
philosophy in a simple catchphrase, it would brand and its environment and validating strengthens The Brand Union’s offering
Exceeds R60 million from
be “brand-led business growth”. That’s the the brand concept, followed by an evalu- in this area. Financial director Farhana
the Johannesburg office
mantra that underpins every aspect of the ation of the execution. Waja, who replaces former chief financial
Contact details:
consultancy’s functioning, and the reason Swart reports that this new approach officer Jonathan Davies, is another new-
The Forum, 5th Floor,
why, in an increasingly brand-conscious resonates with clients, and is a strong dif- comer. Davies himself is moving within
2 Maude Street, Sandton
world, it continues to travel an enviable ferentiator in the marketplace. Since many the group, having developed the systems
Private Bag x16, Sunninghill 2157
upward trajectory. of the brand designers and strategists in required for the smooth implementation
Key agency staff:
Equally adept at summarising The South Africa got their start at the erstwhile of the new methodology.
Chief executive creative
Brand Union’s ethos are the words, “glo- Enterprise IG, it’s easy to understand how The results speak for themselves: while
officer: Anthony Swart
bal expertise”. Indeed, the restructuring its process was replicated time and again, 2007 was “a very successful year” for The
Managing director: Anisa du Plessis
of the agency last year, which took place making it a rather generic offering. Added Brand Union, 2008 has continued to build
Executive creative
alongside its name change from Enterprise to this, the methodology also serves as a on those accomplishments. Swart reveals
director: David Lett
IG, ensures that it is now, more than ever, guideline for a more intensely thought- that top-line business performance in Africa
Marketing client director:
closely aligned to an international network through, appropriate and strategic way of and South Africa has remained positive, and
Fiona Hitchcock
with standardised processes and a global addressing brand problems. “This has made growth in these markets is likely to continue
Finacial director: Farhana Waja
culture – and this assures clients the very it possible for us to improve our delivery with profitability improving. “Our business
Key moment in 2008:
best in global thinking. to clients, and to pull in international ex- is now almost equally balanced between
Internal staff alignment behind The
“The changes we undertook last year pertise and knowhow more easily,” Swart South Africa and the rest of the continent
Brand Union values and methodology;
made it an exciting time,” says CEO An- maintains. in terms of revenue,” he says, alluding to
employment of new managing
thony Swart. “We are now truly an inter- That’s something that works both ways, The Brand Union’s offices in Cairo and its
director and finacial director;
national brand agency, more easily able to with several of the Johannesburg office’s presence in Lagos. Swart takes pride in the
continue expansion into Africa
interact with our global counterparts. Plus, members gaining international exposure fact that The Brand Union Johannesburg
The agency in 50 words:
our new identity has given us a strong sense at the consultancy’s branches around the consistently outperforms the targets it is
The Brand Union is the realisation
of who we are, what we do and how we do world. For example, former Johannesburg set as part of an international group.
of WPP’s amition to build world’s
it. That’s means a lot to our people.” managing and strategic director David His accent on business performance is
leading brand network. The agency
One of the most significant changes Blyth has relocated to London, where he reflected in The Brand Union’s approach,
delivers brand-led business growth
made, Swart continues, is the introduc- now joins Everystone, a specialist strategic which aims to drive clients’ growth rather
through a philosophy of master
tion of a new methodology. “This is the consultancy within The Brand Union stable. than gain creative kudos. “It’s not that we
brand building. It distinguishes itself
foundation of everything we do, from the “This has given us a great opportunity to don’t think creatively – the fact that we are
through its unique growth, direction
way we take client briefs, to how they are bring in new talent,” Swart comments. massively creative is proven by the work
and protection (GDP) strategy, which
interpreted and delivered to client,” Swart Joining the team are new managing direc- we do for our clients, and how it benefits
helps organisations understand where
explains. The new seven-step procedure tor Anisa du Plessis, whose long history in them,” he says.
they are in the brand cycle, and tailors
is more intensive than a four-step process brand marketing at blue-chip organisations This is borne out by client opinions.
appropriate solutions accordingly.
previously undertaken, with a stronger such as MTN and Absa has granted her “The Brand Union’s creativity and ex-

114 — The ANNUAL 2008

 AGENCY PROFILE

01. The Brand Union Executive team: David Lett,

Anisa Du Plessis, Anthony Swart, Fiona Hitchcock
and Farhana Waja
02. The African Romance Identity is inspired by
facets of reflective light in a perfect cut diamond,
while the visual language conveys Africa’s
warmth and radiance and heritage in its
earthy tones.

ecution towards the development of our 03, Silverstar, an exceptional brand that is loved

brand truly reflected their professionalism, by staff and patrons for its uniqueness and

passion, enthusiasm and above all, pride point of difference!

in what they do,” says Kago Mmopi, cor- 04. Green Zone is an innovative concept that sets a

porate communications and public affairs new precedent in convenient, efficient banking

manager at DTC Botswana, for whom The and financial consulting, with the full inventory

Brand Union created a corporate identity, of the products of all the brands available to

including various communication elements, the customer in a single space

when the organisation was a newly formed 05, kulula’s an iconic South African brand which

entity. has a youthful, independent and somewhat

His sentiments are echoed by Venetia irreverent culture. Repositioning the kulula

Howes, marketing manager at Silverstar brand to retain this differentiated value set into

Casino, who describes the consultancy’s new markets and sectors was a challenge

work in developing the Casino’s brand and eagerly taken up by The Brand Union

corporate identity as “very thorough. Every

aspect of the business was researched in
detail and provided the casino with a really
solid brand. As a management team, we’ve
worked closely with The Brand Union for
the last year and have developed a very good
relationship. We feel they understand, live
and breathe our brand, and they’re very
passionate about it.”
Meanwhile, Shayne Elliott, head of
business development at EFG Hermes,
commends The Brand Union for walking
02. 03.
the company through a process that started
with the definition of company culture and 02.
aspirations. “This was more than a graphic
design process, and what impressed us most
was the level of interaction and respect they
had for our own thoughts and ideas. We felt
it was very much a collaborative effort…
Any change process is difficult, but The
Brand Union made it easy for us.”
Swart notes that the consultancy’s pri-
mary focus is on creating a strong brand for
clients, one which sustainably mirrors the
organisation’s values and purpose. This sets
the tone for other brand communications,
which are often campaign-driven.
The Brand Union’s work with Kulula is
a case in point. South Africans have come
know to this brand as a major player in the
airline arena, although it has made inroads
into financial services with the introduction
of a credit card, and plans to extend into
other areas, too.
This stretch has been made possible by
restructuring the brand’s primary identity,
so that it accurately portrays the new Kulula
in all spheres where it is active. Says Swart,
“Kulula is a unique and memorable brand,
04. 05.
which is largely type-driven. We’ve recre-

The ANNUAL 2008 — 115

AGENCY PROFILE
05.
ated that type in a fresh, modern way which
retains the brand heritage, while giving it
the scope to move beyond the airline space,
and which allows it to apply its values set
to areas with which it has previously not
been associated.”
Kulula CEO Gidon Novick says The
Brand Union’s insights were strategic,
bold and innovative, and have resulted in
the creation of a strong, fresh new look
for the kulula.com master brand, and the
various sub-brands forming the foundation
of its business strategy. “Our new brand
architecture has given us a platform to
extend our brand, based on our core value
of refreshingly simple value, for many years
to come.”
The ability with which The Brand
Union’s people address such complex brand
challenges is proof of the consultancy’s
depth of experience and expertise, which
Swart believes is greater than that of any of
its local counterparts. “The people in this
business understand how to deliver value
to client brands by leveraging our process
methodology. This, plus our global experi-
ence, sets the stage for brand-led business
growth.” Swart reiterates that The Brand
Union is not just about smart design –
rather, it’s the choice of companies who
understand how the appropriate applica-
tion of their brand can lead to improved
performance.
Another hallmark of the agency is its on-
going emphasis on generating bright ideas,
and crafting them beautifully – whether
those ideas relate to strategy, visual identity
or application.
Importantly, those ideas are always
116 — The ANNUAL 2008
carefully considered to suit the local en-
vironment. As Swart puts it, “As a global
network, we’re unified – but we’re certainly
not uniform. Ideas may be based on inter-
national insight, but we make sure they’re
locally relevant.”
Of course, if ideas are The Brand Un-
ion’s currency, then its people – the custo-
dians of those ideas – are its greatest asset.
Although Swart’s embedded knowledge in
the business is of inestimable value, as is
the experience of fellow directors Anisa du
Plessis, Farhana Waja, David Lett (execu-
tive creative director) and Fiona Hitchcock
(managing client director), Swart insists that
it is the management team that drives the
day-to-day running of the business. The
team comprises representatives from each
function of the agency (including client
service, strategy, graphic design, architec-
ture, design, retail interiors, engagement,
marketing, HR and finance) whom Swart
credits for driving the agency’s culture.
The breadth of The Brand Union’s
scope means that it must be able to ac-
commodate a multiplicity of personalities,
which it does admirably. That may be
because they’re united by a culture that
encourages them to be gutsy, grounded,
curious and inspired, and the result is that
it’s become a home to a range of thinkers,
from experimentally inclined graphic de-
signers with no formal training to focused
strategists.
Take McDonald Musimuko, for exam-
ple. The Alexandra-born graphic designer
was honing his skills at the Imagination Lab
(an initiative between Vega and CAFÉ)
when his talent was spotted at an exhibi-
tion. Musimuko was invited to join The
Brand Union in January, and became a
permanent member of the team in July.
“The Brand Union is like a welcoming
family,” he says enthusiastically. “We work
in an atmosphere where people share ideas
and help each other.”
How does Swart see this environment
operating into the future? “At a macrolevel
in South Africa and the rest of the continent,
there’s a growing understanding of brand,
and how the appropriate application of
brand strategy and design can immensely
benefit a business,” he responds. “Because
of this, the market for brand consultants has
grown consistently over the past decade,
and continues to do so.”
That said, competition in the industry
is also growing, and has increased signifi-
cantly over the past eight years. But Swart
remains unconcerned, repeating that the
introduction of The Brand Union’s unique
methodology is a great differentiator.
That will be useful, given that even
though the industry may be riding high
at present, the global economic turmoil
is bound to take its toll eventually. Swart
is realistic about this, acknowledging that C
opportunities are likely to have slowed by
2009. “Established players who are able to M
offer true value will be best positioned to Y
cope with the slowdown,” he opines. CM
How is The Brand Union preparing to
take on those challenges? One of the major MY
areas of focus, into the future, is brand CY
engagement, where Swart believes there is CMY
massive value to be derived for clients. He
predicts that there will be greater emphasis K
on brand experience, as well as internal
brand engagement processes. “We expect
significant growth to come from experience
and engagement,” he asserts.
Geographic growth is also anticipated,
continuing on the foundation for expan-
sion into Africa that has been laid in the
past eight years.
“The continued objective of this
consultancy is to remain a leading
African-focused brand consultancy, based
in South Africa, leveraging global expertise
and an international knowledge pool,”
Swart concludes.
 AdFocus2008_Brand_Union_FA.pdf 10/8/08 4:01:58 PM

CM

MY

CY

CMY

K
AGENCY PROFILE

Coley Porter
Bell South
Africa
Type of Agency:
Branding and design agency
Number of accounts/clients:
17 clients
Accounts won in 2008:
Cape Town Tourism, Kauai, Spier
Wine and Leisure, DSTV, Morgenster
Wine and Oilve Oil, @ Source
Food Products, Fairview Wine and
Cheese, TOKARA, Moonlighting,
@Home, Cape Town Film Studios
Accounts lost in 2008:
None
Biggest spending clients:
Not disclosed
Company Ownership:
CPB is a joint venture between CPB
London (WPP-owned) and Ogilvy SA
Number of staff:
18
Billings:
Not disclosed
Contact details:
Tel: +27 21 447 3270
Email: tab.king@cpbsa.com
Key agency staff:
Managing director: Tabatha King
Strategy director: Mathew Weiss
Creative director: Janet Kinghorn
Design director: Vicki Peter Ricard, Cadbury and Tesco, Coley Porter stand what a brand stands for and want our output is visual. The process is highly
Design director: Carla Kreuser Bell SA is set to make a big splash in the to buy into it.” collaborative so we work closely with clients
Client service director: local design market. A major coup for the company is the to distill a brand down to its visual essence.
Donna Christie-Gibbon Any doubt that the word “beautiful” presence of Mat Weiss, its planning director From this we build the visual equities that will
Key awards in 2008: may hint at superficiality is soon removed who hails from Coley Porter Bell London distinguish a brand from its competitors.”
The company’s creative work won a by the company’s managing director, and has impressive international experience He adds: “This disciplined approach
Silver Loerie for Moonlighting Film Tabatha King. on brands like Nike, Cadbury, GSK and eliminates wheelspin from the creative proc-
Production marketing collateral, a Having worked in Ogilvy’s team for Coca-Cola. Mat’s input adds international ess and usually results in creative work being
Bronze Loerie for application of its 15 years, Tabatha has a natural instinct expertise to their local flair and Tabatha right first time round.”
own corporate identity, five finalists for what will work and sell. It is plain to believes this is a powerful combination. “Our “Branding has become something of a
and one book entry for best work see why she was selected as chief of this strategic strength comes from London, and formulaic science for many marketers,” says
done across the WPP global group sexy young agency as the true nature of keeps us in touch with global brands and creative director Janet Kinghorn, “however
and, a Merit Award in The Art of beauty is a subject close to her heart. design trends, while our creativity is all local I think design can, and should, play a much
Design Show and not least, a shortlist “Beautiful brands are brands that sell,” talent, SA born and bred.” more important role in branding,” she adds.
certificate in the prestigious Cannes she states in her characteristically direct style. Having positioned themselves in the “We’re not just here to tick the boxes and
Design Lions for a design campaign “By beautiful I mean that they are beautiful gap between large design agencies that are make things look pretty. We’re here to keep
done for homeware store @home in their identity, in their packaging, in store, mired in processes plus long turn-around the conversation between brands and con-
Key moment in 2008: in the home, the office or in fact anywhere times and corner hot shops that lack strategic sumers fresh, interesting and rewarding.”
Officially ringing in the arrival they are destined for. clout, they have in their arsenal a powerful For a start-up, but perhaps not sur-
of CPB SA in March “Beauty is truth and character, it has a strategic tool called Visual Planning. This prisingly given the fact that their office is
magnetic quality that draws you in and plays process offers matchless value when it comes crammed full of some of South Africa’s
on your mind. True beauty stands out from to creating winning brands and Mat points top talent, the company has also excelled
Specialist branding and design agency the crowd and stays in your memory.’ out, “We are able to seamlessly link brand creatively. Shortly after opening they won
Coley Porter Bell South Africa makes Coley Porter Bell is focused on design strategy and design, which you don’t often two Loeries, a silver and a bronze. Tabatha
brands beautiful. and creating brand identities that translate find under one roof.’ says they are particularly proud of the bronze.
A joint venture between Ogilvy South across all possible visual elements. This can As the name implies, Visual Planning® “We won it for the design of our own of-
Africa and Coley Porter Bell London, a make or break a brand, explains Tabatha. places heavy emphasis on imagery. Mat fice interior, which all of us contributed to.
well-established agency, made famous for “Design is the purest expression of a brand. continues: “It makes sense for us to work I believe this demonstrates that our
its identity and packaging work with Pernod At a glance you have to be able to under- strategically in a visual medium because commitment to making brands beautiful

118 — The ANNUAL 2008


01. Illustration from Spier calendar highlighting social issues
starts at home.”
In addition Coley Porter Bell SA has been
awarded a Cannes Design Lions shortlist cer-
tificate (one of eight in the country), a Merit
Award in the Art of Design and a place in
the WPP Annual, a prestigious book featur-
ing best creative across all communication
disciplines from WPP agencies around the
world, a promising beginning for an agency
that is only six months old.
Tabatha and Mat attribute this flying
start to their talented people. Their team
includes design directors Vicki Peter and
Carla Kreuser. Together they have 15 years
of experience and have won a multitude of
awards, working on local and international
brands including Sainsbury’s, Maybelline,
Canary Wharf, Musica, Woolworths and
Design Indaba.
Head of client service Donna Christie-
Gibbon adds another string to the Coley Por-
ter Bell SA bow with her unique combination
of skills and experience. Although she has
more than a decade of business experience,
her passion for the industry began with a
degree in graphic design.
“Our growth will be carefully managed,”
says Tabatha, who believes in working with
“fewer, better people.” In her mind this means
that clients always have direct access to the
best. “We will never be under-resourced
but nor will we carry unnecessary layers.
It’s our way of keeping the best team close
to our clients and their business.”
With their eye firmly on making the
brands of South Africa beautiful, their levels
of enthusiasm run contrary to the challenges
posed by a tough economy. “It’s the best
of times to be opening shop,” says Mat.
“A recessionary environment forces us to
run lean and work smart for our clients.
Inevitably the upswing will come and when
it does, our disciplined approach will enable
our clients to take maximum advantage of
it,” he concludes.
All in all Coley Porter Bell SA is a new
force to be reckoned with, bringing experi-
ence, passion and dedication to the table
and they want to work with likeminded
companies. “We like smart clients who don’t
AGENCY PROFILE
hire a dog and then bark themselves. They
need to respect our expertise. Our work
and credentials demonstrate that we are
right up there. We don’t like drama, mess
or fuss. We just love getting on with the
job, with each other and with our clients,”
states Tabatha.
Client references 02. Chivas Regal packaging
“Cape Town Tourism is thrilled to have Coley
Porter Bell as our design partner.They are a
perfect fit in terms of creativity, innovation,
dedication and passion for Brand Cape Town.
They have really made our brand beautiful
and we look forward to working with them
to get every single Capetonian fall in love
again with their City.”
– Mariëtte du Toit-Helmbold, chief executive
officer, Cape Town Tourism
“I haven’t been inspired by design in a very
long time. Until now. Coley Porter Bell has
a way of putting a unique, powerful spin on
well-worn categories.”
– Charles Back, Fairview Estate
“CPB understands the Kauai brand. They
are as much part of our company as the next
Kauai employee. Every decision is made as a
team and we have complete confidence that
they will continue to take the Kauai brand
03. Award winning packaging for Kotex
to new heights.”
– Herman Redelinghuys MD, Kauai Health
Food & Juice Co
04. Coporate Identity for a creative writing company
The ANNUAL 2008 — 119
AGENCY PROFILE

Cross Colours
Consultancy
(Pty)Ltd
Type of Agency:
Multi-disciplinary, through the line
Number of accounts/clients:
8 main, other smaller and pro-bono
Accounts won in 2008:
Mercedes-Benz SA After-Sales
Accounts lost in 2008:
None
Biggest spending clients:
Sasol, Nando’s
Company Ownership:
Directors
Number of staff:
35
Contact details:
Tel: +27 11 459 0600
Key agency staff:
All
Key awards in 2008:
2 silver Loeries
1 bronze Loerie
1 bronze New York Festival
Key moment in 2008:
Spent time on the development of our
people. Seeing the fruits of those efforts 01.
is the most rewarding part of the business
The agency in 50 words:
creative work. The launch of a new we walk out of the boardroom and tour on any level. “The only people who don’t
The agency continues in its vision
Nando’s brand this year, the Peri Deli, the office. Wapnick appears to have a light survive here are those that aren’t willing
to be seriously creative. To explore
tested the versatility of this small multi- ‘equal status’ relationship with everyone to go on a journey of discovery and grow,
profound and sound solutions for
disciplinary agency. It came up with the and she points out the small HR depart- both professionally and personally.” This
clients’ brands and their businesses
concept, name and designs for the delis ment, which is unusual for an agency of holistic approach has led to some rather
themselves, as well as the packaging. Cross this size. Somehow she manages to steer unique policy decisions: “When a designer
Colours also collaborated on the interiors. any conversation, about any aspect of the once began talking about documentary
In an industry that chases after clients and At the same time it continued to roll out agency, back to its people. And refreshingly film-making, we offered to sponsor a cam-
covets awards, Cross Colours stands out promotions for high-profile clients like she doesn’t bandy the word about as if it era,” says Wapnick. “How could we not
like a Rubik’s Cube in white sand. “We’re Sasol and Jack Daniel’s, and information pertains to some abstract concept rather encourage her to seek fulfilment?”
chilled,” says managing director and one design for Oracle and Mercedes-Benz SA than living beings. Wapnick believes Cross Colours’ peo-
of the founders, Adelle Wapnick. The After-Sales. “We have an opinion, which When they founded Cross Colours, ple, who combine creativity with integ-
agency generally keeps a low profile and means we’re not always easy to work with,” Wapnick and two partners, Joanina Pastoll rity, are simply the best reason to hire
its client base hasn’t changed much since says Wapnick, “but we have attracted clients and Janine Rech, were disappointed in the the agency.
2007. Yet it proves that – when you take it who like the fact that we tell it like it is.” indifferent attitude the advertising industry The agency has sometimes ques-
in your stride – the good things find you! She focuses on ‘strategic partnerships’ had toward people. In response they’ve tioned awards, which is really as contro-
It’s expecting to up its revenue through whereby Cross Colours helps clients to built an agency that looks after its people versial as questioning Castro in Cuba.
organic growth. And, while Cross Colours look ahead, and isn’t afraid to push back – and as a result, few leave. As a small And yet it’s had two good showings at the
doesn’t spend much on entering awards, it if their own ideas aren’t useful. “It simply testament to the growth opportunities, Loeries. Two silvers and a bronze this
walked away from this year’s Loeries with has to be a transparent relationship based a former PA is now an accounts director year was something of a coup. Two
two silvers and a bronze. on equal status,” she insists. who will be involved in the start-up of a of t he medals related to t he excit-
Cross Colours has formed long- This authenticity in relationships branch in Cape Town. Wapnick says the ing Floyd’s Barbershop concept from
lasting relationships with clients based begins inside the agency itself. It has a company consciously seeks out people who America, which Cross Colours continues
on the consistent deliver y of great strong culture that is almost tangible as are self-aware, and open to be challenged to develop. So has success changed the

120 — The ANNUAL 2008


02.
03.
agency’s mind about the whole awards
issue? Not really. It’s concerned that too
much pro active and pro bono work is
awarded, which has little relevance to the
growth of the market. However, on this
basis, she can still revel in the agency’s
success and be proud of the Cross Colours
entries – as each one was created from a
brief, to contribute to the client’s brand
and bottom line.
The agency will continue to enter
awards but simply won’t divert money away
from people development or anything else
deemed more important. In this, as in many
other things, it seeks perspective. “There’s
life outside advertising and we try to see the
bigger picture,” says Wapnick. “We take
our clients’ businesses seriously but try not
take ourselves too seriously!” In a stressful
industry she concedes that this search for
balance involves conscious effort: “We
have to remind ourselves that it’s not war
and when our clients bring in any stress
or panic, we try to put it into perspective
too. It’s when we stop stressing that the
creativity flows.”
T his “bigger pict ure” philoso -
phy leads Wapnick to read widely and
seek out new trends. She encourages
people to also look well beyond advertising.
“Politics can affect the way we do things
04.
just as much as the growth of new indus-
tries,” she says. “We talk about embracing
the worlds we live in, and those we don’t
live in, because communication is really
about imagination and possibility.”
The agency has good BEE credentials
and, for now, it’s focusing on skills devel-
opment rather than ownership. “We offer
a lot of internships and we’ve trained up
a lot of juniors,” says Wapnick. “We are
considering ownership but it’s a decision
we will take very carefully. We are de-
termined that no one be undermined in
the process.” Such important issues are
discussed with the Cross Colours board
that is chaired by a valued mentor, Zuko
Kubukeli. He has a PhD in Human Biol-
ogy and is a heavyweight in the investment
arena. The agency’s executive committee
(which includes the founders and directors,
Andrew Broom and Shona Danckwerts)
meets with the board four times annually
and Wapnick describes their relationship
as “hard-working and honest.”
In its own way, Cross Colours is going
multi-provincial and multi-national. A
small satellite in the UK has been focusing
on servicing Nando’s but has more recently
become involved in internal marketing
campaigns for other clients. The agency is
also now poised to open a branch to serve
AGENCY PROFILE
05.
01. Cross Colours’ people
new clients in the Cape. 02. Nando’s new international website
The agency is also not complacent 03. The Virgin Money Credit Card Welcome Pack
about the future of advertising as the tel- 04. Collateral for Sasol’s TechnoX science fair
evision light starts to f licker. Wapnick 05. Cross Colours’s designs for PeriDeli included
notes that the medium is already playing uniforms as well as decor
a much diminished role in Europe. The
trend could be a while coming in South
Africa but, in preparation, Cross Colours
is expanding its capabilities in multi-media
and is already offering enhanced services
for web and mobile advertising. “Right
now we use the platforms that are right
for our clients and right for the idea,”
says Wapnick.
As ever, the agency has one foot in the
practicalities of ‘now’ and another in the
world of possibilities. But then…Cross
Colours is exactly what you get when you
mix down-to-earth tones with sky-coloured
ideals and imagination.
ThE ANNUAL 2008 — 121
AGENCY PROFILE

DDB South Africa

Type of Agency:
Full service
Number of accounts/clients:
25
Accounts won in 2008:
McDonald’s, OKI, Symantec,
MTN Fifa, Vale
Accounts lost in 2008:
None
Biggest spending clients:
McDonald’s, Unilever, Honda,
MTN Group, Life Healthcare
Company Ownership:
100% locally owned.
30% black empowered
Number of staff:
50
Billings:
R240 million (estimated)
Key awards in 2008:
1 Cannes Grand Prix
1 Gold Clio
3 Bronze Clio
1 Pinnacle
1 Gold Eagle
1 Silver Eagle
2 Silver Loeries
3 Bronze Loeries
Contact details:
Tel: +27 11 267 2800
Website: www.ddb.co.za
Key agency staff:
Glen Lomas
Emmet O’Hanlon
Gareth Lessing
Paul Binikos
Key moment in 2008:
Cannes Grand Prix win.
McDonald’s win.
The agency in 50 words:
Number 3 in the creative league table.
Number 1 for passion.
In a league of its own for
creative thinking.
the MTN Group. been properly developed in the way that ment. That is why we do not have a Client
DDB SA CEO Glen Lomas says: creative has. Too many times, clients are Service Department, we rather have an
DDB’s new, larger premises in Bryanston “We’re forming partnerships with big confronted with inadequate analysis of Account Management one. This is because
are already packed to capacity with teams clients who want long-term relationships their problems and badly defined or over we want people who actively manage the
hard at work – a reflection of the agency’s and who trust us because we’re a thinking, intellectualised solutions. Planning should clients brands and business rather than
energy and vigour as it beds down one of planning agency, strong on strategy with be all about making complicated things take orders. This is how you develop trust
its most successful years ever in SA. great creatives who deliver. They know simple and easy to deal with”. with clients over the long term and end up
This is an agency that has truly trans- we will all be under the spotlight in 2010 “We have an extremely good planning with strong relationships where they are
formed itself from ordinary to extraordinary and they are walking that road with an department that ensures that all staff un- prepared to take risks with you because
in a very short space of time, in the process agency they trust.” derstand strategy. We have no client service they respect the agency”.
nabbing some big clients and growing its Managing director Emmet O’Hanlon staff. We want people who manage clients’ Lessing says: “It’s been a year. And
established relationships. also believes the agency’s success lies in brands and deliver against that strategy – what a lekker year it’s been. I race pigeons
The agency is abuzz with activity its philosophy of clear thinking: “Our and clients who trust you enough to take and every year before race season starts I
and this certainly won’t slow down in the focus is on straightforward, logical solu- a few risks every now and again.” plan and plot ‘till late at night. What am
lead-up to 2010 as it prepares campaigns tions. The level of Strategic thinking and “We have an extremely good Planning I going to do this year to win more races?
for two of its clients and key sponsors of planning in South Africa varies wildly but department and take pains to ensure that But very quickly all my preconceived ideas
the world cup matches: McDonald’s and overall I feel that the discipline has never all staff are involved in strategy develop- fall away as I get to know my pigeons by

122 — The ANNUAL 2008

 AGENCY PROFILE

To advertise cheaper flights from 1 time Airline, we placed a car in the OR Tambo Airport park-
ing, right next t the passenger walkway. What made this car unique was that it was covered
with fines and warnings which read: Parking Time Exceeded. Parking Time Violation & To be
towed. it also had wheel clamps on the front and back, as well as an array of parking fines
on the windscreen.

A sign above read: Paying less for flights means you can stay on holiday longer.

being with them day to day.”
“Having great pigeons and knowing
them well makes turning them into cham-
pions effortless. I hope my fellow DDBers
don’t mind but it’s the same as my pigeon
loft. I quickly found myself surrounded with
great people. Let them roost in a nest of
creative support of the whole agency and
of course the unique culture of the best
network in the world. And they very quickly
realised what champions they really are.
Great talent is easily realised when you are
given support, freedom and trust.”
“My creative’s are all amazing people
and are so talented. And creating great
work with them has been nothing but
great fun. Fly my little champions, fly.” To
complement the agency’s creative strengths,
account management has just recently seen
Paul Binikos being promoted to head up
the department. Paul’s relationship wiht
Gareth and the creative teams is essential
for the seamlessness clients need between
account handling and the creative product.
Paul comments: “It’s not about doing what
your client needs, or just getting a job done;
it’s more about partnering with our clients,
giving professional service, understanding
their business problems, challenging them
and making sure we deliver work that is
remembered and talked about, and of
course having fun while doing so. This
understanding has to be crystal clear in
account management – we’re strategic
partners in developing the best creative
product that will work most effectively
with our consumers.”
Surprisingly forthright and honest in
his dealings with staff and clients, Lomas
is upbeat about South Africa and buoyant
about DDB’s future here, but he doesn’t
pull punches either: “We don’t compare
ourselves to other agencies in SA, but
compete with the world-class standards
set in other DDB agencies around the
world. We find the internal debates in
South Africa rather petty and prefer to
stay away from them.”
Always looking ahead, the agency has
invested heavily in a mobile telephony plat-
form that allows more interaction between
consumers and companies through the
mobile medium: “We’re focusing on mobile
telephony into the future and have estab-
lished a specific unit to research and work
on these possibilities,” says Lomas.
Lomas talks about mobile being in the
same state now as television was in the
1950s: “No one mastered the relevant,
creative use of the channel until the sev-
enties. It’s the same situation mobile is
in now and we want to be the first agency
that really cracks engaging advertising on
mobile across the region.”
There are also plans afoot to bring
Tribal DDB to SA. Tribal DDB is a top 10
international digital marketing agency with
a strong reputation for strategic thinking

The ANNUAL 2008 — 123

AGENCY PROFILE
and excellent creative work.
Lomas believes there’s a big gap in the
market for an agency with Tribal’s qualifi-
cations and they’re looking to partner with
someone locally to develop the brand here
within the next 18 months.
Growth is always on the agenda and,
as South Africa increasingly becomes a
stepping stone for big clients wanting to
penetrate Africa and the Middle East, that’s
certainly a focus of the DDB network.
Clients like MTN Group and Unilever
need work delivered across these markets
and DDB’s network is extensive.
Using existing DDB offices in key
markets and large independents where
124 — The ANNUAL 2008
necessary, the agency boasts one of the
strongest networks for delivering results in
the region. It is represented in 20 countries
from Senegal, Saudi and Sudan to Turkey,
Tanzania and Tunisia.
DDB has f lourishing partnerships
everywhere it seems including potential
satellite offices in Durban and Cape Town
where they are proposing partnering like-
minded agencies in 2009.
With growth and expansion as immedi-
ate goals, it has recognised the desperate
need to attract and train more local talent.
It is working against the tide to reverse the
brain drain by attracting foreign talent to
the country to help grow and develop local
talent – Lomas and O’Hanlon themselves
cases in point.
“We expect people to learn from us
and to take these skills to other agencies
and even other industries. One of our
former staff members is now the marketing
manager of Nandos, for example. We don’t
see this as a problem but as increasing the
available talent and we expect people to
move and grow,” Lomas says.
To this end, the agency makes good
use of its global network and frequently
sends both creatives and management on
courses in Europe and the United States:
“The interaction with other people in
the network is invaluable. Our staff need
to experience communications in other
markets; seeing the standards at work in
other markets inspires them, improving
the standards of work here.”
But they’re also finding it easier to
attract talent, given their new position in
the creative stakes and the acquisition of
enviable clients: “We’re always interview-
ing, but have to wait for new business to
be able to bring in the people who want
to work here.
“We never have a worry in this respect
– especially after our Cannes Grand Prix
for the Energizer campaign and given
Gareth’s management style – we have lots
of talent in the queue to work here.”
 AGENCY PROFILE

Client references
“DDB really live our brands and are an integral part of
our business.” – Rob Laggar, VP marketing, Unilever

“In all my walks of life, I generally want to stick around people

I can trust, people who make sense, people who are passionate,
people I can go to war with! They can rather lose awards but
win a competitive battle in the market place! DDB represents
all of that.”
– Sydney Mbhele, global marketing director: deodorants, Unilever

“DDB go above and beyond the call of duty in every way. Proactive
work that leads to winning global ad awards, creative brilliance
that shows an amazing understanding of the brand and most
importantly, people who actually care about the brands they
work on. It’s a privilege to have DDB as our agency.”
– Jason Cederwall, Energizer SA

The ANNUAL 2008 — 125

AGENCY PROFILE

Draftfcb South
Africa
Type of Agency:
A full-service marketing communication
agency group offering the complete
spectrum of the traditional ATL, BTL and
TTL services, new media and strategic
expertise, social marketing, and corporate
and brand public relations solutions.
Number of accounts/clients:
260
Accounts won in 2008:
Vodacom Retail, Gidani (Lotto),
V&A Waterfront, Décorland,
Transnet Pipes, Nicorettes
Accounts lost in 2008:
None
Biggest spending clients:
Vodacom, Toyota, First National Bank,
Tiger Brands, Distell, Santam
Company Ownership: 01. Draftfcb South Africa’s Group Executive Committee (from left): James Holland, Ashley Bacon, Neil van der Weele, Lerato Ndoro and Nkwenkwe Nkomo
50.1% Interpublic Group (IPG)
26% Bourasque Advertising
Investments (BBBEE Group) 2008 has proved to be an outstanding year given that the group’s agencies achieved marketing programme, to a sponsorship
23.9% Staff (11,5% black staff ) for Draftfcb South Africa. Not only has it considerable success in previous years. leveraging task – and back again.
Number of staff: continued to perform in the new business In 2005, the group dominated the liking While the group has been offering its
700 arena, its ongoing commitment to creative lists with four out of the top 10 most liked clients fully integrated communications
Billings: excellence has again been recognised at ads in the Developed Market; and four solutions for many years now, the global
R3.1 billion award ceremonies worldwide. out of the top 10 in the Emerging Market. merger of Draft and FCB gave it access
Key awards in 2008: The Johannesburg agency won arguably Its performance in 2006 topped that when to other sophisticated data and CRM ca-
Cannes: 1 Silver, 6 Finalists the most important, and biggest, account to its agencies were responsible for four pabilities, as well as leading-edge tech-
Loeries: 6 Gold, 8 Silver, 11 Bronze
move this year when it was awarded Voda- out of 10 of the most liked ads, including nologies and proprietary tools, including
Clio: 3 Finalists
com’s Retail business. This was followed by the two top-placed ads, and a phenom- ROI (Return on Ideas), Insights to Incite,
Pendorings: 4 Gold, 2 Silver,
Gidani (Lotto) – another sizeable win. enal nine out of 20 best noted ads in the and The Wheel.
People’s Choice Award
Apex: 2 out of 3 Gold awards
Draftfcb Cape Town won several Developed Market. The group has also launched MyOffice,
D&AD: 2 Listings
Johnson & Johnson brands, Van Schaik This year at the Apex Awards, the group a new state-of-the-art, custom-designed
Contact details: Bookstores and the V&A Waterfront, while was awarded two out of only three Gold operating system across the group. This has
Tel: +27 11 566 6355 Draftfcb Durban added Décorland and awards made. In the Launch category, already greatly improved efficiencies and is
Fax: +27 11 566 6664 Transnet Pipelines. It also took on con- Draftfcb Johannesburg took Gold for the proving its worth as a management tool.
Physical address: DRAFTFCB siderable design work for several major Toyota Yaris campaign while Draftfcb Cape Van der Weele says Draftfcb South
House, Pin Mill Farm, 164 Katherine international hospitality groups. Town was awarded Gold for Savannah Africa’s focus is to produce outstanding
Street, Sandown, 2196 The group’s Africa network continued ‘The Cider House Rules’ campaign in the creative communication that captivates the
Postal address: PO Box 78014 Sandton, 2146 to roll out work for the Moneygram and SC category known as ‘Sustain’. hearts, souls and minds of South African
Key agency staff:
Johnson accounts on the continent, outside “Another year of success for South consumers. This has made it the continent’s
Every single individual
of South Africa, and is now responsible Africa’s oldest agency,” says Group CEO leading marketing communications com-
Key moment in 2008:
for their advertising business in 15 and 11 Neil van der Weele. pany providing integrated solutions across
There were two:
countries respectively. Draftfcb offers through-the-line adver- all channels of communication.
• We were thrilled to be ‘re-awarded’ the
‘Lotto’ (Gidani) account , which we lost two
On top of this new business, the agencies tising including TV, radio, print, outdoor, “Proof of our ability to deliver account-
years ago when our then-client, Uthingo, won Silver at Cannes (after a Grand Prix and design, promotions, interactive, PR, CRM, able solutions and build South Africa’s
lost the bid to manage the lottery process; Gold in the previous two years), and shone, sponsorship, social marketing, investor favourite brands is our outstanding per-
• Our awards performance this year again, at three of the most important indi- relations, financial and healthcare, through formance each year at the Apex Awards
again highlighted our creative strength, cators in the South African industry – The offices in Johannesburg, Cape Town and for Effective Advertising as well as on
particularly at Loeries, where we were Loerie Awards, the Millward Brown Impact Durban, as well as a network of agencies the Best Liked Ads lists published by re-
the 2nd best performing group. Liking Scores, and the Apex Awards. in 25 countries across Africa. In addition, spected research house, Millward Brown
The agency in 50 words: A strong showing at The Loerie Awards the agency has access to Draftfcb’s global Impact,” he says.
Draftfcb South Africa focuses on producing 2008 saw Draftfcb South Africa rank second network which covers 110 countries. According to Van der Weele, the group’s
outstanding creative communication
as a group for that competition. Its integrated model allows it to develop core values are critical for shaping the
that captivates the hearts, souls and
On the Millward Brown Impact Best a single strategy and creative theme for a group’s philosophy: “Our core values are
minds of South African consumers.
Liked Ads lists for 2007 (published in the campaign and apply them across all relevant what keep us consistently evaluating our
This has made it the continent’s
leading marketing communications
first quarter of 2008) it achieved seven out channels of communication, through a sin- performance, and striving to do better,”
company providing integrated solutions of the 20 most liked ads in the Developed gle point of entry. Here, one broad creative he says. These are:
across all channels of communication, Market category and seven out of the 20 idea can be threaded from above-the-line • We are committed to pioneering
through a single point of entry. most liked ads in the Emerging Market television commercials to promotional cam- the leading edge of marketing
grouping. This is a remarkable achievement paigns, to web initiatives, to a relationship communication.

126 — The ANNUAL 2008


02. Draftfcb Cape Town’s television campaigns for Distell brand, Savanna, have tickled the nation’s funny bone for a number of years now; the concept has also
translated successfully into several other media including the web (www.savanna.co.za).
• We employ only ‘magic’ people.
• We put creativity ahead of everything,
except accountability.
• We insist on respect, honesty and
integrity.
• We have passionate attention to detail.
Draftfcb also has a Management Mani-
festo which highlights the management
team’s responsibility to grow and develop
the company, and all the people within it.
All managers, collectively and individu-
ally, commit to:
• Continually str ive to create an
environment in which its ‘magic peo-
ple’ thrive.
• Regularly recognise and incentivise
outstanding individuals.
• Remain focused on growing and
developing its people.
• Ensure that communication is always
open and transparent.
• Always be approachable.
• Never accept discrimination in any
form.
AGeNCY PROFILe
• Be intolerant of those who do not
perform.
• Bust a gut to develop great systems
and processes that improve quality and
ensure efficiency.
• Defend its clients’ brands 24/7.
• Tirelessly build the Draftfcb brand.
• At all time be great ambassadors for
the company.
Draftfcb South Africa has a strong
track record for meeting its clients’ mar-
keting and business objectives. It is, and
always has been, truly accountable, and
it is this accountability that clients value
and appreciate.
The high regard in which clients hold
the agency is reflected in the amount of
03. The corporate identity and launch campaign developed by Draftfcb Durban for the upmarket
time they stay with the group. For example,
Seaton Delaval residential estate was elegant, stately and effective.
Toyota has been a client for 47 years, AJ
North for 44 and Distell 42, Adcock Ingram
has been with the group for 35 years, while
SC Johnson and Kraft for longer than 15
years each, and Vodacom has been a client
since its launch more than 14 years ago.
The ANNUAL 2008 — 127
AGENCY PROFILE
04.
Adds Group Executive Creative Direc-
tor, Ashley Bacon: “Building brands that
are genuinely respected and admired in the
South African marketplace is all about crea-
tive work that captivates the hearts, souls
and minds of South African consumers. At
Draftfcb we are very focused on this and
have a history of doing it exceptionally well.
Hence our clients tend to stay with us.
“We are all very committed to producing
brave, but accountable creative that is rel-
evant to the South African marketplace and
believe that the benchmark of our success
is our clients’ business performance.
“Consequently, we are fiercely proud
of our clients, who, not surprisingly, make
up some of South Africa’s most-loved,
top brands.”
The agency’s Group Executive Commit-
tee comprises just five people – Nkwenkwe
Nkomo (Group Chairman), Neil van der
Weele (Group CEO), Ashley Bacon (Group
Executive Creative Director), Lerato Ndoro
(Group HR Director) and James Holland
(Group Financial Director). However,
they are not the most important company
employees.
“Being in the service industry, an agency
128 — The ANNUAL 2008
05.
is only ever as good as the people in it and
one of the agency’s core values is ‘We employ
only magic people’,” says Group Chair-
man, Nkwenkwe Nkomo. “Our success
is directly dependant on the quality of the
talent that works at our agency, so every
single individual at Draftfcb is key.”
The group continually wins recogni-
tion for its investment in people – in 2007,
it joined blue chip companies like Shell
SA, ABSA, Microsoft and, interestingly,
clients Vodacom, Metropolitan Life and
Pfizer on the list of Top 25 employers in
the 2007 edition of BEST Employers™
South Africa, compiled by Corporate Re-
search Foundation. No other South African
advertising agency or marketing commu-
nication company made it onto the Top
25 list. It has repeated this performance in
2008. It also took first place in the National
Business Awards’ ‘National Investor in
People’ category.
“We are very focused on attracting
and retaining the best talent from across
the marketing industry and we really are
fortunate to have exceptional talent across
our group. This ultimately reflects on our
client’s brands,” says Nkomo.
Not only does Draftfcb South Africa
have numerous training programmes – both
formal and informal – for advancing its
own employees, it invests in future skills
for the advertising and communication
industry through its partnership with The
Imagination Lab. And, through its extensive
Corporate Social Outreach programme, it
is contributing towards a safer and healthier
environment for underprivileged children.
Here, it works with Hugh’s Haven in Jo-
hannesburg, the Peninsula School Feeding
Association in Cape Town, and Sethani in
KwaZulu-Natal.
Draftfcb South Africa was established
82 years ago. In 2005, the group concluded
a broad based black economic empower-
ment deal when Bourasque Advertising
Investments acquired a 26% stake in the
agency. A subsequent transaction, concluded
in January 2007, resulted in the creation
of an employee trust, which holds a 23.9%
share in the company. Through this trust,
more than 30 black staff, as well as 30 white
staff, own shares in the company. This
transaction brings black ownership of the
group to 37.5%, and South African owner-
ship to 49.9%.
When it comes to the broader business
environment, Draftfcb South Africa is
acutely aware of the increasing pressures
that its clients’ marketing personnel are
under to deliver results, and know that
those results are directly related to the work
it does. It believes it must be accountable
for the return on ideas that it generates,
and this is why accountability is so central
to its philosophy.
“The speed at which clients need to
bring products to market, or react to com-
petitors, is increasing exponentially, and
ad agencies need to be able to deliver on
this. We understand how important it is for
our clients to be able to deliver on time,
and we are always looking for ways to im-
prove our efficiencies so that we are able
to deliver at an ever increasing pace. We
have to be proactive about this,” comments
Van der Weele.
“Finally, the South African advertising
industry is facing its toughest challenge yet,
and it’s all about people. The industry is
facing a severe skills shortage across the
board. It’s vital that we attract the right
calibre of employees, and nurture an en-
vironment that stimulates their creativity.

06.
08.
Our culture is critical in terms of reten-
tion. We have also put a big emphasis on
upskilling all levels of staff through ongoing
training,” he says.
In the short term, Draftfcb South Africa
will address several areas intended to gear
up its employees so that they offer better
consumer insights and channel planning
and, through this, a better creative product.
These include more sophisticated consumer
insight capabilities, more sophisticated chan-
nel planning capabilities, and through this
an in-depth understanding, right across all
staff of the agency, of interactive media and
more sophisticated usage and interpreta-
tion of data.
At the same time, its growth strategy
as a group has always been to focus on
ensuring the success of its existing clients,
and developing new skills and offerings to
meet, and exceed, the needs of their brands.
This, of course, has enormous benefit for
all the new business that it secures, making
certain that new clients become old clients,
and that the client-agency relationship is a
mutually beneficial one that lasts.
Client references
“The relationship between Vodacom and
Draftfcb is one that is conducive to producing
AGENCY PROFILE
07.
04. Vodacom’s first Gold Loeries came in the hotly contested Television & Cinema Commercials category
in 2008 when this ad featuring the catchy phrase ‘We’ve been having it’ received the nod from the
judging panel, and in the Radio Category for a campaign entitled ‘Drop It, Umbrella’. Both ads were
developed by Draftfcb Johannesburg, Vodacom’s marketing partner since the company opened
doors over 14 years ago.
05. A dazzling television commercial by Draftfcb Johannesburg kicked off Vodacom’s new soccer
sponsorship campaign during 2008. The ad featured soccer legends of old as well as heroes in
our time. Teenage Dlala, Phil Masinga, Linda Buthelezi, Excellent Walaza, Moses Spandeel, Siphiwe
Tshabalala, Mark Williams, Neil Tovey and Bryce Moon all starred in this homage to the jive of
Sophia Town. The ad even included respected referee Ace Ngcobo and showcased the beautiful
game in a much stylised rendering.
09.
06 - 09. Long-standing client, Toyota SA, continues to reap the benefits of Draftfcb Johannesburg’s ability
to win the hearts and minds of South African consumers while First National Bank offers viewers
pragmatic economic advice in this straight-talking television commercial, it too from the
great work. It is one where we provide a clear Johannesburg agency. Draftfcb Johannesburg has also produced award-winning work for
articulation of key consumer problems and Tiger Brands products over the years, including these for Rally Car Wax and Panado.
the business strategy. We then rely on the
agency to develop the creative strategy and
idea that best dramatises that strategy.”
– Vodacom Managing Executive:
Marketing, Enzo Scarcella
“Draftfcb provide full through the line
communication solutions based strongly
on brand and market insight. Their ability In January 2009, Neil van der Weele will take up a new
to synergize communication through the appointment within Draftfcb Worldwide as Regional
line as well as to provide accountable crea-
tive solutions which often also prove to be President: Digital and Transformation for Asia Pacific.
best loved South African ads are why we He will relocate to Asia Pacific. Nkwenkwe Nkomo has
have had such a long standing relationship
with them.” been promoted to Group Executive Chairman and
– Distell Brandy Group General Manager John Dixon to Group Chief Executive.
Marketing, Siobhan Thompson
“In our partnership with Draftfcb we’ve
focused on our brand principles and
collectively we’ve moved the Game
brand into exciting new areas. In our two
years we’ve seen tremendous growth in
brand awareness and sales, and we look
forward to growing the brand together in
the years to come.”
– Game Marketing Director,
Mark Turner
The ANNUAL 2008 — 129
AGENCY PROFILE

elements
Type of agency:
Communications and advertising
Number of accounts/clients:
15
Biggest spending clients:
Gauteng Provincial Government
(E-Government Portal)
Accounts won in 2008:
Gauteng Provincial Government
(E-Government Portal), City Power, NGN
Accounts lost in 2008:
2
Company ownership:
100% black owned
Contact details:
P O Box 1429 Bramley 2018
Tel: +27 11 833 2600 or
+27 11 788 1488
Email: maraisn@elements.co.za
Website: www.elements.co.za
Agency billings:
R48 million
Key awards in 2008:
None
Number of staff:
29
Key agency staff:
Chairman: Louis Seeco
Chief executive officer: Neil Marais
Key moment in 2008:
Decision to expand countrywide and open
8 new branches.
The economic
The agency snapshot in 50 words: storm may be
As an advertising and marketing agency,
elements strives to understand the dynamics
raging elsewhere
of the industry and the target market. Its but in Newtown
approach is always informed by the day-to-
day experiences that people go through in
the sun is still
their contact with brands wherever they may shining brightly
be. elements has developed its own unique
modelling through its approach to traditional
and elements has
advertising and niche marketing built on the in fact upped
following benefits to clients: a distinctive un-
derstanding of the diverse communities living
its revenue!
across our great land, relevant and ground-
breaking creative, unique understanding of
traditional and alternative media disciplines audience lives. Most of the team members absence when The Annual arrived for a allowed him to finish his schooling at the
and brand building capacity. remain rooted in their communities – visit. It soon became clear, however, that prestigious St Johns College and complete
offering what the agency calls an umbilical he had chosen not to attend our meeting as his tertiary education at Wits. It was when
While some agencies offer costly cord to society. For the past 13 years, a sign of faith in Neil Marais, who has been he finally joined the organisation that he
research on black township markets – elements has blazed the trail for authentic running day-to-day operations since July. met Marais, who was then marketing
elements offers the markets! It’s 100% black agencies and it remains committed The history of the relationship between manager. The pair struck up a friendship
black owned with a diverse, multi-cultural to its majority black audience. However, the two men makes for a great South that defied their respective positions and
staff complement. The agency has been it’s now so secure in its identity that it can African story. apartheid attitudes. “We got to know
founded on the philosophy that culture begin to look forward to a colourblind As a youngster in Alexandra each other over drinks”, recalls Marais,
and heritage simply cannot be separated future. The founder and majority owner of Township, Seeco displayed a host of “sometimes in sports clubs and sometimes
from the way people interact with brands, elements, Louis Seeco, has just smashed talents, not least the ability to run a mile in shebeens.” They parted professionally
and its messages are inspired by the the agency’s own mould and appointed a in less than four minutes. He was awarded but kept in touch over the years. While
sights and sounds of the streets where its white CEO. Seeco was conspicuous by his a Johnson and Johnson scholarship, which Seeco established elements, Marais went

130 — The ANNUAL 2008


on to become part of the team that took
an obscure chewing gum, Stimorol, and
made it a market leader. He had already
been semi-retired for nearly three years
when Seeco pulled him back into corporate
life this year – with an exciting mandate
to take elements where it has never
gone before.
Marais laughs about a party to
mark his arrival: “I thought it would be
a gathering of about 30 people – but it
turned out to be a lavish affair for 250 with
French champagne, a band and a praise
singer.” The anecdote enforces a sense
of welcome that pervades the elements
offices in Newtown. Orange-toned wood
abounds and light floods into the wide
open spaces – but the real warmth comes
from the people themselves. They smile
and hug and shake hands when they meet
one another and there’s a general sense
of togetherness that is not exclusive, but
rather sucks you in. Bonding is a priority
here and a massive bar and table area –
the shebeen – takes pride of place on the
top floor. It’s open for drinks at the end
of the week and the entire agency gathers
here to share breakfast and just chat
every second Friday.
We meet with both Marais and his
colleague and business developer, Craig
Makhuba. While Marais is careful not
to be seen as a “saviour,” Makhuba
reveals that his arrival at the agency has
given it a morale bounce. “When Neil
came we really needed a paradigm shift.
We were stuck in a way of thinking
and caught up in micromanagement.
We needed a big-picture thinker who
could see the possibilities.” Marais
brings 30 years of business experience
but he has no agency experience. He
sees this as a strength that ensures
his objectivity; having always been on the
client side of the fence, he understands
that their primary concern is to grow
brands and push sales.
One of Marais’ first mandates is to
oversee an ambitious growth plan. The
economic storm may be raging elsewhere
but in Newtown the sun is still shining
brightly and elements has in fact upped
its revenue!
It’s now poised to spread its wings
across the length and breadth of the
country and will be launching no fewer
than eight satellites with partners in the
various provinces. Six of these – to serve
clients in Cape Town, Durban, Kimberley,
Bloemfontein, the Eastern Cape and
Mpumalanga – will be up and running by
the end of 2008.
The regional satellites will begin by
serving public sector bodies, following
the success of such delivery in Gauteng.
elements has been behind catch phrases
such as “world class African city” and it’s
already done much to raise the profile
of brand “Gauteng.” The expansion via
satellites will enable other provinces to
benefit from the goodwill generated by
its campaigns. elements has recently
signed a partnership deal with an agency
in Nigeria, to help clients who wish to
extend their reach into the rest of Africa
AGeNCY PROFILe
as well.
Marais is also tasked with moving the
agency boldly into the private sector. It
has a strong reputation and proven track
record when it comes to public sector
accounts, but its acquisition of private
accounts has lagged behind. “It’s a priority
right now and we are already quite close to
securing a substantial private account,” he
says. He’s excited about the possibilities
because elements is uniquely positioned
to build brand equity for clients who have
been let down by other agencies.
“It’s simply inconceivable that products
such as shoe polish, used predominantly
by black men, are marketed with copy
written by white females,” he says. “Just
look at a well known beer brand that was
killed by packaging that made it look like
The ANNUAL 2008 — 131
AGeNCY PROFILe

fizzpop.” Marais has many more examples

and is scathing about agencies that create
irrelevant and obscure adverts for black
audiences. He mentions in particular an
advert featuring a symbol that recently
won a Loerie. “What does the award
mean? We didn’t understand the advert so
you can bet the people in the low LSMs it
was targeting didn’t understand it.”
What elements does instinctively
understand are attitudes to spending that
haven’t been fully appreciated by the
industry. For example, it knows there are
people living in shacks with significantly
more disposable income than the Sandton
elite. It recently employed a designer at
high cost who chose to live in a hostel
for next to nothing and catch taxis to
work. Mukhuba talks about shacks filled
with plasma screen televisions and Gucci
bags. “For many black people, their
home is a place to live, it’s not an
investment and they spend their income
on other things that give them status.” His
grandmother worked for menial wages
and lived below the advertising radar her
entire life – and yet when she died she left
her family R80 000 in a suitcase. “Just
because people don’t qualify for credit
cards doesn’t mean they don’t have cash,”
says Mukhuba.
Marais says the agency also offers an
approach that appreciates the segmentation
and nuance in black society. “Our logo is
a calabash, and the interesting thing about
them is that each has a lid that is designed
to fit that calabash and that calabash only.
Our messages are tailored to the market
and to the brand.”
elements is extremely wary of
current research methods used to uncover
township attitudes. “Black respondents
are often polite and they will tell the
researchers what they want to hear, but
it doesn’t reveal their true alignment,” actually buying.” in shanty towns across the country, to home in Sandton than in Newtown. For
says Mukhuba.” He points to the example So, instead of traditional research, observe how different communities this and several other reasons the agency
of a PAC rally before the first elements advocates knowledge interact with brands. A book outlining his reluctantly has taken a decision to move to
democratic election: “People flocked to underpinned by real experience. Seeco personal “Brandpilgrimage” will be Rosebank. Makhuba is passionate about
the stadium and they told journalists that has launched a research house based on launched shortly. the regeneration of Johannesburg and
they loved the message and they loved his philosophy that communicators need Despite its understanding of black talks enthusiastically about developments
the PAC … but when they were asked to immerse themselves in the communities markets that is needed by private sector in Newtown, such as the restoration
who they were going to vote for – it was they’re talking to. A couple of years back clients, elements’ location hasn’t helped of the old turbine hall. However, he
Mandela! He was the real brand they were he packed up his desk and went to live it to acquire those clients who are more at admits that the beautiful building that

132 — The ANNUAL 2008


elements is housed in is not the perfect
space, specially in bad weather. “We
didn’t want to move to Sandton – so
Rosebank was a perfect solution,” adds
Marais. “And we’ve found a place with a
great space for the new shebeen!”
Once again, this willingness to relocate
points to an agency that is confident in its
community-based identity – it no longer
needs to be propped up by its location.
Certainly, the pictures of the glory days
in Sophiatown and the “Newtown”
spirit will make an even bigger impact
in the northern suburbs than they do
in the city.
Despite its move, elements
also remains committed to social
transformation in traditional black
areas. Surrounding the boardroom table
we are sitting at are more than a dozen
pieces of brightly coloured African art
and, surprisingly, they turn out to be the
works of schoolchildren in Alexandra.
The children have been paid for the
paintings, which are set to be auctioned at
a benefit dinner. The funds raised will be
ploughed back into youth development in
the township. It’s fitting corporate social
investment given that Seeco himself was
identified as a youngster with massive
potential and miniscule opportunity. The
projects that elements run are dedicated to
the memory of Seeco’s late friend, Vincent
Tshabalala, who was shot by apartheid
police in the 1980s. He was a martyr for
his belief in equal education for all.
While it’s relocating and expanding,
elements continues to serve its core
clientele of public agencies in Gauteng.
It’s helping the province to work toward
its ambitious goal of halving poverty and
unemployment by 2014. The agency’s
relationship with Gauteng is now entering
its third year, and it continues to perform
all the marketing and communication
functions for its investment arm.
The agency isn’t gearing up for the
new digital media explosion because
it’s already fully immersed in the new
technologies. It’s currently designing and
building a dynamic new online portal for
Gauteng, which points to its extensive
capabilities. The portal will be an all-
encompassing hub – where residents can
book their driver’s licence test; pay their
traffic fines and municipal bills; plan their
travel in the province; read government
news; and apply for a job. The portal will
also be available at walk-in-centres across
20 priority townships in the province,
to allow those who don’t have internet
access to interact with the government.
In addition elements is working
with an initiative to help small retailers
in townships formalise and grow their
businesses. It provides education and
financial support but not many of the
worthy candidates know about it. One
of the agency’s innovations, therefore,
has to been to make signs for businesses
that have benefited, to signal to other
entrepreneurs that there is help available.
Among a host of the agency’s
prominent new clients is a municipal
service provider that came on board in June.
elements has spearheaded a print
AGeNCY PROFILe
campaign to educate consumers about
power issues, and also position the
utility as a caring agency that won’t let
vital services be affected by electricity
blackouts.
Being 100% black owned has opened
doors for the agency but it insists that it still
has to pitch hard – even for government
tenders, where its track record is so solid.
“Sometimes our identity actually works
against us,” reveals Marais. “Public
agencies are afraid of becoming too
chummy with their service providers and
being seen as nepotistic.”
Working with public service agencies
and their limited budgets has helped
elements to master the art of maximising
brand equity within constraints. “We
can get much more out of a year-long
campaign with print and outdoor, than a
one week TV campaign that eats the whole
budget,” says Mukhuba. The agency also
prides itself on being proactive. “Our
clients ask for help in one area,” says
Marais, “and soon we’re offering
solutions for other parts of their business.
External and internal communications
are sometimes offered in different tenders
but we believe they are inextricably
linked and will mix the two in a cost-
effective strategy.”
So elements will continue to be a
strategic partner for the province even as
it grabs opportunities elsewhere. In fact
Gauteng residents have elements to thank
for an anticipated windfall in 2010: it
engineered the pitch to FIFA, and bagged
the much-hyped first and last games
for the province.
In this and in all of its campaigns,
elements has proved itself to be nothing
less than a world class African agency.
The ANNUAL 2008 — 133
AGENCY PROFILE

Euro RSCG
South Africa
Type of agency:
Above the line
Number of accounts/clients:
8
Biggest spending clients:
Reckitt Benckiser, Sasfin Bank, Volvo
Accounts won in 2008:
Sasfin Bank, Volvo, PNet
Accounts lost in 2008:
It’s early days
Company ownership:
Havas Partner
Contact details:
Lynn Madeley, managing director
Tel: + 27 11 5493600
Email: lynn.madley@eurorscg.co.za
Agency billings:
Not disclosed
Key awards in 2008:
Silver and Bronze Loerie
Number of staff:
26
Key agency staff:
Managing director: Lynn Madeley
Creative director: James Daniels
Planning director: Stuart Walsh
Managing director 4D: Shelley Hoines
Key moment in 2008: There is a decidedly French feel to Euro The easy banter between them points to join the network.”
Opening our doors RSCG’s Bryanston-based offices – from a certain comfort and confidence in their Creative director James Daniels spent
The agency snapshot in 50 words: the wallpaper to the very French look- relationship with each other. his first seven years in advertising with
Making change inevitable ing table lamp and delectable cupcakes, The team are determined that the The Jupiter Drawing Room, seeing his fair
you could be forgiven for thinking you’d agency will “not baffle with bullshit”, as share of creative success. He reveals that
stepped in to a Parisian office. Peer a little Madeley succinctly puts it. Adds Walsh: the three partners are putting their hearts
further and the bottles of Verve Cliquot “Refreshingly, we think, we’re able to ad- and souls into this new venture. “We’re
neatly lined up in the coffee cum bar area mit that we’re an advertising agency rath- not perfect but we dream of that perfect
confirm your initial impression. er than a ‘communication specialist.’” Nirvana, where people have a great time
Euro RSCG opened its doors in South “We tell our clients to be honest about doing great work,” he says. The found-
Africa in December 2007 with just eight their brands and we try to follow the same ers share this common dream to create an
people. Fast forward nine months and advice,” says Madeley. “As an agency advertising agency with a difference, one
the personnel count has jumped to 26. we think it is important that we live our where respect and honesty permeate all
The agency is an affiliate of Euro RSCG brand and practice what we preach.” aspects of the business. In fact, even the
Worldwide, the fifth-largest agency net- The three partners have had sufficient design of their offices and meeting areas
work in the world. Euro RSCG is one of experience within the ad industry to know has been inspired by this principle. Using
France’s two leading advertising brands what they’re talking about. Madeley has glass and open spaces, even their internal
with a network extending across 75 coun- worked in London, Asia and Africa on architecture is transparent.
tries. The network had a rough few years everything from diamonds to soap pow- In fact they take great pains to stress
but a new management team saw it return der as well as a stint as a management what they believe is their biggest selling
to full strength in 2006. Since then it has consultant specialising in marketing in point: that they’re honest enough to ad-
been named agency of the year by lead- Hong Kong. mit they don’t know everything.
ing trade publications in both the United Walsh joined the ad industry as a writ- The partners believe they have chosen
States and the United Kingdom. er “but succumbed to the dark side some the right people to join the agency: people
What makes Euro RSCG South Afri- years ago” when he switched disciplines with grit and soul. “We’re intending to
ca interesting is the down-to-earth nature to become a strategic planner. “I’d read grow young creative talent because, quite
of its three founding directors; managing a lot about Euro RSCG’s philosophy and honestly, we’ve had enough of the big ego
director Lynn Madeley, planning director was very impressed with the agency so in this business,” reveals Daniels.
Stuart Walsh and creative director James when Lynn approached me about team- Walsh agrees that there is no place for
Daniels. The trio makes a dynamic team. ing up to form Euro RSCG I was eager to egos at Euro RSCG but says they’re striv-

134 — The ANNUAL 2008


ing to build respect for each function and
what each employee brings to the agency.
“Respect has to start at home,” he says.
“It starts with the way an agency views its
own staff. If you see your people as noth-
ing more and nothing less than employ-
ees, then your agency will be condemned
to being viewed in a similar light by both
its employees and its clients. However,
treat your staff as partners with rights as
well as duties and you start building mu-
tual respect and solidarity.”
Madeley, Walsh and Daniels are all
strong characters and say they have ac-
cepted that there will be times when they
have differences of opinion. Similarly,
they expect to have differences of opinion
with their staff at times. “I want to hear
people’s opinion,” says Daniels, “I want
to push their buttons and I want them to
push mine.” He believes it’s important
that the agency creates a positive envi-
ronment for staff to work in. “You can’t
intimidate people into doing great work,”
he opines.
According to Walsh, their dream for
EuroRSCG South Africa is to create a
great place to work where staff are liber-
ated to achieve their full potential. “My
ultimate goal in advertising is to win
the Deloitte best company to work for
award,” he says.
The agency has an impressive array
of clients considering it has been in busi-
ness for less than a year, including Reckitt
Benckiser, Sasfin, PNet, Cardies, Cad-
bury, Jaguar, Air France, Sanofi-Aventis
and PSN. A number of these are global
accounts.
Although Daniels and his creative
team were hoping for a Gold at their first
Loeries earlier this year, they ultimately
went home with a silver and a bronze. In
addition the agency has been awarded
both a first and second place in the Ad of
the Month awards. “We’re on a big drive
to win awards,” admits Daniels. “We
believe it’s important in order to attract
both the right clients and the right people
to the agency.”
However, the drive to win awards,
they admit, is second to the need to create
great ads which place the product or serv-
ice as the hero. “It’s about telling people
about fantastic products in a fantastic
way,” says Madeley. “We never forget
that we exist in order to sell things or to
achieve a change in behaviour.”
Daniels believes that many ad agen-
cies fail because they place too much
emphasis on the creative team, and for-
get about the vital role played by other
specialists within the business. “Ideas
should and can come from anybody with-
in the agency,” adds Madeley. “We feel
so strongly about this responsibility that
we have even structured our employees’
remuneration in such a way that it corre-
lates directly to their contribution to the
business. A creative person should be as
responsible for the client relationship as
the account management person, and ac-
count management should be as respon-
sible for coming up with great creative
ideas as the creative team.”
She maintains that one of the biggest
problems facing the ad industry is nego-
tiating that balance of creative work so
that both the agency and the client are
comfortable with it rather than allowing
either to manipulate the work to their
own agenda.
Walsh argues that the biggest prob-
lem facing the industry is a lack of re-
spect. “We have to re-earn the respect
of clients by re-establishing ourselves as
experts with their business objectives at
heart,” he says.
The agency’s size counts in its favour:
all three founders are integrally involved
AGENCY PROFILE
in all aspects of the business, which
means decisions are made rapidly. They
are cognisant of the need to manage fu-
ture growth in such a way that it still al-
lows them this hands-on approach.
EuroRSCG 4D
Euro RSCG 4D is the world’s largest
marketing services and digital agen-
cy, built on a philosophy of driving
the overall brand experience through
promotions, merchandising, and ex-
periential marketing. According to
managing director Shelley Hoines,
“It’s an agency that marries our cli-
ents’ requirements for so-called in-
tegrated communications with the
Euro RSCG philosophy of Creative
Business Ideas.”
With 118 offices in 42 coun-
tries, the agency’s mission is to take
brands and connect them to people
in the most imaginatively effective
ways possible.
4D won the Volvo account dur-
ing 2008 in a highly competitive pitch
and was a Loerie finalist with radio
advertising for the brand.
The ANNUAL 2008 — 135
 AGENCY PROFILE

The Fearless
Executive 01. Hayden Hochfelden, Peter Kgagara,
Bonolo Sekhukhune, Marion Baker,
Terry Behan, Karin Botta
02. Internal campaign, Neotel
Type of Agency:
03. Royal Enfield
Brand agency
Number of accounts/clients:
12
Biggest spending clients:
Cell C, Reliable Music Warehouse
Accounts won in 2008:
Cell C, Reliable Music Warehouse,
IDC, SABC, Orange
Accounts Lost in 2008:
None
Company Ownership:
Terry Behan 49%
Melanie Leisegang 36% 01.
Bonolo Sekhukune 15%
A lot of revenue may be going up in smoke age different departments in an organisation
Number of staff:
due to tough times but, at the old firehouse to treat each other as customers as well.
10
in Northern Joburg, business is booming! “Another challenge is to make clients aware
Billings:
That’s because it houses The Fearless Execu- that, while brand integration is a leadership
Approx: R5 Million
tive – with just the type of people who you driver, their leaders aren’t all in management
Key awards in 2008:
call in an economic emergency. Says chief positions.” This type of branding extends
Asia-Brand Leadership
executive officer Terry Behan: “Brands have well beyond the marketing department and
Contact details:
to work harder to keep business and extend even HR becomes instrumental to reward
Tel: +27 11 447 5854
market share. More than ever, they have to good brand behaviour and punish the bad.
Fax: +27 11 447 5846
keep their promises. And that’s where we It also extends beyond internal people to the
Website: www.
come in as brand integrators.” re-engineering of processes and touch-points
thefearlessexecutive.com
Behan and co-owner Bonolo Sekhuk- across the organisation. 02.
key agency staff:
hune speak about their business as if it’s The Fearless Executive has traditionally
Terry Behan, Bonolo Sekhukhune
been revving for the seven years since its integrated other people’s strategies but part
key moment in 2008:
launch – and is now pulling off at warp of its “nuclear” growth has been a move into
Being short-listed on a lot
speed. “Our business has gone nuclear in the initial phases of brand strategy and design
of pitches without putting
terms of market response,” says Behan. as well. “Our experience as implementers
forward initial contact.
He’s excited about new clients such as Cell gives us a huge advantage because we know
The agency in 50 words:
C and Reliable Music Warehouse because what works,” says Behan. “PHD strategies
The next battlefield is that of
they’re “challenger” brands. The Fearless are often too complicated and they don’t
compelling, engaging and lasting
Executive is itself a challenger that sud- consider ‘brand stretch’. For example, banks
customer experiences. Ownership
denly finds itself in the same ring as the big are becoming emotional and aspirational
of this experience is holistic, that
branding houses. Initially growth was based but are they really all your best friend? If
is to say it is no longer the domain
on cold-call marketing and word of mouth you stretch the brand too far it loses cred-
of the marketing team but that
but now the agency is regularly winning ibility.” On the other hand, he says hotels
of an entire organisation.
major accounts on open tender. In the days can amass detailed information about client
Today’s customer look past the
between our meeting and the publication of preference and can in fact become places
clever advertising and the sexy
this article, IDC, SABC and Orange were where everyone knows your name.
payoff lines, they look for depth of
signed up as a new clients. Ultimately the agency’s philosophy is
experience. Today’s businesses need
The agency is built on the understanding that while brands should be conservative
to respond and ensure that their
that, with very few unique selling propo- when it comes to making promises – they 03.
people, processes, leadership and
sitions out there, today’s customers are should be overawing, overwhelming and
the overall organisational culture is
looking past sexy pay-off lines for an experi- completely over the top when it comes to
geared toward delivering on what
ence that is deep and lasting. “Advertising delivery.
the brand is promising. The Fearless
campaigns do their job and turn people There’s been a clever play on the link
Executive is in the business of
into potential buyers – but, as soon as they between the agency’s physical location in
making this happen for our clients.
pick up a phone or enter a shop, they have the refurbished firehouse and its job to save
a bad experience and all that brand equity “brands that are burning”. But it may not
is lost,” says Behan. He says companies are be a bad thing that The Fearless Execu-
waking up to the fact that brands can come tive is now poised to move premises. “You
undone if they are not communicated and won’t believe it but the new place is called
implemented internally. ‘The Refinery’, says Behan, “which is great
Sekhukhune says they not only develop because with our new focus on strategy we’ll
training plans for frontline staff but encour- be forging brands well into the future.”

The ANNUAL 2008 — 137

AGENCY PROFILE

FoxP2
Type of Agency:
Through the line
Number of accounts/clients:
26 brands/10 clients
BIGGEST SPENDING CLIENTS:
Brandhouse Beverages, Entyce
Beverages, Coronation Fund Managers
Accounts won in 2008:
South African Dairy Project,
additional Brandhouse brands,
Property24, Netads24
Accounts lost in 2008:
None
Company Ownership:
100% local
Number of staff:
12
Billings
SQ
Key awards in 2008:
Finweek’s Small Agency Of The Year 2008
10/10 Finweek rating (the only agency out
of over 100 agencies rated to achieve this).
AA Finweek Creative rating ( highest score)
5 Gold, 3 Silver, 2 Bronze Loeries
01. In the Lab are, left to right, MD Charl Thom and creative directors Justin Gomes and Andrew Whitehouse.
(the most Golds out of any
agency at the 2008 Loeries)
Finished in 2nd place on the 2008 Loeries “The freedom to mutate” describes the country, and this creative work is developed mastermind, has worked with both local
table, as endorsed by the Creative Circle free-styling approach that has won this team off of insightful strategic platforms without and international heavyweights but really
Finished first overall at the 2008 Creative the reputation of breathing fresh life into exception. Our structure enables us to work showed his entrepreneurial metal when he
Circle Ad Of The Year Awards brands. “To mutate,” says joint-creative di- closely with clients on a one-to-one basis, started up a Cape Town business unit for
First place in the Creative Circle Ad Of rector Andrew Whitehouse, “is to adapt there is no red tape and they have access to Grey Worldwide. Over time he grew it from
The Year Magazine category, as well as to what’s right for the time and we will do the top level on a daily basis.” a one-man, one-brand band into a significant
first place in the Experiential category. whatever is appropriate to a specific brand Aside from 100% personalised service, through-the-line agency with prestigious
Key aGENCY STAFF: and brief. What works today, won’t necessarily the chemistry lies in their synergy, Justin brands such as Heineken, Amstel and Tan-
All work tomorrow.” believes. “The three of us share a common queray in its stable.
Key moment in 2008: The success of this approach is evidenced vision and are of one mind in our approach. FoxP2 was born when Andrew and Jus-
Finweek’s Small Agency of The Year by the fact it made local advertising history as We are all on the same path and I think that tin landed back in Cape Town in late 2005.
with a 10/10 rating – the highest rating the youngest agency to rank second overall this results in a pure product.” “With passion, optimism and a healthy level
of more than 100 agencies scored. at the Loerie Awards in 2008. It also took Home grown and internationally polished, of naivety, we set out to build the business off
Contact details: home the most Gold Awards. this trio is refreshingly humble about their a zero base,” recalls Justin. “Charl joined us
Tel: +27 21 424 4802 These accolades follow hot on the heels stellar rise to the top. But there are no stars on April Fool’s day 2007 after a long court-
Email: charl@foxp2.com of finishing first overall at the Creative Circle in their eyes and, while savouring their recent ship and a lot of coffee.” The triumvirate
The agency in 50 words: Ad of The Year Awards and scoring an AA triumphs, they realise that fame itself is fleet- was complete with Charl adding his strategic
An ideas laboratory with the freedom creative rating at the Finweek Awards – the ing and only good, consistent hard work will and media prowess to the already established
to mutate. Unrestrained by traditional highest score achievable. So 2008 has been result in sustained growth and success. creative mix.
agency structures, FoxP2 is able a significant year. Managing director Charl Seasoned creatives with solid industry As a small agency they have the luxury
to find the most effective solution Thom elaborates: “We had a fantastic start experience, Andrew and co-creative director of agility and the ability to offer innovation
to a client’s marketing problem to the year. It began with us winning the Justin Gomes are no strangers to winning beyond the borders of traditional advertising.
and work with the most effective Finweek Small Agency of the Year, where prestigious international and local awards. But “We want to feel free to do what’s right for the
partners to execute that solution. we were also the only agency out of over a how did they get overseas and why did they brand without getting tied into rigid internal
hundred scored to achieve a perfect 10/10.” come back? Andrew explains: “After Dulux structure like an in-house TV department,”’
Their flair is raking in business and new ac- won marketer of the year on the back of our Justin continues. “Our core team offers bril-
counts that include property24.com, more ‘Any Colour You Can Think Of’ campaign, liant client service and comes up with the
The all-white décor of FoxP2’s new offices on business from existing client Brandhouse we were head-hunted by TWBA Paris and a ideas and concepts and when it comes to
trendy Kloof Street evokes a sense of tabula and a substantial, long-term South African few years after that, moved to the US to work execution we have the freedom to choose
raca, a space where anything is possible. Dairy project. at Lowe New York. We got quite frustrated the best people for the job.”
And this is exactly what it is – a laboratory And if this doesn’t make them an attrac- with the industry bureaucracy over there and A tight-knit team of highly talented in-
where the science of creativity is applied tive partner what will? Charl doesn’t hesitate: decided to come back to rugby, boerewors dividuals comprise the permanent structure
to deliver disproportionate returns on “As the Finweek report showed, we are, pound and good advertising.” of the agency. Their group-mind yields the
clients’ investments. for pound, the most creative agency in the Charl, the business brain and strategic spot-on strategies and stimulating concepts

138 — The ANNUAL 2008


02. ‘Moonwalk’ – Loerie Gold winning work for National Geographic
Kids magazine encouraging parents to ‘Take Them There’.
FoxP2 is famed for as well as providing the
core functions such as creative, traffic, ac-
count managers, DTP and tea services. Add
to this a cherry-picked and diverse team of
freelance specialists who are ever ready to work
with FoxP2 in doing whatever it takes to actu-
alise the ideas.
Through this approach FoxP2 is able to
harness the talents of South Africa’s leading
creatives for the benefit of their clients, with the
capacity to offer epic 60-second corporate ads
or more quirky, leftfield mutations that really
cut through the clutter.
This simplicity is achieved by placing a brand
under a microscope and analysing its DNA,
then the team works towards identifying the
essence of the marketing “problem” and then
synthesising the perfect solution.
Charl expands: “A ‘problem’ can be the
need to regain market leadership, grow market
share or it can be the fact that your company is
already number one and needs to stay there. We
work with our clients to identify exactly what
03. ‘The Ocular Cavity’ – Loerie Gold winning work for
brandhouse highlighting the dangers of drinking and driving.
03.
they want to achieve, then we get to know them
so that we can gain those important insights
that help us to create engaging advertising that
touches people’s lives.”
With a bright future ahead, FoxP2 is aiming
for sustainable growth, picking up business at a
pace that enables them to maintain the levels of
client contact and product quality that currently
defines them.
Andrew feels the time is ripe for success and
that the re-emergence of start-ups globally is a key
development in the industry that finds synergy
with the fact that many brands that were previ-
ously aligned are no longer finding benefit in this.
“Alignment ignores the product that individual
agencies put out so the UK branch of an agency
may represent a client brilliantly but may not do
such a great job locally,” he says.
He feels that alignment is bad for clients and
bad for the industry as it breeds inertia saying,
“it should be a competitive industry, you should
know that the agency next to you is doing great
work and if you don’t deliver you can lose the
AGENCY PROFILE
02.
brand. Competition keeps standards up – it’s a
really healthy trend.”
Client references
“Fox brings a rare combination of insight,
creativity, commercial sensibility and simplicity
to our brands. They also combine that ‘small
agency’ attention with an ability to comfortably
handle big FMCG brands. Add in their innate
decency as people and a refreshing maturity
about the work and you have a potent result
as evidenced for us both at awards ceremonies
and at the till.”
– Steve Miller, marketing director, AVI Group
“If I had to rate FoxP2 on a scale of 1 to 5
(1 = excellent, 5 = poor) on issues such as
creativity, communication, customer service,
contribution to our brand and the quality of
our working relationship, they would score
either 1 or 2 for all categories with an overall
ranking of 1.”
– Avi Shachar: Chief Executive Officer, ISCA
The ANNUAL 2008 — 139
AGENCY PROFILE

Grey South Africa

Type of agency:
Through-the-line creative agency
Number of accounts/clients:
12
Biggest spending clients:
British American Tobacco, brandhouse, Visa, Procter
& Gamble, GlaxoSmithKline
Accounts won in 2008:
None
Accounts lost in 2008:
None
Company ownership:
25,1% Bongani Khumalo, 74,9% Grey Group
(which is owned by WPP)
Contact details:
Innesfree View, 2 Harris Road Cnr Katherine Street,
Sandton
Tel: +27 11 293 6200
Fax: +27 11 293 6206
Email: tim.byrne@grey.co.za
Agency billings:
Exceeds R120 million
Key awards in 2008:
Cannes Gold – Geronimo Condoms
Cannes Silver – Cuddlers Nappies
01.
01.
01.
01.
Cannes Shortlists – Apartheid Museum, Max Health Pet
Diet, Post-It Super Sticky
D&AD Silver Pencils - Geronimo Condoms
One Show Bronze Pencils - Geronimo Condoms
One Show Shortlist - Geronimo Condoms
Clio Bronze – Nokia Face of Africa
Clio Shortlists -- Geronimo Condoms, Post-It Super Sticky
London International Silver Statue - Geronimo Condoms
Loerie Gold – Spitz, Grey Corporate AV
Loerie Silver – Shark Life, Post-It Super Sticky,
Apartheid Museum
Loerie Bronze – Cuddlers, Spitz,
Apartheid Museum
Number of staff: If 2007 will be remembered at Grey South Africa as it’s become more focused on creative performance. Glo-
84 the year a fresh gust of creativity whooshed through bally, the organisation is going through a renaissance that
Key agency staff: the agency, revitalising it with fresh energy, then 2008 has seen it change more within the last year than during the
Chief executive officer: Tim Byrne will no doubt be thought of as a time of fine-tuning past 12 years, according to global CEO Jim Heekin.”
Executive creative director: Mike Barnwell services and entrenching the agency’s philosophy of South Africa’s response to the call for more creativ-
Managing director Johannesburg: brand acceleration. ity hinges on bringing on board more qualified and expe-
Dallas Glover Leading this process is Tim Byrne, who took over from rienced individuals, in order to offer a proposition that’s
Managing director Cape Town:
previous CEO Ann Nurock (now heading Grey Canada) compelling, competitive and current. As a result, Byrne
Kelvin Holmwood
in May. Byrne’s 24-year career in advertising has seen him opines, Grey is fast gaining a reputation as a network to be
Chief financial officer: Ahmed Loonat
amass impressive experience in client service, planning, reckoned with. Dynamic and future-facing are two of the
Key moment in 2008:
new business and strategy at agencies like Ogilvy, Lintas, words he uses to describe an agency which is clearly gather-
The appointment of Tim Byrne as chief executive officer
BLGK, Bates and The Jupiter Drawing Room, which he’s ing momentum and pace.
The agency snapshot in 50 words:
Grey South Africa has a burning desire to be the best mid-
supplemented with a consulting stint in South Africa and Underpinning that pace is Grey’s “brand accelera-
sized agency in the country, and is taking huge strides in Nigeria. All of which places him in an ideal position to tion” philosophy. While the agency offers a comprehensive
this direction. The agency prides itself on two things – the “take Grey South Africa to the next level”. suite of communications services, this differentiating ethos
quality of its thinking and the quality of its implementation. But what, exactly, does that mean? “When Grey was is about the organisation’s ability to drill down into those
This better enables it to help clients accelerate their brands, sold to WPP in 2005, it became one of the world’s last that will prove most useful in propelling clients’ brands for-
which in turn accelerates its own brand. major network agencies to join a holding company,” Byrne ward. “Our goal is to create a single, unified view of the
notes. “Now that it’s well established within the WPP fold, brand, especially if there are a number of different agen-

140 — The ANNUAL 2008


cies working on different aspects of brand
communication. With this in place, we
use a brand compass to identify the op-
timal route for the brand to follow, then
galvanise the services needed to make sure
it shuttles along this route within the allot-
ted timeframe and budget.”
It’s a strategy that has borne fruit
for brands like Mazda, where having a
single brand view proved key in success-
fully launching nine new products in 18
months. Says Mazda marketing manager
Doreen Mashinini: “It’s been wonder-
ful working with Grey South Africa: as
a young creative team, eager to try new
things, they’re responsive to our require-
ments. The brand has definitely benefited
from the input of like-minded people.”
Amstel has also benefited: Grey South
Africa re-launched the brand when it
became part of the brandhouse stable.
Aquafresh, meanwhile, has been grab-
bing consumer attention through the use
of Lucas Radebe as brand spokesperson,
and the agency’s work with Pringles has
seen the brand recently enjoy record-beat-
ing July sales as it continues to go from
strength to strength. Also noteworthy is
a campaign that took Tanqueray from
a previously unknown brand three years
ago, to the major player in South Africa’s
premium gin sector. Clint Hess, market-
ing manager at brandhouse, commends
the agency’s ability to generate innovative
marketing initiatives, like last year’s spon-
sorship of the TV series, The Apprentice,
and securing the brand as an onboard
option with British Airways. “The brand
has grown phenomenally,” Hess says, at-
tributing its success to a number of fac-
tors; among them Grey’s ability to forge
strong relationships and foster intimate
understanding of brands. “This is largely
thanks to the presence of a dedicated stra-
AGENCY PROFILE
tegic business unit servicing brandhouse
in Cape Town.”
Grey South Africa further undertook
activations which helped Centrum main-
tain its position as South Africa’s favourite
multi-vitamin brand, and has signed on
to assist Visa leverage off its first-time
sponsorship of 2010 FIFA World Cup
South Africa.
Byrne believes that brand accelera-
tion will be instrumental in garnering new department which will be able to address inhibitor in this regard. “We’ve had some
clients. “We’re also looking at expand- the practical problems associated with cre- minor cutbacks, but most clients want to
ing our offering,” he adds. “Our current ating consumer engagement opportunities ride out the storm rather than decreas-
through-the-line services will be supple- – where to source staff or equipment, for ing advertising and marketing spend too
mented with additions like digital mar- example, or discerning the great ideas “on drastically. They don’t see what’s hap-
keting, design and customer relationship paper” from those that will translate into pening as a major aberration. On the con-
management, which we anticipate will be impactful practical executions. “This sup- trary, with most other companies tighten-
on board within the next 12 months.” port will give our creatives, especially those ing advertising spend, many of our clients
At the same time, the focus on build- accustomed to working in the above-the- see this time as an opportunity to acceler-
ing a creative profile continues. Byrne line space, complete confidence.” ate their brands.”
admits that 2008 has seen the agency If that’s something to look forward to So, while the market for pitches may
fallen somewhat from the creative heights in the future, what sets Grey South Africa be quiet at present, Byrne’s prediction is
reached in 2007, but he says that the pres- apart right now? “We think. And we do so that it will gain more attention later in the
sure is back on to find the fresh, the new much better, both strategically and crea- year. And Grey South Africa will be ready.
and the fascinating. tively, than many of our competitors,” “Right now, we’re not looking to be one
In the meantime, an accent on build- Byrne answers. And the best opportuni- of the Big Five agencies; rather, we want
ing a more robust structure will help the ties for brand acceleration are most likely to be one of the best in South Africa’s
agency maintain excellence in the com- to arise out of great ideas. mid-tier section, and our aim is to estab-
plex through-the-line space. Byrne be- He’s looking forward to introducing lish our credentials here. We’re ideally po-
lieves that the downfall of many agencies this ethos to new clients, as Grey South sitioned to handle clients with billings of
trying to marry traditional media with be- Africa is currently on an aggressive drive R20 million to R40 million per year, be-
low-the-line channels is the fact that they to acquire new accounts. Byrne is not cause with this type of financial resource
have separate producers for electronic and fazed by the current tough economic con- we can really make brand acceleration a
print ads, but no one with the expertise ditions, nor does he expect them to be an reality,” he concludes.
to make exciting ideas for activations a
reality. This is where Grey South Africa
is headed: at present, the agency’s crea-
tive department comprises a single pool of
flexible thinkers, jacks-of-all-trades who
are as comfortable and skilled at scripting
a TV ad as they are designing a website or
digital mailer, or even creating a theme for
an event. Ultimately, though, the vision is
to have a full-time activation production
The ANNUAL 2008 — 141

Hammer Live
Brands
Type of Agency:
Strategic brand activity
Number of accounts/clients:
Project-based work – currently 6
Biggest spending clients:
brandhouse beverages
Company Ownership:
Howard Simms, James Barty,
Alistair King, Jenny Ehlers
Number of staff:
9 strategically strong company. This way
Billings:
Not disclosed
Key awards in 2008:
None entered
Contact details:
Tel: +27 21 465 3511
Email: howard@hammerlive.com
sarah@hammerlive.com
key agency staff:
Howard Simms, Sarah Lamond
The agency in 50 words:
We create activity for global brands
and ensure congruity across all levels
of a campaign. We are dedicated
to superb results and will ensure
a unique and satisfying delivery
for you and your consumers.
Sub-cultural experiences, exclusive launch-
es and credible brand events are what
Hammer Live Brands specialise in – in
fact, any live event that provides consumers
with an authentic brand experience falls
within their scope.
Managing director Howard Simms
believes that live events form an integral
part of the marketing mix. “Consumers are
bored and very perceptive. Brands need to
be able to engage directly with their market
through authentic experiences. “
Hammer Live Brands is a strategic
brand activation company that executes
powerfully effective events aimed at win-
ning hearts and converting neutral con-
sumers into brand loyal shoppers. To
date, their expertise has worked well for
heavyweight brands such as Red Bull,
Nike and Johnnie Walker. In addition
they enjoy a successful relationship with
TV production company Rapid Blue,
for which they provide event support for
large-format television shows such as Crazy
Games, So You Think You Can Dance
and Up and Under.
And while events are generally run
on a project basis, Howard points out
the benefits to brands when it comes to
forming long-term relationships with their
events agency. “If you want to achieve
consistency through the line, it is im-
01.
portant to establish a relationship with a
they get to know the brand architecture
and to develop the insight that enables
the execution of events that really express
the brand. Successful events are built on
attention to detail.”
With his keen interest in the relation-
ship between brands and subcultures,
Howard has a natural affinity for this work.
Add to this his 16 years of production and
logistics experience and it is plain to see
that the KingJames Group made the right
choice in partner when they decided to
venture into the events arena.
Although completely autonomous,
this partnership gives the Hammer team
excellent access to creative and strategic
resources. It also ensures that they know
what they are doing when it comes to
integrated campaigns and translating the
elements of an above-the-line campaign
into experiential reality. He explains:
“Consumers don’t like confusing mes-
sages; we work to ensure congruity across
campaigns.’
With a host of amazing events bear-
ing testimony to their aptitude, Sarah
Lamond, general manager, believes that
it is the strength of their team that gives
them the edge over other agencies. “We
have a wealth of experience behind us
that stands us in good stead to take any
challenge from a client and convert it into
a successful event or execution. We have
become known for our ability to source
and transform spaces most people would
be too terrified to consider as a venue.
“We have an incredible work ethic and
a lot of integrity. This overflows into our
approach to running the business; we are
very transparent in our billing. We don’t
do agency mark-ups or take rebates.”
Their magic is made by a core team
of nine people who share a broad range
of expertise. Solid technical and logistical
talent means that they have the ability to
invent the most creative ways to employ
technology to serve the brand and event.
On the other side of the spectrum, the
client service team double as project man-
agers, which means that one person is in
charge from brief to execution so nothing
gets lost in translation.
Howard adds: “We all have an excel-
AGENCY PROFILE
01. Howard Simms and Sarah Lamond
02. Johnnie Walker Red Label in the Carlton Hotel,
Marshalltown
03. Red Bull Box Cart, Jan Smuts Ave, JHB
04. Red Bull BC 1, Orlando Ekhaya Power Station, Soweto
02.
lent grasp of brand strategy and we’re
a bunch of young, enthusiastic, stylish
people who are all highly motivated. Most
importantly we do what we do because
we thoroughly enjoy it. The future is un-
known. We want to grow but in the right
way. We are discerning about our clients.
We need to work with people who share
our headspace.
Client references
“We love working with Hammer Live
Brands. They are proactive and innova-
tive and have really improved the way we
run primetime television shows like So
You Think You Can Dance.  They are
not just an eventing company, they bring
with them years of experience and they
understand that in our business time is 03.
money!  Their client service is excellent,
and over the years, they have become
trusted suppliers and friends.
– Beatrice Joubert, Rapid Blue Productions
“I have worked with Hammer Live Brands
for two years and have yet to be disap-
pointed in the team. Their professional
attitude, absolute willingness to go the
extra mile and unbelievable work ethic
has made every single event done through
them an unforgettable experience, both
for myself and for my consumers.”
– Anneke McKenzie, Johnnie Walker Red
Label, brandhouse Beverages
“Red Bull South Africa has been collab-
erating with Hammer Live brands on their
medium and large scale events/projects
since around 2002. They have proved to
be an invaluable eventing partner on events 04.
such as Red Bull Downhill Extreme, Red
Bull Box Cart Race and Red Bull BC One
to name a few. They are a pleasure to work
with, always finding the right solutions to
a problem and making sure that the job is
done to the highest standard. They feel
like family, making sure that they treat
the brand as their own and only the best
will do! Besides that, we have so much fun
working together it would be hard not to
imagine them as part of the team.
– Dani Ewing, National events
manager Red Bull South Africa
The ANNUAL 2008 — 143
AGENCY PROFILE

The Hardy Boys’ staff on the decks

The Hardy Boys of the agency’s new building in

Riverhorse Valley, a conservancy area

(Pty) Ltd near Durban, with senior management

below (from left): Marco Guidotti,
Dale Tomlinson, Geoff Paton,
Tracey Williams, Debbie O’Reilly,
TYPE OF AGENCY:
Hazel Bartlett and Craig Harris.
Specialist agency The cow is a spin-off from the
NUMBER OF ACCOUNTS/CLIENTS: agency’s successful launch of Ola’s
Moo ice cream in this country.
38
BIG SPENDING CLIENTS:
Unilever SA (Pty) Ltd, SA Home
Loans, Miladys, Rainbow
Farms (Pty) Ltd, Spar
ACCOUNTS WON IN 2008:
Vaseline Petroleum Jelly, Huletts,
Amalgamated Appliances, The innovative architecture and interior
Nouwens Carpets, Castellano design of The Hardy Boys’ new building
has attracted great interest. One of the
Beltrame, Simply Cereal, Smirnoff features is this glass meeting-room
(just announced) known as The Pod.
ACCOUNTS LOST IN 2008:
Belgotex (resigned)
COMPANY OWNERSHIP:
100% Owned by The Hardy Boys
Investment Trust. Dale Tomlinson
is sole beneficiary of the Trust.
NUMBER OF STAFF:
80+
BILLINGS:
R345 017 852
Net Revenue: R67 215 599
KEY AGENCY STAFF:
CEO: Dale Tomlinson
Creative Director: Geoff Paton
Strategic Directors: Adam McKeon,
Debbie O’Reilly
The Hardy Boys is an independent wanted packaging to reflect its intimate such as Vaseline. Working alongside Bartle
Production Manager: Hazel Bartlett
Durban-based advertising agency. understanding of brands and their Bogle Hegarty in New York,
Business Analyst: Craig Harris
Its maverick reputation and consumer relevance, using design as an The Hardy Boys in 2007 was responsible
Financial Controller: Tracey Williams
unconventional approach belie its serious intimate communication medium as for repackaging, creating TV and print
Business Unit Heads: Dave Slater, attitude to business and nimble response opposed to design for design’s sake. campaigns and developing the activations
Hayley Veschini-Schmitz to market trends. The growth of the agency and the for Vaseline across Africa and the Middle
MD, THB Australia: Marco Guidotti The agency is staffed by hungry, fact that it was soon awarded classic East.
CONTACT DETAILS: passionate people who burn the midnight communication campaigns saw a dramatic The brand experienced a 45% growth
Unit 3 River Junction, oil to help brands sing. change in the skills set. Staff extended in sales, making it Unilever’s fastest
10 Hippo Park Avenue, Established 14 years ago, The Hardy themselves to embrace a range of growing personal care brand. The Hardy
Riverhorse Valley East, Boys directs its efforts towards problem disciplines and partnered with others. Boys’ Strategic Director Debbie O’Reilly
Durban, 4017;
solving. The agency has specialists who “We picked up on the new says handling accounts like Vaseline
integrate different media to provide holistic activation buzz and became known for reinforced the agency’s commitment to
PO Box 712, Umhlanga Rocks, 4320
solutions for brands across different conceptualising and implementing 360- business accountability. “It’s enormously
Tel: +27 31 533 9000
platforms. The Hardy Boys’ roots are in degree campaigns,” CEO Dale Tomlinson gratifying work, but it’s also a huge
Fax: +27 31 533 9200
packaging, but the agency has diversified says. responsibility which we don’t take lightly.
dale.tomlinson@hardyboys.co.za and its 80 staff members have expertise The Hardy Boys registered the term In the advertising industry it’s easy to put
KEY MOMENT IN 2008: in a number of mediums to deliver totally “Brand Centric” and repositioned the flash over substance. We pride ourselves in
Being awarded global responsibility for integrated campaigns. agency as a business that would get to doing exactly the opposite,” O’Reilly says.
Vaseline Petroleum Jelly by Unilever. The agency has grossed-up billings grips with essential brand issues and then The Hardy Boys also represents BBH
THE AGENCY IN 50 WORDS: of around R345-million a year, which propose the appropriate mix of disciplines on the British Airways account across the
The Hardy Boys is a ± 80-strong group translates into net revenue of almost R70- to effectively deal with those issues. same region.
of idea generators, strategic thinkers million. Clients include Unilever, Rainbow Whether it’s design, in-store activation, Another success story was winning the
and passionate problem solvers. We
Chickens, British Airways, Miladys, Ola, new product development or classic SA Home Loans business in a five-way
SA Home Loans, Huletts, Russell Hobbs communication, the brand and its needs pitch. The win further secured The Hardy
are channel-neutral and work across all
and Nouwens Carpets. are placed firmly at the centre of the Boys’ position as an agency able to handle
creative disciplines, partnering happily
The Hardy Boys places special agency’s offering, and the solution is not sizeable and complex pieces
with the best of breed when necessary.
emphasis on the balance between strategic limited to the skills resident in of business.
We work across a diverse mix of blue and creative work and constantly reinvents the agency. The agency worked closely with the
chip clients that utilise us on local, itself to meet the changing needs of This appreciation of the value of client through the new Credit Act, several
pan-African and global needs. We marketers. partnerships has given The Hardy Boys interest rate increases and a property
do not compete with other agencies, As the genesis of the agency was international exposure. It helped create slump.
but fiercely with other brands! design and packaging, The Hardy Boys totally integrated campaigns for brands SA Home Loans CEO Kevin

144 — The ANNUAL 2008


Penwarden has this to say of his successful partnership
with The Hardy Boys: “A few years ago we found
ourselves bereft of coherent marketing strategies, with a
confused and ageing brand identity and an advertising
message that lacked originality and spontaneity. The
Hardy Boys was asked to present its credentials to take
over the account in competition with some big name
agencies. Its pitch was professional, filled with great
ideas and suggestions for a modified brand image, all
delivered by an enthusiastic team who showcased their
research and knowledge of our industry and their ability
to evolve and transform our corporate identity.”
He adds: “Dealing with The Hardy Boys is a delight
because of the incredible chemistry generated between
our teams … there is no question that The Hardy Boys
over-deliver.”
The Hardy Boys is responsible for SA Home Loans’
entire R32-million communications strategy.
By energetically servicing blue chips, including
Unilever brands like Ola Ice Cream, and other top
companies like Miladys, Spar, Rainbow and Farmer
Brown, to name a few, the agency has shown a
substantial growth in turnover and increased profits.
Bigger revenues have enabled The Hardy Boys
to fulfill its plan to establish itself as a serious player
in South Africa and a centre of brand excellence in
the AMET region. It is now possibly the third largest
independent agency in South Africa.
The Hardy Boys has invested in new offices which
it occupied in January 2008. The offices are designed
to facilitate greater client interaction, host brand
development workshops and provide a stimulating,
creative environment that would hold its own anywhere
in the world.
In the last 18 months the agency has seen a
dramatic change in the type and calibre of work it has
attracted, from a project-based, below-the-line focus to
more holistic, long-term, integrated campaigns.
A key example of this was its appointment as the global
lead agency for Vaseline Petroleum Jelly, working with
BBH in New York and London.
Another example is Huletts, South Africa’s leading
sugar brand. Huletts has moved from using The Hardy
Boys for its packaging needs to handling its entire
account.
Having developed the brand blueprint and essence,
the agency is now creating integrated through-the-line
campaigns and has repackaged its entire product range.
The success of the integrated activation campaigns
that the agency produced on an ad hoc basis for Shield
and Axe over the past few years has resulted in The
Hardy Boys being appointed to do all the regional work
for Axe, Shield (men, women and teens) and Dove
aerosols until 2010.
Sheila McCarthy, Unilever Vice-President Brand
Building – Personal Care & Ice Cream, has this to say
about the agency’s work: “It shows sharp, relevant
and original consumer insight, and superb executional
quality. As an agency The Hardy Boys is on top form
and able to compete not only with the top South
African agencies, but also with global agencies, having
won global work in the Unilever world. All this and
The Hardy Boys still remains refreshingly down-to-
earth and fun to work with, never having succumbed
to the arrogant self-important posturing of some of the
big boys.”
In 2007/8 The Hardy Boys won international
acclaim for work done for SANBS and was a
VUKA finalist.
But the team at The Hardy Boys fervently holds
AGENCY PROFILE
that the success it enjoys is but an adjunct to the
success of its clients. In an unpredictable economic
climate, the agency believes it has to be at its clients’
side, fighting hand-to-hand against competing brands.
Strategic Director Debbie O’Reilly says: “There
are the traditional marketing challenges that clients
are aware of and are dealing with, and then there are
those that come from the left field – unforeseen
and disruptive. These provide unexpected threats
and opportunities.”
To deal with these, the agency has put a premium
on being flexible, responsive and prepared to reach out
to find the skills depth and diversity to handle sizeable
campaigns.
Says Creative Director Geoff Paton: “We are
obsessed with building brands, whether they be Vaseline is a big Hardy Boys’ brand, and one of the client’s recent briefs
was to extend usage from lotions to creams in the AMET regions where
FMCG or service brands. We understand the skin needs special care in the extreme climate. The ongoing campaign runs
diversity of consumers and that it takes new and across a 360º media spread.
unconventional ways of engaging them. We are also
acutely aware that consumers discard brands the
instant they no longer deliver on their promise or meet
their needs.”
Tomlinson says The Hardy Boys is at pains
to be good at working across varied brands, across
complex geographies and under demanding client and
consumer expectations.
In order to do this, the agency has invested in key
disciplines: strategy, creative, finance and production.
The agency recently restructured, shifting from
a relatively small management team to a two-tier
structure that ensures brand consistency across all
channels and executions, while at the same time
providing organisational flexibility.
The senior team comprises lead representatives The Hardy Boys recently took activations to new heights on behalf of Axe
from each key discipline – strategy (Adam McKeon deodorant. The agency created a band called the The Cheesegirls which
and Debbie O’Reilly), creative (Geoff Paton), finance has released singles and music videos which have been enjoying prime
time airplay.
(Craig Harris and Tracey Williams) and production
(Hazel Bartlett). This team functions across all clients
and brands and is essentially a resource to the agency.
In the next tier are business unit heads and
creative heads who are each responsible for a portfolio
of accounts. Below them is a rich pool of talent that
works across various disciplines, accompanied by a
sizeable technical unit of specialists as well as a team of
three strategists.
The Hardy Boys’ desire to grow is inextricably
linked to finding answers for its clients. The agency
emphasises its channel-neutral approach and operates
from the simple belief that every brand starts with a
great idea. Branding – starting with packaging design – is at the roots of The Hardy
Boys. With the aid of the agency’s advice and standout design, these
Says Adam McKeon, fellow Strategic Director
and other new Farmer Brown chicken offerings flew out of supermarket
at The Hardy Boys: “When brands are built on freezers.
outstanding ideas, value is created for shareholders,
consumers are engaged and employees inspired. It
is our task to find equally great ideas around which
we can build compelling, relevant and engaging
campaigns. Whether the campaign’s objective is short-
term volume gain, long-term brand build or new news
– the campaign must create some residual benefit for
the long-term well-being and perception of the brand.”
Obviously The Hardy Boys is also getting this right
for Rainbow. Their Marketing & Customer Director
Scott Pitman says, “The Hardy Boys’ attention to
detail is excellent. Adherence to timing is strong and,
most importantly, creative solutions are constantly
being driven. The concept of curiosity is always at the
top of their agenda, and is evidenced by their ability to
drive new formats, finishes, shapes, design and ideas in
an innovative and powerful way. The Hardy Boys will The Hardy Boys did a complete makeover on SA Home Loans’
partner and add value to all aspects of your business.” communications, from creating a warmer visual identity to more
empathetic advertising across every conceivable medium.
The ANNUAL 2008 — 145
AGENCY PROFILE

Initiative Media
South Africa
(Pty) Ltd

Type of Agency:
Media strategy, planning
and buying agency
Number of accounts/clients:
60
big spending clients:
South African Breweries,
Investec, SA Home Loans,
Metropolitan, Taste Holdings
Accounts WON in 2008:
South African Breweries,
Ferrero South Africa, NWJ
Wholesale Jewellers, Tracetec,
Merensky, Nintendo, Varisty
College, Perfetti van Melle, Dairy
Consumer Education Project.
Accounts lost in 2008:
None
Company Ownership:
Interpublic
Number of staff:
36
Billings:
R500 million
Key awards in 2008:
None
Key agency staff:
Managing director: Marc Taback
Managing partner: Hilary Lindsay
(Initiative Media Durban)
Director: Moses Maseko
Business & strategic director
SAB: Lisa Matthewson
Business head, SAB: Jill Taylor
Channel strategy director:
Leigh-Ann Motan
SAB Pitch Team left to right : Hilary Lindsay, Lisa Matthewson, Sarah Dexter, Marc Taback
Channel strategy director:
Wendy Carruthers
Contact details
Tel: +27 11 780 6200
Email: marc.taback@
The catch of the year stor y must be insightf ul analysis and imaginative briefed requirements, plus a whole lot
sa.initiativemedia.com
how Initiative Media won the South and comprehensive strategy,” says Mat- more. It has been a great highlight for
key moment in 2008
A frican Breweries media account – thewson. “We did a classical case study, me personally and the most satisfying
Winning the South African
almost doubling its business. starting with thorough desk research time of my professional life.”
Breweries media business.
“We were seen as the dark horse and consultation of focus groups. These Taback says the new business divi-
The agency in 50 words
among the agencies that pitched,” says gave us our big idea, which was the glue sion, created specifically and exclusively
Initiative Media is the South Africa
Initiative Media managing director for the whole pitch.” for the SAB media business, is called
office of Initiative Media Worldwide,
Marc Taback. “We were the smallest The whole concept was presented in SAB media studio@initiative media.
the largest global media services
agency among the five short-listed and the form of a music video, which obvi- A specially created new logo has the
company with an international
our pitch team delivered a brilliant strat- ously wowed the SAB pitch judges. “It SAB and Initiative Media logos merge
network unparalleled in its ability
egy and outstanding presentation.” went down as a huge hit with the SAB into one showing the strong partner-
to offer client partners co-ordinated
Marc hands over the telling to Lisa marketing team,” says Matthewson. “It ship that has been formed between the
media management in all the major
Matthewson, strategy director at Ini- covered everything you would expect two companies. “You need a substan-
advertising markets around the world.
tiative Media, who formed part of the from a strategy presentation – research, tial team for a business of that size,”
SAB pitch team. “What distinguished media modelling, strategic business says Taback. “Many clients, especially
us from t he ot her agencies was our plan, implementation, execution of all the larger ones, often feel they do not

146 — The ANNUAL 2008


SAB media studio@initiative media Team and SAB Marketing Communication Team. Back row: Vanessa McKay, Moses Maseko, Collin Khumalo, Jill Taylor. Middle row: Marc Taback,
Eric Williams, Nada Carlisle, Bradley Strydom. Front row: Hilary Lindsay, Lauren Stevens, Lisa Matthewson, Melanie Nicholson, Lisa Green
get the attention they deser ve from
their media agencies. That is why it is
imperative for us to have a dedicated
team, in order to prevent that feeling
of neglect and to satisfy their justified
expectations.”
Winning the SAB account has re-
energised the whole agency, says Ta-
back. Initiative Media, with offices in
Johannesburg, Cape Town and Durban,
is the South African office of Initiative
Media Worldwide. It also has links to
off ices in Kenya, Nigeria and Ghana.
“Our national and international links
give us an invaluable advantage in our
main areas of activity: media research,
AGENCY PROFILE
strategy, planning and buying. Media
communication is a highly competitive
industry and Initiative Media’s global
proprietary technologies and research
establish a new playing field for clients.
A competitive advantage is based not
only on knowledge, but on its applica-
tion as well,” says Taback.
2008 has been an outstanding year
for Initiative Media especially after the
loss of Unilever in December 2007 due
to international re-alignment. “We have
picked up more than R280 million in
new business in 2008. Initiative Media
is a very top-of-mind innovative media
agency at the moment,” says Taback.
The ANNUAL 2008 — 147
AGENCY PROFILE

Interbrand
Sampson
and West Africa, so that local thinking,
Type of Agency:
combined with our expertise, produces the
Strategic branding and design
best results for the client.”
Number of accounts/clients:
The respected industry players at IBSA
25+
are regularly invited to address universities
BIGGEST SPENDING CLIENTS:
and organisations around the world on
Access Bank, Telkom, Medscheme
branding, with the current focus being on
Accounts won in 2008:
creating centres of excellence in Africa.
Jubilee Insurance (East Africa) CBA (East
An aspect to consider is that certain
Africa), Old Mutual (East Africa), Kraft,
international brands, such as vehicles from
Chartered Marketers, Constitution Hill Trust,
China, do not necessarily play well in the
Sun Coast, Clover, Afrox, Cresta Hospitality,
Western market but are deemed suitable
TWP, Tiger Brands, KWFT, Britac
for Africa, and Interbrand has an office
Accounts lost in 2008:
in China that can add its perspective and
None
share local knowledge.
Company Ownership: 01. Back Row (left to right): Angela Bruwer, Blake Anderson, Erica Morgan-Tanton, Christopher Koller Another differentiator is Interbrand’s
The group company is locally owned Front Row (left to right): Victor Rangaka, Jeremy Sampson, Douglass de Villiers renowned brand valuation process, with its
with BEE as per marketing charter
results captured annually in its survey of the
East African partnership
They created the Nedbank “N” and the ents,” stresses Doug de Villiers, Interbrand top 100 Best Global Brands, in conjunction
50% regionally owned
SAB beer mug, and turned the leaping Sampson group chief executive. “It’s also with BusinessWeek magazine.
West Africa partnership 50% regionally owned
Springbok the right way around in the about being a catalyst and helping our other The reputation of a company is sym-
Number of staff:
logo. Thirty-five years down the line, global operations manage their brands in biotic with its brand, and can certainly
28+
strategic branding and design agency our areas. As custodians, agencies need to influence its bottom line, says Sampson.
Billings:
Interbrand Sampson (IBSA) is still going have strategic brand knowledge to maintain Although brands are intangible, they are
Billings have continued to grow at over
strong – and so are many of the designs the standard and integrity of the brand in frequently a major source of corporate
70% year on year since 2006
it came up with decades ago. Africa and beyond.” value – with the percentage of a company’s
Key awards in 2008:
Executive chairman Jeremy Samp- Simply put, “a brand is a promise made market capitalisation attributable to brand
None
son established the design consultancy and a promise kept”. Sampson says that value often being far higher than its tan-
Key aGENCY STAFF:
Jeremy Sampson Associates in 1973, branding is a common language around the gible assets.
Executive chairman: Jeremy Sampson
before working in London from 1987 world and the key to a successful brand is for Think “brand” and many people see
Group chief executive: Douglass de Villiers
to 1992. He returned to Johannesburg it to be seamless and for all the touchpoints only a logo or trademark, but Interbrand
Strategic director: Victor Rangaka
and formalised the agency’s long-held that impact stakeholders to be consistent, Sampson is adept at delving beneath the sur-
Operations director: Blake Anderson, Executive
links with the Interbrand Group and wherever it is taken geographically. face and defining the DNA of a brand.
director – Africa division: Christopher Koller
in 1994 Interbrand Sampson (IBSA) It is, however, somewhat flexible, he This means that measuring the effective-
Chief executive – Interbrand Sampson
was formed. adds – “about 70% is consistent, while 30% ness of a brand cannot purely be done around
Inside: Angela Bruwer
Today, it holds the distinction of be- can be adapted to local conditions”. awareness – reputation has many compo-
Managing director – Cape Town:
ing the oldest strategic branding agency At the moment, Africa is largely uncon- nents and a damaged image, for whatever
Erica Morgan-Tanton
in the country, and is a vital cog in what quered territory, and there are various drivers reason, could turn investors off. “Having a
Key moment in 2008:
is arguably the world’s leading branding at play when it comes to different parts of strong brand is not a shoo-in for success,”
Establishing Interbrand Sampson Inside as
and design consultancy. the continent. “This means you can’t go in cautions Sampson, “and success in market
the specialist internalisation consultancy
Over the past year, IBSA been spread- with a South African mindset and a South performance is also no guarantee.”
Establishing the West African joint venture
ing its wings and undertaking a substantial African solution,” explains De Villiers. Therefore, it is important for a company
for Interbrand Sampson in Nigeria
amount of work in Africa, taking advantage As such, part of Interbrand Sampson’s to live the brand and be an ambassador for
Establishing the Cape town office
of the exciting opportunities unfolding unique offering is that it undertakes projects it, from the security guard to the CEO. In
of Interbrand Sampson
on the continent and the fact that brands with multinational teams of excellence addition, a product may be easily copied
Establishing specialist branding services
are increasingly becoming regional and drawn from around the world, with each or imitated, so it is important to hone the
agreements with Deloitte Consulting
global. individual contributing a different perspec- emotional side of a brand, to encourage the
Creating an Interbrand Group-wide
With more than 35 offices around tive toward reaching a solution. Key to this consumer to build a relationship with it.
knowledge group to serve clients in Africa
the world, including the newly opened process is the use of global subject-matter “Function is crucial but it’s a given;
using more than 12 specialist global offices
Cape Town office, they are well posi- experts (SMEs), who provide strategic input what you need to ask is: does the brand
Contact details:
tioned to follow their clients, counting into brand development. relate to you and make you feel good?” says
Tel: +27 11 327 2815
MTN, Deloitte and Microsoft (the world’s Flowing from this, a specialist unit has Sampson. “At a restaurant, for example,
Email: doug@ibsa.co.za
second most valuable brand) among the been established called Interbrand Sampson it’s a combination of the food, the ambi-
The agency in 50 words:
leading lights in their stable. Since the Inside, focusing on the internal aspects of ence and the experience. If the branding
The Interbrand Sampson Group provides the hub
MTN Group extended its African and branding within a company and headed by is persuasive and covers every touchpoint,
for Interbrand in Africa. Based in Johannesburg,
Middle Eastern footprint to 21 countries, Angela Bruwer. you will return to a relationship or service
with offices in Cape Town, Lagos and Nairobi,
IBSA has the advantage of being able to Not only does the South African opera- that you like.”
we are part of the global network with more than
implement branding projects using its tion benefit from its international network, Despite the current economic squeeze,
35 offices around the world, providing global
recently established regional offices in but “we’re also exporting experience – they De Villiers says it’s actually the ideal time
best practice adapted to local conditions.
Nairobi and Lagos. like the way we work,” says De Villiers. “We to invest in strengthening one’s brand and
“But it’s not just about following cli- concentrate on up-skilling resources in East making sure it doesn’t drift off base.

148 — The ANNUAL 2008

 AGENCY PROFILE

“It’s a good opportunity to acquire

market share if you spend wisely. It can
help companies refocus in recessionary
times. Nike bought media at a time when
others were pulling out, and look how it
boosted them.”
Sampson confirms this notion: “Reces-
sion or no recession, when times get tough,
the strongest brands fly.”
In terms of trends, new technologies are
increasingly driving consumer behaviour,
02. 03.
the world is getting smaller, and customers
are getting younger and more informed.
“Gone are the days when you get into
a consumer’s head at the age of 20,” notes
Sampson. “They are conscious of brands
at a much younger age.” Adds De Villiers:
“Marketing needs to be cleverer to respond
to this, and brand symbiosis will become
increasingly important.”
Sampson agrees: “I think we’ll be seeing
more joint ventures and co-branding. Find-
ing the right fit for your brand can help you
reposition, and more brands will be joining
up if they can strengthen their offering and
explore new market sectors.” 04. 05.

Projects on the boil for IBSA include

helping Nigeria’s Access Bank to expand
outside Africa, as well as other work in West
and East Africa. A fascinating challenge is
helping reposition “Brand Turkey” prior to
the country’s envisaged entry to the Euro-
pean Union, assisting Turkish companies
in becoming global brands.
In addition to MTN and Microsoft,
IBSA’s new clients in South Africa include
Afrox, Montecasino, Sun Coast Casino,
Constitution Hill Trust, Cresta Hospital-
ity, Clover, Tiger Brands, TWP, Sasko and
Joburg. The consultancy also created the
visual and verbal identity for Sky’s new
Southern Africa Direct travel channel, in-
cluding the station sign-off, printed material 06.
and website. In doing so, it integrated an
African feel with a modern theme.
“The ability to link business and brand
strategy to design is important,” says De
Villiers. “The brand mustn’t end up schizo-
phrenic, but focused and totally crisp,” 08.
agrees Sampson.
The environment at Interbrand Sampson
2-8. Elements of work done for the new identity of
is a stimulating one, with the agency enjoying
Southern Africa Direct, Sky TV’s new travel
low staff turnover, and its employees being
channel, launched in the UK and Africa
given the opportunity to travel and work on
“dream projects”. They are certainly living
up to their ethos of “global best practice,
supplied locally”. 07.
Professional brand building is often like
“selling thirst, then water”, and all indica-
tions are that, by following their clients into
Africa and beyond, Interbrand Sampson is
on track to strike an oasis.

The ANNUAL 2008 — 149

 AGENCY PROFILE

Ireland /
Davenport
Type of Agency: 01.
Advertising agency
Number of accounts/clients:
10
BIGGEST SPENDING CLIENTS: 01. BMW ‘Diver’
BMW, Investec, 02. Nashua Mobile ‘internet-lessness’
The Coca-Cola Company South Africa
Accounts won in 2008:
Investec, Iron Brew, Glaceau
vitaminwater, Coke Zero, Graham Beck
Accounts lost in 2008:
CTM, Castle Lite, Sarita
Company Ownership:
60% Mamalu, 40% Ireland
/ Davenport executives 02.
Number of staff:
36
Billings:
There’s a champagne feel in the Bryanston that effective strategy is not only through our growth and remain a grounded business.
R46 million
offices of Ireland /Davenport three years integration but also collaboration with the We look after and value our clients and their
Key awards in 2008:
after its first celebratory beginning. The creative department and creative thinking. business. After all, the best business is the
1. Creative Circle Wins 2008 - February
agency that became the ad story of the year For us it is the blend of intelligent, struc- one you already have.”
2008, Television, March 2008:
for winning BMW SA -- the country’s most tured brand thinking with creativity that Three years down the line, Ireland/
Outdoor, April 2008: Television
prestigious automobile account -- after be- builds and sustains brands and we call this Davenport are entrenched in the industry
June 2008: Print
ing open for less than three months, began creative intelligence. and highly regarded, something they never
2. Cannes 2008 – Radio finalist
with a hoopla that raised impossibly high “Another challenge we see is the integra- take for granted. “Our long-term goal is
3. Loeries 2008 – A Silver
expectations. tion of disciplines while maintaining brand to earn trust, authority and respect. This
and 3 x Bronze Loeries
Yet the fizz remains. Keeping the agen- consistency and strategic integrity. We face is something that has to be earned over a
4. One Show – 3x Merit Awards
cy small with a rich pool of talent and on this challenge head on, on a number of cli- period of time,” says Ireland.
Key aGENCY STAFF:
the cutting edge of the industry has paid ents and feel that we have not only delivered
Founding partner: Philip Ireland
off and the accounts keep coming. ”I am on our role as brand custodians but continue Client references
Founding partner: John Davenport
glad we are living up to the expectations to think of news ways of bringing consistency “Of all the agencies we have worked with
Managing director: Susan Napier
and have kept up the momentum,” says of message to our consumers.” they are probably the most professional
Head of strategy: Jason Knight
managing director Susan Napier (formerly At Ireland/Davenport there is a culture and well equipped. It has been a very good
Business unit head: Nathalie Keevy
Ferguson). “We value and reward our staff, of cross-pollination of ideas. There is little experience working with them. They defi-
Business unit head: Bronwyn Krige
work in partnership with our clients and distinction between the different “silos” of nitely have a thorough strategic insight into
Business unit head: Avril van der Merwe
have a deep understanding of the brands creative, strategic and project management, our business and they are able to translate
Financial manager: Sharon Bergman
we work on.” but rather a mutual respect for and collabo- it into creative output.”
Production director: Will Smith
Business performance in 2008 has re- ration between the three disciplines. – Hazel van der Lith, marketing manager,
Key moment in 2008:
mained steady and in fact produced another As part of its CSI programme, the agen- Scooters Pizza
1. Being appointed on the Investec
first for the agency when it was invited cy works with the Soweto Rugby Club, a
account (October 2007)
by BMW AG to pitch on a global BMW project they clearly all enjoy. The campaign “Ireland/Davenport was appointed as our
2. The making of two new TV
project. Competing against four other in- started with a print campaign that has above-the-line advertising agency three
commercials for BMW – BMW M3 “Test
ternational agencies, Ireland / Davenport snowballed into something much bigger. As years ago and was then appointed as our
Pilot” and Efficient Dynamics “Diver”
won the pitch in April. well as securing the initial goals of growing below-the-line agency at the beginning
3. Creative Circle Wins 2008 - February
Another feather in its cap is the repeat the club’s player base, the campaign has of 2007, as they clearly demonstrated the
2008, Television, March 2008:
business it gets from existing clients. “For brought corporate sponsors to the club ability to understand the tonality and in-
Outdoor, April 2008: Television
us it is proof that we deliver on the prom- in addition to establishing it firmly in the novativeness that has contributed towards
June 2008: Print
ises made.” says founding partner John minds of sporting bodies both locally and making BMW the premium brand that
4. Becoming the third most awarded
Davenport. internationally. it is today.
South African agency at One Show
The agency was awarded its first brand And while the agency acknowledges the “This strategic understanding has
5. Being invited to our first global pitch
by The Coca-Cola Company South Africa “challenging” current economic climate, continued to grow and has contributed
by BMW AG and winning against four
in December 2007, and have subsequently it only serves to strengthen their resolve towards BMW becoming one of the top
other international advertising agencies
won both the Iron Brew and Coke Zero to stay ahead, remain innovative and to 10 favourite brands in South Africa. This
Contact details:
accounts. continue being focussed. They see the was achieved through their sharing of our
Tel: +27 11 463 2252
“Creative intelligence” sets the agency economic slowdown as a good shakedown passion for the BMW brand, working as a
Fax +27 11 463 2232
apart, says Jason Knight, head of strategy. of the industry. team and by ensuring consistent relevant
Email: info@ireland-davenport.co.za
“Strategy has been ill-defined in the in- But there can be no false moves – “We quality creative work”
dustry for a long time and is traditionally haven’t over-stretched ourselves,” says co- – Shane Howarth, manager: marketing
research based. We have a strong belief founder Philip Ireland, “we are managing communications, BMW South Africa

The ANNUAL 2008 — 151


JIGSAW
Experiential
Type of Agency:
Experiential engagement marketing
Number of accounts/clients:
29
BIGGEST SPENDING CLIENTS:
Philip Morris, Nintendo
Accounts won in 2008:
Chesterfield, PUMA, Rania
Grandslots, Kauai
Accounts lost in 2008:
None
Company Ownership:
JIGSAW is owned by ORD Holdings
Shareholders include Grant Rightford,
Mike Orrey and Comfort Nzama. It is a
level two contributor to BBBEE with an
estimated 78% score rating
Number of staff:
30 Nationally
Billings:
Not disclosed
Key awards in 2008:
None
Key aGENCY STAFF:
National general manager:
Zane Van Rooyen
Client services director: Carissa Matthews
Business development manager:
Kirsten Marriott
Key moment in 2008:
Being awarded the opportunity
to manage the Old Mutual Retail
Revolution Awards. This involved
bringing suppliers on board to showcase
new cutting edge technology and retail
innovations brought in from Europe,
creating many firsts for South Africa.
Contact details:
Cape Town: +27 21 531 1027
Johannesburg: +27 11 234 5500
Durban: +27 31 312 4321
THE AGENCY SNAPSHOT IN 50 WORDS:
In an age where consumer reaction
to traditional messaging methods is
reaping dismal rewards, JIGSAW Ex-
periential is an experiential marketing
company that focuses on building
a relationship with consumers by
managing the consumer experience.
We’ve adopted a non-traditional,
modern marketing practice to en-
hance the consumer’s personal and
emotional association with the brand.
This increases advocacy, loyalty and
ultimately creates a long-term rela-
tionship between the consumer and
your brand.
01.
02.
JIGSAW Experiential was started in 2000
by Zane Van Rooyen (with the help of the
vision of Grant Rightford of ORD Advertis-
ing) as a marketing company specialising in
brand activation for FMCG. As “consum-
ers” turned to savvy “prosumers”, pressure
from brands for more meaningful interaction
increased. JIGSAW quickly expanded to meet
that demand, becoming experts in experiential
campaigns using different methods and media.
It now employs 30 people and has offices in
Johannesburg, Durban and Cape Town. Its
client list includes big names like Puma, Nin-
tendo, Kauai, brandhouse, Pinnacle Micro,
Marlboro, Stuttafords and Woolworths. It
often works closely with agencies (recent as-
sociations include Joe Public and Lowe Bull)
as part of a larger client campaign.
JIGSAW’s growth reflects the changes
in the way brands communicate with their
markets and it shows no sign of slowing down.
2008 was intended to be a year of consolida-
tion but has exceeded all expectations. “The
way that consumers make purchase decisions
has changed the way that brands are spend-
ing their money,” says Van Rooyen. “The
emphasis has gone from mass ‘intrusive’
marketing to a more one-on-one approach.
This has meant more demand for expertise
like ours.”
They’ve seen a change in the attitude of
their clients, too. “This year has been particu-
larly exciting creatively because brands are
getting more adventurous and more willing
to strike out into the unknown” says client
services director, Carissa Matthews. “Working
closely with the marketing teams at Puma and
Nintendo, sparking off each other and creating
something great, has been magical.”
JIGSAW Experiential puts its success
down to one simple fact: other methods of
reaching consumers aren’t working. Van
Rooyen points to the 1% returns provided
by many direct marketing campaigns “and
that’s successful?” Consumers no longer trust
traditional advertising to be telling them what
they need to know. Now, because of things
like PVR and citizen journalism, they don’t
have to be exposed to it.
AGENCY PROFILE
01. From left standing: Carissa Matthews, Zane van
Rooyen and team Johannesburg
02. Team Cape Town
In the search for new and better ways of
talking to markets, not everyone understands
what experiential actually means. “It’s not
just about fancy visuals or samples,” says
Van Rooyen. “Creating a restaurant that
looks like a rain forest is not experiential, it’s
just clever décor. Experiential would be get-
ting consumers to create the menu and then
keep changing it according to their opinions.
It’s all about maximising that one chance
you get when you come face to face with a
consumer. Your impact at that moment will
decide whether they become your brand user
or not.” One statistic he cites is that people
remember 10% of what they read but 90% of
what they do. “JIGSAW manages the personal
and emotional experiences of a brand. That’s
how to build long-term relationships with your
consumers and how to harness the power
of word of mouth. People talk about good
experiences to other people. They become
advocates for your brand.”
Business development manager Kirsten
Marriot says the way their teams work is an
important part of the success of their opera-
tion. “A company like ours cannot be hier-
archical. We’re all about creating emotional
responses so each employee has to be part
of the energy. Some of our client portfolio
managers work only on one or two accounts,
which they stay with for years. They become
one with the brand, which leads to some truly
inspired, measurable work.”
As traditional channels become less effec-
tive, Van Rooyen sees only increasing success
for companies like JIGSAW Experiential.
“You have to pull not push, go for quality
not quantity. Instead of grabbing attention
you have to give it. Fundamentally there is a
shift from talking ‘to’ markets towards talking
‘with’ them. In that way you have a chance
of making an impact and that’s what we help
brands to do. In today’s market place, just
fitting in is failing.”
The ANNUAL 2008 — 153
AGENCY PROFILE

Joe Public
Type of Agency:
Full service (Strategic, Media, Above-
the-line, Below-the-line, Design)
Number of accounts/clients:
16
big spending clients:
Clover, eBucks, Tracker, Spier
Wines and Nintendo
Accounts WON in 2008:
HTC/Leaf, Roman’s Pizza
Accounts lost in 2008:
None
Company Ownership:
50,1% IPG, 26% BEE,
13,9% Staff Trust
Number of staff:
50
Billings:
R176 million
Key awards in 2008:
4 Gold Loeries
3 Silver Loeries
4 Bronze Loeries
1 Loerie Craft
2 One Show entries into Annual
1 Clio entry into Annual
1 Cannes Finalist
3 Pendoring Gold Awards Dictionary.com defines public as “of, per- Fraser, head of marketing at eBucks, “We our clients’ brands. As a direct result our
Overall Pendoring Prestige Award taining to or affecting a population or a have an excellent working relationship creative work is always backed by solid
Silver and Bronze Eagle community as a whole”. That definition with Joe Public, who always treat us as a strategic thinking. And our strategic think-
Key agency staff: is entirely in line with Joe Public’s ethos, valuable client. They are truly passionate ing is religiously backed by research into
Gareth Leck, Pepe Marais, a philosophy that’s summed up in the about our account and are always chal- our target audience,” says Leck.
Laurent Marty, Liezl-Mari Long, company’s positioning: “For people. By lenging themselves to outdo themselves. The ultimate link between strategy
Xolisa Dyeshana, Khuthala Gala, people.” We really value their ability to not only and creative, though, Leck believes, is the
Maciek Michalski, Hester Robb In fact, “people” is a word you’ll hear put great campaign strategies together, people who make that creative come alive.
Contact details: often in conversation with Gareth Leck but also to convert those strategies into We’re back to the importance of people, and
Tel: +27 11 301 5570 and Pepe Marais, the agency’s co-founders. effective creative outputs.” the treasure of talent hoarded by Joe Public
Fax: +27 11 301 5571 They speak with passion of the people who Unsurprisingly, Joe Public grew with gives it a major plus. Leck speaks glowingly
Physical Address: Design Quarter, make the agency, their talent and the need their clients’ brands over time and today of the experience amassed by Joe Public’s
Office 201, Leslie Road East, to foster more such talent in the industry. the agency boasts a full-service through- department heads: there’s Liezl-Mari Long,
Fourways, Johannesburg 2055 And while it may be terribly voguish for the-line offering that features divisions for who heads above-the-line creative, and
key moment in 2008: companies to describe their employees branding design, brand strategy, media her below-the-line counterpart, Xolisa
Being ranked fifth overall agency as their “greatest asset,” you can tell that planning and buying, and above-the-line Dyeshana. Maciek Michalski heads design;
at the Loerie Awards 2008. this isn’t a twee cliché that Joe Public as well as below-the-line advertising. In Khutala Gala and Hester Robb are client
The agency in 50 words: mouths along with the herd; rather, it’s fact, as an employee at Joe you’ll often find service directors, and Laurent Marty is the
Joe Public’s positioning is “For people. one of the factors that sets them apart yourself working “across the line,” “above, agency’s strategic director. All have been in
By people.” It perfectly embodies the from their peers. below and on top of it,” as brands are in- the industry for 10 years or longer, and so
company’s philosophy and approach, Joe Public is an agency that aims to tentionally managed with the consumer’s have proven track records as the cream of
which are based on strategically do work that is “in touch” with the man overall experience in mind. emerging talent; and they are all distinctly
relevant communication developed by on the street. The differences between “then” and hands-on in their approach. (You only have
a diverse, passsionate and hands-on An agency with a proven track record “now” may be small, but they’re apparent: to visit the agency’s website at joepublic.
team of people who strive to stay in when it comes serving its clients by building While Joe Public remains down to earth co.za to appreciate the importance this
touch with the needs of the “man on brands that are esteemed by the ordinary and intent on creatively standout execu- company places on individualistic outlooks
the street.” Joe aims to meet clients’ people, rather than the advertising frater- tions, there’s a greater focus on strategy. and contributions.) It seems Joe Public is
business objectives by consistently nity alone. As such, many of the brands This change has arisen from the realisation also actively cultivating the next crop of
delivering creatively standout on Joe Public’s books enjoy the status of that deep insights are the key to forging industry rising stars: Leck tells with pride
communication. Because if it isn’t recognised market leaders within their true connections with consumers. “We’re how both the Young Creative Award at this
breakthrough, it won’t cut through. respective fields. Long-standing clients all about keeping up with the consumer, year’s Loeries, plus the Pendoring Prestige
Clover, eBucks, Tracker, Spier Wines, and in the light of this we’re more aware Award, “were taken home by two of the
Robertson Winery and kalahari.net are than ever of the power of strategically youngest members of our team”.
all testimony to the fact. Says Marianne relevant communications to add value to “There’s a big focus on development

154 — The ANNUAL 2008


01.
01. As part of Spier’s “Art in Wine” positioning, Joe Public’s latest commercial for the brand begs the question: “What does your art say about you?”
02. Single-minded product demonstration with a distinctively local flavour, for Clover Long Life Milk
here, because it’s our people that make us
unique,” says Marais. “We’ve implemented
rigorous systems and policies to guide
their growth. We know that our talent is
superb, but we also want our individuals
to be well-rounded.”
2008 has been a very satisfying year for
the agency from an awards perspective. Joe
Public’s design division was recognised as
the best in the country, while the agency’s
overall awards tally secured it a fifth place
at this year’s Loeries Awards. It also did a
clean sweep at the Pendorings – where Joe
finished top of the table with three Golds
as well as the overall Prestige award.
There’s always been a strong focus
on creativity at Joe Public: and as was the
case in the early days, this is the agency’s
hallmark. Leck and Marais admit that this
focus became a little lost when the agency
adopted more corporate practices, but it’s
been brought back to life with a very defi-
nite bang. “It is important for an agency
to be run like a business – but it is vital to
remember that creativity is our reason for
being. It’s our driving force. We believe if
work isn’t breakthrough, it’s simply not
going to cut through.”
If 2008 has kept the creatives smiling,
it’s been good for the suits, too. Leck reports
that the agency has achieved growth of 25%,
by picking up annualised billings of R50
million. Its participated in some very excit-
ing pitches, and won most of them. “But
we’ve also resigned some clients. Our goal
is to work with people in a partnership, and
partnerships can be like marriages: if you
choose the wrong people, they don’t work.
Our aim is to work with clients whose values
align with ours,” Marais says.
No one wins if you’re working to op-
posite ends, he continues. South Africa’s
ad industry may consistently rank among
the world’s best, but he and Leck believe
there is huge room for improvement. “It’s
hugely ironic – clients will often say they
want to be associated with an award-winning
agency, but they’re not necessarily prepared
to take risks. This tendency stifles creative
thinking,” Leck comments.
But the agencies are at fault too, he and
Marais agree. Pricing continues to be an
issue – agencies cut media commissions for
clients, but in so doing, they undervalue the
intellectual capital they bring along in terms
of brand building. At the same time, slashed
commission put pressure on margins, which
impacts the salaries that can be paid – and
smaller salaries, of course, hinder the ability
to attract and retain top talent.
AGENCY PROFILE
Marais also worries about the lack of
professionalism in the industry. “Few people
will consider advertising as a profession,
because it still has somewhat of a Mickey
Mouse reputation,” he opines. “Again,
it’s the fault of the agencies. We’ll only get
around this by acting as respected partners
to our clients, and running our operations
in a way that gives people a sense of security
and makes them feel well looked after, both
internally and externally.” That may help
with another common industry problem:
staff retention.
Leck, meanwhile, along with many
other leaders in the field, would like to see 02.
the industry turn its attention to the con-
troversial issue of “free pitching” for new
accounts. And his view for the industry’s
short-term future? He anticipates a cutback
in client spend which will put all agencies
under pressure but is confident that Joe
Public as well as other “innovative players”
will weather the storm. “Our vision is to
be the number one homegrown agency.
“We’re also aiming to double our revenue
growth by the end of 2010; and to double
our creative achievement by the same time.
Yes, it’s ambitious goal, but if we carry on
as we are now, we’ll be well on track to meet
these targets.”
The ANNUAL 2008 — 155
AGENCY PROFILE
The Jupiter Drawing
Room (South Africa)
& Partners
Type of agency:
Brand holding company for The Jupiter Drawing
Room (Johannesburg), The Jupiter Drawing
Room (Cape Town), Black River FC (Johannes-
burg), Black River FC (Cape Town) and
MetropolitanRepublic. The Dukes of Urbino.Com
and DDB (South Africa) are licensed
associate members of the group.
Number of accounts/clients in group:
77
Biggest spending clients in group:
MTN, Edcon, Absa
Accounts won in 2008:
19
Accounts lost in 2008:
None
Company ownership:
100% locally owned independent
Contact details:
Graham Warsop (gvwarsop@jupiter.co.za)
Jupiter House, River Park, 42 Homestead Road,
Rivonia, 2128
PO Box 4651, Rivonia, 2128, South Africa
Tel: (011) 233 8881
Fax: (011) 807 3254
www.jupiter.co.za
Group billings:
R1. 9 Billion
Key awards in 2008:
Cannes: Grand Prix (Print) Silver (Media)
and Bronze (TV)
One Show: Silver Pencil
Clios: Gold and 8 Bronze Statues
D&AD: 3 Entries into Annual
Epica: Gold 5 Silver 2 Bronze
World Press Awards: Bronze
London International (Nov 2007):
4 Gold Statues 2 Silver
New York Festivals: 4 Gold Silver 2 Bronze
Loeries: 4 Gold 7 Silver 18 Bronze
Eagles: Gold Silver 4 Bronze
APEX: Effective Advertising Silver
FinWeek AdReview: Campaign of the Year for
MTN (Jupiter (Jhb) and MetropolitanRepublic)
FinWeek AdReview: Newcomer Agency of the
Year: MetropolitanRepublic
Number of staff:
469
Key company staff:
Graham Warsop (Chairman)
John Warsop (Managing Director)
For key staff in group companies please refer to
individual company profiles
Key moment in 2008:
Seeing the focus on building an enviable team of
creative entrepreneurs rewarded with The Jupiter
Drawing Room (South Africa) & Partners being
crowned SA’s most creative agency group.
156 — The ANNUAL 2008
Jupiter group chairman Graham Warsop places great faith in creative entrepreneurs
Just two years ago The Jupiter Draw-
ing Room (South Africa) & Partners was
mid-sized with a great reputation and good
billings.
Today it stands as SA’s most creative
agency group and the largest independent
on the African continent. It has even bigger,
global plans up its sleeve if industry rumour
is on the mark.
There’s no denying that there’s a very
successful strategy at play here and Chair-
man Graham Warsop calls it ‘the wilful col-
laboration of creative entrepreneurs’.
Certainly if one looks at the composition
of the Jupiter family (which now comprises
Jupiter (Jhb), Jupiter (CT), Black River FC,
MetropolitanRepublic and most recently
DDB (SA)) there’s no denying both the
‘creative’ and ‘entrepreneurial’ success.
The most recent partnership, with
DDB (SA), is a good example of the ben-
efits derived from the collaboration Warsop
speaks of. DDB (SA) solved one of Jupiter’s
most intractable strategic challenges – how
to remain 100% locally owned and yet have
the ability to offer major clients a first-class
global servicing network.
The deal Warsop struck in 2007 was for
Jupiter shareholders to acquire a majority
stake in DDB (SA), with the remainder of
the agency in the hands of local sharehold-
ers and management.
This meant that all the agencies in the
Jupiter family had access to DDB’s global
network with no loss of independence. It
also gave DDB (SA) a much needed 30%
BEE equity stake through MSG Rimani.
“We recognised the enormous potential
of DDB (SA),” says Warsop. “Glen Lomas
and Emmet O’Hanlon were already in the
agency and we believed if we could compli-
ment their considerable skill sets with the
right executive creative director, the agency
would soar. We introduced them to Gareth
Lessing, suspecting they would become a
formidable trio.”
Indeed they did. Within one year the
agency demonstrated one of the most re-
markable turnarounds in SA advertising
history. There were substantial new busi-
ness and revenue gains but also a stellar
creative revival, with the agency rocketing
from obscurity to a top three place on the
South African individual agency creative
table. Along the way the agency picked up
a Cannes Grand Prix, arguably the biggest
award in world advertising.
Glen Lomas, CEO of DDB (SA), says,
“In horseracing terminology, 2008 was the
year that DDB finally hit form in South
Africa. However, it was not just a stroke
of luck – a rank outsider coming in at long
odds – this has been a planned approach
to rejuvenate the DDB brand and get her
race ready. Our partnership with The Jupi-
ter Drawing Room (South Africa) & Part-
ners over this period was undoubtedly the
catalyst to this change. They have been our
mentors, our supporters and our champions
and we are very grateful for everything they
have done for us.’
Other members of the Jupiter family are
also quick to acknowledge the value added
at a group level. Renee Silverstone, CEO
of Jupiter (Jhb), says, “One cannot under-
estimate the value of having our need for a
global network tackled at a group level. It
would have been exceptionally disruptive
if the management team in Jupiter (Jhb)
had to try and resolve this challenge instead
of placing their focus on our clients and
the work.’
The growth of the group through ‘the
wilful collaboration of creative entrepre-
neurs’ has seen the founding of different
agencies of varying sizes intended to cater
for the diverse preferences of clients.
In the process, a formidable talent pool
has been quietly assembled. This says Jupi-
ter (CT) MD Kevan Aspoas “is one of the
group’s greatest assets. With the utmost
sensitivity to client conflicts, we are able to
tap into an amazing talent pool. There is
a real sense that we are here for each
other and all work for the common good of
the family.”
Alison Deeb, Jupiter (Jhb) MD, also
sees the skill sets in the various agencies as
providing a valuable resource base across
all disciplines. “Today we are a group of
over 450 people who make up this wonder-
fully eccentric, energetic and non-conform-
ist brand.”
Paul Warner, founder of Metropolitan-
 AGENCY PROFILE

This Jupiter house-ad ran in this year’s Cannes Lions Dailies to an international audience. It proudly proclaims Jupiter’s South African roots.

Republic is an enthusiastic advocate of busi- distinct personality Warsop identifies cer- 2. MSG Rimani, our BEE partners, “We have a four-phase strategy in
ness being conducted in a non-conformist tain unifying characteristics: have played an important unifying role and place,” says Warsop, “Phase one is simple;
way and cites the Metro/Jupiter (Jhb) model 1. Each agency in the family has a continue to provide acumen and wisdom. seek to gather the most formidable talent in
for servicing the MTN account as a unique strong work ethic and a profound belief in 3. A focus on real work rather than the industry into the Jupiter family. This will
example of two full service agencies working the value of original creative thought, to scam work. enable us to offer clients a level of work and
in collaboration harmoniously. mould consumers perceptions and build In spite or perhaps because of this lat- service that’s unsurpassed in the industry.”
Whilst each agency brand has its own- strong brands. ter perspective, The Jupiter Drawing Room Rumours abound in the industry about
(South Africa) & Partners wears the crown what next for The Jupiter Drawing Room
SOUTH AFRICA’S TOP 5 MOST CREATIVE AGENCY GROUPS as SA’s most creative agency group – Jupi- (South Africa) & Partners and Warsop has
ter agencies having achieved the remarkable a knowing smile when questioned about
CLIOS ONE SHOW D&AD CANNES LOERIES EAGLES TOTAL feat of finishing top of the table in every one phases two to four of the master plan. He
of the big global awards shows in 2008. looks content, but there’s a bustling energy
The Jupiter Drawing
2900 2700 900 4000 3300 900 14 700 This brings us back to the depth of tal- under the surface that promises to cause
Room (SA) & Partners
ent that is clearly evident across the group. ripples in 2009.
Ogilvy Group 400 450 300 3750 5750 300 10 950

King James Group 100 900 500 3000 3025 400 7525

BBDO Group 450 450 800 900 3000 5600

Draftfcb Group 300 300 600 1500 1725 4425

(Source: SA Creative Circle Creativity League Table as at Nov 2008)

The ANNUAL 2008 — 157

AGENCY PROFILE
The Jupiter Drawing
Room (Cape Town)
Type of agency:
Integrated communications agency
Number of accounts/clients:
20
Biggest spending clients:
Woolworths, Windhoek, Sanlam, Hyundai
Accounts won in 2008:
Windhoek, Elizabeth Arden, Virgin Energy,
Oakley
Accounts lost in 2008:
None
Company ownership:
100% locally owned independent agency
Contact details:
Email: kaspoas@jupiterct.co.za
Physical address: 3rd Floor, The Terraces,
Black River Park
Fir Street, Observatory, Cape Town CT 3000
Agency billings:
R333 million
Key awards in 2008:
D&AD – Acceptance into Annual
One Show – 1 Silver Pencil
Loeries – 2 Silver, 6 Bronze
Epica – 1 Gold
4 Bronze Eagles
1 OHMSA Award – Retail Furniture Category
Number of staff:
123
Key agency staff:
Chairman & managing director:
Kevan Aspoas
Deputy managing director: Claire Cobbledick
Executive creative director: Ross Chowles
Creative director: Livio Tronchin
Creative director - design: Joanne Thomas
Financial director: Kevin Duke
Key moment in 2008:
Winning the Windhoek account
The agency snapshot in 50 words:
We are the leading agency in Cape Town and
the leaders in integration in South Africa. We
continue to win awards and grow our client
base, despite tough economic times because
we understand business. We contribute to
our clients’ bottom line by producing highly
effective creative work that sells.
What do Helen Zille, Raymond Ackerman
and Clem Sunter have in common? They
are but three of the luminaries that have
been keynote speakers at Jupiter (Cape
Town)’s exclusive ‘Managing Director
(MD) dinners’. These occasions aim to
bring top academics, politicians and busi-
ness leaders together to discuss what MDs
will be faced with in the future, such as
158 — The ANNUAL 2008
01. Kevan Aspoas, Managing Director
opportunities in 2010 and the implica-
tions of BEE.
Says managing director Kevan As-
poas, “We have hosted these dinners for
five years now and as a result we have great
access to senior business leaders and are
taken seriously in the business world.”
It is this type of savvy that has seen
Jupiter CT mushroom from a tiny start-
up 14 years ago into what Kevan calls
“one of the biggest legitimate agencies in
Cape Town”.
“In fact,” he continues, “we might be
at the tip of Africa but we are on the top
of the world.” This refers to the interna-
tional prestige it enjoys, not only in terms
of awards collected, but because several of
his senior team members are sought-after
judges at international shows attracting
international clients
“We are a globally recognised brand
and research proves that Jupiter is the top-
of-mind agency for marketers in South
Africa. Surely,” says Kevan, “this alone
serves to recommend Jupiter as the busi-
ness partner you would choose to help you
raise the profile of your own brand?
“If this is not enough,” Kevan is not
modest, “marketers buy into Jupiter be-
cause we do great creative work and are
quite sexy. We have the most awarded de-
sign studio in South Africa over the past
decade.” He pauses briefly to vent about
agencies that generate advertisements
purely to win awards. He calls this my-
opic and damaging. “It erodes their own
credibility, casting a pall over the ethics of
agencies in general. Mainly it erodes the
faith between agencies and clients.”
But, first and foremost, Jupiter CT is
a business and it serves the business needs
of its clients. The fact that its people wrap
themselves up in creativity and have that
kind of image is because they understand
that that is how to drive consumers and
sell an advertising agency.
Kevan makes this clear. “Clients
come in here and they listen to us, they
put their money down and they take us
very seriously. Why? Because we will posi-
tively affect their business. At the end of
the day we are mass salesmen and it is
our job to help generate sales. So the im-
portant thing for us is to deliver – day in
and day out. And we do, that’s why our
clients trust us.”
At Jupiter, awards and satisfied clients
all begin with strategy that Kevan calls the
great liberator. He explains: “A watertight
strategy gives you the freedom to express,
and you know your creative is going to
be spot on because it is based on good
business sense.
“And,” he laughs, “everyone has a
sell-in angle and ours is that we are the
only truly integrated agency in South Af-
rica. Lots of agencies will tell you about
360 and integration but their business
models are flawed because of internal
cost structures. Often clients get double
mark-ups on work supposedly being done
by one agency.”
Not so at Jupiter CT, where all work
goes into one studio and through one cost
centre. Here the creative directors are able
to spread their skills and vision across me-
dia to arrive at the best mix for the client.
He continues: “Our model blurs the line,
which is why we won the Grand Prix for
integration at the previous Loeries. We
are leaders because we have a business
model that works.”
Another outstanding characteristic of
Jupiter’s business model is that they truly
cultivate their clients. Kevan explains:
“We don’t rush out and do lots of pitches.
If we do a pitch it is because we really
want that client, have analysed the brand
and are fairly sure we will win.
“We aim to take on one piece of busi-
ness every 18 months. We then take time
to build the relationship, and interrogate

02. Design Indaba 11 - Programme covers
the product before starting to really en-
hance the brand.” Breaking their own rule
they had added two new clients by June
2008 – Windhoek and Elizabeth Arden.
Most of the clients they select are
brands that need reinventing. A case
in point is Hyundai that eight years ago
ranked 28th passenger car brand in South
Africa and are now ranked third.
Over four years they have done the
same for Sanlam, literally transform-
ing the brand. Where it once was only a
mainstream, middle-market brand, it is
now an investment house with appealing
portfolios rivalling industry giants, such as
Old Mutual, across all market segments
– from LSM 1 to 10.
And then they get chosen. “Wool-
worths walked in here over a weekend.
We are a great fit,” Kevan relates. “Pre-
viously their advertising wasn’t deliver-
ing to the same level as their product. We
have tried to close this gap and make sure
the ads surprise the consumer as much
as the products do when they arrive on
the shelves. We are on a real journey
with them, they are a wonderful client,”
he concludes.
To transform a brand takes total im-
mersion and the staff at Jupiter CT really
live their brands: they all drive Hyundais,
they buy Woolies and, Kevan indicates the
latest addition to the coffee trolley, “now
we will always have a Windhoek available
for our clients”.
Jupiter CT doesn’t stop there, believ-
ing that it’s not enough to simply eat,
sleep and breathe their clients, they also
need to ensure that they are positioned
to offer their clients premium service, so
they established a niche agency in Johan-
nesburg, the Black River Football Club.
Kevan explains the rationale. “Cape
Town hasn’t changed since 1994, which
means that we run the risk of becoming
irrelevant unless we tap into the dynamic
change that is happening in South Afri-
ca. They have been open for three years
and we’ve grown them with high-profile
clients like Nandos, Mini, Virgin Money
and First for Women.”
The success of Black River FC shows
that Jupiter CT has overcome any chal-
lenges other agencies may face by embrac-
ing the change, says Kevan. “It is such a
fantastic agency and one of the sexiest
agencies in JHB. They are doing very au-
thentic work with a 70% black staff com-
plement. It’s proving that you don’t have
to make apologies and that you can actu-
ally fit an agency with a very skilled team
that matches the demographic profile of
the country, and it works.”
Another business this innovative team
has launched is Cocoon, an intellectual
property company that generates ideas
and products. Kevan states that a natu-
ral byproduct of developing strategies and
campaigns is that you generate more ide-
as, so it seems natural to register them and
sell them to clients.
There are quite a few of these in the
pipeline but most all are still works in
progress and are currently confidential.
Kevan is excited about this venture and
says, “It gives us greater dimension and
showcases our business brain.” “Pros-
per”, a short-term insurance company, is
the first brand to be launched from this
ideas team.
Going forward, Kevan and his team
aim to apply their awesome talent and
formidable business knowledge to the ag-
gressive pursuit of international clients,
to bring their work to Cape Town and to
push local advertising expertise into the
spotlight of the world stage.
AGENCY PROFILE
And they certainly have the energy
and drive to do this, says Ross Chow-
les, executive creative director, “It’s
14.5 years down the line and we are still
having fun.”
Client references
“Elizabeth Arden is an international com-
pany with fast-paced demands and chal-
lenges and we needed an agency that
could assist us in achieving our brand’s
communications objectives. With the
technological proficiency which The Ju-
piter Drawing Room (Cape Town) has in
terms of fast turn-around, high-end serv-
ice and key creative teams, we have found
them to be the agency of choice.”
– Renay Lotz, marketing director,
Elizabeth Arden
“My relationship with Jupiter has devel-
oped into a real partnership with both
parties being mutually accountable for the
success of my brands. Jupiter are just as
passionate about my consumers as they
are about my brands. This passion drives
incredibly high levels of creative output.”
– Adam Marks, marketing manager:
Bushmills and Slate for brandhouse
The ANNUAL 2008 — 159
AGENCY PROFILE

03. Firewise poster campaign

04. Musica Nintendo Wii

Outdoor campaign

160 — The ANNUAL 2008

 AGENCY PROFILE

05.
05. Hyundai i10 “Moments” TVC
06. Bushmills “win this classic MG” promotion
07. Sanlam SPI print campaign

06. 07.

The ANNUAL 2008 — 161

AGENCY PROFILE

The Jupiter Drawing

Room (Johannesburg)
Type of agency:
Integrated communication
Number of accounts/clients:
14
Biggest spending clients:
MTN, Absa, Jet, Edgars, Sasol
Accounts won in 2008:
IMC, Discom and Arthur Kaplan Jewellers
Accounts lost in 2008:
None
Company ownership:
100% locally owned independent. Jupiter (Jhb) is
56.9% black-owned as defined by the DTI BEE
Scorecard and Codes of Practice.
Contact details:
Tel: +27 (0) 11 233 8800
Fax: +27 (0) 11 233 8820
Email: rsilvers@jupiter.co.za
Physical address: Jupiter House, River Park,
42 Homestead Road, Rivonia 2128
Postal address: PO Box 4651, Rivonia, 2128
South Africa
Website: www.jupiter.co.za
Agency billings:
R1 billion The Jupiter Drawing Room (Johannes- periods of recession can actually be good ning and create a complete brand journey
Key awards in 2008: burg), bursting at the seams in a building opportunities to gain competitive advan- by moving media upstream in the plan-
FinWeek AdReview: Campaign of the Year for MTN* that housed half the number of staff just tage by stealing share of voice, but agen- ning process and continuing to work
Cannes: Silver Lion (Media), Bronze Lion (TV) a year ago, is an extraordinary agency: cies have to work in closer relationships with the creative department for more
D&AD: Two Entries into Annual despite its phenomenal growth in the last with clients during these times and offer innovative ideas.”
Clios: 6 Bronze statues two years and the threat of recessionary even more support.” Neuhaus will be streamlining efficien-
Epica: 5 Silver, 2 Bronze times ahead, it has laid plans for yet more To make this possible, King has cies and ensuring uninterrupted quality in
New York Festivals: 4 Gold, 1 Silver, 2 Bronze growth – and is refurbishing a building to been mandated to focus on developing production processes across the agency,
World Press Awards: 1 Bronze
house the teams that will follow. skills and recognising talent and she will given its vast number of retail and high
Loeries: 4 Gold, 2 Silver, 6 Bronze
Jupiter (Jhb) CEO Renee Silverstone be mentoring and coaching employees volume turnover clients.
*MTN is serviced jointly with MetropolitanRepublic
is not naïve about the local industry and is throughout the organizsation: “My vision In addition to the new exco members,
Number of staff:
aware that only careful planning and great is to help people maximise and leverage Jupiter (Jhb) has expanded its offering
226
vision will ensure continued success in their full potential. Coaching is an impor- to ensure it has a totally integrated ap-
Key agency staff:
Non-executive chairman: Given Mkhari
the future: “Times are tough; investing in tant support structure and by tailoring proach and Matthew Barnes now leads
Chief executive officer: Renee Silverstone
the future of our clients by adding greater and personalising support to the manag- the digital division to focus on delivering
Chief creative officer: Graham Warsop value is the only way to ensure both our ers and the individuals within the teams, key digital strategy to clients as part of the
Managing director: Alison Deeb clients and the agency continue to grow coaching becomes an important tool initial strat planning.
Chief strategy officer: Haydn Townsend into the foreseeable future. to help improve both the individual and The design department has also been
Key moment in 2008: “This is no time for cutting back. the business.” boosted with new Head of Design Celina
Key client brands all recognised in their respective In hard times, you have to be bold, con- The appointment of Sharma brings Guimaraes, whose extensive design expe-
categories in the Top 10 Brands Survey, proving that tinuously adding value to your products media and channel planning back into the rience is set to grow the creative product
creative advertising is effective advertising and that and services to increase your attraction agency: “With a range of new technolo- emerging from this department.
great creative work is what differentiates the agency for customers.” gies available and increased specialisation, Silverstone says this additional support
– as evidenced in awards won by Jupiter (Jhb). Against this backdrop, Jupiter (Jhb) the industry is more complicated than ten for clients ensures that Jupiter retains a
The agency snapshot in 50 words: has restructured its executive committee years ago. Traditional “above-the-line” leadership stance: “Our five largest clients
In the business of creating big ideas that change
with the addition of three new members media are still the most used and power- demonstrated the power of brand build-
consumers’ perceptions and encourage the promo-
to enhance the existing value that the ful, but currently there is also a span of ing at the Business Times Top Brands
tion of clients’ brands and products. This is achieved
agency offers clients: Development Di- content with a host of digital (and soon- Survey this year, with Absa, Edgars, Jet,
through an integrated communication offering via
rector Veronica King, Media Director to-be digital) options. MTN and SAA performing exceptionally
various touchpoints, including advertising, design,
Sushma Sharma and Production Director “As a media strategist I have always well in the top ten tables.
digital, brand activation, PR, guerrilla marketing
Hazel Neuhaus. worked closely with the creative de- “MTN in particular demonstrated
and more.
Jupiter (Jhb) Managing Director Ali- partment, I see the two as inseparable. a remarkable leap in the tables, mov-
son Deeb says: “Studies have shown that I want to move beyond traditional plan- ing from 16th position in the Overall

162 — The ANNUAL 2008


A true test of creativity – the agency’s in-house HIV policy poster became a superb opportunity to showcase the work produced for its clients.
Favourite Brand category last year to 8th
this year and closing a considerable gap in
the Telecommunications Category by fill-
ing the number two position. Furthermore,
MTN was voted in the Top 3 for best
advertised brands alongside Coca-Cola
and Vodacom.”
Creatively, the agency continued
on its winning ways, with an impressive
performance at Clios, D&AD, Cannes and
the Loerie Awards. It was SA’s best per-
forming agency at the London Internation-
al Advertising Awards, the Epica’s (a Euro-
pean awards show open to SA agencies for
the first time in November 2007) and won
3 of only 6 radio Gold medals awarded
globally at the New York Festivals.
Jupiter (Jhb)’s impressive creative per-
formance made it the major contributor
to The Jupiter Drawing Room (South Af-
rica) & Partners being crowned SA’s most
creative agency group.
In addition, the agency was once
again voted the industry winner in the
2007 Deloitte’s Best Company to Work
for Survey (Telecommunications, Media,
TV, Radio and Press category.) This is
the 4th year running that the agency has
featured in the Overall Top 25 Best Com-
panies to Work For in South Africa – an
achievement unprecedented in the South
African advertising industry.
Amidst all of this achievement, the
agency made the largest commitment to
young creative talent this country has yet
seen with its sponsorship of a brand new
VEGA Imagination Lab that was launched
in the Jozi inner-city.
The agency has made a three-year
commitment to the project, with start-up
costs of more than R500 000 and a further
R600 000 per annum. In addition, Jupiter
staff invest over 100 hours of academic in-
put each year.
AGENCY PROFILE
“Jupiter has been an agency of record with
Edcon for more than 10 years, the sole
agency for four. For our money “Nobody
does it better”. Professional, aligned, cre-
ative and forgiving. We are a demanding
client and invariably Jupiter outperforms
our requirements.” – Stephen Ross,
CEO, Edcon
“The High Value Proposition Campaign
was a seminal one for us as contract us-
ers are valuable to attract and retain. The
campaign produced by the team was a
true demonstration of their capability to
handle a fully integrated campaign of size
and complexity. The thinking and crea-
tive execution was fresh in the category
and the execution was outstanding – to
quote Stuart Dobson our Senior Marcoms
manager responsible for the team effort:
‘Your proactive nature to everything has
been phenomenal, more so than I have
ever experienced in all the agencies I have
worked with over the years, thank you for
being there every step of the way.’”
– Richard Field, GM Marketing
and Communications
“Jupiter has a dedicated team of people
that have immersed themselves in the
These same staff are very active in
complex Sasol world and have become
their support of The Tomorrow Trust
part of the family, all striving to build the
(uplifting those infected by the HIV epi-
brand and positively impact on our repu-
demic), Childline SA, The Food and
tation. It is a true collaboration of efforts
Trees for Africa Soweto Greening Project
and I certainly feel like they are an exten-
though which Jupiter (Jhb) planted
sion of the marketing team.”
almost 400 trees and Boystown (a pro-
– Bronwyn Watt, Sasol Group
bono account).
Brand Manager
It is this combination of hard work and
big hearts that has made Jupiter (Jhb) the
unparalleled success story of our times.
Client references
“Working with an agency that is as crea-
tive and committed to their work as Ju-
piter is very inspiring...and challenging,
may I add. Long may this continue.”
– Happy Ntshingila, Absa Group Executive,
Group Marketing
The ANNUAL 2008 — 163
AGENCY PROFILE

JWT South Africa

Type of Agency:
Full service communications agency
Number of accounts/clients:
25
big spending clients:
Nokia, Ford, brandhouse, Kelloggs,
J&J, Nestlé, De Beers, Unilever, Shell
Accounts WON in 2008:
African Banking Corporation
(ABC). Green Cross Shoes, Glen
Tea, Johnson & Johnson (Savlon)
Accounts lost in 2008:
Financial Mail
Company Ownership:
30% BEE, 70% JWT Group
(Owned by WPP)
Number of staff:
155
Billings:
Not disclosed
Key awards in 2008:
One Show Gold
Key agency staff:
Chairman JWT SA: Kenny Setzin
Chief executive officer:
Modise Makhene
Managing director
Johannesburg: Judy van Dam
Managing director Cape
Town: Jim Faulds
Creative director Johannesburg:
Dave Strappini
Creative director Cape Ideas are universal, and cultural diversity ent, adds Makhene. Attracting high-calibre and Nokia could see huge potential in tap-
Town: Conn Bertish brings a nuanced approach to those prized talent, empowering them and surrounding ping into that market. We are developing
Contact details: “lightbulb” moments of illumination that them with like-minded individuals is critical keen insights into the continent – we have
Tel: +27 11 806 8000 advertising agencies thrive on. to business. In addition, a candidate must offices in Nigeria, Cote d’Ivoire, Ghana,
Fax: +27 11 806 8050
So says Modise Makhene, who joined be right not merely for a particular account, Kenya, Tanzania, Uganda, Mozambique,
Physical Address: JWT House,
JWT South Africa as group CEO in 2006. but for JWT as a holistic entity. Zimbabwe, the DRC and are about to sign
Homestead Place, Cnr 12th
Having lived both in South Africa and in “We aim to create an environment that up in Madagascar.”
Ave & Rivonia Rd, Rivonia
the USA, he is well acquainted with the feeds their passion – high-calibre feeds high- When it comes to the communications
Email: modise.makhene@jwt.com
value that a melting pot of ideas can bring calibre – giving them ample territory to play space in which advertising operates, Makhene
Email: judy.van.dam@jwt.com
to the creative process, and has set about around with.” says that TV, radio and print have been well
Email: jim.faulds@jwt.com
instilling a culture of diversity at JWT that A coup for JWT has been winning the served, and “now we all need to get on with
key moment in 2008:
goes beyond BEE compliance. account of African Banking Corporation, a being proficient and prolific in creating work
Celebrating 80 years of JWT in South
JWT – formerly J Walter Thompson pan-African corporate and merchant bank around digital and mobile platforms”.
Africa and recognising that “we are
Company – started out 144 years ago in the that will boost the agency in further strength- The two Ps in that equation are equally
not good because we are old, but we
are old because we are good – good
USA, and has been operational in SA for 80 ening its African presence and experience. important, he stresses – some players are not
at adapting to change, good at re-
years. Two years ago, Makhene faced the “What I’m looking at is developing our taking time to understand the consumer’s
inventing our brand and good at daunting challenge of walking into an old, own insights into the market on the conti- wants and needs, and are being prolific on
developing new offerings. Look out established agency and shaking it up. nent,” explains Makhene, who travels around the digital stage without taking care to be
for our new shopper methodology.” “Clients are more demanding than ever Africa regularly in a bid to understand what proficient at what they’re doing. The result,
The agency in 50 words: of advertising agencies, and we realised makes its heart beat. “In doing so, we also sadly, is decidedly low-end fare.
JWT is an ideas-based, channel- at JWT that we had to take stock of that glean interesting insights that we can bring “It’s important to see what media con-
agnostic agency group. Our diverse and interrogate how we do business,” he to bear on other clients.” sumers are using now and what’s around
team is passionate about doing great recalls. “So we spent 2007 looking inward, One of the future growth areas in Africa the corner, and how they interact with these
work that builds our clients’ brands seeking closer engagement with clients and is, without question, cellphones. Nokia, channels. Only then can you be prolific via
– work on a mix of local, regional, getting to know them better, and aiming South Africa’s seventh most popular brand campaigns that work. It’s not like a lottery to
pan-African and global brands; work at ultimately not losing any accounts and overall and by far the country’s favourite win awards; the client must see a return on
that consumers choose to spend time also gaining a vote of confidence by getting cellphone brand, according to the 2008 their investment immediately and measur-
with. In addition to an ever-improving more business.” Ipsos Markinor/Sunday Times Top Brands ability comes into play.”
creative profile, JWT is renowned for Another key element was to recognise Survey, is one of the accounts JWT recently While the West goes ga-ga over digital,
its strategic planning strength and its the shortage of skills in the industry, and won globally. in Africa it’s mobile platforms that will domi-
exceptional account management talent. reconfigure how the agency recruited tal- “We understand the emerging market, nate, with cellphone penetration said to be

164 — The ANNUAL 2008


90% in South Africa but only about 25% in
Africa as a whole. This figure is, however,
expected to rise to an average penetration
rate of 45% by 2011.
“Countries like SA and Botswana bring
the continental average up, but still it is low,”
says Makhene. “Out of 900 million people
in Africa, almost three-quarters are not
connected – hence the great opportunity for
growth.” Clearly, the communication pos-
sibilities are staggering and JWT is making
strides in achieving proficiency in both the
digital and mobile space.
In addition, instead of chasing the al-
luring youth market, JWT is keeping pace
with it, thanks to Youth Dynamix, its Youth
specialist.
Makhene says the benefits of being part
of a global network are vast, enabling the lo-
cal operation to tap into a pool of knowledge
and expertise from the Americas, Europe
and the BRIC countries (Brazil, India and
China), with the experiences of the latter
often being particularly relevant to a devel-
oping economy like South Africa.
“It means we don’t have to constantly
reinvent the wheel,” he says.
Of course, what JWT South Africa brings
to the table is equally valuable: the unique
experience of operating in a country where
first world and third world coexist.
Never really having been an agency
to enter awards contests, the rejuvenated
JWT recently resolved to put its creative
performance to the test – within reason. “It’s
predicated on good work, and if it ends in
creative awards, then it’s a bonus,” reasons
the CEO.
In 2007 that stated intent was converted
into reality relatively quickly, with Ad of the
Month and Loeries being the pleasing result.
This year, the JWT Cape Town’s poster
campaign for Jabula Wigs & Wefts scooped a
gold medal in the design category at the One
Show Design Awards in New York.
Makhene cautions against clients cutting
back on their marketing budgets, in anticipa-
tion of tough economic times. “Those days
are gone. The equity of the brand matters
so much more – you can’t cut budgets at a
whim. The consequences will come back to
haunt you. Marketers should rather focus
on how to stretch that budget.”
JWT’s Johannesburg managing director,
Judy van Dam, says that a highlight of the
past year for JWT was the Ford “Ubuntu”
commercial, which she says resonates well
with consumers and with the South African
psyche. It was named the Creative Circle
TV advertisement of the year.
There was also the successful Bar-One
“It’s easy to spot a Bar-One man” campaign,
AGeNCY PROFILe
the Smirnoff campaign for brandhouse, as
well as corporate social investment work
for De Beers. Other campaigns include
the through-the-line launch of Foundry
Premium Cider as well as Smirnoff and J&B
campaigns for brandhouse. The balance of its
impressive client portfolio includes the likes
of Unilever, Kellogg’s, Nestlé, Shell, J&B,
Bayer Healthcare, Panarotti’s Pizza, Johnson
& Johnson and, of course, Nokia.
The managing director of JWT Cape
Town, Jim Faulds, is particularly proud of
the innovative pro bono national campaign
the office recently implemented to raise
funds for, and create awareness of, the In-
ternational Campaign to Ban Landmines.
Foosball (or table football) machines were
installed in pubs, featuring several players
missing a limb, and there are plans to extend
the drive nationwide.
For the future, JWT is intent on seek-
ing ever closer engagement with its clients,
attempting to live in their world and seeing
itself as an extension of them.
“As an agency built on strategic plan-
ning, we need to find the insight that drives
the client’s business,” declares Makhene.
“Once we find it, we rally around it and
engage the clients directly. We delve into
their DNA and hook into it – that’s what
we’re about.”
The ANNUAL 2008 — 165
AGENCY PROFILE

King James
Group
Type of agency:
Integrated
Number of accounts/clients:
22
Biggest spending clients:
Brandhouse (Johnnie Walker, Bells, Baileys);
Allan Gray; Steers; Ackermans, Parmalat
Accounts won in 2008:
Triumph International, Freeworld Coatings,
Rose Foundation, Eyeballs Mobile, Hang Ten,
Cremora Light, Oanda Oil (Nigeria)
Accounts lost in 2008:
Windhoek
Company ownership:
100% local ownership
Contact details:
Tel: +27 21 465 3511
Contact: James Barty
Email: james@kingjames.co.za
Agency billings:
Agency income based not billing based
Key awards in 2008:
3 Silver Lions, 1 Bronze Lion, One Show
Bronze Pencil, 1 Grand Prix Loerie, 3 Gold
Loeries, 6 Silver Loeries, 4 Bronze Loeries,
3 One Show merits, 1 D&AD merit, Bronze
One Show Pencil
Number of staff:
King James Group – 108
Key agency staff:
Alistair King, James Barty, Charles Mat-
terson, Greg Cameron, Jenny Ehlers (King
James RSVP), Kassie Naidoo (King James
RSVP), Bruce Wright (Mnemonic); Howard
Simms (HammerLive Brands); Nicola Nel
(Atmosphere Communications), Anthony
Murray (Proof); Lucinda Dare (Dare Media)
Key moment in 2008:
Turned 10.
Ranked 2nd at Loeries.
Expansion into publishing and content
ownership.
Says James Barty, group managing di- these two have ever made. Four moves, will see Alistair and I retaining control
rector: “Our achievements and our jour- to be exact. of our business. We have a lot more to
ney is something we are immensely proud You see James and Alistair King, group achieve personally with our brand and
This wildly successful and somewhat mav- of.” He is somewhat misty eyed, “Imagine executive creative director, are spurred on our business and we certainly won’t com-
erick agency turned 10 in January 2008. looking back over 10 years and realising by an eternal restlessness that doesn’t let promise our independence in this next
They celebrated with a huge party enti- that you still have three of your first four any dust settle on the floor of their agency.  stretch of our journey – we have fought
tled “Remember” and the publication of staff members and three of your first four “It’s exciting times,” says Alistair. “There too hard for it.”
an impressive book commemorating every clients. That really means something.” is a hell of a lot going down. Everything is Any partnership they entertain will
step, person and event along the way.  To add to the festivities, this year has changing as we speak.” be structured somewhat differently to the
It was a landmark occasion that gave been their most creative year ever… an The first change addresses the specu- traditional agency deal. “The retention
them pause to reflect. And what they saw auspicious launchpad for this agency go- lation that King James is ripe for a buy- of control while forming a powerful alle-
was good – a past bearing testimony to en- ing forward.   out – that this fiercely independent team giance with a global player that will help
during creativity, to their powerful busi- To keep the next decade as inter- is entertaining an offer. James confirms, take the KingJames brand to the next level
ness acumen and to the value they add to esting, there is a re-energising afoot, in- “yes, we are considering a global affilia- is now attractive to us – we have reached
their clients.  cluding some of the most creative moves tion. However anything we decide to do a point in our business where we are

166 — The ANNUAL 2008

 AGENCY PROFILE

01.

02.

01. Allan Gray - Beautiful (Won Loerie Grand Prix, 3 Gold Loeries,
Silver Cannes Lion)
02. Allan Gray Billboard (Won Gold Outdoor Loerie). Assembled with
6000 puzzle pieces over 4 weeks
03. Cape Argus Aids Stat - Won Silver and a Bronze Lion, One Show
Bronze Pencil, Gold Loerie, Gold Eagle Award

03.
The ANNUAL 2008 — 167
AGENCY PROFILE
04. Eveready Batteries
sexy enough to attract a partnership on
our own terms.”   ture. We want to be in the middle of it,
Simultaneously, they intend to an-
nounce a partnership with a black-owned
ad agency. James explains: “We have al-
ways been committed to having a black
partner but it has taken some time to find
the ideal match. The agency will become
part of the KingJames group and will ex-
pand our brand in significant ways.”
Forever insatiable, new partnerships
are still not enough for this pair. No sir!
They have broader horizons to explore.
Alistair describes the bigger picture: “We
are seeking more interesting ways to ex-
press the KingJames brand. So this year
we started a book publishing company
that will publish important Southern
African literature.”
Of course, as is their habit when se-
lecting colleagues, they chose as a partner
literary heavy-weight Shaun Johnson, not-
ed journalist, editor, author and founding
chief executive of The Mandela Rhodes
Foundation (Cape Town). Together they
head up Johnson & KingJames Books,
which is already sourcing material.   work that has cleaned up at the awards.
Alistair is enthused: “We have also
bought a significant stake in One Small
Seed™, a pop culture content brand that
we have long admired. At its heart, it’s
the most stylish magazine around, but it
has big and spectacular ambitions that we
want to be a part of.  advertising is about.”
“Getting into content ownership is
really significant for us – we don’t want
168 — The ANNUAL 2008
to be passive observers of popular cul-
helping to mould and create it.”
Amazingly, in among all this planning
and negotiating, KingJames still managed
to have a brilliant advertising year. “2008
has been our best creative year ever, which
is weird, because last year was our worst.
We are currently ranked as the second-
most awarded, single agency in South
Africa. All our awards have been for long-
standing clients and are really cherished,”
Alistair is ebullient. “We are creatively
growing stronger as we are getting older,”
he concludes.
The quantum creative turnaround
was due to a renewed, fiery aspiration to
blaze their own trail. Alistair describes
the process. “A lot of the motivation
was born of frustration over industry
measurements. We do not want to resort
to the cheap tricks that many agencies
adopt to get creative recognition, so we
put all our energy into driving ourselves,
and our clients.”
The result has been some high-profile
“Allan Gray (Cannes Silver and Grand
Prix, Gold and Bronze Loeries) have been
awesome. They made decisions that 95%
of clients would not have. We had the de-
termination to push harder, and they had
the faith in us to follow. That’s what real
And they weren’t the only clients
to benefit – as kulula.com, Cape Un-
05. An ad featuring Casey B. Dolan caught eating Steers food, disguised as heat editorial
ion Mart, Steers and the Cape Argus
will testify.
He is quick to point out a paradox:
“When our agency achieved a growth of
45% in a single year (2007), we were ex-
hausted and not particularly happy. We
decided to stop pitching and to throw all
our energy into being better at what we
do; making communication. That result-
ed in the work that we are currently most
proud of. Taking our focus off industry-
imposed benchmarks freed us up to be the
agency we wanted to be.”
James agrees and attributes it to their
insatiable need for continuous improve-
ment. “We are not content to settle and
this creative performance is evidence
of exactly that, it is the ultimate expres-
sion that we won’t accept mediocrity
or safeness.”
From a business perspective, 2008
year is a year of renewal and, while the
first six months mirror last year’s perform-
ance, James is conservative about the final
year-end outcome. He offers some advice
to clients in these turbulent times: “Be
brave – but that doesn’t mean necessar-
ily increasing spend – it’s about embrac-
ing bold ideas and exploring new ways of
achieving objectives.”
In terms of accounts won and lost,
they were disappointed to see the Wind-
hoek account go but are inspired to add
Freeworld Coatings (Plascon and Mi-
das/Earthcote), Eyeballs Mobile, Alliance
Group and projects on Cremora Lite, AD
Spitz and some Nigerian-based business.
In addition they have enjoyed some good
organic growth with existing clients. 
It’s the Freeworld Coating win, how-
ever, that the team believes will bring the
best out of the group that has long claimed
true integration as its best asset. With the
account client-serviced out of Johannes-
burg, strategy, PR and web out of Cape
Town, and creative development out of
both offices, the best resources from the
whole group have been pulled together to
manage this account. “Geography is of
no consequence any more,” says James.
“We’ve broken down the barriers between
disciplines, and now also between cities.
We can pick and choose the right team
for any client, from anywhere in the
agency group.”
With a strong core team now in place,
the Johannesburg agency has also attained
significant traction, adding both business
and a healthy tally of creative awards.
Discussing business performance, Alistair
is passionate in his views. “Obviously,
we want our business to grow, but
please don’t rate my company by how
much it has grown. We value the work
we do and the spiritual health of the com-
pany more than growth. Growth is no
measurement of quality.”
But James is a Scot, and the money
man in the business. “This year we prob-
ably won’t show great growth but we
are having our best creative year ever,
so the chances of us converging the

06. kulula.com/SATS TV – Won 2 Silver
Campaign Loeries
two sends a strong message to the way
people judge and measure the industry.
Growth is flattery for shareholders – it
can be short-lived and even make your
business unwieldy.
“We are not immune to the broader
economic woes and we are experienc-
ing some downturn on the back of that.
The second half of 2008 and into 2009
will see us come under increased financial
pressure and the agency does anticipate a
softer financial performance.”
He asserts that what makes a brand
is not its size but is more about how in-
teresting and dynamic it is, which is why
KingJames has decided to expand laterally
rather than chase constant vertical growth.
Also, by branching out into publishing,
content and popular culture, KingJames
will become one of the biggest honey pots
for creative talent in South Africa.
As the head creative Alistair is under-
standably excited. “We are creating a re-
ally dynamic work environment here. Our
people won’t just be making ads. They
will be able to explore their creative tal-
ents and develop themselves in a range of
creative fields.”
In fact they are so convinced that the
people they employ are premium that they
are reluctant to name key staff. He ex-
07. Cape Union Mart Store Card - Won 2 Silver Campaign Loeries, Silver Cannes Lion, Campaign Bronze Eagle Award
plains: “When other agencies go recruit-
ing they come to us. I can’t blame them;
I would too. We have built a really solid
senior team, many of whom have been in
the company almost since its inception.
They share our values, ethics and our
way of working.”
Aside from a matchless pool of crea-
tive and intellectual capital these new ven-
tures will attract, what else would make a
company want to work with KingJames?
“We are one of the few agencies around
that can deliver truly integrated cam-
paigns,” states James emphatically.   their ability to consistently produce fan-
He continues: “We place a lot of em-
phasis on relationships with our clients. It
is important that we like each other, re-
spect each other’s opinions, and jointly
pursue great ideas.”
Single-minded about delivering strat-
egies and communications that work for
their clients, they hold the view that “there
is more to advertising than advertising”,
says Alistair. “We are looking elsewhere to
get inspiration, all in the name of becom-
ing less predictable in our advertising and
communication. If you want formula ads,
then we’re not the right agency for you.”   
New ideas harvested from their sor-
ties into popular culture and publishing
will benefit clients and be put to work
by the seven agencies that comprise the
KingJames Group. Positioned to offer  financial arena.”
fully integrated, through-the-line service,
this multi-award winning community of
strategists and creatives has been cherry
picked through the years, as Alistair and
James have carefully partnered with the
best-of-breed agencies in media, promo-
tions, PR, digital and brand activation.  cornerstone of our local agency net-
So, watch this space as the KingJames
brand readies itself to cross lines, cultures
and media to transcend the constructs of
traditional advertising and marketing.
Client references
“Allan Gray’s first Grand Prix Loerie for
TV would not have been possible with-
out KingJames’ creative talent, which
also helped us rake in awards for print
and outdoor! However, their creativ-
ity and sense of what makes a brand
singular does not compromise on their
strategic strength that has seen the Al-
AGENCY PROFILE
lan Gray brand really gain ground in the
–Tracy Hirst, marketing manager,
Allan Gray
“Brandhouse Beverages have been cli-
ents of KingJames since their inception
10 years ago and they have become the
work. Our brand portfolio with them has
grown both organically and through new
business allocation over the years. This
growth is reflective of our confidence in
tastic creative work that delivers results.
The strength of our relationship is rooted
in their strong client service ethic, com-
mitment to and understanding of our
brands, business and market dynamics,
and the consistent, open engagement
from James and Alistair.”
– Gavin Pike, marketing manager,
Brandhouse Beverages
The ANNUAL 2008 — 169
3271 Crane Ad.indd 1 10/22/08 12:36:35 PM
 AGENCY PROFILE

Leo Burnett
Group
Type of agency:
Leo Burnett & Red Nail – TTL, activation,
retail and design
Starcom – media strategy, planning, buying
and implementation
Manning Selvage & Lee – Public relations,
corporate communications
Number of accounts/clients:
37
Biggest spending clients:
Nedbank Retail, Procter & Gamble,
Coca - Cola, Philip Morris, Samsung,
South African Post Office, Fiat and Sasol Oil
Accounts won in 2008:
Samsung (media), Glocell (media), Sasol Oil
Having recently celebrated 50 years of campaign in the wake of the 2008 attacks the 49 African countries in the Western
(PR), Harmony (PR)
doing business in South Africa, Leo Burnett’s on foreigners, with celebrities and other Union footprint.
Accounts lost in 2008:
longevity can be traced back to a simple yet well-known personalities donating their Rednail, for its part, takes pride in
McDonald’s (creative), Ferrero Trading
(media), Plascon (creative), BDFM (PR)
priceless ethos: its people-focused approach time and services for the cause. the fact that its heart and soul is results-
Company ownership: to advertising. An example of the progressive ideas driven, category-defying creative output,
Koni Media Holding – 51% on the boil within the group, is a cam- for all its clients.
Publicis Groupe – 49% The South African Leo Burnett Group paign for Mercedes Benz conceptualise by Thinking beyond the obvious and
Contact details: comprises five business entities – advertis- Arc, the group’s global activation agency. prizing “smart” ideas is a hallmark of me-
Tel: +27 11 235 4403 ing and communications firm Blueprint, Going beyond traditional advertising, Arc dia agency Starcom, says SA managing
Agency billings: through-the-line agency Rednail, full- elevates brands to a digital or physical ex- director Gordon Patterson.
Group billings R600 million service advertising agency Leo Burnett, perience. For Mercedes it meant making Starcom offers new technologies to
Key awards in 2008: strategic communication specialists Man- available black C-Class vehicles to movers “complement, empower and liberate ex-
Creative: New York Festival finalist – ning Selvage & Lee (MS&L), and media and shakers in its 18-to-35 target market, isting media platforms, and not threaten
Salvation Army; London International – planning and buying agency Starcom. with other peers witnessing them arriving them”. One of these innovations is quick
Mercedes Benz & Salvation Army; World CEO Groovin Nchabeleng says 2008 at parties in style. “It’s a way of putting response (QR) 2D barcoding, recently
Press Awards: bronze & finalist – Salvation
has been a productive year, listing South brands in the hands of consumers. And test-driven by the Sunday Times and The
Army and Mercedes Benz
African Airways, Samsung, SA Post Of- it’s measurable,” explains agency MD Times, which provides instant cellphone
Media: Roger Garlic (gold) for Procter &
fice, Nedbank, Sasol, Intersite and CNBC Chris Wildish. access to audiovisual communications.
Gamble + three other finalists
Africa as examples of significant pieces of MS&L’s new leadership team’s repo- “Technology usually scares people but
Number of staff:
business won, activated or retained. sitioning of the agency, one whose inner we look at technology from a consumer
100
Key agency staff:
The group’s international parent, core is founded in strategic counsel, is perspective,” Patterson points out. “It’s
Chief executive officer: Groovin Nchabeleng established in Chicago in 1935, has a pres- beginning to bear fruit. MS&L is proud the cutting edge, not the bleeding edge.”
Managing director, Leo Burnett: ence in 150 countries. Nchabeleng says to have been the strategic communication He predicts that with the advent of
Chris Wildish Leo Burnett’s philosophy has remained consultant on Sasol’s BEE deal, Inzalo. technologies such as personal video re-
Managing director, Starcom: unchanged from its founding days: This transaction, South Africa’s largest corders (PVRs), “people will be determin-
Gordon Patterson “Our focus is people – people talking BEE transaction to date, closed four times ing their own prime time and consumers
Managing director, MS&L: to people”. oversubscribed. will be able to avoid advertising in greater
Amanda Singleton This philosophy was top of mind when Most recently, MS&L was a key part- numbers. Therefore, even greater engage-
Managing director, Rednail: the Leo Burnett agency’s latest pro bono ner in the launch of the Western Union ment will become the objective.”
Anita Prendergast work for the Salvation Army, having iden- International Money Transfer Service in Engagement is critical to the Leo
Key moment in 2008: tified child trafficking as a critical issue. South Africa with ABSA. The successful Burnett Group’s ethos and what makes it
Celebrating MS&L and Starcom’s 80% suc- While heightening public awareness of sex launch programme resulted in the agency stand out from the pack, CEO Nchabe-
cess rate in new business achievements, and
slavery, the stark, hard-hitting campaign, taking up the role of Western Union’s leng believes, is the fact that it goes beyond
their selection as strategic hubs internationally
offering children in various age groups lead agency in Africa, with responsibil- facts and figures to isolate the human fac-
in Africa.
for sale, snagged a bronze Loerie in the ity for communication activities in all of tor when unlocking a brand’s essence.
The agency snapshot in 50 words:
Outdoor and Ambient Media category, a
We are celebrating the 73-year anniversary of
Creative Circle commendation, a merit at
Leo Burnett internationally and 51 years in
South Africa, producing outstanding creative
the OBIE Awards, and a finalist position
solutions. We are a proudly African agency
at the New York Festival Awards.
with an international pedigree. Leo Burnett Group was also involved
in conceptualising an anti-xenophobia

The ANNUAL 2008 — 171

36:35 PM
AGENCY PROFILE

Letsema
Communications
Type of agency:
Strategic communications and events
Number of accounts/clients:
20
Biggest spending clients:
Denel Aviation, Powertech, Shell SA
Accounts won in 2008:
Almost all accounts are new
Accounts lost in 2008:
Institute of Directors
Company ownership:
100% Black-owned, Isaac Shongwe and
Derek Thomas
Contact details:
Tel: + 27 11 300 6400
Agency billings:
Not revealed
Key awards in 2008:
None
Number of staff:
8
Key agency staff:
All
Key moment in 2008:
The rebirth of the company in April
The agency snapshot in 50 words:
Letsema Communications comprises four
divisions: enterprise development; PR and
strategic communications; design and produc-
tion; and event management. The company’s
focus is on providing communications that
are completely aligned with clients’ business
strategy, in line with its view that building
relationships with today’s demanding con-
sumers is key to success.

Effective communication is about building and maintaining relationships: Trish Riley, managing director of Letsema Communications

Although Letsema is, in essence, almost
20 years old, the agency of today is vastly
different from its forerunner. The agency
first operated as Tish Stewart & Associ-
ates PR (TSPR), offering a niche service
focused on PR for financial and institu-
tional organisations. The first step in the
turnaround came when Tish Stewart sold
the company to its current owners, and
in March 2007, Trish Riley took over
as managing director.
Riley immediately undertook a signifi-
cant restructuring programme that hinged
on the creation of a highly skilled client
service department. Letsema further in-
creased its scope to become a full-service
agency, which now has four divisions:
enterprise development which focuses
on helping SMMEs develop the market
knowledge and communication skills
they need to take their (usually produc-
tion- and operations-oriented) business to
market. PR and strategic communications
remains the agency’s core function, al-
though it has also established a design and
production division that is able to provide
marketing collateral for clients, from pam-
phlets to ads. Because Letsema is an ac-
credited advertising agency, it is also able
to place ads on behalf of clients. Finally,
specialist skills in event management en-
able the agency to organise a range of
events for clients, from comprehensive
product launches to conferences.
What makes Letsema unique, main-
tains Riley, is the agency’s approach to
PR. “The discipline has evolved entirely
– it’s no longer an add-on; an ad hoc
press release or a quick get-together that
can be arranged by a junior member of
the organisation,” she opines. Rather,
successful PR is entirely aligned to cli-
ents’ business strategy. “PR consult-
ants now act as advisers or counsellors
to management. We are their eyes and
ears in terms of managing reputation and
diffusing crises.”
This is more important than ever, giv-
en that consumer attitudes have changed.
No longer are companies in the driver’s
seat. Consumers are more aware and more
selective, and they’re increasingly basing
purchasing decisions on factors such as
whether the company has a reputation as
a good corporate citizen, or if they share a
relationship. This is where PR comes in,
says Riley; it’s about ensuring that com-
munication is a two-way street between
consumers and corporate, and building
and maintaining that relationship. South
African PR agencies still have some way to
go before they hone this skill, she believes,
but we stand out from international peers
in other areas. “Our industry is more
ethical, for example.”
A thorough understanding of new me-
dia channels is another factor underpin-
ning Letsema’s approach. New platforms,

172 — The ANNUAL 2008


like blogs and wikis, secure the consum-
ers’ power and ensure that their voice can
be heard around the world. “If someone
has a bad experience with a brand, it’s not
only their friends who are going to know
about it,” Riley points out. “It takes just
one blog posting to affect the brand’s
reputation internationally.”
It’s this grasp of the finer nuances of
how PR is changing that gives Letsema
a competitive edge over far larger
industry players, Riley says. “We were
thrilled to be told by one of South Africa’s
leading journalists that, in his opinion,
we rank among the country’s top five PR
companies,” she enthuses.
That’s quite an accomplishment, es-
pecially as there are just eight people on
the Letsema team. But Riley points out
that the agency’s small size works in its
favour. “We’re able to build deep rela-
tionships with clients, based on personal
service. In fact, our size enables us to
function as the client’s marketing arm.
And, because we’re small, we don’t have
many overheads, which makes our solu-
tions cost-effective.”
Letsema’s team-based approach is
highly collaborative and is rooted in col-
lective effort. Riley gives her personal in-
put to each account, and each client fur-
ther benefits from the insights of specialist
writers and highly skilled client service
staff. Meanwhile, a back-up team provides
research and media monitoring services.
“We have taken great care to select staff
“We have taken great
care to select staff
who are independent
thinkers; individually
responsible; and
who are enthusiastic
believers in our clients,
their work and their
messages.”
who are independent thinkers; individu-
ally responsible; and who are enthusiastic
believers in our clients, their work and
their messages,” Riley states.
Each team is aware of the importance
of adding value, and won’t implement
an initiative unless they can prove that
it will have a visible positive impact on
the client.
Offering fresh ideas is another key
priority, and to this end, the teams hold
regular brainstorming sessions, both to
think up innovative strategies that will
augment client communications, and to
generally up the agency’s creative think-
ing. Letsema also keeps a close watch on
international trends, so teams are always
able to suggest new ways of doing things.
This approach has seen Letsema grow
its client complement from six, at the be-
ginning of the year, to 20, including the
likes of Powertech, Shell SA and Denel
Aviation. Letsema’s work on behalf of
ChemCity perhaps best demonstrates its
prowess: when the agency won the ac-
count from one of its far larger rivals, the
business incubator, a division of Sasol,
had enjoyed very little exposure in the
media. That’s changed drastically, with
Letsema having secured coverage worth
millions of rands, and an average of six to
10 articles, detailing the projects which re-
ceive assistance from ChemCity, appear-
ing in the press monthly. Says Anje de
Clercq, business analyst responsible for
communications and branding at Chem-
City: “Letsema Communications helped
us align our PR and branding strategy,
and their flexibility and adaptability have
proved a major asset in the entrepreneuri-
al environment where we operate.”
Riley believes that if current trends
persist, PR will shortly play a more im-
portant role in the marketing mix than
advertising. “PR has always been seen as
the more credible communication, and in
today’s economic climate, where consum-
ers are more savvy, they’re more likely to
trust this communication than an ad,”
she asserts. The advent of PVRs adds to
her argument: in a world where consum-
ers never have to see another ad if they
don’t want to, it is of vital importance for
organisations to build relationships with
their publics – and this is where PR has
AGENCY PROFILE
an enormous role to play.
It’s not surprising, then, that Riley is
confident that Letsema is poised for sig-
nificant growth going forward. “This has
been a momentous year for us, especially
as we have revolutionised our approach,”
she comments. Difficult though it may
have been, Letsema’s restructuring has
created a platform for expansion, with
the right skills and philosophy in place.
Riley reports that the agency is gearing
for the future by identifying the exper-
tise required to make it a force in the PR
landscape tomorrow, and this means
implementing a more concerted focus
on new media channels.
At the same time, Letsema has pin-
pointed the industries of tomorrow that
Riley believes will provide the most scope
for growth. These include a greater focus
on corporate social investment activities
and the financial services sector, where
PR consultants have an important contri-
bution to make in terms of keeping con-
sumers informed about legislation and
understanding their options. The 2010
FIFA World Cup South Africa™ will also
provide exciting opportunities for com-
munication, as all South African com-
panies – even those that are not directly
involved with the event – will need to find
ways to benefit from it.
At the same time, Letsema is also
seeking to increase its events division.
All told, exciting times are ahead for the
agency – watch this space.
The ANNUAL 2008 — 173
AGENCY PROFILE

The Lowe Bull Group

Type of agency: LOERIES 08
A full through the line communications Group 6 x Bonze
that consists of a collective of independent YOUNG GUNS
communication specialists: 1 Gold
Lowe Bull JHB (Brand agency) PENDORING 08
Lowe Bull CT (Brand agency) 1 Gold
Initiative Media SA
Mick & Nick (BTL) Lowe Bull Jhb:
Longtail (Digital) AD REVIEW 08
OIL (Strategic Consultancy) Finalist for Jhb agency of the year
Frank Wonderment (Design) LOERIES 08
Number of accounts/clients: Gold Craft, 2x Silver, 2x Bronze
Lowe Bull JHB – 18 brands CLIO 2008
Lowe Bull CT – 27 brands 2 x bronze
Initiative Media SA – 54 Brands D&AD 2008:
Mick & Nick – 6 brands Entry into Annual
Longtail (Digital) – 35 brands (mostly project CANNES 08:
based) 1 Shortlist
OIL (Strategic Consultancy) – 30 brands of Number of staff:
WE PRODUCE GREAT CAMPAIGNS The patient, Wally Katzke, was soon
which some are project based +/- 150 people
Scalpel please and let’s wade right in to become a household name, as he joined
Frank Wonderment (Design) – 3 Brands Key agency staff:
shall we? a team of experts on a week-long drive to
Biggest spending clients: Chairman & chief executive officer:
Unilever Matthew Bull
The Lowe Bull Group was responsible raise awareness about heart disease.
SAB Chief operating officer: Rod Wilson for probably one of the biggest media talk- On the day of the surgery, viewers
Coca-Cola Group managing director: Wayne Naidoo: ing points in 2008 and one that certainly watched Wally’s single bypass surgery on
Metropolitan Lowe Bull Johannesburg Managing director: made global headlines. a live video inset During the two-hour
Johnson & Johnson Sarah Dexter Says the group’s irrepressible and broadcast, the show’s SMS tickertape was
Accounts won in 2008: Lowe Bull Johannesburg executive creative charismatic boss Matthew Bull people in inundated with messages. The agency,
SAB Media director: Rui Alves advertising are forever being told to think broadcaster, and doctors involved have
SAB: Castle Milk Stout Lowe Bull Johannesburg deputy managing outside the box and occasionally, just since received hundreds of requests for
Tracetec director: Claire Du Plessis occasionally a creative agency will succeed the show’s rebroadcast.
Rama: Global project Lowe Bull Cape Town managing director: in giving this hackneyed phrase real mean- And that world class idea and
Nokia: Global project Jason Slinger ing as it did with its audience and AR- execution (used purely in the advertis-
Nike BTL Lowe Bull Cape Town executive creative grabbing “Meet Wally’s Heart” project, ing sense) culminated in what Bull calls a
Hansa BTL director: Kirk Gainsford:
which kept TV viewers across South Af- fantastic year.
Onse Initiative Media SA managing director:
rica riveted, and made broadcasting his- So what’s happened? Bull takes a deep
Perfetti Media Marc Taback
tory to boot. breath and leans into it “A new spirit and
NWJ Media Key moment in 2008:
The Heart and Stroke Foundation SA a new leadership and a real belief system
Accounts lost in 2008: Ranked No1 Creative Agency Group in
wanted to give the country a wake-up call, that everyone here now buys into. Let
Schweppes South Africa, Finweek ‘08
Valpre The agency snapshot in 50 words:
showing people just how at risk they were, me be honest, a little morality and previ-
Unilever Media Lowe Bull is an ideas company. We create high and underlining how a healthy lifestyle ously held high principles were not being
Nike (DTP) value ideas that propel the brands we work on can help prevent the disease. Lowe Bull adhered to here in Johannesburg and
Company ownership: to the targets our clients have set them. That’s hit upon a radical plan of action. If people there was a sense that were in the business
33% IPG (International) our purpose, primary and secondary. could see what they were doing to their just to create work that was just going to
20% The Real Deal Trust (Local – PDI) We are fortunate that, within our group, we also hearts, might they not take better care of win awards.
6% Local shareholders (PDI) have the expertise to execute those ideas across them? And by “see”, the agency meant “Many agencies are in and fall into
41% Local shareholders (non-PDI) a wide range of platforms, from electronic to precisely that. It would organise a world that trap. The truth is we have a duty
Contact details: point of purchase, from design to digital, from first, as South Africans got to watch open to create great work for all of our clients
Cape Town: +27 21 431 8900 media to promotions. heart surgery – live. all the time and that is exactly what we
Johannesburg: +27 11 780 6100 Importantly though, it’s not just about what we “We wanted to challenge people to re- are now doing. All I ask for is continual
Agency billings do but how we do it. We believe the journey is think their lifestyles,” explains Lowe Bull progress. If we have a group of people that
+/- R500 million as important as the destination, so we seek to
business director, Vanessa Vosloo. “The is constantly looking for that then we are
Key awards in 2008: have enjoyable partnerships with our clients,
idea of allowing people to witness live a great agency.”
Lowe Bull CT: not master/slave relationships. We know many
open heart surgery was really left-field. Bull is particularly proud of the small
AD REVIEW 08 other agencies treat clients like slaves, we just
On the odd occasion, we almost backed Mick and Nick below the line agency who
Voted Cape Town Agency of the Year refuse to do that.
out ourselves! What made it frightening he says are unreasonable about the qual-
CLIO 2008 We are broad-minded, and open-minded and
that is reflected in our philosophy of Liberation
was that this was real life, something we ity of the work they do. This small unit is
1 silver and 1 bronze
ONE SHOW 2008 – we have created an environment where people couldn’t script, and of which we couldn’t developing an enviable reputation in the
1 bronze are free to be themselves, to be individuals. ensure the outcome.” business. One piece of work that is worth

174 — The ANNUAL 2008


mentioning was for the Hansa beer brand
and a competition developed to win a
non-executive seat on the Hansa Board of
Approval (HBA) which was the big idea
behind an above the line campaign.
“Response to the competition was
nothing short of phenomenal,” says MD
Michelle de Gouveia, Two weeks into
the promotion, over 200 000 SMSes had
been received, and average weekly sales
had reached levels usually only seen over
the December period. The competition
offered the winner a seat on the HBA
board, with an annual salary of R600
000. Consumers entered by SMSing the
code from their Hansa Pilsner or Hansa
Marzen Gold label or ring pull.
Another bright star in the firmament is
the e marketing and online strategic con-
sultancy longtail. Bull remains convinced
that this is where the future of advertising
lies and testimony to that is a more than
adequately filled order book and industry
and client accolades.
The basic premise of the business is
helping South African companies make
the internet work for them.
longtail provides companies with top-
level insight and strategies that will not
only work for them in the online environ-
ment, but also neatly dovetail with their
offline thinking.
The tools used in the solutions in-
clude: search engine optimisation, link-
ing strategy, pay-per-click advertising,
online advertising, email marketing and
ongoing communication, viral market-
ing, Web PR, online reputation manage-
ment, affiliate marketing, blogs, podcasts,
social media networking, e-recruitment
and Internet privacy, security and terms
and conditions. Their focus on research
for latest industry trends; the rigorous
analysis, interpretation and reporting of
results, assists them in delivering on total
business objectives.
But is hasn’t all been smooth sailing.
Earlier this year the group’s media arm
Initiative Media under the stewardship of
the respected Mark Taback resigned the
Unilever business.
It could have sounded the death knell
for any company. Bull picks up the story:
“We had just received the best review
we’d ever had and were then told to re-
pitch for the business. We declined and
there was an opportunity for those work-
ing on the account to move to the newly
appointed agency. To a person they all
stayed and we would have kept them on
whatever the case even if it meant taking a
financial bath.”
Bull and Taback’s unwavering belief
in their people paid dividends. It wasn’t
long afterwards that they won the SAB
media account. Bull says after an ex-
perience like that he knows that the en-
tire group can handle any challenge that
comes their way.
Yes says Bull, his agency did not have
its best Loeries on record but in the same
breath points out that his agency has
won the event three times out of the past
seven years.
Bull says he stands by his decision not
to enter what he calls a smorgasbord of
work for no real purpose apart from the
glory. He says he’s particularly excited by
work in the pipeline for big banker brands
like Skip and Sunlight.
The agency though remains one of the
big creative hitters with an international
footprint. A lot of project work from the
Lowe mother ship in London is done
from South Africa – Nokia and Unilever
– and its international successes have not
been shabby.
At the beginning of the year the group
secured four wins out of its seven short-
listed finalists in the 2008 Clio Awards.
The wins were split between the
Cape Town and Johannesburg offices,
with Cape Town securing a silver award
for Cape Times “JFK” and a bronze for
Cape Times “Soweto Uprising” (both
in the print category), while Johannes-
burg took home two bronze awards, for
Axe “Blackboard” (also in the print cat-
egory) and “Answering Machine” (in the
radio category).
So where to now and what does 2009
hold for the industry. Bull does not hold
back on the hyperbole.
“Now that we have the infrastructure
in place the next six months are the most
important in the agency’s life. We have to
make sure that we have significant revenue
and control of our costs for next year be-
cause let me tell you its going to be tough
in every sense of the word. But we’ve pro-
duced great work which is important am-
munition to win quality awards and hold
on to our excellent people.
Bull believes that the lag that
everyone in the industry was talking about
in the first six months of 2008 arrived
in August.
“There is no doubt that budgets are
being cut. The first 6 months will be
a bitch....then we believe there will be a
recovery....after elections there will be we
think a natural bounce”
And will 2010 provide the panacea
and the ointment? Bull is not that confi-
dent.
“There is a lot of global uncertainty
AGENCY PROFILE
and I don’t care what people say we are
still uncertain at this stage as a coun-
try about the 2010 World Cup and the
ushering in of a new president. Advertis-
ing is going to go through a hard time
which makes it critical that agencies do
excellent and relevant work – something
which we at Lowe Bull are confident
about delivering.”
And the agency philosophy? Notes
Bull, “That is a critical question. We are
unlike some of the bigger agencies who
produce great advertising (at times), we
produce great campaigns. Most of our big
award winning stuff has been for multi-
faceted campaigns for the likes of Axe,
Redds, Nandos and Dulux. The secret
here is to have significantly big ideas over
a period of time. That is what we do and
do brilliantly.
So leading on from that with so many
agencies to choose from why should you
hire Lowe Bull?
Roars Bull:“We’ve got the best talent
in the business pound for pound and we
have a team that harnesses that talent bet-
ter than anyone else.
The ANNUAL 2008 — 175
AGENCY PROFILE

McCann Worldgroup
South Africa
Type of agency:
Communications Group (advertising, media, activation,
digital/CRM)
Number of accounts/clients:
18 Clients
Biggest spending clients:
Telkom, L’Oréal, General Motors, SABC, Nestlé,
MasterCard, Microsoft
Accounts won in 2008:
United International Pictures, Tiger Brands (assignments), Nestlé
(assignments), Sony Ericsson (assignments), Telkom (assignments),
Nelson Mandela Children’s Fund, Foodcorp (assignments), Pikitup,
Brown Forman, City of Johannesburg/Siyavuma Marketing
Accounts lost in 2008:
SAB (Castle Milk Stout)
01. Left to right: Martin Hummel, group chief executive McCann Worldgroup, Festus Masekwameng, creative director McCann Erickson,
Company ownership:
Alistair Duff, director of strategic development McCann Worldgroup, Sandile Mkhasibe, exeutive creative director Momentum McCann,
49% Zwelakhe Sisulu, Staff Share Trust, Women’s Groups
Wayne Parry, managing director Momentum McCann, Vanessa Pearson, executive creative director McCann Erickson, Nazeer Suliman,
51% Interpublic Group of Companies (IPG)
managing director Universal McCann and Andrew Shuttleworth, managing director McCann Erickson.
Contact details:
Tel: +27 11 235 4600
Fax: +27 11 803 6696
Website: www.mccannworldgroup.co.za WE CREATE DEMAND THROUGH COLLABORATION exactly where it’s going.
Agency billings: Testimony to the new energy sweeping though Mc- Hummel concedes that 2009 is not going to be a
Unpublished as per IPG policy Cann Worldgroup, the communications holding com- walk in the park, or even a drive in park (the agency did
Key awards in 2008: pany for McCann Erickson (advertising), Momentum win a sizable chunk of GM business).
Pendoring Gold and Silver (Ambient and Poster) McCann (activation) and Universal McCann (media), He says: “You have to see the market in terms of
4 Loerie Finalists for X Box ‘Die Trying’ (photography, press is the amount of time it takes to set up a group photo- consumer confidence, interest rates, and other lead-
and radio) and General Motors, ‘Opel Corsa Campaign’(Ambient)
graph. Every member of the executive team has a strong ing economic indicators. The general consensus is
Number of staff:
opinion on order, style and art direction which is also that we’re heading in the wrong direction. But there
104 Permanent Staff Members
punctuated by continual chatter and laughter. is a potential upside in our business. In the current
Key agency staff:
None of that was evident three years ago when climate, some clients are investing greater marketing
Martin Hummel, Group Chief Executive, McCann Worldgroup
the agency group by its own admission was reeling funds, and more cleverly. Take GM, for instance. The
Andrew Shuttleworth, Managing Director, McCann Erickson
Vanessa Pearson, Executive Creative Director, McCann Erickson
after its South African BEE partners cashed out. brand is unwavering in a market that is significantly
Festus Masekwameng, Creative Director, McCann Erickson That had a serious impact on the bottom line and in- down in terms of vehicle sales. With integrated com-
Nazeer Suliman, Managing Director, Universal McCann dustry perception. munications programs, GM is building share. We are
Wayne Parry, Managing Director, Momentum McCann Head office acted swiftly and brought in dyed in the resonating with consumers who are now thinking dif-
Sandile Mkhasibe, Executive Creative Director, wool New York and London ad man Martin Hummel ferently about GM’s trademark vehicles, Chevrolet and
Momentum McCann who embarked on a serious round of consultation with Opel, with consistent messages across every consumer
Wim Spronk, Executive Creative Director, Momentum McCann anyone who would take a steak lunch with him at a well touch point.”
Key moment in 2008: known Sandton grill house. Alistair Duff, Hummel’s strategic brain, chips in.
McCann Worldgroup’s restructure and subsequent turnaround was He took careful notes, asked probing questions and “Our Company has brought an element of logic to the
the highlight for the Company in 2008. began re-building the pedigree agency group, CV by brands. There is more focus on where models should
In the beginning of 2007, the Company was losing clients, people CV and client by client. be in the market and through the retail-driven Red
and money. By 2008, the Company had partnered with Zwelakhe Hummel, who candidly talks about his departure at Tag campaign idea we have actually created a property
Sisulu and restructured its communications offering.
some point – his family resides in London – can be well around the word sale.”
The active recruitment of new management and key positions with-
pleased with the people he’s hired and the changes they So what is at the heart of McCann’s retooled of-
in the operating companies drove the transformation of McCann
are busy ringing in. From nowhere the agency is back fering? Hummel is single minded in his answer: “We
Worldgroup. The focus ideas, local relevance, integrated solutions,
in the top 20 countrywide and in the top ten in exist to create demand for clients’ brands, through the
creativity and people have created a new vibe in the place.
Gauteng agency rankings. seamless collaboration of communications disciplines.
The agency snapshot in 50 words:
Our reason for being is to generate demand for our clients’ brands.
In 2009, Hummel plans among other things to grow If we’re not doing that then something is wrong. Award
At McCann Worldgroup, we create big ideas for our clients. We aggressively in the digital and CRM spaces, with an eye show trophies are not our reason for being, these serve
then set about bringing them to life through multiple forms of com- on the burgeoning healthcare sector. to recognize our success in cleverly engaging consumers
munication. We are able to do this through collaboration He modestly says he’s trending in the right direction. to think and act differently. Creativity remains a criti-
across our best-in-class companies, McCann Erickson (advertising), It would be more accurate to say McCann Worldgroup cally important driver for demand creation, as it is the
Universal McCann (media), Momentum (activation) and has struck out on an aggressive path and knows key discriminator for effective communication.”
MRM (digital/CRM).

176 — The ANNUAL 2008


02. McCann Erickson: “Only Afrikaans and SA music”
RSG campaign
Duff plays up the role of insight in the
communications mix; how important it’s
become and why it’s at the centre of the
Group’s thinking.
“We feel the market has under-deliv-
ered on this and when we hit hard eco-
nomic times it’s even more important. If
you speak with clear knowledge and un-
derstanding to a product or service benefit
you are going to be in a better position to
grow brand value and grow sales. “
Duff talks about a concept called crea-
tive capitalism raised by Bill Gates which
essentially says it’s no use sitting on ten
percent of the market and trying to suck
it dry and not looking beyond that sector
to grow and activate it. That’s another
principle underpinning the new McCann
Worldgroup.
So what were the key moments in
2008? Hummel talks about seeing the
talent he’s recruited finally beginning to
gel and a steady increase in business, both
organic and new.
He’s also happy with the Company’s
ability to conceive, develop and execute
big, integrated, brand-defining ideas.
Duff’s cerebral take on that is to po-
sition the group as a thought leader. He
echoes sentiments from McCann Erick-
son’s Executive Creative Director, Va-
nessa Pearson, who believes much of the
work coming out of ad agencies these days
looks and feels the same.
Says Duff, we have to be looking be-
yond the norm. “There is no doubt that
McCann Worldgroup is doing just that.”
With things going so well, what are
Hummel’s personal plans? “We have
some exceptional people in place to take
the Company to the next level of growth
and excellence. My successor will be a
03. Momentum McCann: Telkom gives internet 04. McCann Erickson: Did I really see that? Nestlé outdoor campaign
users the power to do it all
far more talented and capable individual
than me. I’ll know when it’s time to leave
when I can walk out the front door of
our building, not return, and no one
will realize I’ve departed. And that time
may be approaching.”
Momentum McCann
This is the unit where client rubber hits
the road. MD Wayne Parry and his team
use the mantra that measurability is the
future of advertising and that budget
fatigued clients want to know how their
money is working and how many ears
and eyes are being engaged. Parry de-
faults to the agency group’s watchword
insights and believes once that is mined
for and found, it can be activated across
all delivery platforms.
Parry says the next big thing in digital
marketing is a concept called “Phygital”
marketing, where there is a link between
the digital world and tactile experience.
“It’s the coming together of the digital
and the physical space, it pulls everything
together. Clients often have a great brand
and great positioning but no one is able to
pull all of that together seamlessly. Many
agencies back off this space. We don’t.”
Momentum is particularly proud of
work it did for the Isuzu brand this year
that capitalised on the load shedding cri-
sis. It helped conceptualise and market
something called the TIG a truck inte-
grated generator, the thinking of which
said the brand was integral to a 24 hour
business for a fleet manager and that
the vehicle delivered on this positioning,
whatever problems were thrust at it.
McCann Erickson
Driving radical changes at the above
the line agency has been MD An-
drew Shuttleworth, along with creative
heavyweights Vanessa Pearson and Festus
Maswekwameng.
Shuttleworth says the starting point
was to make sure that the right executive
team was in place across all disciplines.
“We knew we had to implement a
cultural change and we asked questions
like what type of people can we work
with and not. That included asking what
clients wanted to be with us and who we
wanted to be with.
Pearson picks up the narrative: “We
also asked what was the best way to make
us stand out in an overtraded market and
the best answer was our ability to gather,
process and interpret insights. Few agen-
cies are putting their money behind this.
We say we are in the business of demand
creation through inspiration.”
Masekwameng says great creative
work can only be generated through great
creative briefs which come from unique
and penetrating insights.
“It’s unpacking the market in a differ-
ent way with a different approach which
allows us to create a consumer reaction.
The agency is particularly proud of
its unique research called Township
Stories, which is giving fresh insight and
data into the country’s most important
new market.”
Pearson says the best work is still to
come, but the agency is particularly happy
with outdoor work done on the Nescafé
coffee brand, in which a strategically
placed billboard is cut open and reflects
the natural landscape – the idea of which
is to allow drinkers to own the morning
moment. It’s clever, creative and tactical.
The agency is also responsible for the
AGENCY PROFILE
delightful print and billboard campaign
for Afrikaans radio station RSG that gives
a language twist to songs and bands. For
instance, Genesis become Gene-sies.
Universal McCann
The agency wants to be seen as more
than just a traditional media agency and
says MD Nazeer Suliman who’s been
in the job for just over a year. His first
12 months have been about fixing basics
and over-servicing clients in an indus-
try environment he describes as deep,
tough and muddy. “We’re in the busi-
ness of finding connection opportunities.
We want to connect brands with con-
sumers in relevant and meaningful
ways.”Again that group mantra insights
is used and then developing them to find
real connection opportunities.
Suliman says these days everything is
a connection opportunity whether it be
a mouse-pad, an i-pod holder or a table
cloth. Obviously within strategic param-
eters and based on consumer insights.
We’re embarking on a huge culture change
in line with our curiosity model – which
defines our culture, inspires our people,
guides our thinking and which shapes our
work. We ask why? We interrogate and
we have fun.
So far he’s happy with organic growth
but is confident more business will come
through the door in the next year.
Suliman is more bullish that most
about 2009 seeing more government capi-
tal expenditure which will give communi-
cation more space and more spend.
The ANNUAL 2008 — 177
AGENCY PROFILE

MediaCompete
Type of Agency:
Large media agency
– Channel Planning
– Implemetation
– Trading
Number of accounts/clients:
32
big spending clients:
FirstRand, MTN Group,Nokia, VW,
AUDI & SEAT, Coca-cola Company,
Proctor & Gamble, Ford / Mazda
Accounts WON in 2008:
Tracker, Dell, VW
Accounts lost in 2008:
None
Number of staff:
80
Billings:
R2.1 billion
Key agency staff:
Chief executive officer: Paul Wilkins
Managing director: Britta Reid
Deputy CEO: Rogene Hoosen
Director: Adriaan de Buck
Director: Edwin de Lange
Director: Suraya Pillay
Director: Deborah Schepers
Director: Teryy Wharton-Hood
Director: Bongani Khumalo
Chief financial officer: Ahmed Loonat
Contact details:
Tel: +27 11 293 6302
Fax: +27 11 293 6303
Physical Address: Innesfree
View, 2 Harris Road, Cnr
Katherine Street, Sandton
Email: paul@mediacompete.co.za
Website: www.mediacompete.co.za
The agency in 50 words:
Employees = Better happier people
Consumers = Targeted
ROI driven media
Clients = Better value and
investment focused on ROI
Suppliers = MC should be
greatest share of mind
Partners = People we prefer to do
business with – like-minded

178 — The ANNUAL 2008


MediaCompete chief executive officer Paul
Wilkins is not allowing the economic down-
turn to dim his outlook for the Agency.
“We are fortunate in that we are part of an
international organisation with inherent
strengths, and have access to proprietary
tools that create competitive advantage for
our Clients by allowing us to determine
when to speak to consumers at the right
time and place and when they are in the
right mood.”
South Africa is protected from the worst
effects of the financial crisis compared with
most European countries in that there was
still huge spending on infrastructure – to
be paid for by a legacy of repeated tax
surpluses – that kept money flowing to
other areas of the economy, it had escaped
the worst effects of the subprime crisis
and its motor exports are buoyant. “Most
consumers are still spending, although at a
decreased level, but retailers are discounting
big time,” says Wilkins. He was shocked
by some of the effects of the recession he
had seen on a trip to the UK in August.
The rate of insolvencies has doubled there
in the past six months, he says.
Also, there is the Soccer World Cup.
“But we must not expect too much. Ex-
perience elsewhere in the world has been
a deluge of positive reporting immedi-
ately after the award to a country is made,
and then there is a perceived hiatus and
people are disappointed and critical that
promised benefits did not materialise.
That has been the experience of all the
other countries.”
Wilkins says he expects single-digit
deflation for CPP to set in in the adver-
tising industry until the third quarter of
next year. “During this time the planets
will align in our favour because condi-
tions for trading will improve. More media
availability means you can buy more for
less, or cut costs. Some media owners are
up to 40% undersold. I believe spending
will decrease 10% for the remainder of
the year and by 15% to 20% in the first
half of 2010.”
Traditional media is likely to take share
away from newer technologies like brand
activation in the downturn, says Wilkins.
“Bear in mind that much of the population
has had TV – and electricity – for only about
10 years. TV is seen as a point of informa-
tion and of entertainment. But the biggest
area of opportunity must lie with mobile.
It is the single biggest communication
medium in our country but nobody has
cracked it from a marketing perspective.
It goes to the poorest of the poor and the
statistics are that every household has more
than one phone.”
The rest of the developed world has
moved relatively quickly to online, but in
Africa cellphones were likely to leapfrog
the computer. “As the screens get bigger,
so mobile will take over,” says Wilkins.
Marketers need to be careful about
niche marketing, such as on satellite TV
channels. “In fact we should be mass mar-
keting rather than niche marketing – you
need to market more to make more money.
You can never physically know who will
buy your product. If you target narrowly,
you could be aiming at only 40% of your
potential market. And if you remain static
in your targeting, you will always be aim-
ing at a market that is ever diminishing.
Therefore the pool is continuously getting
smaller,” says Wilkins.
MediaCompete is structured on a pod
basis, where staff are grouped in teams
consisting of people with different skills
AGENCY PROFILE
and with each pod headed by a director.
“But there is a cross-over between the pods
to form a matrix of information sharing.
Otherwise people get stuck in silos and
don’t speak to each other. This way our
pods literally blossom into the f lowers
that the pods portend.” The system is
“not cheap, but it is effective because a
Client knows all the time who is working
on it’s account”.
The agency motto is “People First,
Better Results”. “That applies across
the board in our approach to our staff,
our partners, clients, media owners and
consumers at large,” says Wilkins. “If
you focus on the people, you will get the
results you want.”
Another of MediaCompete’s unique
strengths is its econometric modelling
service. “It is extremely useful and flex-
ible. It can give you likely sales, footfall
or awareness, or alert you to the need
to change duration. Basically it tells
you where you get the best bang for
your buck.
It also does portfolio management, so
that a client with more than once brand
will get a picture of how advertising of one
will affect others. We also offer scenario
planning where we will sit around a table
with the client, the creative agency and
the research house,” says Wilkins.
MediaCompete had a good year –
Wilkins puts growth at 20%, with billings
having hit R2 billion. “We are easy to do
business with because we listen. We offer
innovative thinking on communication
tempered by the experience of knowing
what works. Our job is to tell clients what
they can afford to spend by having the
proven systems to show what works,”
says Wilkins.
The ANNUAL 2008 — 179
AGENCY PROFILE

The MediaShop
(Pty) Ltd
Type of Agency:
Media
Number of accounts/clients:
280+
big spending clients:
Absa, Cell C, Shoprite
Accounts WON in 2008:
Around R130 million
Accounts lost in 2008:
None of any significance
Number of staff:
130
Billings:
About R3.1 billion
Key agency staff:
Everyone plays their part, and
contributes to the whole
Contact details:
Tel: +27 11 258 4000
KEY AWARDS in 2008:
Voted Best Media Agency for the
5th consecutive year by media
owners according to AdReview.
KEY MOMENT in 2008:
Waiting for it...
The agency in 50 words:
“Open 24 Hours... No problem!”
The payoff line that embodies
MediaShop’s philosophy and
attitude, and its promise to clients.

Established in 1988 to take advantage of the
gap in the market, The MediaShop is the
oldest existing media independent in South
Africa. Founded by Dick Reid and John
Barham, the agency was formed to provide
media services to smaller agencies, an area
which traditionally had not been serviced.
Reid and Barham sold the agency to
FCB/IPG International in 1997. In the same
year, Harry Herber joined The MediaShop
as managing director. Herber, formerly the
managing director of FCB Johannesburg,
is regarded as an icon in the industry and
has a long and successful media career be-
hind him.
Since assuming the helm Herber, now
group managing director, has been instru-
mental in ensuring that the agency recruits
experienced media directors with the result
that The MediaShop is renowned for invest-
ing in heavyweight employees. Just short of
half of the agency’s shareholding has since
reverted back to local shareholders from
IPG International.
The past two decades have seen advertis-
ing, and media, in particular, experience a
significant change. Today it is the norm for
advertising agencies to outsource their media
to media specialists such as The MediaShop.
Since 1997 the media independent industry
has blossomed, standing The MediaShop in
good stead. Year-on-year growth has been
steady, with the business regarded as one of
the most sustainable media independents
in the country.
Like 2007, 2008 has been a good year
for the agency. It is moderately up in terms
of billings. According to Herber, billings
were buoyant until the middle of the year,
as a result of fiscal drag, which is typical of
the advertising industry. He anticipates that
the economy will turn in April or May 2009
but that the advertising industry will only
start seeing improvements towards the end
of 2009. “I’m not concerned about 2008,”
says Herber, “it’s 2009 that we need to be
worrying about.”
Having said that, he is confident that
with the company’s business fundamentals
solidly in place, The MediaShop is well placed
going forward. “We’re a sound business and
in spite of rising rates and declining adver-

180 — The ANNUAL 2008


tising revenues, we believe we’ll be able to
successfully navigate most storms.”
The agency’s critical mass works in its
favour. As one of the largest media inde-
pendents in the country, The MediaShop
has an impressive client base with more
than 400 accounts. Less than 15% of
the agency’s billings are dependent on its
sister agencies.
What makes The MediaShop stand out
is its understanding of the communications
industry as a whole? “We understand how
to implement effective solutions that will
ensure a product or service is more success-
ful than its competitors,” points out Herber.
“We don’t only look at the traditional ways
of doing things and we’ve got a pretty good
understanding and handle on new media and
new ways of doing things. The business is
fortunate to have the intellectual capacity
to deliver unique solutions.”
Herber refuses to spotlight any particular
staff members, saying that the entire 130-
person strong team at The MediaShop is
key and is critical to the ongoing success of
the business. “For a number of years now
we have focused on employing high-level
people. We employ significantly more than
the average number of heavyweight strate-
gists, all people with extensive experience
and knowledge as well as passion and in-
novation. We refuse to hire any weak links as
we recognise that each and every customer
touchpoint is critical,” he says. “We aim to
offer our clients a consistent philosophy,
approach and attitude, irrespective of who
they deal with.”
For the same reason the agency has
adopted the mantra, ‘Open 24 hours …
No problem!’ Herber explains that this is
both an attitude and a promise. “We are
very cognizant of the fact that perception
is critical. Our customers therefore don’t
wait for the phone to be answered or wait
for a meeting to be planned, for example.
They have access to key decision makers 24
hours a day, seven days a week. We don’t
allow staff to switch their cellphones off at
night as we are all available to clients 24
hours a day. In this industry, the ability to
make rapid decisions is critical.”
Clients also have the confidence of know-
ing that The MediaShop has a stable base
of knowledgeable employees. With a staff
turnover rate of less than 6% – significantly
lower than the industry average – The Me-
diaShop not only attracts the right people,
it keeps them too.
There is no doubt that this people focus
has paid off for the agency. For the past few
years The MediaShop has managed to win
more than half of the new business it tenders
for. Herber attributes this to the fact that the
agency is intent on working smarter, trying
harder and being more innovative in order to
deliver increasingly unique solutions.
The agency’s philosophy is grounded
in a firm focus on ethics and integrity,
attributes that Herber holds dear. “I’m
not interested in bullshit,” he insists.
“This business is founded on good client
relationships, all based on an honest and
transparent premise.”
Core to The MediaShop’s philosophy
are 20 non-negotiable attitudes and be-
haviours, all premised around ethical and
respectful behaviour.
According to Neil Schreuder, GM mar-
keting of the Shoprite Group, the agency
does live its philosophy. “We have been
working with The MediaShop for almost
seven years now,” says Schreuder. “They
have become real partners in our business,
understanding the value we place on smart,
tough negotiating with suppliers and the
media industry as well as having the ability
to work at the speed that retail necessitates.
The MediaShop is a media agency that
walks their talk in terms of ability, integrity
and passion.”
In addition to its head office in Johan-
nesburg, The MediaShop has offices in
AGENCY PROFILE
Durban and Cape Town. The agency is
structured in such a way that larger clients
have their own dedicated business unit
allowing for focus and consistency, while
the balance of the business is structured
in business units with a senior member of
staff at the helm of each unit.
According to Herber, the advertising
communications industry continues to
experience change and is rapidly hitting
a crossroads. “The industry is in a rough
space at the moment,” he says. “Billings are
down and both media owners and agencies
are stretched. There is a desperate need for
more training and fresh new blood, but no
money to achieve either goal. In the short
term there is no light at the end of the tun-
nel and the current situation will continue
to be exacerbated.”
He admits that he is becoming cynical
(“it comes with age,” he grimaces) and
asks rhetorically, “Why would a marketing
director running a billion rand business
listen to a 25-year old strategist straight
out of an advertising school? The industry
urgently needs to invest in people for the
long term.”
Herber believes that the industry will
splinter. “Communication is starting to con-
sist of too many multi-faceted areas of spe-
cialisation. I don’t believe that in future it’s
going to be possible to keep all those people
and all these specialisations under one roof.
There is no doubt that full-service agencies
are going to have to reinvent themselves,
given the pace of change we are seeing in
technology and how it is affecting marketing
demands and consumer behaviour.”
The MediaShop has a number of excit-
ing new ventures in the pipeline. It will be
investing in various new media ventures
providing bespoke solutions to individual
briefs. “Even in media the challenge is to
become more specialised,” says Herber. He is
not perturbed: “Change is exciting: it keeps
us on our toes,” he concludes.
The ANNUAL 2008 — 181
AGENCY PROFILE

Mercury
Type of Agency:
Media – strategy, digital, creative
Number of accounts/clients:
17 (Excluding 21 government
departments)
Accounts won in 2008:
• GCIS (re-awarded tender until 2010)
• The Agency for Marketing
and Advertising
• MGM Brand Construction
(Consol, Easylife Kitchens)
• Mutual and Federal
• Hermes Multimedia
• Gauteng Provincial
Government (GSSC)
Accounts lost in 2008:
None
Biggest spending clients:
GCIS, Telkom, SARS
Company Ownership:
90% Black owned / 100%
South African owned
Number of staff:
29
Billings:
R547,205,597
Contact details: Then there’s its unique approach to dual implication: first, Mercury delivers the note if the programme is actually scripted
Tel: +27 11 502 1000 media strategy and planning that has seen target audience to the client by developing around the brand? Or is it necessary to
Fax: +27 11 880 2731 it swiftly surpass the R300 million target focused insights and information based think even more laterally – would the brand
Key agency staff: set for its first three years of operations and on research. Then, having ascertained story translate well into a book?
Chief executive officer: double billings every year since. “We’ve just who’s using the client’s product or Ebersohn puts it this way: “We’re media
Tamoledi Selane been fortunate, but we’ve also worked service, and how they consume media, neutral. Rather than force a project onto
Chief operating officer: tirelessly to ensure that our clients are well Mercury is able to deliver the client’s mes- a specific media platform, we’ll fit the
Morne Ebersohn looked after and cared for,” comments chief sage. “Although many media agencies focus mechanism around the requirements of
Head of clients service and executive officer Tamoledi Selane. Perhaps simply on getting clients’ message across, the project.”
strategy: Johan Prins that’s why most clients have reappointed we believe that both aspects are equally Mercury has proven the effectiveness of
key moment in 2008: Mercury more than once. In fact, long- important,” Prins comments. Mercury this approach several times. When Cresta
Being re-awared the GCIS Account term relationships seem to be a Mercury therefore combines data from a variety Shopping Centre approached Mercury
– Mercury became the first agency hallmark – almost all the staff members of sources and studies with past learn- with the aim of building its brand among
to win the business three times. who joined the agency at inception remain ings and case studies to weigh audience its target audience (females aged 35-45
Private sector billings increased. there today. characteristics and the requirements of and 16-18 year-old teenagers), Mercury
Became the first media agency to But back to that unique strategy. Johan the message against the strengths, weak- departed from a tried and tested strategy
launch a television campaign. Prins, head of client service and strategy, nesses and costs of various platforms, and of radio and print ads to draw attention
The agency in 50 words: explains that when Mercury was first es- this enables to it to put forward the best to shopping hours, exhibitions and pro-
Mercury is a black-owned media tablished, media was actually intended possible solution to the client. motions, all aiming to up the number of
agency that stands out for its as an adjunct service to brand strategy. It “It really is about solving problems,” visitors. Instead, Mercury implemented a
unique, streamlined operations – by wasn’t long, however, until media became says chief operating officer Morne Eber- product placement strategy, with Cresta
eliminating the divide between media Mercury’s prime concern – and the agency sohn, “The problem being one that relates becoming a familiar sight on the local soap
planning and strategy, the agency wasted no time in exploiting the rich op- to the collection of data and distribution of opera, Egoli. This not only helped to build
is able to offer fast, cost effective portunities coming its way. To emphasise information.” Within these parameters, the the brand, but also granted exposure for
and impactful media solutions. this new direction, the agency rebranded in solution shouldn’t be confined to a ques- tenants and established the mall as a centre
2006 – its former name, Mercury Media, tion of above- or below-the-line channels. of choice. At the same time, regional press,
Mercury stands out from its media plan- was simplified to the current Mercury, Rather, it’s about finding the best means media and outdoor continued to draw at-
ning and strategy peers for a number of while the agency was positioned on a global possible for the client to interact with the tention to specific messages, like events,
reasons, starting with its empowerment scale. Internally, a restructuring took place public. And although TV, radio and print extended trading hours or special promo-
credentials. In an industry predominantly so that Mercury was now geared primarily have proved themselves immensely efficient tions. The result? Year-on-year turnover
populated by internationally affiliated towards media and strategy, with a lesser at promoting such interaction, sometimes increased by 13%, while occupancy rates
players, Mercury rang the changes when, focus on creative development. it’s necessary to look beyond the obvious: reached 99%.
in 2003, it became one of the country’s The new positioning was encapsulated for example, will it be more effective to A similarly successful campaign was
first black-owned media agencies to be by the statement “Delivering Audiences.” flight a brand ad during a certain televi- developed on behalf of the national De-
formed in 10 years. Prins points out that this statement has a sion programme, or will more people take partment of Housing. Here, the aim was

182 — The ANNUAL 2008

 AGENCY PROFILE

to draw attention to the challenges the 01. Building houses in the Breaking New Ground
department experiences around creating project with the Department of Housing is part
housing for the population in a manner that of Mercury’s CSI initiative
would include all South Africans, and not 02. The Breaking New Ground project involves the
only the poor as the most affected, while community and sponsors like Mercury – when
combining high-information messaging, South Africans work together they can make
sustained and long-term frequency and a difference
audience interaction with the campaign.
These requirements were met by develop-
ing a 26-episode television series in con-
junction with the SABC. Each 30-minute
episode looked at a different aspect of the
crisis, and programmes were supported
by additional promotional coverage on
SABC stations and radio interviews. At a
cost of less than R6 million, the campaign
reached 87% of the target audience, and
the series is being reflighted at no extra
cost. Added to this, a new series is being
created, while e.tv has expressed its desire
to air the series.
Ebersohn is careful to spread the credit
for successful campaigns. “The fact is
that campaigns only work because we,
our clients and our partner agencies work
01.
together well. Good media ideas come from
us, our clients and our partners.” 02.
According to Selane, Mercury’s unique
structure plays a big role in its ability to
meet customer requirements. Typically,
agencies employ a lengthy chain with dif-
ferent people overseeing buying, planning
strategy and implementing schedules. It’s
not uncommon to have upwards of 10 people
working on a single account – a situation
that, much in the same way as a game of
“broken telephone,” can lead to a fragmented
brief: one person takes the brief from the
client, another determines the strategy, yet
another interprets that strategy in the form
of a schedule, and still another negotiates
media buying.
“Clumsy” is the best way to describe such
an approach – especially when you consider
that the average industry turnaround time
is two weeks.
Mercury, on the other hand, has in-
tegrated strategy and planning functions,
so that a single person is responsible for
every aspect of the account. The benefits
are manifold: for starters, with one person
handling all areas, their knowledge of the
business is truly comprehensive, rather 02. 05.

The ANNUAL 2008 — 183

AGENCY PROFILE
03.
than disjointed. There’s no passing the
buck; never will a client be told that their
account manager can’t answer a particular
question “because that’s not my job”. More
importantly, turnaround time is reduced
dramatically. As example, Mercury has
retained an average turnaround time of 72
hours on GCIS campaigns (from receiv-
ing the brief to being on-air for the first
time). Margins for error also decrease: for
example, Mercury has worked with GCIS
since 2004, and since that time has not
made a single agency error with schedules
or placements.
“Our clients are complex, and they
have complex problems that require quick
decision-making,” Selane points out. “By
consolidating the flow of our processes, we’ve
ensured that each employee understands
every step of what we do, so that if something
goes wrong, they can fix it quickly.”
Also important is the fact that employees
receive training in every medium – you won’t
find specialists in digital, TV or any other
channel at Mercury, rather individuals who
are well-versed in the strengths and weak-
nesses or all media. “Think about it: if you’re
best acquainted with TV, you’ll never take
the risk of suggesting another channel to a
client – even though TV might not actually
pose the best solution,” Ebersohn says.
Specialisation is also rather shortsighted,
given that most clients employ multiple
platforms.
But perhaps the single most important
spinoff of Mercury’s consolidated approach is
the fact that it promotes accountability – and
that’s a big one, in the agency’s books. Trust
is cherished, whether it’s trust between the
media owners who help make things happen,
184 — The ANNUAL 2008
or trust shared with the client. “Our motto
is, always act in the client’s best interest,”
Prins states.
All told, the agency’s aim is to “make it
simple, get it right without the drama, and
deliver the right stuff,” Ebersohn says.
He adds that Mercury strives to under-
stand clients’ business and needs completely,
with the result that Mercury has developed
a finely honed ability to talk to a range of
consumers, for a range of clients that extends
from government agencies such as SARS,
Shosholoza Meyl and GCIS to corporates
like Consol, Indwe Risk Services, Pharma-
line, Brand Leadership, Prominent Paints,
Mutual & Federal and Avbob. The broad
spectrum also assured that Mercury is as
skilled at creating a call to action among
upper LSMs as it is at targeting consumers
in LSMs 1-6 – a skill that’s lacking among
many other agencies. Testimony to their abil-
ity to do this is the fact that, with only one
exception, Mercury has made the shortlist
of every account it has pitched for.
To ensure that clients ensure an un-
derstanding of the process, Mercury has
introduced a number of education initia-
tives, like the Amazing Radio Race (where
clients are able to experience each step in
creating material for a radio ad) and New
Media Fridays, where various channels
are invited to present their latest media
offerings.
Selane, Ebersohn and Prins share the
view that client education is crucial; in
fact, they maintain that one of the most
critical issues facing the industry is that of
remuneration structures. “Clients need to
realise that this is a costly business. Agen-
cies that let clients pay zero commission
04.
are making their money somewhere else, 03. This is the second year Mercury has assisted
perhaps off media owner discounts – but with sponsorship of building houses in the
the reality is that somewhere, clients are Breaking New Ground project
being shortchanged.” 04. BNG houses are a minimum of 40 m2 with
Another issue which begs closer exami- a shower and toilet
nation is that of agency ownership. Why,
asks Selane, are so many companies intent
on employing agencies with international
affiliation – especially if their operations
are limited to South Africa? “This is a false
barrier to entry for many agencies. The
truth is that South African organisations
derive more benefit from an agency that
understands what makes this nation tick,”
Selane opines.
Linked to this is the issue of transforma-
tion, still taking place too slowly. Mercury
has tried to make a contribution in this area
by employing black-owned creative agencies
and production houses where possible, but
Selane believes that much work remains
to be done.
What does the future hold for the agen-
cy? While the trio admits that it’s unlikely
that growth will continue at the same pace,
Mercury will, nonetheless, continue to en-
joy exciting prospects. “The next stepping
stone is Durban and Cape Town, and from
there into Africa. Our past growth has been
organic, but with our processes now firmly
entrenched, we’re ready to embark on an
aggressive client drive,” Ebersohn says.
Selane adds that it’s important not to
lose sight of the bigger picture: “South Af-
rica obviously offers a lot of opportunity at
present, while it gears up for the 2010 FIFA
World Cup South Africa, but we need to
look beyond this. Our long-term goal is to
commit to the future of this country, both
economically and politically.”
290x26
 We knew you’d
read this
A mere 39 people out of every 100 South
African’s will read a magazine today.
That makes you part of a very exclusive and
somewhat illusive group of people.
.&3
290x265.indd 1
And yet, we knew precisely where and how to
get you to think about this message.
We’re Mercury, South Africa’s fastest growing
media company. Thanks for paying attention.
10/7/08 3:31:50 PM
AGENCY PROFILE

MetropolitanRepublic
Type of Agency:
Full Service, through the line Agency, with in-house post-produc-
tion facility and bespoke creative media planning company.
Number of Accounts/Clients:
8
Biggest spending Clients:
MTN (TJDR), Liberty Life, Stanlib and MonteCasino
Accounts won in 2008:
Liberty Life, Stanlib, MonteCasino and Stuttafords
Accounts lost in 2008:
None
Company Ownership:
100% locally owned independent
Contact details:
Tel: +27 11 807 4714
Email: Anna@metropolitanrepublic.com
Website: www.metropolitanrepublic.com
Agency Billings:
R104 million
Key Awards in 2008:
Creative Awards
CANNES 2008
1 Bronze Lion
CLIO AWARDS 2008
3 Bronze statues INTERROGATE THE BRAND UNTIL IT creative bad boy can be well proud of how his vision of a
D&AD CONFESSES new independent advertising agency has taken root; boasts
Two entries into Annual At arguably the hottest and most exciting stand-alone ad a staff of near 50 and is responsible for azure- blue chip cli-
LOERIE AWARDS 2008 agency in the country, staff likens founder and uber-crea- ents including MTN along with recent wins Liberty Life
3 Gold Loeries tive Paul Warner to film-spy Austin Powers. and Stanlib.  
1 Bronze Loerie
MetropolitanRepublic has just installed the country’s So let’s reel back 18 months, before Metropolitan-
1 Silver Loerie
first agency tele-steaming laser facility into its Rivonia head- Republic was voted newcomer ad agency of the year (2008)
2008 NEW YORK FESTIVALS
quarters, allowing it to send commercials directly to broad- by the authoritative AdReview survey.
1 Silver
casters at the push of a button. It dramatically cuts down on Warner talks of wanting to start something different and
Effectiveness awards
Silver Apex for MNT “Go” Campaign time-to-air, which is of course one of the most valuable new new in advertising where there was more participative staff
Adreview recognition currencies in advertising. energy on accounts and where brand measurability and per-
Newcomer Agency of the Year The reason for this is that entrepreneurs and founders, formance were paramount.
Campaign of the Year – MTN Paul Warner and Peter Khoury, decided to build the first-of- Over dinner one night Warner was asked by industry
(MTN is serviced jointly with Jupiter (Jhb)) its-kind-on-the-African-continent, full service post-produc- doyen Graham Warsop, group chairman of The Jupiter
Number of Staff: tion company. Says the business minded Khoury, “Having Drawing Room, what he would most like to do if he could
41 our own edit suites, multiple recording studios and Flame wave a magic wand. Warner flipped open his laptop and blew
Key Agency Staff:
suites enables us to timeously deliver multi-million rand tel- Warsop away with his vision of a new type of agency called
Founder and chief creative officer: Paul Warner
evision commercials, radio spots, documentaries and AV’s MetropolitanRepublic. Within a week a deal was struck.
Executive creative director: Pete Khoury
for our clients at half the cost and in half the time.” Take a A few weeks later Warner moved his then, tiny
Managing director: Thando Dingaan
look at the various commercials produced for MTN, which agency into the most technologically advanced 3 storey
Head of strategy: Sophie Mayer
Creative director: Lapeace Kakaza vary from R5 million to R5 000. stand-alone building in the heart of the Rivonia, mak-
Creative director: George Low So when an ad is ready to go, staff would like the dimin- ing MetropolitanRepublic the most savvy agency in the
Key Moment in 2008: utive and dynamic Warner to stand behind a blinking con- country.
MTN bursting into 8th place in South Africa’s Favourite Brands sole and say in the right comedic accent, ‘Start the Laser”. With an initial staff compliment of less than 30, they be-
Survey, for the first time in the brand’s history. They’re resisting – for the moment – dressing him in gan work on the MTN business that they service for Jupiter,
The Agency snapshot in 50 words: purple velvet and ruffles! He’s taking the ribbing well but and he set about re-invigorating the brand, whose messaging
We are doing something new here. Think collaboration, not com- in the same breath explains the investment will increase his had become a little disparate.
petition. Think vibrant, eclectic talent pool with strategic-minded
ability to produce more tactical advertising and also to get The agency’s hard work, underpinned by new strategic
creatives that move the sales needle. This is a scam-free zone. With
ads to eyeball that much quicker. thinking,  culminated in the now famous Clap ad for MTN
full in-house post production. Also, we just started a high-end crea-
Nowhere is that more important than with their biggest that is being talked about as one of the great South African
tive media planning company, Metropolis. Watch this space.
client MTN, that they affectionately refer to as the “yellow television commercials of modern times.
client”, which is playing in an increasingly commercially ro- Interviewing Warner and his coterie of managers is
bust space and where time-specific deals and offers are criti- no easy task. They all have strong opinions on issues and
cal to the brand’s ongoing success and profitability. the conversation takes tangents and then tangents from
Warner, who has shed his image of advertising’s tangents.

186 — The ANNUAL 2008

 AGENCY PROFILE

01.

01. This AV received a standing ovation, a second re-run and a Gold Loerie. It was produced at our in-house edit suite for a fraction of the cost.
The AV tells a story, it weaves a real-life situation into a memorable and relevant brand message: Own your Life with Liberty Life

02.

02. Over the festive period traditionally our competitors flaunt bikinis, sun and dancing animals. This year we wanted to create sincere, authentic connections with the nation. Our insight was that people travel back to
their families over the festive season. We shot the commercial in a small fishing village with no actors and no props. Everything you see in this commercial is authentic, all the people from the actual community are
used to enhance the integrity of the advert and the message is simple and clear – this Christmas, reconnect with your family and your community. MTN was personally thanked for uplifting the community of
KassiesBaai in Arniston. Long live the community table

But out of the high energy chatter comes
one clear thing – they’re obsessed with build-
ing brands and making sure that advertising
is a serious business tool.
Warner talks of a massive learning curve
in the beginning and the realisation that
an ad agency was a lot more than just the
creative guys. He’s both salutary and praise-
worthy in his admiration and respect for all
agency disciplines and prides himself on the
fact that he’s gathered a group of people to-
gether who all have the same vision.
So where did they come from? Warner
openly says many other young agency peo-
ple who were becoming disaffected with
more traditional and hierarchal models were
gladly poached. But he’s also hired a second
group of people who had not previously been
in advertising but bought into his thinking.
He proudly talks of employing the
“cream of the crop” in the industry. But
it’s low-fat cream in the most metaphorical
sense. There is multiple staff participation
on business with a high degree of cross-ac-
count multi-skilling. If a receptionist has
a strategic insight or a bean counter has a
brainwave, it’s taken seriously.
One of the more serious aspects of
MetropolitanRepublic is its negative attitude
towards awards.
An emphatic Warner, who has won
countless gongs in his time, says: “We
don’t do proactive work and creatives are
bred not to enter awards but to come up
with business solutions. I have no proactive
budget like many other agencies do and my
message to my studio teams is if you are
going to become famous then you have
to do a lot more work and solve financial
problems for brands.”
Warner says his agency has become a big
fan of the much undervalued Apex Awards
that recognise business effective advertising.
Another question; does an ad agency
still need one big high profile leader?
Warner lets his team pick that one up.
Says head of strategy Sophie Mayer, “My job
is to keep Warner honest. If you respect oth-
ers’ abilities and talents then team synergy
wins the day. Paul’s name is not on the slate.
We live up to our name of being a repub-
lic. We have put decisions to a vote and he

The ANNUAL 2008 — 187

AGENCY PROFILE
03.
has lost before. That, we believe, ensures the
best solution for the client. The ego driven
ad agency is no longer relevant.”
So if that’s the tight operating philoso-
phy, how has that effected and affected busi-
ness performance in 2008?
MD Thando Dingaan concedes that
life in the first full year has been tough as a
start-up.
“We’re running hard every day but
188 — The ANNUAL 2008
03. The handwritten letter that MTN received from the Chairman of the Kassiesbaai Fishing Union, thanking
we’ve won significant new business includ-
ing Stanlib, Liberty Life, MonteCasino and
the department store Stuttafords. Our plan
going forward is to stay small and contained
for a few months and to suck it in. And then
exhale and grow some more.”
Dingaan also lets slip another key at-
tribute to the agency’s success story so far:
“It’s critical that our personality fits with that
of the client to the point where we’re happy
them for their generosity of spirit. All proceeds from the advert were directly pumped back into the
community. Reality advertising at its best creating sincere and authentic connections with the public
to interview them as they must interview us.
When you join MetropolitanRepublic we be-
come part of your family and you become
part of ours. We want relationships to con-
tinue for decades.”
To that point Khoury,“Since taking on
Liberty Life and Stanlib we’ve produced
little work for consumer consumption, but
we have built “brand-worlds” first. We’ve
worked internally with brokers and with staff
before unfolding any advertising. We need
to get under the skin of our partners and
that takes time and commitment from
both parties.”
All management members concede their
big challenge going forward is not being
known as the MTN agency. Notes Khoury:
“Eighteen months and we know we’ve reached
a successful tipping point with the brand,
it’s put us on the map and we’ve been a key
stakeholder in repositioning and consolidat-
ing the brand. We’re now in a position to use
that success and do the same thing with other
clients. We’ve spent much time now debating
our own brand, who we are and we have a
clear vision and direction for this agency.”
Sophie Mayer uses an in-house phrase
that she calls “Metro-Magic” in which the
agency is a client’s measurable “sales needle”
– offering a sustainable commercial and com-
petitive advantage.
The group philosophises about the right
and the wrong appeal in terms of advertising,
with the wrong advertising actually reducing
the sales of a product.
In order to get that appeal right Mayer
unveils the agency’s four “P’s” that underpin
its strategic approach:
“Preparation is critical. You have to strip
the product down to its DNA and bare es-
sentials and make sure that you are doing the
same to its competitive set. We say here at
MetropolitanRepublic that you have to inter-
rogate the brand until it confesses. You have
to get the right truth from the brand, other-
wise you are directionless.
“Then comes positioning. By that we
mean once the brand has been punched in
the gut and vomited up a confession we use
that insight to reposition and reformulate.
The imagery might not be pleasant but that’s
the hard approach that is needed if advertis-
ing solutions are going to be effective.”
Mayer also talks about the personality
aspect of a brand and what images are associ-
ated with it perceptually and even peripher-
ally to guarantee that it will be noticed. The
agency has formed an alliance with one of
the globe’s leading brand thinkers, Hollander
Michael Jansen, and his concept of brand
prototyping.
And then perhaps the most important of
the “P’s”– the priceless factor.
Mayer explains: “We have to ask this key
question, the messaging that we’re dissemi-
nating, is it priceless? Does it make you gasp,
is it memorable and will it run for 35 years.
We’re not in the business of developing a
campaign that runs for three months then it’s
gone. It’s about capturing the philosophical
essence of a brand and making it do some-
thing, changing attitudes, perceptions or even
behaviour.”
Mayer says it’s about creating mass
movements (a recently trademarked propri-
etary strategic positioning tool). “It’s our job,
we believe, to start them. Movements go on
as long as kindred spirits are involved. Cam-
paigns are dry and emotionally detached.
Movements are organic and rooted in passion.
They rely on word of mouth where campaigns
rely on traditional mediums. Movements are
others talking about you and having a brand
conversation. Brand movements, we now
know, add credibility.”
The best example of this was has been the
MTN work, where through its adherence to
these principles has managed to garner and
gain real credibility on the street.
Khoury says campaigns create a you vs.
us mentality whereas movements suggest that
the brand and its consumers are in something
together.
And to illustrate the point, try this for
size. Last December, while rival cell phone
companies were exhorting the leisure and
commercialisation aspect of Christmas,
MTN drove a strategy that their prod-
uct enabled families to talk to each other
at this time and that it was a season to
return home.
A spirited and emotional campaign was
developed using the citizens of the small
Western Cape fishing town of Arniston.
The message was spot on, the local
economy benefitted from the work and
the exposure, and eventually a small statue
was erected to the brand and the agency by
the townsfolk. That’s what creating a move-
ment is all about.
Another tactical print campaign around
Women’s Day that highlighted famous South
 AGENCY PROFILE

African women was so well received it led
to one ad critic saying it should be used as
a school teaching aid. Praise indeed and an-
other example of creating a conversation or
a movement.
So what of the future for Metropolitan-
Republic and why should marketers hitch
their brand to this fledgling agency?
The agency is adding on more strategic
offerings. The quaintly named Hotel Deville
is a French-themed post-production house
where the decor and antiques are as exciting
as the Austin Powers thing.
A newly formed bespoke media planning
division, Metropolis, with Sasol being it’s first
large win, is also in the offering, but the over-
riding business imperative is to stay small and
boutique. And what happens when the inevi-
table growth curve heads north?
Warner uses the well known baboon
troupe analogy. When it reaches 50 it splits
in two because more than that number pre-
cludes effective communication, socialisation
and interaction. While he hasn’t worked out
his troupe size just yet, it’s a useful principle
to hold on to.
In terms of business growth, the agency
is hungry for a couple more accounts but is
also cognisant of responsibilities to existing
clients. Says Warner: “It’s my experience that
04.
ad agencies are always looking for more and
not worried about the fish they already have.
We don’t and won’t do that.”
And now, the MetropolitanRepublic
crystal ball for 2009. Says Warner: “The in-
dustry is by no means recession proof and
we are seeing the effects of budgets being
slashed. Agencies will have to deliver smarter
and more cost effective solutions. Brands will
also take more social responsibility and as we
are building towards 2010, brands must also
take more business and societal leadership be-
04. To commemorate National Women’s Day in South Africa, MTN decided to donate R10 from every
cause of a perceived lack of general leadership
Samsung handset sold, to POWA (People Opposing Woman Abuse). The client brief was to create a
in the country. Brands have in many ways to once-off 30 second T.V. commercial with a budget of R120 000. The solution: An integrated campaign
start leading the country.” produced for FREE.
So that’s the story so far. Metropolitan- The TV advert was created in powerpoint, the outdoor utilized recycled billboards and the entire
Republic has really started the laser. As Pow- campaign was produced at no cost to the client.
The production, agency and media fees, totaling over R3 million, were donated to POWA.
ers might say – Groovy baby.
Viva MTN, Viva

05.

05. This year for Women’s Day we showcased various ordinary women who have done extraordinary
things. The response from the public was overwhelming: “If there are any history teachers reading this:
you could do a lot worse than using this ad as a teaching tool in informing your classes about these
incredible women.” – Brendan Seery. You strike the women, you strike the rock

The ANNUAL 2008 —189

AGENCY PROFILE

Mick&Nick
Type of Agency:
Through-the-line agency
Number of accounts/clients:
6 & Project-based
BIGGEST SPENDING CLIENTS:
Nike BTL
Accounts won in 2008:
Nike BTL
Accounts lost in 2008:
None
Company Ownership:
Co-owned by Michelle de Gouveia,
Mick Shepard, Nick Liatos and
the Lowe Bull Group.
Number of staff:
13
Billings:
R6-million
Key awards in 2008:
their record-breaking promotional cam- standing their business,” says Michelle. and energy of the brand with its upbeat
Bronze Loerie for Nike Shelf Life Event
paign for SA Breweries, Hansa’s Board of “And ethics play a huge role in our message of being true to yourself.
Key aGENCY STAFF:
Approval (HBA). agency – we have secured fantastic relation- The Dunk-styled café and stencil
Director: Mick Shepard
In one of the biggest responses in its ships with our clients and suppliers, that wall – where customers can design their
Director: Nick Liatos
history, SAB received a million SMSs from hold the same values and attention to detail own Nike dunk – remain as a permanent
Director: Michelle de Gouveia
consumers eager to win a “non-executive characteristics we do,” she says. reminder of this campaign in Shelflife,
Contact details:
seat” on the HBA. Mick&Nick want to make their agency one of the freshest street culture stores
Physical address: St Andrews Office Park
“We are very proud of what we did,” one that everybody would want to work in Cape Town.
Meadowbrook Lane
said Mick. “The campaign ran over a noto- for and one that every client wants – long- Mick&Nick are brand-centred and set
Epsom Downs
riously low volume period (winter) in June term staff and client partnerships, based out to find strategies that will bring brand
Bryanston
this year and two weeks into the promotion on trust, transparency, outstanding serv- promises to life. “The point is it is lovely
Postal address: PO Box 69864
average weekly sales had reached levels ice, attention to detail, great creative and to make a TV ad but how do you make the
Bryanston
usually only seen over December.” measurable results. brand live?” says Mick.
2021
The trio’s instincts have proved “With the agency being very small, This is a difficult time for industry
Tel: +27 11 780 6358
sound. The agency was formed during we are able to provide personal atten- practitioners, downturn notwithstanding,
Fax: +27 11 780 6327
a tumultuous period in their lives when tion to every project we work on,” says because, says Mick, there are too many
The agency in 50 words:
all three, working for a large agency, Michelle. products, too many agencies, too much of
Operational since February 2007,
were retrenched. “Our clients also benefit in receiving everything. How do you separate yourself
Mick&Nick have grown rapidly. Our
“We decided we didn’t want to split the strategic, creative and operational from the pack?
key ingredient being delivery: service
up. We felt we had the right combination depth of a large agency, with the hunger For example, it’s really hard to com-
delivery, creative delivery, results
between the three of us to create something and commitment of a small one. pete with those that are first to market.
delivery. We strive to ensure that our
we wanted – our way,” says Michelle. “We welcome clients that ‘give a shit’ It’s almost impossible to dislodge that
people, processes, work and overall
“We decided to approach Lowe Bull, about their business and their brand, those product, says Nick “You are fighting for
culture is geared towards delivering
as their creativity and culture seemed best who come to us with a business problem space and the only way to get it is to fight
at every level and being recognised
suited to ours. We started with the group for us to help solve. harder, so the traditional broad-based
as such. ROI = Mick&Nick.
in February last year.” “Structures and processes are very approach may not be quite as effective as
Their hunch paid off and very soon they close to our hearts and have been a key it used to be.”
were unlocking a new source of revenue for ingredient in starting up. Correct processes Mick believes in a shift in focus from
When you walk into the Bryanston offices of their new partners, creating a happy and ensure streamlining of work flow, giving being creatively minded to business-
the Lowe Bull Group, you wonder if there mutually beneficial “traction”. a sense of calm to our clients, who know minded.
any awards left for the rest of the industry. They had brought their own client, that there are systems in place to support “You need to connect with people.
Framed certificates line every wall, shelves Look & Listen, with them and started do- them every step of the way. You can look at 5 000 paintings but there
buckle under numerous trophies. No space ing BTL and activation work for existing “Our creative teams all sit together in an will be only a few that resonate with you.
for oils here. Lowe Bull clients as well as their own, while open plan office, where they bounce ideas The trick is to find something that makes
But blazing a different trail is the small strengthening existing relationships. on different briefs among each other.” people connect to the brand. It’s not good
but growing agency, Mick&Nick – part Nike has recently named Mick&Nick Mick and Nick are involved in the enough to just be creative.”
of the Lowe Bull stable – which is busy as their BTL agency. strategic and creative output while Michelle The future looks bright for Mick&Nick
expanding horizons on the below-the- They point out they are not a division of is active on the operational side. and plans include taking a closer look at
line front. Lowe Bull, but very much an independent Apart from everything else, they also, their revenue mix. Most of their clients are
Only 18 months old, the three-way agency with sky-high ambitions. says Nick, have a flair for “bringing ridicu- project-based and they want to increase
partnership between Mick Shepard, “Whereas this is a start-up in the mak- lous ideas to life”. retainers – always good for the income
(director), Nick Liatos (creative direc- ing, we’re thoroughly enjoying ourselves They took the Nike’s Dunk campaign stream and a hedge against insomnia.
tor) and Michelle de Gouveia, (managing – doing it our way. Our strength would be to the “sneaker freaker tribes” of Cape (Although any agency will say project-
director), has already shown results with our relationships with our clients, under- Town and communicated the very spirit based accounts are a welcome venture into

190 — The ANNUAL 2008

 AGENCY PROFILE

01. In-store display and retail units were custom

built for the launch of Nike Dunk in Sportscene.
02. TV Headboy is now a Look & Listen retail icon
which regularly promotes a range of new
releases for the chain.
03. Hey, who doesn't want to do a piece of
work featuring a storm trooper?
04. Support group for wannabe superheroes, a
stunt man who's dying for a piece of the action
and the worst video store customer ever. All
highly effective ways of building the Look &
Listen 'for the fans' strategy on cinema
television and online.
05. 1 of the 6 custom sprayed taxis with the
corresponding Nike Dunk from
the Shelflife 'Be True' campaign. 6 posters were 01. 02. 03. 04.
created, each featuring a different graffiti artist.
06. The Shelflife 'Be True' Block Party plugged
directly into sneaker culture and helped further
Nike's street cred.
07. The Hansa Board of Approval (HBA) activation
allowed consumers the chance to connect
directly with the brand as they were inter
viewed for a non-executive seat on the HBA
with a salary of R600 000 for 1 year!

06.

The trick is to find

something that makes
people connect to the
brand. It’s not good
enough to just be creative. 05. 07.

new turf and tend to keep practitioners
on their toes.)
They would like to grow their agency
from its present size of 13 to a maximum
of 30 staff with at least four retainer clients
by 2010.
But most of all they want to build a
business that is sustainable. All three part-
ners are blessed with an entrepreneurial
flair – a talent that is becoming increas-
ingly indispensable in a crowded market
– making the agency well placed to face
future challenges.
Client references
“Mick & Nick have a clear understanding
of BLT and retail integration. The most
important part is understanding how the
consumer consumes media in the environ-
ment and they are good at that.
“We have to meet international stand-
ards and although we are sent guidelines
we need someone to do a local interpreta-
tion. They manage to get to the customer
and break out of the clutter, by thinking
out the box.”
– George Camara, retail brand
manager: Nike South Africa
“We have worked with Mick&Nick for a few
years and have found them to understand
the essence of our brand, certainly more
than any other agency at the pitch did.
They came up with our current strapline
of “for the fans” which captured the spirit
of our brand perfectly.
“I believe that our new logo and the
use of the strapline on our shopping bags
brought the branding to a new level.
“Their work is consistently good and
there is a mutual respect between us, a
real partnership.”
– Darren Levy, CEO Look n’ Listen
“Mick & Nick have been saviours for us
as we have battled to find solid below-the-
line creatives. We found they were able to
immerse themselves in our business very
easily even though it was a difficult brief
– our target market ranged from the guys
sitting on crates in shebeens to people
living in leafy suburbs.
“They were able to put together a well-
tailored activation that was simple and had
the touch of human truth so necessary to
reach people. People tend to get complicated
about these things, when in fact they need
to make it real.
“What I liked about them is that they
are prepared to sit down and co-develop
with you and there is continual contact
– no problems with re-working. There is
nothing precious about them.
“We have done one campaign with them
which broke all records and are about to
begin work on another.”
– Dino D’Araujo, executive brand
manager, Hansa, SAB (South Africa)

The ANNUAL 2008 — 191

AGENCY PROFILE

morrisjones & co
Type of Agency:
‘Allvertising’ – through-the-
line marketing & advertising
Number of accounts/clients:
12
big spending clients:
Wimpy, Discovery, Southern Sun,
Debonairs Pizza, Appletiser
Accounts WON in 2008:
Ferrero Rocher (including Tic
Tac, Kinder Joy & Nutella)
Incolabs (including Everysun, Tropitone,
Like Silk, Innoxa, Lip-Ice, Durex, House
of Gallia, Milton, Karvol & Fenjal)
Accounts lost in 2008:
Declined to re-pitch on the
Retail arm of Virgin Mobile
Number of staff:
49
Billings:
R170 million
Key agency staff:
Managing director: Nina Morris
Executive creative
director: Angel Jones
Financial director: Kurt Reed 01.
Creative group heads: Margarita
Karvouniaris & Greg Cohen morrisjones&co smells. Literally. Its signature There’s something else about the agency’s It’s devised a tool kit that will be used in the
Design head: Alex Hammerl scent wafts subtly through the reception creative work that hits you subliminally – UK, Australia, New Zealand and Japan as
Operations director: Colleen Anderson area of the agency in Westcliff and – while something real. “I think we humanise brands,” well as a host of emerging economies. “Who
Group account directors: Beansie you’re not quite sure what’s happening – on says Jones. The agency has been inspired by says we can’t take a map of the world”, says
Cain, Silke Jahn & Zoe Schultz a subliminal level it imparts feelings of calm South African quirks. For example, before it Jones drawing a rough sketch of the continents,
Contact details: and confidence. launched the Wimpy foreign coffee campaign, “turn it upside down, and put South Africa
Nina Morris: nina@morrisjones.co.za
Managing director Nina Morris and morrisjones&co spoke to a range of locals right on top?”
Angel Jones: angel@morrisjones.co.za
executive creative director Angel Jones later who said that they were wary of ordering Despite their staggering success, Morris
KEY AWARDS in 2008:
reveal that this is one of the ways they’re foreign coffee in case they mispronounced it. and Jones still run day-to-day operations
Ernst & Young World
experimenting with new sensory advertising. By poking fun at this lack of sophistication and oversee each and every account. “Our
Entrepreneur Finalists
“We’re not only harnessing the traditional the agency undercut the intimidation – and clients know they can pick up the phone
Creative Circle & Loerie Finalists.
five senses but looking at movement and sales soared. to Nina and me any time, which is a big
KEY MOMENT in 2008:
orientation as well,” says Jones. She holds morrisjones&co doesn’t have a signature plus,” says Jones.
Expanding the agency to occupy
up a Polyfilla advert that Jo’burgers loved sound but, if it did – given the profile of its They are also happy to attribute some
the whole building of La Roche
because it featured a massive hole left by two founders – it would come from a big of the agency’s growth to what they call the
The agency in 50 words:
Gautrain construction workers on Oxford band! In 2001 Jones, who had no qualms “chick factor.” They multi-task; they pay
Creative hard sell, efficient delivery,
road…one that clearly needed to be filled. about wearing “Angel” wings about town attention to detail. The agency has many
highly strategic and results driven.
It disrupted the “movement” of hundreds to draw attention to the agency, found the male staff but, under the direction of Morris
Through-the-line “Allvertising”
with hands-on passion from the
of thousands of motorists so how could they perfect partner in Morris, whose charisma and Jones, it’s not afraid of intuition. “You
founders. Proactive and long-standing
not take note? and experience were matchless. have to believe in this tummy that tells you
relationships with clients. Solid growth Perhaps this pioneering spirit is one of the The majority of shares were then held something,” says Morris. Jones says when
of iconic South African brands. Founders reasons why morrisjones&co has a name for by the Saatchi brothers of London. The pair she sits around a table with her creative team
of the Homecoming Revolution, adverts that are big on impact. They’re also had a client base of zero and began cold call- they often take decisions that just feel right.
communicators for Action for a Safe SA big on fun. It’s virtually impossible to watch ing. Just a year or so later they had built the They’re also sceptical of research that is too
and deeply committed to this country. the Wimpy “I love it when you talk foreign” Kulula brand, helped brands such as Hollard academic and will reject anything that feels
or the Southern Sun “shine” commercials to explode into the public consciousness, and wrong. morrisjones&co research is often used
Picture captions:
without smiling. taken over ownership. to test an initial gut feel. Says Jones: “We send
01. Nina Morris – managing director and
“Our campaigns seem bigger because we Fast forward to 2008 and the agency is our guys out with a camera and microphone
Angel Jones – executive creative director –
morrisjones&co.
live by the concept of allvertising,” says Jones. still growing amid the financial gloom. It is to diverse shopping malls and they ask pre-
02. Stirring souls in London – morrisjones&co. “We don’t move without a comprehensive the custodian of big brands like Discovery, determined questions. Usually the answers
are founders of the high profile Homecoming strategy in place to compliment our TV work.” Southern Sun, Wimpy and Debonairs Pizza, confirm what we knew all along.”
Revolution. The agency is famous for its above-the-line and has just acquired two new accounts – Fer- This intuition cuts across target markets.
03. Catapulting Appletiser into premium
campaigns but, with a staff complement rero Rocher and Incolabs – without a pitch. Jones is dismayed at the uniformity in the
desirability with the new “deliciously good”
campaign.
of nearly 50, it also has full below-the-line After landing the prestigious Appletiser ac- industry currently when it comes to speaking
04. Cheekily making fun of the sinkhole in capacity to extend one message across all count, morrisjones&co has been tasked with to upwardly mobile black men: “Everyone
Oxford Street, Rosebank. touch-points. directing the brand’s global marketing strategy. sells a lifestyle. They show a guy on the golf

192 — The ANNUAL 2008

 AGENCY PROFILE

course or a guy in a fancy car.” When KWV

came on board the agency’s campaign honed
in on the brandy itself. It highlighted the
‘potstilling’ process, and the idea that those
who don’t know what ‘potstill’ means can
still enjoy its taste of perfection.”
The founders of morrisjones&co are sur-
prisingly upbeat, despite the downturn in
the economy. In fact they are encouraging
clients who can offer value to take this unique
opportunity to grab market share. “A few
months ago we launched the triple-decker
promotion for Debonairs that gave it its best
month of sales – ever,” says Morris. “People
are reluctant to go out for expensive dinners,
but that’s good news for Wimpy because
they sell good food that’s really affordable,”
adds Jones.
They understand that, even in tough
times, women love to treat themselves with
“everyday” luxury items. In creating the latest
Appletiser commercial, the agency therefore
played up its delectableness, rather than its
affordability. It has the beautiful soft feel
of a designer perfume advert; it features a
woman who shoots at a lush green apple on
a tree and is showered in its refreshing clear
juice. It speaks profoundly to female desire
for health, sensuality and bliss.
In contrast, “hard-sell” better serves cli- 02.
ents who are simply looking for more return for
less investment right now. And morrisjones&co
is not ashamed to drive sales. “We’ve never
been a precious agency,” says Morris. “The
days of lovely 60-second ads with no call to
action are over.”
Clients are not only battling with new
economic conditions but are also having to
come to terms with new media. In this Morris
and Jones see themselves as patient educators.
The agency is set to launch a digital arm and
it already offers extensive technical capabili-
ties. A recent interactive “Sex in the City”
promotion on appletiser.co.za received hits
that were 207% above target. morrisjones&co
is also moving fast into the mobile space, with
a view to creating “edu-tainment” content to
build their brands.
Jones believes that outdoor will remain
prominent, even while the future of television
is unclear. It’s widely believed that viewers
will start to download their entertainment
from the net, but she’s not quite sure. “I
think there will also always be that sofa chill
factor that makes people want to sit back and 03. 04.
passively receive.”
Whichever mediums it will use, the future
looks bright for morrisjones&co as it remains
committed to human communication, inno-
vation and results. It’s said that if your mojo
is working you lead a charmed life – which
is probably why this truly successful agency
is affectionately shortened to mojo.

The ANNUAL 2008 —193


New World
Communications
Type of Agency:
Packaging and branding
architects /BTL
Number of accounts/clients:
15 clients excluding project-based clients
BIGGEST SPENDING CLIENTS:
DairyBelle, Tiger, McDonald’s, SAB
Accounts won in 2008:
Cadbury Easter packaging,
Interconnect, Friskies, Alpo
Pet food, Innoxa
Accounts lost in 2008:
None
Company Ownership:
Sole ownership (Helena Pereira)
Number of staff:
15
Billings:
R8 million
Key awards in 2008:
N/A
Key aGENCY STAFF:
Helena Pereira, Eureka Bos, Claudine
Swanepoel, Mario Pereira
Contact details:
Physical address: No. 1,
6th Avenue, Rivonia
Postal address: PO Box 3496
Rivonia
2128
Tel: +27 11 803 5527
Fax: +27 11 803 8320
The agency in 50 words:
Just over 10 years ago, New World
Communication (NWC) was
established to fill a niche in the market
– as packaging and brand architects.
Utilising the best design and technical
expertise, we implement innovations
in the spheres of packaging, point-of-
sale campaigns and website design.
New World Communication is passionate
about packaging: “It has to shout pick me
up,” says owner Helena Pereira. “Our art
is about those short few seconds between
your eyes settling on a shop shelf and your
mind making a choice.”
When NWC launched in the mid
‘90s it was part of a new world in which
advertising growth and technology had
made a dedicated below-the-line agency
possible. A decade later and the industry is
moving away from specialisation and back
toward offering full, diversified services.
01.
And yet NWC remains fully focused on
its core services of brand development
and package design. “Staying true to
our passion is what gives us the winning
edge,” says Pereira.
She says there is often a direct cor-
relation between package re-design and
an increase in product sales. “I still get
a warm and fuzzy feeling every time I
see our own designs on the shelves and I
secretly watch the reaction of consumers.”
The field is highly specialised as, gener-
ally, there’s only a small amount of space
available to communicate exactly what is
being sold and to engage consumers with
brand promises – not to mention to fit
in the usual legal blurbs and list of food
ingredients. Pereira says food packaging
is unbelievably competitive and fast-paced
because consumers are always looking for
fresh appeal. Currently old-world style
designs such as olive oils and personalised
labels are popular. However, she says the
general world trends are toward less clutter
and convenient openings. “More than ever
customers are concerned about health and
quality and they like to see what they’re
buying.” Pereira says South African firms
are just beginning to consider smaller,
eco-friendly or sustainable packages. “For
now it’s only on the agendas of the forward-
thinking corporations but the ripple effect
is coming,” she adds.
While its packaging may speak loudly,
NWC is conspicuous in the world of ad-
vertising by its softness and understate-
ment. Streaming sunlight, light music,
warm wood and clean lines give a tranquil
AGENCY PROFILE
02.
03.
air to the main studio. The only unti-
diness is on a large table that is strewn
with packets and boxes. Pereira points
out “before” and ”after” Friskies bags; a
recent modification has seen a picture of
the pet food pellets replaced with a picture
of the mouth-watering fresh ingredients.
“People want to know that they’re feed-
ing their pets something wholesome,”
says Pereira. Suddenly it strikes that this
concept – wholesomeness – encapsulates
the agency’s difference.
It is situated just down the road from
the Sandton business hub. And yet, despite
this incredible shyness, NWC was able to
bill more than R8 million last year. Pereira 04.
says the agency has grown through word
of mouth and repeat business. It has a
reputation for not only offering creative 01. NWC team
excellence but quick turnaround times as 02. DairyBelle double cream yoghurt
well. “We don’t have airs and graces, we 03. Epol Value Range
don’t throw tantrums, and we are willing 04. Tastic Authentic Indian Cook-in-Sauce
to listen to our clients instead of being ar-
rogant about our own ideas,” she adds.
So NWC doesn’t dazzle with decadence
and it doesn’t boast with multiple awards
hanging on the walls. But a visit leaves
you with a warm and fuzzy feeling and
the surety that the agency has earned all
the accolades it needs – from clients who
keep coming back for more.
The ANNUAL 2008 — 195
15671 SAPPI adS UD R 13/10/08 13:39 Page 3
C M Y CM MY CY CMY K
 AGENCY PROFILE

OMD
Type of Agency:
Media
Number of accounts/clients:
246
BIGGEST SPENDING CLIENTS:
Standard Bank, Distell, Tiger Brands
Accounts won in 2008:
Distell, Danone, Visa
Accounts lost in 2008:
None
Company Ownership:
Omnicom Inc 54%, Shanduka/Staff
Trust 26%, Dovey/Westwater 20%
Number of staff:
126
Billings:
R3-billion
Key awards in 2008
N/A
Key aGENCY STAFF:
All
Key moment in 2008: Staff at OMD’s Johannesburg offices
Vindication of our 2007 decision
Contact details:
Johannesburg Tel: +27 11 303 2000
OMD proves that bigger is still better team responsible for handling the bank’s sharper and more tailored to its audience
Cape Town Tel: +27 21 425 8838
when it comes to media. More than ever, business, and this structuring around exclu- so it won’t be ignored. According to Dovey,
Durban Tel: +27 31 533 7950
clients want to save on advertising time sive units is an OMD invention to provide this boom in downloading is coming – “but
The agency in 50 words:
and space and – as the largest agency in peace of mind to competing clients. “But not next Tuesday”. He says above the line
Client-focused media agency. The
South Africa – OMD continues to deliver it still comes down to trust,” says Dovey. will remain important for a very long time,
largest player in the volume-driven
on its negotiating clout. Even in the eco- “Big firms often share legal companies and sellers ignore that at their peril.
trading side of the business, with the
nomic storm of 2008, it has managed to with their competitors, for example, and Current economic pressure means
financial clout to employ the best people
keep its billings steady at the whopping they can expect the same professionalism the focus on return on investment is huge
and make a difference for our clients.
R3 billion mark. To counteract plummeting from us.” and Dovey welcomes the transparency in
ad revenue growth, it simply increased its The volume of annual transactions media. There is a clear correlation between
market share with new business. through OMD is so large that half of the money spent, the number of people who
There’s been much said about OMD’s staff compliment consists of people dealing view advertisements, and sales. Dovey also
phenomenal success in just over a decade with invoicing and billing. “You have to get believes there will continue to a healthy syn-
since it was launched – but little insight basic financial hygiene right” says Dovey. ergy between the creativity of advertising
into what’s behind it. Involvement in the campaign process starts agencies and the careful research of media
Co-founder Josh Dovey is loath to early, with OMD research and planning organisations: “Using the right channels
offer a simple formula but, when pushed, teams interacting with creative agencies as to target the right market is vital – but a
he speaks passionately about people. “We early as the briefing stage. They help define great ad is still…a great ad!”
don’t employ clock watchers. We find good target audiences and the best ways to reach
people, pay them good salaries, and put them. “We make sure that we get the right
them in charge of their own accounts and information from the client early on and
their own destiny.” He says OMD has re- then we can deliver on our proposition by
sisted the temptation to become inwardly adding insights, ideas and results,” says
focused because everyone understands Dovey. “Our size helps us to get the right
its business is making clients, and not the price for advertising space, but that follows
agency, famous. As part of its corporate intelligent, strategic planning.”
responsibility, OMD continues to train Looking ahead, OMD is gearing up for
aspiring youngsters, even though many growth in the digital and internet media
of them will leave. “Our philosophy is to area. While subscription TV is still on the
respect them, let them learn and let them rise in South Africa, Dovey believes the
go,” says Dovey. He says the surprising model of pre-packaged programming it
upshot is that many return to the company represents is dated. He looks forward to
having acquired new skills. a time when people will click and choose
The buzzing section of OMD’s office programs on the net and only pay for what
in Sandton is called the trading floor. A they want. Advertising will not only have to
Standard Bank light-box hangs above the find a new space, but will have to become

The ANNUAL 2008 — 199

AGENCY PROFILE
One Digital Media
Type of Agency:
Media owner
Number of accounts/clients:
83
Accounts won in 2008:
Unilever, Tiger Brands, Coca-Cola, Rainbow,
Distell, Reckitt Benckiser
Accounts lost in 2008:
None
Biggest spending clients:
Unilever, brandhouse and Coca-Cola
Company Ownership:
35% VenFin
65% Management, staff and friends
Number of staff:
121
Contact details:
Mike Bosman
Key agency staff:
Chief executive officer: Mike Bosman
Chief operating officer: Andrew Ridl
Chief financial officer: Charles Parsons
Key moment in 2008:
Gaining the support of more than 75 of
South Africa’s top brands.
The agency in 50 words:
One Digital Media is SA’s largest
owner and provider of digital media at
retail with more than 6000 screens in
more than 1000 sites. The company
is able to broadcast static or dynamic
imagery and messaging to any
single screen or group of screens.
Go digital or go home! This somewhat abrupt
message seems to be dominating many of the
international marketing headlines these days.
Nevertheless, major international brands
as well as brand managers of large FMCG, re-
tail and fast food clients are rapidly moving to
trap the new power of digital media at retail.
The international research house, For-
rester, forecasts that by the end of 2011,
90% of all retail outlets in the US will em-
ploy digital media at the point of purchase.
And the way it works is incredibly simple.
Essentially, advertising, training, menu
board, or other store imagery content is broad-
cast to screens that are strategically positioned
in stores. Unlike regular broadcasting, the
content can be sent to the screens in advance
of the time that the content is scheduled to be
shown. This is done via GPRS, the internet
or by satellite. The method of broadcast is
determined by the quantity of content to be
downloaded and the urgency of the broadcast.
There is a later a “backhaul” of in-
formation via GPRS from the stores to
the broadcast centre to confirm that the
flighting of the content did take place.
This global communications phenom-
200 — The ANNUAL 2008
enon is dominated in South Africa by One
Digital Media. It owns more than 6 000
screens which are installed in more than
1 000 stores around the country including
134 SuperSpars, 100 bottle stores, 500
shebeens and taverns and it as installed dig-
ital freestanding display units in Pick n Pay,
Game, Dionwired and Makro Liquor. One
Digital’s screens are dominating retail space
and they have also been appointed as preferred
vendors to the 14 companies in the Foschini
group, to Milky Lane outlets and to Shell.
Most of the major, sophisticated South
African brands now use digital media at
retail. Early adopters of the medium include
Unilever, Distell, Cadburys, Coke, Rainbow
Chicken, Tiger Brands, MTN and Vodacom.
Because every screen has its own me-
dia player, One Digital Media has the
ability to broadcast static or moving im-
agery to any one screen or any group of
screens in its network. The ability to send
content to a particular screen or a select
group of screens is called narrowcasting.
Additionally, the screens can work in-
teractively with cellphones to offer shoppers
digital vouchers or topped-up airtime in
return for their patronage. This is a very com-
pelling prospect for retailers, brands and the
96% of South Africans who use cellphones.
A study conducted by Research Interna-
tional in South Africa across the Spar fran-
chise using 22 brands revealed that the brands
stand out 33% more when screens are used in
the retail environment and sales increase by
29% once the screens are seen by the customer.
In another South African survey, 63 out
of 64 brands studied showed a positive effect
on sales with success tracked against scan data
from the check outs – so to increase to the ap-
peal of screen advertising, add measurability.
For One Digital Media, business is
booming and their greatest challenge right
now is managing its explosive growth. With
already more than 120 top brands on board
they have also been asked to advise a major
UK supermarket chain and to pitch for BP’s
business in the UK, Europe and the United
States – which would include a whopping
6 500 outlets on both sides of the pond.
Internationally, digital media at re-
tail is huge. Wal-Mart alone has screens
in over 3150 stores in the US. In China
Focus Media has 125 000 screens in 90
cities in office and residential buildings.
One Digital’s CEO, Mike Bosman, is
a formidable businessman and marketer.
He has at various stages of his diverse and
entrepreneurial career served as CEO of
two of the largest ad agency groups in
South Africa, TWBA and FCB. Prior to
that he worked at Investec in project and
corporate finance. He was also the head
of FCB North America, at the time a
huge operation with billings in excess of
$6 billion and about 3 300 staff members.
His right hand man and chief operating
officer, Andrew Ridl, is a young professional
whose experience seems at odds with his
years. While Mike wears the strategic, com-
munications and marketing hat, it is Andrew’s
technological and logistical brain that rolls
out the development of hardware, software,
scheduling and a massive on-the-ground work
force. His credentials are impeccable and
include eight years of international IT and
logistics exposure at companies like Siemens,
Hewlett Packard and Compaq in Europe.
The two have harnessed their expertise
to produce a leading-edge company that
01.
offers some of the most sophisticated dig-
ital at retail marketing in the world. Says
Mike, “We have been operating for just
over two years now. An advantage of be-
ing something of a ‘Johnny-come-lately’
in the international market means that we
have been able to learn a lot of lessons that
other companies in the US and in Europe
learnt the hard way – with their money.”
“This has enabled us to leapfrog some
of the technologies already in use and we are
now, at least for the time-being, a generation
ahead,” adds Andrew. ”Among other things
all of our screens have wireless capabilities and
we operate typically on shelf-edge, next to the
product, in the supermarket environment”.
And this is exactly what keeps Mike and
Andrew interested. “The technology gets
cleverer, faster and cheaper each year – the
screens we installed six months ago have
already been superceded by thinner, more
space-age looking ones. Things move fast and
we need to keep up. We constantly upgrade
and improve – this is part of the excitement.”
It is vital to have an incredibly ag-
ile technological infrastructure, but
it is the quality of the content on the
screens that sells products and brands.
With the massive capital outlays that
obviously characterise the business, Mike
regards himself as fortunate in having busi-
ness partners that can provide both financial
and strategic support. One Digital is owned
by management, staff and a few external in-
vestors. A 35% stake is held by VenFin, part
of the massive Rupert group of companies
which includes Richemont and Remgro.
Mike very much appreciates their in-
volvement. “They are brilliant partners to
have,” he says. “VenFin owns portions of e.tv,

02.
Tracker and Dimension Data and they used
to own 15% of Vodacom, so as partners they
really understand the technology space.”
One Digital Media does not usually install
TVs or computer monitors in store. Typically
custom-built screens are used that don’t have
speakers or TV tuners or even on/off buttons.
Andrew underscores the differences. “TV
monitors require TV licences and computer
monitors require software and licences. And
in-store TVs can be interfered with by staff,
competitors and consumers – if you have
promised brands airtime you don’t want
the screens tuned in to tennis, for example.
“Our screens are controlled remotely
by us on the instructions of the stores.
We switch them off at night and turn
them on in the morning but the stores are
in complete control of what shows and
when. Another bonus is that the screens
automatically restart after power outages;
there is no need for anyone to run around
switching all the screens on”, he explains.
This neatly addresses the issue of lost
flight time. It is estimated that South African
business loses billions of rands annually due
to TV and radio adverts that never flight. One
Digital Media can provide a complete audit
of each of their 6 000 screens each month,
proving to brand managers that they have
AGENCY PROFILE
received exactly what they have paid for.
“And if there has been a technical error or
a power outage”, says Mike, “we refund the
brand or offer them additional flight time”.
One Digital Media is primarily a media
owner that advises on strategy and pro-
duces creative work. The screens come in
a variety of sizes from 7 inch to 50 inch.
Rear projection screens can be up to 2m by
2m, if necessary. The screens can be used
as a general screen for many brands or the
smaller ones can be placed at the product
site on the shelf edge for targeted messaging.
There are various business models that
03.
One Digital Media adopts depending on how
much advertising can be sold on a network.
This includes the opportunity for businesses
to rent or buy the screens and One Digital
broadcasts to them and offers technical
support – this works for fast food outlet
menus and banks. Alternatively, One Digital
retains ownership of the entire process from
installation through to selling advertising
space to brands. Or they work out a hy-
brid, cost-sharing and profit-sharing deal.
One thing that is close to Mike’s heart
is the hassle-free factor, and he and his
crew take care of all the details. He ex-
plains the process, “First we meet with the
stores and brand owners and sit in strategy 04.
The ANNUAL 2008 — 201
AGENCY PROFILE
05.
workshops with them. We do site visits to
all the stores and observe traffic flow and
consumer behaviour. From this we calcu-
late the best screen placement strategy to
ensure maximum exposure and effect. Once
this is sorted out, we do the installations,
often at night, so there is no down time.
“As far as the development of crea-
tive work goes we either get referred to the
brand’s ad agency or we do it ourselves”,
Mike says. “Many agencies don’t want to
play in this space because content production
is pretty cheap and there are high volumes
of work to deal with. And it’s not highly
sought-after creative work when one com-
pares it to TV advertising. It’s more like
the reinvention of the short silent movie!”
Creatives also need to bear in mind the
different screen sizes. “What works on a
7 inch screen doesn’t necessarily translate
effective communication on a 42 inch screen.
We often have to create two or three versions
of the same content. We also need to cater for
landscape and portrait layouts,” he points out.
The main aim is to impact behaviour by
persuading shoppers to become consumers
or to get them to swap from one brand to
another. Mike says it’s that simple, “The
whole point of what we do is to increase
sales and brand awareness. And there is
no place to hide because we can see the
return on advertising investment imme-
diately by comparing ad flighting times
to sales scanner data at the checkouts”.
Experience has shown that targeted
202 — The ANNUAL 2008
06.
messages are important. For example, back-
to-school messages in supermarkets can be
different in Sea Point and in Rustenburg.
“Language is also powerful and shebeens in
Jo’burg can use Sotho or Tswana while for
the Cape Xhosa is probably the best choice.”
Aside from content that speaks to con-
sumers, a vital aspect of their business is
technical support, Andrew continues, “We
serve up simplicity – in no way must our serv-
ice impact negatively on the store manager.
They don’t have to think about turning the
screens on and off, nor do they have to report
technical failure because our support teams
are permanently plugged in via PDA’s – we
know a screen has gone down before the store
does. We are bound by strict service level
agreements with which we always comply.”
Mike says that he does not expect dig-
ital media at retail to detract from other
media. “Sure we will compete for a slice
of the same budget but just as the inter-
net hasn’t killed magazines, digital at re-
tail won’t replace mainstream advertising
– they have different purposes”, he says.
“We tend to work hand in hand with
all major agencies. Over the last year we
have had to spend a lot of time and energy
working with the advertising and market-
ing industry to introduce this medium“.
One Digital Media is also involved in
cellphone industry. These days there are
hundreds of models of cellphones on the
market and it is onerous, if not impossible,
for sales staff to efficiently spend time in
07.
store with clients explaining accurately the
features, benefits of each phone and com-
parisons between phones. One Digital has
developed display stands that that hold the
actual phone, as opposed to the plastic rep-
licas so often seen in store these days. The
phone is attached to the stand by a retractable
cable so that when you pick up the phone the
information and the pricing for that particular
phone comes up on the screen on the stand.”
The company employs 121 people in
Johannesburg, Durban and Cape Town. “We
have a solid team that includes sales staff,
electronic engineers, creatives and software
developers plus support and admin staff – a
real mix-up of interesting people. It’s a diverse
and fabulous bunch to work with”, Mike says.
When you consider the impact of
new technologies, it’s not hard to see or
imagine how touch screens, surface com-
puting, 3D shop windows will affect our
lives. It does seem as if the possibilities
in digital media at retail are limitless.
Client references
“As the price war unfolds while clutter and
choice grow, the need to stand out on the shelf
and in-store through innovative and domi-
nant in-store solutions becomes even stronger.
“In-store media represents a growth
area for Unilever as this channel is relatively
untapped. We chose to invest with One
Digital Media In-Store Channel in 134
SuperSpar’s at ‘grass roots’ level to achieve
market advantage with the objective of
driving volume in each of our categories.
“We have recently renewed our contract
with One Digital, taking our learnings in
this new channel forward to better leverage
our investment. They have proven to be
a strong strategic partner, providing a high
level of client service and compliance along
with a willingness to better understand our
brands and business needs.” – Debbi Dale,
media director: Unilever, AMET South Region
“One Digital Media is at the leading
edge of technology with their GPRS
technology and satellite navigation of
the in-store screens on which you can
change an advertisement in a particular
store if you like in a matter of seconds!
“In addition the team is entrepreneurial
and innovative and always willing to do
what is best for your brand. We needed
screens in 80 appliance stores where we had
not previously used them. Within a week,
there was a plan to install the screens for
us which would help to bring our brand
communication to the point of purchase.
“The other advantage is that you can
measure your One Digital retail media
investment. Most in-store media is not
measurable. Their screens are much more
engaging and effective than other in-store
point-of-sale devices, driving higher brand
awareness and growth. On Air Wick Mini
the sales grew 62% – directly as a result
of the screens!” – Katrien Grobler, market-
ing manager: HomeCare, Reckitt Benckiser
 AGENCY PROFILE

08. 09.

01. Part of the One Digital Media Team, based in Stellenbosch

02. One Digital Media’s client list includes many of South Africa’s top FMCG brands
03. Screens are installed in 500 taverns around South Africa and provide community audiences
with entertainment, information, and news of promotional activities
04. Interactive mobile campaigns are going to be a part of retail marketing going forward
05. Digital menu boards will replace static back-lit menus on which products and prices
can now be changed
06. Lifting a cellphone handset causes the information about that specific phone to be
flashed on to the screen above it
07. Internationally, instore imagery is increasingly using digital media
08. Digital counter top hot spot units such as this one for Unilever add to the digital
instore revolution
09. Wireless shelf edge screens are proving to increase sales and have shown to cause
the brands to ‘stand out’ 33% more than before
10. Detailed product information can be displayed on these eye-level 7-inch and 10-inch screens
10. 11. Independent research has shown that screens at shelf-edge caused sales to increase
by more than 29%, once they were seen by the customer

11.

The ANNUAL 2008 — 203

AGENCY PROFILE

Pod Communications
Johannesburg
(Pty) Ltd
Type of agency:
360 degree solutions-based agency
Number of accounts/clients:
25
Biggest spending clients:
Pod has project-based relationships with
clients.
Accounts won in 2008:
Approximately 80 new projects
Accounts lost in 2008:
None
Company ownership:
25,1% CIDA (BBBEEE partner), balance
owned by the staff and director trusts
Contact details:
Tel: +27 11 463 8858
Mobile: +27 83 676 1822
Email: di@podcom.co.za
Agency billings:
± R27 million
self has earned recognition, last year being among others. The agency’s experience their own staff,” Wilson says. “You won’t
Number of staff:
named CEO Magazine’s Most Influential and insight in the FMCG, corporate and find that at Pod – here, leaders are taught
17
Woman in Business and Government, pharmaceutical arenas means it has a as much as they teach. Teamwork along
Key agency staff:
All
within the Media and Communications thorough understanding of how brands with sharing ideas and information are
Chief executive officer Diane Wilson sector. But perhaps more telling than any operate in these environments, as well non-negotiable.” Wilson reiterates that
Key moment in 2008: accolade is the fact that the majority of as how industry regulations impact on trust is an agency hallmark – the agency
Reaching a point where seven years of opera- Pod’s relationships with clients have en- the retail setting. must trust the ability of its staff and suppli-
tions have culminated in the skill and experi- dured since inception – rather impressive Wilson says that as Pod has grown, ers to deliver, and clients must have faith
ence required to take the next step forward. for an agency specialising in project-based so it has become more strategic, rather that the agency will help attain their goals
The agency snapshot in 50 words: interventions. than tactical, in approach. “We’re good – and the environment is fertile ground
Pod’s culture is one of nurturing and growth, Wilson’s background in both above- at understanding the context in which a for building these mutual confidences.
both internally and externally. The agency’s and below-the-line advertising has proved brand lives, looking at where it is now and “Scope and flexibility are bywords, and
philosophy is that it’s not about them, but an asset in forging an agency approach where it needs to be, and finding the best because it’s not possible to always have
about the incredible people surrounding that excels in creating seamless 360 de- solution to get it there,” she notes. It’s all the answers, strategic partnerships are
them – the team, clients and suppliers – and
gree executions. “We found that there is about adopting a long-term view – and important,” Wilson explains.
doing what they are passionate about - for
often a disconnect between above- and never forgetting that growth is always the Pod’s culture also creates a vibrant
clients to grow their business, on time and
below-the-line work,” she explains, add- ultimate objective. milieu for exchanging ideas. With a team
within budget.
ing that “Pod’s strength lies in the ability If Wilson has a keen grasp of why and that’s adept at finding the marketing
to interpret and translate briefs for tradi- how such growth can take place, it’s be- sweet spot for products from coffee to in-
tional channels into exciting, integrated cause Pod is rooted in an entrepreneurial travenous drips, ideas come from all quar-
Given its name, it’s not surprising that and effective promotions, in-store and spirit. Pod’s culture is grounded in the firm ters, and this collaborative effort results
growth is a key theme at Pod Communi- point-of-sale materials”. belief that every member of the team can, in an enormously creative outlook. How-
cations. When Di Wilson established the This has been shown to great effect and should, become a leader in their own ever, Wilson maintains that it is crucial to
agency in 2000, it was with an eye to fos- with Pod’s in-store promotion celebrat- area. The agency is particularly proud of temper imaginative ideas with an under-
tering an environment that would nurture ing Nestlé’s 90th birthday. From branded its work to develop students and interns, standing of the message to be conveyed,
and empower staff, while building a solid gondola ends to blitz areas, the agency but this philosophy applies equally to per- and perhaps more importantly, with the
foundation of trust on which client rela- created a vibrant in-store scaleable solu- manent staffers. “There is not one person acknowledgement that these ideas have
tionships could flourish. tion to salute the business. Pod has, in here who does not have an essential role power and impact. “As an agency, we
This philosophy has seen Pod itself fact, undertaken a variety of brand inter- to play,” she insists. need to be accountable to the ideas we
grow and thrive. Pod has evolved from ventions for Nestlé (a client since the early It makes sense, then, that there are no portray,” she says. “To date, we have not
Wilson’s original two-man outfit, operat- days), ranging from launches to internal hierarchies, nor divisions between crea- entered any awards. Our focus has been
ing from her dining room, into a 17 strong and corporate communications. tives and strategists. “I have always been producing powerful, honest creative that
360 degree player with an outstanding rep- Other clients include Nestlé, L’Oreal, amazed that we work in the communica- never misses the point of the communica-
utation for delivery and a special expertise Tiger Brands, 3M, Roche, Wyeth, Whirl- tions industry and yet so few agencies ac- tion.” It’s Pod’s aim to work with clients
in the below-the-line space. Wilson her- pool, FoodState and Adcock Ingram, tually encourage communication between that share a similar ethos, as for Wilson,

204 — The ANNUAL 2008


“it’s all about chemistry. Obviously, you
need to have the right credentials and
you need to know what you’re doing.
But, just as a seed grows with the correct
amount of sunlight, water and nurtur-
ing, magic can happen – all you need are
the right ingredients.”
That’s something Pod has discovered
for itself, through its partnership with
CIDA Investment Trust, which owns a
25,1% stake in the agency. “That means
that a quarter of our business is owned
by upwards of 1 200 students,” Wilson
notes with pride. The relationship works,
she says, because of the shared belief in
empowering people and nurturing talent
that extends to providing internships and
training for CIDA students. Pod intends
to offer an internship for students special-
ising in production and traffic, and in this
way will not only make an important con-
tribution to the country’s skills base, but
gain a solid platform for growth itself.
Any other plans for the future? “We’ve
enjoyed the past seven years carving our
niche and exploring where we can best
add value. With this behind us, we’re
AGENCY PROFILE
03.
ready to take the next big step,” Wilson
replies. “Our more strategically oriented
approach has enabled us to bring more
brands on board, while enjoying organic
growth, too.”
Wilson believes that in the current
operating climate it is vital that agencies
never lose sight of that all-important value
add. The role of agencies is changing: cli-
ents have a choice of suppliers to whom
they can outsource services and the ac-
cent is on extracting the most out of every
cent spent. “As such, we need to become
entirely integrated with brand manag-
ers’ needs and plans. We have to become
more focused when offering solutions – we
need to look at options that offer the most
value in terms of cost, even if that means
following a less conventional route. Essen-
tially, the role of the agency has changed
to that of project manager with a strategic,
long-term outlook.”
It’s an outlook that will assure Pod’s
future growth. And, although Wilson
is reluctant to reveal the agency’s plans,
suffice to say they will bring about enor-
mous opportunities for all stakeholders.
The ANNUAL 2008 — 205
It takes creative minds to turn problems into solutions or find opportunities where there are none.
At proximity#ttp, we’re geared up for that. So if you want to get your brand working, give us a call - we’ll have an idea how.

Contact Brendan Wade at brendan@proximityttp.co.za or call 011 447 7093.

 AGENCY PROFILE

proximity#ttp
Type of agency:
Creative services agency
Number of accounts/clients:
10
Biggest spending clients:
Cell C
Hospitality Property Fund (including
The Rosebank and Mount Grace Hotels)
Redgwoods (including Toys R Us and
Reggies)
Accounts won in 2008:
Redgwoods
Accounts lost in 2008:
Tsogo Sun
Company ownership:
30% BEE
Balance by individuals
Contact details: On the day that we arrive to meet proximity#ttp’s new managing partner Brendan Wade
Mobile: +27 83 375 9689
Email: Brendan@proximityttp.co.za
and the company’s highly-awarded creative partner Stuart Stobbs, there’s electricity in
Agency billings: the air sparked by the two guys’ enthusiasm for their new vision for the company.
R12 million
Key awards in 2008: proximity#ttp’s previous managing part- retro concept, but it is one that they are ing, products and marketing, proposing
1 Gold Loerie, 1 Silver Loerie and 1 Bronze ner Nici Stathacopoulos founded The adamant is coming back into play. The re- and implementing creative solutions.
Craft Certificate at the Loeries. Tipping Point in May 2002, and then surgence of the creative studio in the 21st “This vision is characterised by the
1 Gold Echo in January 2006, joined forces with local century is seeing the creation of multi-dis- kind of work we’ve been doing for our cli-
In 2008, Stuart Stobbs, creative partner, has agency group BBDO South Africa and cre- ciplinary, multimedia agencies capitalising ents for a while already, but it now forms
also judged The Loeries Experiential and In- ated a local venture called proximity#ttp on the strengths of creatives, architects, the foundation of our company strategy,
tegrated Campaign categories and Caples in under license to Proximity Worldwide, a designers, writers and creative strategists and the kind of solutions we’ll be coming
New York, and Malcolm King, creative direc- BBDO-owned group of agencies. capable of focusing not just on advertis- up with in future,” Stobbs.
tor, art, judged the Loeries Digital category. In 2008 Brendan Wade was headhunt- ing, but on every point at which a custom- A strong strategic team at
Number of staff:
ed to join the strong creative and strategic er experiences their clients’ brands. proximity#ttp fortifies the young blood of
25
team already in place at proximity#ttp, to Wade and Stobbs’s approaches to busi-
Key agency staff:
provide an injection of young blood into Consulting firms ness, and the company benefits from the
Directors:
the fast-paced, creative workplace. In the past, agencies had the ear of their cli- backing of its heavyweight global partner,
Brendan Wade
Wade and Stobbs have not been ents’ CEOs or managing directors. Wade the youngest and most-awarded of global
Stuart Stobbs
Tiekie Barnard
working together for very long, but it’s says that agencies have now retreated and networks, as well.
Management Team: immediately apparent that the partnership been dumbed-down, and that respect for “True creativity can solve business
Malcolm King works. Together, they have formulated a their services has diminished. Following problems best,” says Wade. “I believe
Claire Tyler strategy for the company that capitalises this, their role has been replaced by con- that at this point in time, proximity#ttp
Taryn Coetzee on proximity#ttp’s existing talent for de- sulting firms, which, according to Wade, is the only agency in South Africa that’s
Key moment in 2008: livering innovative strategies as, or even are not dissimilar from the ad agencies of capable of providing this kind of thinking
Win of Redgwoods before, the industry demands them. “We the past. “Consulting firms are using em- and service.”
Appointment of Brendan Wade as aren’t repositioning the company,” says pirical models and tools, but the premise
managing partner Wade. “We’re doing what proximity#ttp is the same – that they sell bright people Client references
Winning a Gold at Echoes has always done, which is reinventing it- providing commercial solutions.” “Their passion, creativity and understand-
The agency snapshot in 50 words: self in line with the needs of a fast-chang- ing for our brand were on target and in
The team at proximity#ttp believes that crea- ing industry, and catering for, or even an- Notion of what creativity is has changed line with our thinking. The proximity#ttp
tivity can solve business problems best.
ticipating those changes.” In the past, creativity was defined by vis- team is highly experienced and have depth
By consistently delivering more, better,
Their vision for the company is based ual expression. Now, with the emergence in their different expertise of above, be-
cleverer solutions than their clients request of
on three key influences that the two part- of creative strategists, they’re playing in low, and through the line marketing.”
them, proximity#ttp is redefining how agen-
ners believe are shaping the industry at the space of ideas. “We’ve moved from – Issy Zimmerman, Redgwoods director
cies and the entire industry are viewed. As
the moment. thinking in pictures to creative thinking
creative strategists, their solutions are innova-
tive, and unbound by any of the restrictions of
to solving business problems creatively,”
traditional media, style or discipline.
The rise of the creative studio says Wade.
Stobbs hastens to point out that there is These three points are setting the stage
irony in the fact that an element of the fu- for agencies to deliver a new kind of serv-
ture of a successful agency depends on a ice that thinks in the space around brand-

The ANNUAL 2008 — 207

AGENCY PROFILE

Publicis
Type of Agency:
A multidisciplinary marketing
communications agency
Number of accounts/clients:
20
BIGGEST SPENDING CLIENTS:
Procter & Gamble, Renault,
L’Oreal/SoftSheen Carson,
SAB, sanofiaventis, Nestlé
Accounts won in 2008:
Medscheme and new business
from Sanofiaventis OTC
Accounts lost in 2008:
Declined to re-pitch for Cadbury
Company Ownership:
Publicis Groupe holds 51% and
local shareholding 49% - with
Lekota Investments having 26%
and local management 23%
Number of staff:
64
Billings:
For an advertising agency that’s been around search marketing services provider, with the mercials and can sort a bullshit story from a
Not disclosed
since 1974, people may be surprised to see aim of generating 25% of its sales from the genuine one, observes Spriesterbach.
Key awards in 2008:
how vibey Publicis is – from the chatty staff internet by 2010. Spriesterbach says that the “One of the key challenges facing both
2 Loerie finalists and Ad of
to the vivid township photographs on the international group is the fastest-growing advertisers and the advertising industry is
the month for Lunch Bar
walls to the playful road sign outside that interactive network in the world, having cre- the massive power consumers have over
Key aGENCY STAFF:
reads: “Putsonderwater – 50”. ated specialised media agencies to explore creating and shaping brand perceptions,
Chairman: Francis Blitz
There’s certainly doesn’t seem to be the possibilities of new technologies. through the power of word of mouth and
Managing director: Marc Spriesterbach
anything staid or stuffy about this estab- Locally, this will mainly impact on Pub- mass communication tools such as mobile
Executive creative director: Kady Winetzki
lished agency. As managing director Marc licis’s globally aligned business such as Re- and the Internet,” he points out.
Head of strategy: Tim Allemann
Spriesterbach confirms, Publicis is not only nault and L’Oreal, but there is definitely an “This reality needs to be embraced
Creative director: Kamlesh Jogee
about creating “contagious ideas that change acknowledgement that new media platforms though greater focus on moulding and
Client service director: Nicole Bruce
the conversation” to the benefit of clients’ are changing the way people communicate, changing brand conversations in our fa-
Client service director: Nicola Ezra
brands, but is intent on changing the con- and advertising needs to keep pace. vour, and using consumers as part of our
Financial director: Alberto Gouveia
versation about Publicis itself. “In my opinion, the greater SA has little communication arsenal.”
Key moment in 2008:
“We’re a Steady Eddie that’s been around or no access to the internet, and where they Enhancements in technology mean
Winning the Medscheme business;
for a while, but there’s something fresh in the do, the majority are interacting in a work that creativity is no longer seen as the sole
creating a new campaign platform
air – a new energy. We’re metamorphosing environment. However, the fastest growing preserve of the communications industry,
for Lunch Bar and the continued
the agency to up our game and breathe new cellphone market in the world is in Africa, and there are clients who are intent on giving
success of our clients’ business.
life into the company.” where the value of a cellphone in people’s the pros a run for their money.
Contact details:
Having seen the light of day 34 years lives is so much higher. For us as Africans, “There is still a craft to what we do – in
Johannesburg Tel: +27 11 303 2000
ago with just one client, Cadbury, Publicis the mobile medium is more important in terms of design, layout finishes and so on
Cape Town Tel: +27 21 425 8838
grew in stature and reputation and subse- communications than computers, at least – but some people are thinking, ‘I can do
Durban Tel: +27 31 533 7950
quently aligned with Publicis Groupe in in the short term.” this on my PC – why pay?’ It’s a problem,”
The agency in 50 words:
1997. The agency’s blue-chip client list Media proliferation – such as the growth admits Spriesterbach. “These juniors don’t
Publicis continues to enjoy good organic
today includes such prestigious accounts as in television offerings that will emanate from have the skill or the craft, and have blurred
growth, which recognises not only our
SABMiller, News Café, Renault, Procter & the issuing of new pay TV licences and the the line between crass and good.”
relationship with the clients, but also
Gamble, Nestlé, Hewlett Packard, L’Oreal migration from digital to analogue televi- Ultimately, however, there is no substi-
the contribution of the creative work
and Softsheen Carson. sion – is also likely to have an effect. tute for expertise and the value that a good
to the client’s bottom line. Improving
A new global positioning based on A brand really has to work for young, agency can add to a brand. Someone like
our creative output across all media
‘creating’ contagious ideas to change the discerning consumers who are increasingly Spriesterbach, who has been in the business
types is a focus going forward. We
converstation in favour of the brand’ will interacting via cellphone or Facebook, notes for 28 years, understands the market and has
believe in creating contagious ideas
project a more invigorated image for the executive creative director Kady Winetzki, honed his skills through experience.
that change the conversation in
agency, says Spriesterbach. “We’re not staid, or they’ll simply dispose of it. “Companies Aside from this, the agency is fortunate
favour of our clients’ brands.
methodical or fuddy-duddy – we want to be have to change their deliverables and give to have a very experienced team of profes-
seen as more successful, more fun, more consumers something truly special and sionals in its employ, many of whom have
progressive. The agency is on a drive to add original,” he says. enjoyed a long association with Publicis –
to its reputation as brand builders, with a With most teens adept at shooting photos from the CEO with 35 years’ experience in
stronger focus on creativity.” and video clips with their cellphones and the industry and the ECD with 20 years, to
Publicis Worldwide is pushing into digital posting them on YouTube, the techno-savvy several client service staff with more than
advertising and recently acquired a Google younger generation is more attuned to com- 15 years apiece.

208 — The ANNUAL 2008


01.
02.
Spriesterbach says that “advertising is,
by and large, about consistency – over time,
you build up and get to know the brand, and
see it in different guises. All your diverse
brand experiences build towards one brand
experience, leading you to decide whether
you buy into the brand or not.”
Therefore, building brand equity over
the long term is crucial. During an economic
squeeze, Spriesterbach advises that “rather
than being frugal, clients should be circum-
spect where they spend their money. Pick
points of conversation and hold intimate
conversations.
“The global guys understand the
value of marketing and advertising, and
are less susceptible to frivolities of change.
They are more consistent, and achieve
better results.”
In the case of Cadbury’s Lunch Bar, for
example, the public still remembers “Much
more munch” and “Makhathini”. Now,
creative evolution will see Publicis taking
the popular chocolate bar – voted tops in the
2008 Ipsos/Markinor Sunday Times Top
Brands Survey – to the next level, with its
new campaign titled “Obvious”.
Other favourite local brands that Publicis
works with are Brutal Fruit, whose “Magi-
cian” campaign was a hit, and News Café,
whose “Splash” commercial was filmed using
a high-speed camera capable of shooting 1
000 frames per second, depicting micro-
scopic droplets.
The agency has recently acquired Med-
scheme’s business, as well as Essentiale and
ViralChoice from sanofiaventis OTC.
In terms of future prospects, Spriester-
bach says that clients are increasingly look-
ing at expanding into the largely uncharted
commercial territory of Africa. “We need to
assess what we can do to follow our clients,
and identify markets where we want to be.
It’s important that we partner clients in
AGENCY PROFILE
markets that are important to them – like
we did with the shooting of a commercial
03. 04.
for Procter & Gamble’s Vicks Lemon Plus
for the Nigerian market.”
Adds Winetzki: “We send key people
into those markets to do research – going
into people’s homes, clubs, towns, seeing
what they’re eating, and basically im-
mersing themselves in the local culture.
To come up with effective advertising, we
need to walk a mile in their shoes first. It
strengthens Publicis to understand how the
consumer feels – don’t just assume.”
This year the agency has been respon-
sible for several well-liked ads, and has
clocked up strategic successes and organic
growth. Having said this, there is a drive
toward enhanced creativity.
“We’ve restructured the creative de-
partment and employed new people,” says 05.
Winetzki. “There’s a new strategic plan
and we’re re-energised. I think we’re a
more dynamic and challenging agency,
and more fun to work with.”
Spriesterbach says that the agency has
a solid international client base and good
credibility with its local business, but will
be concentrating on attracting more local
business into its fold. “We’re also looking
at adding a digital offering to our creative
06.
quiver, although it’s early days yet.”
Publicis’s philosophy is aptly reflected
in the colourful signed prints adorning its 01. Cadbury Lunchbar ‘Bear’ TVC.
walls, from a book called Life – Soweto 02. Renault Mégane Sport ‘What Power Shortage’
Style “They amplify what we believe in,” 03. Brutal Fruit TVC
explains Spriesterbach, “which is under- 04. Cadbury Lunchbar ‘Man Size’.
standing South Africans and appreciat- 05. Cadbury Flake ‘Orange’
ing the style of the people in expressing 06. Renault Mégane Sport ‘Flick’
their brands.”
In keeping with its distinctive lion
logo, there’s a mighty roar building in
Publicis. Chances are you’ll be hearing a
lot more about this agency in the months
to come.
AGENCY PROFILE

REX
Type of Agency:
Design & Branding
Number of accounts/clients:
12 Accounts
32 Clients
Biggest spending clients:
FNB, Boubyan Bank, Net#work BBDO
Accounts won in 2008:
ACICO (Kuwait)
Boubyan Bank (Kuwait)
Velocity (South Africa)
Accounts lost in 2008:
Two
Company Ownership:
100% privately & independently owned
Contact details:
Rudo Botha & Olivier Schildt
Telephone: 011 781 5442
Mobile: 083 322 6683 (Rudo Botha)
Email: za@rexworldwide.com
Website: rexworldwide.com
Agency Billings:
Undisclosed
Key awards in 2008:
Silver Loerie for Identity design
Number of staff:
8 in South Africa & 2 in the Middle East
Key Agency staff:
Rudo Botha & Olivier Schildt
(Co-owners)
Marc Ratcliffe (Account Executive)
Kais Al Naamani (Middle East)
Key moment in 2008:
Two things stand out:
1 — Creating a brand with which to fight
AIDS on a global scale. Working with
the pioneering team from WITS and
USAid was a life changing experience -
designing logos to save lives.
2 — This year REX started exporting
skills to the Middle East and as a result
have landed a mojor re-branding project
for an Islamic bank. It is significant
for us because it is the first project that
brings to bear the full spectrum of our
skills in ONE project - from brand
consultancy to developing the retail
solutions for the bank.
The agency in 50 words:
REX is a company of designers intent on
delivering business solutions in the form
of intelligent and inspirational design.
The company carries the conviction that
design is built on three fundamentals:
purpose, truth, and attraction.
REX operates internationally from
offices in Johannesburg and Kuwait,
working with clients ranging from Coca-
Cola World Wide in Atlanta, to the
WITS Pediatric HIV Clinic in Soweto.
Where branding meets
business
How branding and design can be more
relevant to business is not really a
question that Rudo Botha and Olivier
Schildt, partners and co-founders of
REX , ask themselves. Perhaps that’s
because of their approach to design and
creativity.
“We use design to solve business prob-
lems creatively,” says Rudo, managing
director. It’s an approach that has seen
them develop something of a reputation
as an interesting mix business consultants
and creative designers. “Whenever we
approach a project, we always start with
the business case, or the business prob-
lem. Then we look at where design can
add value in bringing about a sustainable
solution,” he adds.
And while many design companies
will pay lip service to the same approach,
few of them have the portfolio to back up
their claims. In REX’s case, examples
abound of what branding and design can
do for business. Its Botha’s personal belief
that the creative execution of a brand can
bring about the restructuring of business
and the birth of new vision and mean-
ing for a company. “Great design has the
power to impart a sense of self and give
a company a common sense of direction
and purpose,” he says.
But don’t take his word for it. In the
past year the company has executed a
number of branding, and design projects
that have delivered precisely these results
to its clients. Take its work on the redesign
of FNB’s ATMs for example. What started
out as an initial brief to create new graph-
ics for the Bank’s ATM interface, evolved
into a comprehensive project involving the
redesign of the entire platform, including
01.
screen flows, screen design, the develop-
ment of a unique terminology and design of
iconography for the interface. “We realised
that the project needed more than for us to
slap on some pretty graphics - and we’re
always energised by the challenge of adding
extra value, which is what happened with
the FNB project,” says Botha.
Further afield, one of REX’s most
exciting projects during the year was its
brand construction work for Kuwait-based
construction conglomerate, ACICO. The
company needed a global branding strategy
to provide it with the kind of professional
image that would enable it to compete on a
global stage But REX’s delivered far more
than just a visual identity; in the process
of designing the brand, it addressed the
issue of organisational structure within
the company.
“We started out trying to visualise
the company’s structure on paper and
realised that this had never been done
before. The company had grown different
‘limbs’ organically but in many respects
the left hand was not only not talking to,
but in many instances was unaware of the
existence of the right!” explains Botha. In
designing the visual identity, REX grouped
ACICO’s many different elements together
into three units under one motherbrand.
“This created a structure and coherence
that the business can now use to leverage
its offerings across these different sectors
within the industry, whilst it projects a
much more honest and impressive image
for the group,” he says.
Indeed, this has been a quite year for
branching out into international markets.
“Increasingly we are operating in an off-
shore market, where we have been able to
export our skills and services,” says Botha.
“This year we have started to see just how
“Great design has the
power to impart a sense
of self and direction”
valuable this is, not only from a financial
perspective but also from being fulfilled
personally and professionally.” In addition
to ACICO, REX recently landed a con-
tract to rebrand a Kuwait-based banking
organisation, and other projects for several
top-line Middle Eastern investment com-
panies and their subsidiaries have followed.
This is stellar progress for a small company
founded only four years ago.
The immediate plan is to start build-
ing presence in the Middle East, serving
Kuwait, The Emirates, Qatar, Saudi Arabia
and Egypt. “We have had a wonderful
response from people we have met there.
The professional environment is incred-
ibly cosmopolitan and we’ve found many
like-minded people who share a similar
approach to business with an all important
appetite,” says Schildt.
However, both he and Botha are at
pains to emphasise that this expansion is
not the fore-runner of a relocation offshore.
“The largest majority of our work remains
with South African companies and we’re
passionate about the challenges that this
country presents,” says Botha. In the past
year the company has been kept very busy
with local projects, including the creation
of a modern African lighting design leg-
end with Willowlamp, the rebirth of The
Homemakers brand, an inspired animation
project for Cell C Juice and iconic print
advertising for Clover.
“What the international exposure does
achieve is to impart a global perspective on
the local context, and to help us bring new
insights to bear on the work that we do for
all our clients. We have come back with
a greatly expanded vision of what brands
can do in the world. Most importantly, it
has given a new hunger to chase down the
kind of work we are good at and which we

210 — The ANNUAL 2008

 AGENCY PROFILE

01. Clockwise from top left: Rudo Botha,

Olivier Schildt, Givan Lötz, Logo, Marc Ratcliffe
and Eddie Graham
02. ‘the great urban experience’ - Strategic
re-branding for Timesquare
03. Animalfarm - Corporate identity for creative
consultancy captained by Porky Hefer
04. Gallery online - New internet presence
for production company Bouffant as part of
a strategic re-branding exercise (bouffant.tv)
05. Coca-Cola & Choice - Strategic branding 04.
aimed at children under 12 in compliance with
new international guidelines
06. Thinking out loud - Markinor celebrates
30 years
07. CellC Juice - TV Campaign developed in
collaboration with Net#work BBDO to attract
a young audience to the ‘juice’ portal
08. ‘B Ready’ - Online campaign leading up to
Phone +27 11 706 8884 Fax +27 11 706 6080 Web time-square.co.za

the unveiling of Bouffant, previously Fresh Address Number 3 Bruton Office Park 18 Bruton Road Bryanston
Postal Private Bag X170 Bryanston 2021 E Mail info@time-square.co.za

Water Films
02. 03.
09. Good-is-beautifull - Poster as part of
promotional campaign for Coca-Cola’s iconic
M5 project, in collaboration with Tennant McKay

06.

“There is no such thing as

design for design’s sake
in our world”
05.

07. 08. 09.

want to do,” says Botha.
The decision to go offshore has also
allowed REX to gear up while the rest of
the industry in South Africa is generally
gearing down. “However, we’ve always
retained a conservative approach,” says
Schildt. “We don’t go for 10 clients at a
time. Quality of life - for ourselves and for
our clients - is what we strive for.”
Apart from moving into the interna-
tional market, the past year has been a
watershed for REX in other ways. The Progress has also been made in height- management challenges.
company amicably parted ways with mega ening the level of fee extraction. “We solve It’s exciting to watch the rapid progress
agency Lowe Bull, which engaged in the the challenges right here,” says Botha. “Be- of this young design team, and to witness
process of buying a share of REX the previ- ing able to work on the challenges clients something of a design revolution. “There
ous year with the intention of broadening face, between these four walls, exclusively, is no such thing as design for design’s sake
the appeal and workflow of each agency. creates an intense engagement - one that in our worlda. For us, good design is built
“It was great experience working with the demands the very best we have to offer.” on three fundamentals of purpose, truth
guys from Lowe Bull but the business model “Performance levels have gone through and attraction. It can be the most valuable
wasn’t suitable for us. We now have even the roof,” says Schildt, as the agency is tool a business has to achieve greater effi-
more conviction to pursue and deliver our obliged to work on the whole range of ciency, greater differentiation, and greater
own offering,” says Schildt. strategy, creative, execution and project attraction,” Botha concludes.

The ANNUAL 2008 — 211

AGENCY PROFILE

02. 03.

01.

appearance.

01. Brand identity for South African icon,

free-floating
ethereal,
despite their
intelligent
durable and

Willowlamp, featuring the ‘Faraway Tree’

chandelier About Willowlamp willowlamp.com

02. Re-purposed, re-branded packaging solution Collapsible Chandeliers

for Adcock Ingram’s Expigen

03. Corporate identity programme for engineering
An entire

and construction conglomerate, ACICO, from

chandelier can
be transported
in a 24
centimetre
deep box

the Middle East

04. Studio Geography - Published work exploring
the relationship between creativity and the
environment it originates from - in
collaboration with the international design
community and published by independent
Norwegian company Willowlamp Collection

hundreds of

05. The 2008 Willowlamp product catalogue lengths of chain

are cut and
attached by
hand.

06. Strategic branding for salt+pepper, human

resource management consultancy to the
entertainment industry
05.
07. xealll.com - Brand identity and strategic brand
development for creative social network,
online
06.
08. Coke ReMix - Part of an international project
for Coca-Cola, inviting 125 artists from around
the globe to celebrate the brand’s relationship
with art over 125 years
09. ‘Betonoerwoud’ - Event branding as part of
Lucky Strike’s urban engagements
10. New corporate identity for Velocity Films
11. The Art of Science - One of 42 original artworks
installed in Ipsos-Markinor’s offices as part of a
brand engagement project
12. Ringing out hope - New brand identity for WITS
Paediatric HIV Clinics
13. Decidedly Duco - Repurposed packaging
solution for Dulux Duco spray paint range
09. 10. 11.

212 — The ANNUAL 2008

 AGENCY PROFILE

04.

07.

08.

12. 13.

The ANNUAL 2008 — 213

AGENCY PROFILE

Saatchi & Saatchi

TYPE OF AGENCY:
Full service
NUMBER OF ACCOUNTS/CLIENTS:
31
BIGGEST SPENDING CLIENTS:
Engen, Guinness, Proctor & Gamble,
Peugeot, BoE Private Clients
ACCOUNTS WON IN 2008: 02.
24.com, Sanofi-Aventis, Engen International Unit
ACCOUNTS LOST IN 2008:
SA Post Office
COMPANY OWNERSHIP:
Orlyfunt Holdings – 25%
Kopano ke Matla Investment Group – 25%
Saatchi & Saatchi Belgium SA – 26%
Local management and share trust – 24%
CONTACT DETAILS:
Tel: +27 11 548 6000
01. 03.
Fax: +27 11 548 6118
Email: gail.curtis@jb.saatchi.co.za
AGENCY BILLINGS:
R300 million Saatchi & Saatchi SA earned itself a brand new status seen the agency back on the creative league tables and
KEY AWARDS IN 2008: in 2008 as one of only eight “Lighthouse Agencies” in winning awards.
1 x Bronze Lion Cannes the global network, elevating the local operation to the The agency won four Loeries across outdoor, am-
6 x Cannes Shortlists same rank as London, Paris, Frankfurt, Copenhagen bient and digital – proving they are indeed providing
Bronze Award at The One Show
and Dubai in a new initiative intended to rocket the new solution for clients in all areas. They had six short-
2 Merit Award at The One Show
group’s growth. lists at Cannes and took away a bronze Lion. The lo-
New York Advertising Festival - Bronze Medal
The agency earned its standing in the global com- cal office plans to make a major contribution to the
Grand Prix Winner VUKA Television Awards
munity, but also regained its stature on the local crea- Saatchi global network creatively by 2010. Saatchi &
4 Loeries (1 Silver, 3 Bronze)
Ad of the Month – February, March, June and July 2008 tive league tables, making 2008 a year of growth and Saatchi is ranked among the top three global networks
1 x Bronze Eagle achievements for the Lovemarks team. following its performance at Cannes 2008.
1 x Gold Pendoring “Lighthouse Agencies” have the responsibility of Saatchi’s reinvention demanded that it relook
NUMBER OF STAFF: driving capability throughout the EMEA Network and human interests in the organisation and focus on at-
170 this provides SA teams the opportunity of participat- tracting and replacing people outside of “traditional,
KEY AGENCY STAFF: ing on a global platform with international clients, as mainstream” advertising: “Most of our key players
Group chief executive officer & head of Africa network: Gail Curtis well as attracting international business to the EMEA are now skilled in the areas of digital, gaming, media,
Group financial director: Graham Reynolds
region – an area S&S is looking to grow. and PR. In the future, two out of every four employees
Managing director Cape Town: Ian Young
Gail Curtis, group CEO and head of the Africa Net- will come from backgrounds outside of conventional
Managing director Johannesburg & Africa network: Grant Meldrum
work, sees this as huge recognition for the South Afri- advertising. We can no longer replace apples with ap-
Deputy managing director Johannesburg: Nicola Scheuble
can operation and immense support from the EMEA ples, we need to replace them with digitally minded
Creative director Johannesburg: Bennie du Plessis
Executive creative director Cape Town: Anton Crone region for the development of Africa as a whole. oranges,” says Curtis.
Head of AtPlay: Allan Kent And it has been achieved alongside a strong focus Saatchi has been playing in the interactive and
Deputy managing director Cape Town: Graham Cruikshanks on reinvention: “Saatchi had always understood the digital space since early 2000 and has made a major
Head of Saatchi & Saatchi X: Susan Evered need to reinvent itself and our transformation began investment in AtPlay, the interactive arm of Saatchi
Managing director AMComms: Ayanda Mbanga some time ago when our company purpose was revis- & Saatchi, to work alongside all major clients. AtPlay
Managing director Recruitment Advertising (Pty) Ltd: Joseph Kganakga ited and refined to reflect and respond to sweeping has several awards under its belt and is recognised as
KEY MOMENT IN 2008: changes in technology and consumer behaviour. a creative force in the digital arena. “We expect to
Saatchi & Saatchi SA became one of only 8 “Lighthouse Agencies”,
“We identified a value proposition that could raise see our massive growth continue,” says Allan Kent,
giving the South Africa operation the same status as London, Paris,
and create value – adding capabilities and activities recently appointed head of AtPlay. “The investment
Frankfurt, Copenhagen and Dubai in a new global initiative to rocket the
while reducing and eliminating value-destroying ac- into AtPlay over the last two years has built a strong
group’s growth.
tivities and ways of working. Our future will be built foundation for us to continue to grow and to offer our
THE AGENCY SNAPSHOT IN 50 WORDS:
We don’t have a mission statement, we have a purpose: around Xploring, interactive, shopper marketing, de- clients compelling content solutions.”
Our Inspirational Dream: To be revered as the hothouse for world-chang- sign and media for the attraction economy.” 2007 saw the launch of Saatchi & Saatchi X, the
ing ideas that create sustainable growth for our clients. The South African operation mirrors the glo- retail division aimed at turning shoppers into buyers.
Our Focus: To fill the world with Lovemarks. bal brand’s aspiration and in just two years is one The retail environment has changed dramatically with
Our Spirit: One team, one dream – Nothing is Impossible. of the leading agencies driving reinvention among the the convergence of economic pressure, technologi-
What differentiates us is Lovemarks. Lovemarks are the future beyond Lighthouse Agencies. The appointments of Anton cal innovation and the explosion of choice. Saatchi &
brands, owned by the people. What clients really care about is a Love- Crone, executive creative director Cape Town and Saatchi X recently appointed Sue Evered to head up
mark’s ability to engender Loyalty beyond Reason, and to create and
Bennie du Plessis, creative director Johannesburg, have this division and drive growth and revenue across new
sustain growth.

214 — ThE ANNUAL 2008

 AGENCY PROFILE

02.
04. 05.
01. Nicola Scheuble – deputy managing director Johannesburg, Gail Curtis – group chief
executive officer and head of Africa Network, Grant Meldrum – managing director Johan-
nesburg and Africa Network, Ayanda Mbanga – managing director AMComms, Bennie du
Plessis – creative director
02. Proctor and Gamble “Facelift” print
03. International Organisation for Migration “Bars” print
04. Back row from left to right: Susan Evered – head of Saatchi & Saatchi X, Allan Kent – head
of AtPlay, Graham Cruikshanks – deputy managing director, Anton Crone – executive
creative director. Front row: Graham Reynolds – group financial director, Ntombekaya
Nyati – regional operations director AMComms, Ian Young – managing director
05. Archers Aqua Campaign
06. Framegrab from Engen “Supporter” Corporate TV
06.

and existing clients.
Ian Young, managing director of
Cape Town, takes on the additional re-
sponsibility of working with Saatchi &
Saatchi X globally to drive the division
into the organisation: “We are seeing a
true revolution in how we shop, where
we shop and when we shop. Saatchi &
Saatchi X is one of the most exciting
developments to emerge in our industry
and we are seeing huge growth oppor-
tunities by partnering with our clients in
this area.”
All in all, Saatchi & Saatchi has had
a very busy year: it has brought the real
world and real people from outside into
the agency, saying goodbye to 15 tradi-
tionalists and hiring 19 dynamic new
personalities. Curtis invested heavily in
digital, interactive, shopper marketing
and planning.
“We hired people who have travelled
the world, gaining life experience and in-
sights while they plied a hundred differ-
ent jobs. We started producing content.
We made an animated TV series, turned
the internet into a primary medium and
TV & print into supportive mediums, we
created a comic strip and we proposed
turning an aeroplane into a football pitch.
We got the best people from the best agen-
cies and put them together with the best
people from completely different walks
of life and created the creative depart-
ment of the future.”
Add to this Saatchi’s decision to
launch Saatchi & Saatchi Sustainability
– a true blue sustainability project that
brings human culture and the living world
into a healthy relationship. It encompass-
es green issues like protecting our last
wild places and reducing our output of
CO2, but it also includes PSP (personal
sustainable project) to ensure happy peo-
ple in the organisation, says Curtis.
And they never forget the love:
Saatchi & Saatchi globally contributes
more to CSI initiatives than any other
network because they believe it grows
people. From a local perspective, big
campaigns are under way for UNICEF,
Operation Smile, Save Our Seas Founda-
tion and others. The local office recently
won the VUKA grand prix for its televi-
sion ad for the International Organisation
for Migration (IOM).
About Saatchi & Saatchi
Part of the Publicis Groupe, the fourth
largest communications holding com-
pany, Saatchi & Saatchi handles more
than 40 multinational companies in-
cluding Proctor & Gamble, Toyota,
General Mills, Novartis, Sony Ericsson,
Emirates Airline, Deutsche Telekom/
T-Mobile and VISA Europe.
With 153 offices and almost 7 000
employees, Saatchi & Saatchi is known
for its outstanding creative ideas that
generate powerful emotional connections
between consumers and products.
This is a key element in Lovemarks,
Saatchi & Saatchi’s unique methodology
for elevating the status of brands by creat-
ing “loyalty beyond reason” and “inspira-
tional consumers”.
“Saatchi & Saatchi boasts one of the
largest African networks. With 16 asso-
ciate offices, we offer our international
clients the opportunity of moving into
Africa, with the knowledge of getting the
very best of Saatchi people, expertise,
quality thinking and support,” says Grant
Meldrum, Managing Director of Johan-
nesburg and Africa Network.
Client references
“We here at Novartis OTC are proud to
be a client of Saatchi & Saatchi, a great
ideas team, truly committed to helping
transform our brands into Lovemarks
through the creation of deep meaning-
ful relationships between our consumers
and our brands.”
– Hilton Loring, Novartis
“Diageo is a big business in Africa and
a very successful business. Fundamental
to this success is our relationship with
partners Saatchi & Saatchi. We grew the
Guinness brand by 13% this year. It’s
been a fantastic year and we thank Saatchi
& Saatchi for its contribution to this
success.” – Matt Barwell, Diageo
“Love is the future of brands and agen-
cies. Saatchi & Saatchi know this and are
passionately committed to LOVE, which
is what sets them apart, and what must set
our brands apart too.”
– Andy Peterson, P&G

The ANNUAL 2008 — 215

AGENCY PROFILE

Switch
Type of Agency:
Multi-disciplinary branding agency
Number of accounts/clients:
181 current
big spending clients:
MTN, Subaru, Investec, Daily Sun, Coca
Cola, Zodiac, FNB, Anahita, Transnet,
Ekurhuleni, Unilever
Accounts WON in 2008:
MTN, North-West University, Subaru,
Transnet, Telkom Media, NPC
Electronics, USAASA, Werksmans,
SAPPI, Harith Fund Managers
Accounts lost in 2008:
All of the Switch Group’s work is project-
based. As such, the agency is appointed to
handle a piece of work against a defined
scope. Once complete, the project comes
to an end and any further requirements
are negotiated separately. This means that
the group never actually loses accounts.
Company ownership:
26% MS Manqele
24.67% G De Abreu
24.67% LF Shiller
24.67% PC Upton
Number of staff: Those Bryanston office blocks are fairly succeed, so too do they give us the opportunity June this year.
75 indistinguishable, one from the other, but to stretch ourselves and find original, creative Ignition was involved with the very popular
Billings: if you drive along Peter Place, pause at the solutions,” says Shiller. Live Earth concert held on seven continents
R61,033,307
Coachman’s Crossing and glance north, a Switch has assembled a team of special- and reaching a global audience of more than
Key agency staff:
S’bu Manqele sign down one side of a building will catch ists, each an expert in their field, covering two billion people.)
Gaby De Abreu your eye. Switch, it says. all aspects of branding and design so, says The Ignition Switch marketing partnership
Larry Shiller It’s not a sign that shouts out loud – it’s Shiller, clients that arrive with nothing, leave will combine strategic development, creative
Peter Upton
stylish, simple, more a tug of the collar. This with everything. direction and event execution and, in particu-
Contact details:
Tel: +27 11 706 9370 is Switch, a branding agency, named for a They offer a wide repertoire of skills which lar, fire up Switch’s already solid commitment
KEY AWARDS in 2008: quality of service that “causes a spark, creates include “a full roll-out” – from elements of to sports branding in South Africa.
Ernst & Young World Entrepreneur Finalists a connection and forges a new pathway” – design to full-scale strategic input, through- Switch has done some of the most memo-
Loerie Awards Finalist
London International Advertising
something akin to a moment of clarity. the-line services to communication with both rable sports branding work in this country
Awards Finalists. Nine years ago, founding partners Larry external and internal audiences. including the 2010 FIFA World Cup South
KEY MOMENT in 2008: Shiller, Gaby de Abreu, S’bu Manqele and An example of this is the work they did Africa emblem, the 2009 FIFA Confedera-
While extremely proud of the achievements Peter Upton, all of whom began their careers recently for FNB when they opened their tions Cup brand identity and rebranding
of the group in the past year, 2008 will
remain memorable thanks to a number of
at Pentagraph – an agency regarded as being imposing landmark building west of Johan- programmes for SA Rugby, the Springboks
significant highlights. One of these was a pioneer in the design industry and fondly nesburg. Switch designed everything from and Orlando Pirates football club.
entering into an agreement with experiential referred to as the “University of Design” – de- interiors to digital websites. S’bu Manqele, the group business director
marketing agency Ignition, to create a cided to go it alone, using the classic principles The agency is structured with integrated confesses, “We are all sports nuts.”
marketing partnership that will combine
strategic development, creative direction and they had been taught but sharpened with a specialists; skilled people who understand how But testimony to their versatility and
event execution. The new venture, named new-found independence. to work in a collaborative fashion. professionalism is the fact that their longest
ignition Switch, will focus on upcoming Today the four–man team run an agency But branding is still at the heart of the standing client is Investec, a prestigious account
marketing opportunities in South Africa
staffed by 75 people, acting as custodians for business. Shiller says he has watched how positioned as the vanguard of success.
and the region, initially looking at the 2010
FIFA World Cup and associated projects. premium brands as diverse as Coca-Cola, the art of branding and positioning has taken The last year presented some challenges
The agency in 50 words Investec and MTN, with offices in Johan- centre stage over the last decade or so. for Switch, which Manqele describes as a “year
“Intrepid”: a word as relevant in describing nesburg, Cape Town, Kenya, Nigeria, Dubai “It used to be that you advertised the prod- of consolidation” although cautions against
the Switch Group today as it was nine years
and London. uct first and then branded it – basically you did “talking ourselves into a recession”.
ago. Started in 1999 by Larry Shiller, Gaby
De Abreu, S’bu Manqele and Peter Upton, “We go where the work is, but we keep the advertising to find the branding. Actually His approach is very upbeat and he believes
Switch currently employs 75 associates in the work local knowing that South Africa you need to start with the corporate identity, logo a huge amount of work is coming their way,
five countries, and is 26% black-owned. can compete with the best of them,” says and brand essence before taking it to market.” particularly with the 2010 World Cup over
This multi-disciplinary brand consultancy
Shiller. In all creative industries, alive with talent and the horizon. Switch is strengthening the home
offers its clients complete branding solutions
spanning strategy, design, advertising, Switch’s focus is on igniting the real po- raw energy, it’s essential to avoid any ADD base in anticipation: “We made sure we are
digital and interior architectural design. tential of the brand – with start-up companies problems by staying one step ahead. Keeping geared for this with our full range of services.
The largest independent design consultancy, and products receiving the same amount on the radar screen is a priority and Shiller I believe that any great business is always
in Africa – with offices in Johannesburg,
Cape Town, London, Lagos, Nairobi and
of creative commitment as the better-estab- and colleagues hover at the cutting edge of prepared and ready for success.”
Dubai – the Switch Group’s “unshakeable lished ones. the industry, alert to trends, receptive to in- Their recent move to offices and the deci-
belief in brand” has differentiated this “Bringing a variety of stimulating work novation and “all the maverick ideas” that are sion to stay in Sandton is an indicator of the
agency both locally and internationally. into one’s agency is critical to incubate creativ- so vital to the industry. kind of confidence they have. Says De Abreu,
As “creators, nurturers and custodians”
of brands as diverse as Investec and the
ity. We therefore view our work with clients Exploring the world of experiential creative director of the group: “We’ve specifi-
2010 FIFA Soccer World Cup, Switch as a partnership. Just as we impart with them marketing has led to a partnership with ig- cally moved into office space where we can
remains committed to enabling its the branding tools and strategy they need to nition, an Atlanta-based agency, signed in expand, ensuring we can train more interns,
clients through creative excellence.

216 — The ANNUAL 2008


Interior Architectural Design: Zenprop
for example, and give our team the resources
and tools they need to continue to produce
exceptional work.”
However, Switch believes the way to get
through boom and bust periods is to instill
an unshakeable belief in brand. This gets
everyone through the hard times. Says Shiller:
“It’s at times like these that brands land up
driving purchasing behaviour. If you have less
to spend, you buy brands you trust. This is
part of the inherent strategy.”
There has to be a branded approach to
business, he says. Good branding, is simple,
authentic, elegantly executed – the core is
solid and there is no fuss.
Switch is very much part of the industry
and prefers to work on a united front. Its
involvement with THINK, (South African
Communication Design Council) an organisa-
tion which represents the design industry, is
an example of their commitment to improv-
ing their lot.
“We now have an agreement in force
where agencies have agreed to only take
part in paid pitches. There needs to be
recognition of what goes into our work
and that we are serious about what we do,”
says Shiller.
There is also some concern over skills
levels in the industry. Switch has committed
itself to assisting the Media, Advertising,
Print, Packaging and Publishing (MAPPP)
SETA in developing a new pool of quality,
up-and-coming talent through collaborative
internship programmes.
It’s the small things in life – like pay-
AGENCY PROFILE
Advertising: Subaru
ing attention to detail – that makes Switch
the agency it is.
Client references
“We found Switch to be very creative; they
followed our brief but added value to it. They
helped us by telling what was likely to work or
not, based on their own experiences.”
“They were really easy to work with and
understood what we were trying to do.”
“We have had good feedback from people
in our markets, they like what we are doing
and say its funky stuff - coming from a bank,
Branding and Design: FIFA
that is.”
“We had told them to go wild and we
would, if necessary, rein them in, but found
we didn’t need to as they produced something
edgy but not completely out there.”
– Justin Andrews, niche marketing
manager: FNB
“The quality of their work is excellent and
their people are unbelievable. They have
great ideas and are prepared to talk them
through with their clients. So you get what
you ask for. Their contrasts in colours and
designs are good.”
– Lisa Schewitz, sales and marketing manager:
Newmark Hotels
“Switch did a lot of work at short notice and
we were very happy with the calibre of the
work and speed with which they responded Branding and Design: Brandhouse
to our brief.”
– Anthony Garstang, MTN senior manager,
sponsorship and events
The ANNUAL 2008 — 217
 Name of Agency
Talk2Us

Type of Agency
Brand Engagement Strategists

Number of accounts/clients
30

Biggest spending clients

TFMC – Total Facilities Management Company

We’re the product of Linda Hamman’s genius: she founded Talk2Us in 2000. Accounts won in 2008
Anglo Platinum, Eventus, Universal Healthcare
We’re a small but dynamic organisation focused on engaging our clients’ stakeholders with
their brand through the use of best practice marketing and communication tools. As Brand Accounts lost in 2008
Engagement Strategists, we assist companies to maximise their value by developing and None
executing stakeholder engagement strategies, using all available tools of influence.
Company ownership
Our strength lies in interpretation, transformation and imagination: we aim to make Linda Hamman, Charles Nightingale,
the logic meet the magic. Jackie Hollick & Albert Hanekom

Contact details
Linda Hamman (Director)
µh‘ê’•Š„‘Œ–„—Œ’‘Ø–ê—•˜ˆê“’—ˆ‘—Œ„ê„‘‡ê–˜††ˆ––ꇒê (011) 706 1849
082 491 6433
‘’—ꏌˆêŒ‘ê—ˆ†‹‘’’Šœê„‘‡ê—„‘ŠŒ…ˆê—‹Œ‘Š–±ê…˜—ꌑêê Linda@Talk2Us. co.za
www.talk2us.co.za
—‹ˆêŒ‘—„‘ŠŒ…ˆê„•ˆ„ꒉꗋˆê„——Œ—˜‡ˆ–±ê…ˆŒˆ‰–ê„‘‡êê Agency billings
Undisclosed
…ˆ‹„™Œ’˜•–ꒉꗋˆêˆ“’œˆˆ–ê„‘‡ê—‹ˆê„…ŒŒ—œê’‰êê
Key awards in 2008
—‹ˆŒ•êˆ„‡ˆ•–ꗒꌑ‰˜ˆ‘†ˆê—‹’–ˆê„——Œ—˜‡ˆ–ê„‘‡êê Never entered any

Number of staff
Š˜Œ‡ˆêˆ“’œˆˆ–ê—‹•’˜Š‹ê„ê—•„‘–Œ—Œ’‘ꕈ–˜—Œ‘Šê 12

Œ‘ꊈ‘˜Œ‘ˆ±ê–˜–—„Œ‘„…ˆê†‹„‘Šˆ­´ê Key agency staff

Everyone at Talk2Us is key

The tool of influence is communication: if handled properly, it will build relationships, which
in turn will provide the opportunity to create an experience for the customer leading to brand
engagement, increased market share, greater profits. That experience is what will determine
the success or failure of a brand – whether it is in a bottle, a box or a burger. The common
denominator is people.
We assist companies operating at every business level to develop a brand culture through
measurable, professional initiatives and programmes tightly focused on organisational
capital, driven by its people from the inside out – and to build businesses through effective
communication and the synergistic management of State of Mind, Symbolism and
Stewardship – The Works!
Key moment in 2008
Winning two awards where the staff of a client, Multisource,
nominated us
The agency snapshot in 50 words
We build businesses through brand engagement: initiatives and
programmes tightly focused on organisational capital, driven by
the client’s people and beginning where it should begin – inside
the company. A persistent positive experience for the customer,
leading to a sense of belonging, is what we help to facilitate.
Result – brand equity.

Annual_Ad.indd 1
The Works are in our Boxes.
Our thinking isn’t. Collectively, our pertinent experience fills many, many decades, and collectively our energy racks up
megawatts. Our Stewardship is inspirational and we’re hooked on what we do. And we believe it is
fundamental to have fun in the process…

…like playing around with the Boxes!

Ideas are gold. People are platinum. Including OUR people…

10/3/2008 3:55:07 PM
AGENCY PROFILE
TBWA \South
Africa
Type of Agency:
Communication group
Number of accounts/clients:
119
BIGGEST SPENDING CLIENTS:
Spar Group, Standard Bank, Eskom,
Nissan, Neotel, Tiger Brands and Unisa
Accounts won in 2008:
16
Accounts lost in 2008:
3 E-Graphics
Company Ownership:
TBWA\Hunt Lascaris JHB, Durban
& Cape Town and E-Graphics - 100%
TBWA South Africa (70% Omnicom,
25% Shanduka, 5% BEE Employee
Trust); Magna Carta – 66% TBWA\
South Africa, 28.3% management, 5.7%
staff share trust; Tequila\ Johannesburg
– TBWA\Hunt\Lascaris 90%, executive
management 10% ; Tequila\ Durban –
TBWA\Hunt\ Lascaris Durban 100%
Number of staff:
496
Billings:
Not disclosed
Key awards in 2008:
Magna Carta – Finweek 2008:
PR Agency of the year 2008
Key aGENCY STAFF:
TBWA\SA
Chief operating officer: Derek Bouwer
Worldwide planning director & group
executive director: Marie Jameson
Managing director global accounts &
group development: Reinher Behrens
TBWA\Hunt\Lascaris Johannesburg
Managing director. TBWA Hunt
Lascaris Jhb & Chief executive officer,
TBWA\ Hunt Lascaris: Muzi Kuzwayo
Executive creative director:
Damon Stapleton
TBWA\Hunt\Lascaris Durban
Chairman: James Porter
Managing director: Richard Cassels
Executive creative director: Alan Nixon
TBWA\Hunt\Lascaris Cape Town
Managing director: Nicky Swartz
The most important part of any vision is the people who give it tangible expression
through the way they live out its possibilities every day. This is why our first
priority at TBWA\ is people and ensuring our culture is at one with our vision. This is
a culture that fosters collaboration, applauds disruptive behaviour and encourages
unique thinking and brave experimentation throughout the company to the
ultimate benefit of our clients
220 — The ANNUAL 2008
10 Things driving our brand between the idea and the target audience.
Lurking beneath the clichés about change, While Media Arts constantly evolves, the
any brand owner or custodian finds a host principle stays the same – to find new ways
of very real challenges. These can be met to engage meaningfully with an audience
only through the judicious application of that is becoming increasingly cynical.
Joint creative director: Sue Stewart
strategic principles and tools that extract
Joint creative director: Sasha Sanders
the essence of apparently overwhelming 3. Creating freedom to explore
Magna Carta
changes driving business and consumer A tangible expression of our commitment
Managing director: Michele Anderson
behaviour. to the Media Arts philosophy is Opus, an
Deputy managing director: Annemarie McKay
At TBWA\South Africa it’s our job to on-site recording studio at TBWA\Johan-
Director: Vincent Magwenya
help clients define and extract the value nesburg. Opened in January 2008, Opus
Tequila\ Johannesburg
to be found in leading change. To achieve has a full-time in-house composer, full
Managing director: Rizwana Bawa
this, we are also evolving and taking on audio suite and an edit suite for syncing
Creative director: Justin Wright
the challenge. This has helped us identify sound to visual.
Tequila\ Durban
and refine 10 strategic approaches that will The studio is a joint venture between
Managing director: Praveen Inderpersadh
take us and our clients to 2010 and beyond. TBWA\ and radio production agency One
These 10 areas all speak to the driving on One, itself the brainchild of partners
Managing director: Steve Serfontein
themes of the TBWA\family: to foster in- Rina Broomberg and radio celebrity Gareth
TBWA\Equator
novation, encourage creativity, and guide Cliff. Opus allows creatives the freedom to
Managing director: Naveen Sankar
and partner our clients through the maze explore media that falls outside the tradi-
Key moment in 2008:
of challenges. tional. A valuable tool within TBWA\, it
Magna Carta’s three in a row win in the
is also a business in its own right, produc-
Finweek: PR Agency of the year 2008.
1. Disruptive thinking ing commercials for clients outside of the
Contact details:
Disruption has always been a part of the TBWA\ stable.
TBWA\Hunt\Lascaris Johannesburg
TBWA\DNA and business philosophy.
Muzi Kuzwayo \Tel: +27 11 322 3100
By its very definition, disruption disturbs 4. Taking the digital high ground
TBWA\Hunt\Lascaris Durban
the status quo and turns convention on We expect the drive to extract the full promise
Eira Sands \Tel: +27 31 267 6600
its head. Disruption is not just about do- of the digital revolution will accelerate at an
TBWA\Hunt\Lascaris Cape Town
ing something different for the sake of it; exceptional rate as South Africa’s mobile and
Nicky Swartz\Tel: +27 21 417 5700
it’s about defining a vision that will drive broadband infrastructure takes unprecedented
Magna Carta
growth of a brand. A genuine vision, fuelled strides to match what is already available in
Samantha Presbury \Tel: +27 11 784 2598
by genuinely disruptive ideas that create developed markets.
Tequila\ Johannesburg
a future for a brand that is not possible Interaction between group offices around
Rizwana Bawa\Tel: +27 11 322 3100
today. It represents a growth or movement the globe has helped Tequila\ reposition itself
Tequila\ Durban
to something bigger. Building on the suc- to bring the right mix of top-end creative,
Praveen Inderpersadh\Tel: +27 31 267 6600
cesses achieved through the application of design, technical digital and mobile knowl-
E-Graphics
Disruption principles, we need to extend edge to the market.
Steve Serfontein\Tel: +27 11 322 3100
and deepen strong Disruption strategies Managing director Rizwana Bawa says
TBWA\ Equator
that evolve and grow as we do, and apply Tequila\ has been able to observe, learn and
Naveen Sankar\Tel: +27 11 217 3444
them rigorously to our clients’ businesses reapply the digital lessons of global markets
The agency in 50 words:
as well as our own. to South Africa. “Digital is exploding glo-
TBWA\South Africa is a group of companies
bally and South Africa is catching-up as our
that operate independently but share the
2. Reaching out with media arts broadband improves,” says Bawa. “Sharpen-
benefits of belonging to a larger group. These
Who says an advertising campaign has to ing our digital strategies and skills ensures
companies include; TBWA\Hunt\Lascaris,
be driven by a TV ad? Or even that a cam- that Tequila\ remains relevant to clients and
Tequila\, E-Graphics, Equator and Magna
paign has to be advertising? Not TBWA\. continues to deliver high-quality work.”
Carta. The Group offers services ranging from
Media Arts is a philosophy that dissects,
traditional advertising to design, digital and
re-examines and re-defines the traditional 5. Creating consumer conversations
mobile communications, brand activation and
role of media. As Damon Stapleton, execu- The explosion in mobile digital technolo-
experiential marketing, and public relations.
tive creative director points out, with new gies and tremendous consumer demand for
technology comes greater options, altering them has driven an equal explosion in the
the way a brand can work in and com- number of potential channels for engage-
municate with the market. In the world of ment. Never before have marketers been
Media Arts, media is anything that exists able to communicate on such an intimate
level with their audiences.
Opportunities to make real connections
with both mass and very niche target markets
are enormous. In partnership with Tequila\,
convergence communicators at NXT have
committed themselves to maximising these
opportunities by crafting mobile digital
solutions for clients. NXT is poised to de-
liver real value for clients in the midst of
this digital explosion. It’s TBWA\’s Media
Arts philosophy in action.

01.
6. Putting rubber on road
Transforming a philosophy and good ideas
into genuine value, and value for money,
requires innovation, speed and flexibility
in execution. This is what all companies,
including our clients, seek. TBWA\Dur-
ban has responded with a bold solution to
meeting clients’ demands timeously while
giving staff access to leading technology
and in-house editing and post production
facilities. With four editing and post pro-
duction studios in-house, TBWA\ is well
positioned to ensure efficient, innovative
and cost-effective service to clients.
7. Earning respect and reputation
Established as the market leader in South
Africa, Magna Carta is aggressively targeting
growth opportunities locally and in other
markets. Magna Carta has established an
African network that spans 16 sub-Saharan
countries and has developed healthy global
relationships with Ketchum and TBWA. The
agency is optimistic about growth prospects
in PR and remains dedicated to providing
clients with specialist strategic advice and
expertise needed in a business environment
that is always challenging.
The successful application of this ap-
proach has seen Magna Carta win Finweek’s
“PR Agency of the Year” award three years
in a row. The agency’s focus is on continu-
ing to add value to clients through its many
service offerings. These include a specialist
media unit to address traditional and new
media environments, a strong presence and
skills-set across a number of sectors such
as information technology, and a specialist
public sector team working across a number
of government departments. Magna Carta’s
core competency is reputation management
in the corporate, brand and public affairs
spaces, underpinned by thought leadership
and solid delivery.
8. Healthy living
The pharmaceutical and health care market is
an increasingly important sector with particu-
lar dynamics and highly specific marketing
needs. TBWA\ recognized that this market
AGENCY PROFILE
in the South African context seeks better
creative strategies that can succeed within
a host of regulatory constraints.
As a result, we acquired Equator, a
specialist pharmaceutical and health care
communications agency. Together, Equa-
tor and TBWA\ intend to grow the South
African market and create communication
solutions that answer the clients’ brand and
business needs.
9. Developing enterprising enterprises
Developing partnerships and nurturing
relationships with like-minded, talented
and equally driven people and companies is
fundamental to the TBWA\ growth strategy.
It enables us to offer our clients extended
value and allows both companies to learn
from and grow with each other.
A case in point is the establishment of
a brand activation, experiential and event- 02.
ing agency within the TBWA\ group. Our
partners in this initiative caught our eye not
only because of their specialist skills and
experience, but because of their dynamic and
innovative approach to business – qualities
we constantly seek and encourage.
10. Teaching the Business of Art
Art and business typically have a fraught
and fractious relationship. TBWA\ aims
to change all that with Room 13. This
is a programme that introduces under- 03.
privileged children to all forms of art,
from traditional painting to drama and
01. The Achiever Banking campaign for Standard Bank is a good example of tapping into the diverse
storytelling, and teaches them how to
expertise across the group to deliver a successful holistic campaign. The Campaign included ATL,
make a business out of it.
Web, Mobile and PR.
Room 13’s students in South Africa
02. The Mail & Guardian Online campaign used innovative use of print media (on edible paper) to
have already earned their wings, with
highlight the newspaper’s brand and positioning.
their latest art exhibition earning them
03. The Adventure is Anywhere campaign for Jelly Tots literally turned everyday places like elevators into
close to R100 000. Through Room 13,
places of adventure to capture the minds and hearts of kids everywhere.
TBWA\ aims to launch the kids into the
real world with an ability to really express
themselves and give their talent an op-
portunity to flourish. Of course, Room
13 is neither the start nor the end of our
commitment to change for the better.
Other TBWA\ projects include Tomor-
row’s Trust, The Haven, Boys and Girls
Town, EWT and WWF.
The ANNUAL 2008 — 221

thirtyfour
Type of agency:
Brand activation
Number of accounts /clients:
10
Biggest spending clients:
SAB, Grandslots (ThuoGaming SA),
Ster-Kinekor, Global Trader, Leapfrog
Accounts won in 2008:
Peroni, Brutal Fruit, Redds, Global Trader,
Leapfrog, Kimberly Clark (Kotex)
Accounts lost in 2008:
None
Company ownership:
75% local; 25% Mvelaphanda
Group through Indima Media
Contact details:
Tel: +27 21 480 3400
Email: info@34.co.za
Agency billings:
Not disclosed
key awards in 2008:
None
Number of staff:
22
key agency staff:
Chief executive officer: Andy Sutcliffe
Managing director, 34 Brand Activation:
Morne Fourie
Managing director, 34 Sport: Grant Hillary
Key moment in 2008:
Doing a smart BEE deal with a future
facing partner, Mvelaphanda Group.
Launching 34 Sport to turn the
sponsorship leverage market on its head.
Elevated to “dream team” status at Castle.
The agency snapshot in 50 words:
We promise open-minded, liberated
thinking to get clients out of the rut of
traditional advertising campaigns
Anyone who wants their below-the-line-
campaigns to give them free TV exposure
and increase sales by over 200% should
call on the specialist services of thirtyfour.
Need proof? Ask SAB or just Google “Back
the Boks”.
CEO Andy Sutcliffe moved to South
Africa from the UK after selling his agency,
Ignition, to international marketing giant
Omnicom. Having identified a real need for
innovative thinking in the local below-the-
line arena or, as he calls it, brand activa-
tion, he set up shop in 2007. He expands,
“Compared to our above-the-line cousins,
the majority of below-the-line work in the
market is uninspiring.’
Using the awesome advantage of his
01.
25 years of exposure to European brand
activation strategies plus his unwavering
eye for recruiting top talent, thirtyfour is
set to revolutionise the way brands take
themselves to market.
thirtyfour positions itself as a future-
facing agency with some definite aims in
mind, among them to invest in talent and
insight that will deliver brilliantly simple
campaigns that make a difference.
So, if you are looking for more bang for
your buck, this “pure play” below-the-line
specialist will deliver. It is their aim to cut
through the noise and capitalise on the excel-
lent, hitherto untapped, revenue potential
inherent in the below-the-line space. Says
Sutcliffe, “We are a completely results driven.
Below the line provides a platform for im-
mediacy and long-term relationship building
between people and brands.
“But,” he cautions, “our clients have
to want to do things differently.”
Given its tender age, the agency has
not yet garnered any awards and Sutcliffe
is candid, “Awards are not a major focus
for us at this stage of our growth. And
we are of the opinion that the way crea-
tivity and effectiveness is defined by the
traditional industry is too narrow. So as
we build up our body of work and can find
relevant categories that will appreciate
the great results driven work we do, we’ll
definitely enter.”
In the meantime thirtyfour has addressed
the issue of work by adding the following
accounts to their current portfolio:
• Peroni, Brutal Fruit and Redds
• Global Trader
• Leapfrog
• Kimberly-Clark
Poised to take these brands on are the
thirtyfour creative and business teams that
Sutcliffe says, “truly are a dream team
featuring some of the country’s top talent”
that he has brought together through a
recruitment policy based on David Ogilvy’s
mantra “the people with the best people
win!” Topping the list are Morne Fourie,
MD of thirtyfour Brand Activation, who
brings to the table incredible retail and
FMCG experience; Grant Hillary, MD, of
thirtyfour Sport and formerly a key client
at SAB; and Richard Phillips, the creative
director, who is as good as anybody Andy
has worked with internationally.
To add to these credentials, a recent
BEE deal has seen Indima Media, part of
empowerment giant Mvelaphanda, take
a 25.1% stake in the business. This is a
perfect fit as the group, already strong in
the traditional media space, was seeking to
enter the below-the-line arena. Addition-
ally, Springbok turned business consultant
Bobby Skinstad will represent Mvelaphanda
on the board of thirtyfour, so there is fur-
ther synergy with 34 Sport.
This is a significant move and is in-
dicative that Sutcliffe is not one to let any
grass grow under his feet, as is his mission
is to establish thirtyfour as South Africa’s
best below-the-line agency. Over the next
12-18 months 34 Brand Activation will
serve as the mothership for a fleet of sat-
ellite agencies of which 34 Sport is but
the beginning. He describes his strategy,
“We want to challenge convention. We’ve
identified gaps in below-the-line ranging
from digital and one-to-one communication
to retail and experiential, where thirtyfour
can make a significant difference. And
do it better.”
Sutcliffe believes that agencies need to
understand that specialization is a positive
differential in today’s new media market.
“I’m amazed at the number of agencies out
there offering a 360 degree integrated service.
There are only a handful of agencies here that
understand what this truly means.”
He is upbeat about the fact that the tra-
ditional status quo is changing. “Agencies
and their clients need to stop thinking of
TV ads first and then working backwards
from there to shoehorn in other channels.
The key is to develop brand-relevant ideas
and then explore the appropriate chan-
nels”, he says. Not that he thinks the age
AGENCY PROFILE
02.
01. Team 34 literally going below-the-line
02. Castle “Back the Boks” 8-pack renamed
“Scrum pack” for the promotion
of traditional advertising is dead. Rather,
Sutcliffe sees a potent synergy between
above and below-the-line campaigns,
which will impact on client spend and
those braver clients willing to explore the
alternatives. He backs this up with solid
figures, “when I left Omnicom in 2005,
64% of all revenue was derived from below-
the line- agencies”.
Client references
“thirtyfour are a dynamic international
team that bring a refreshing focus on lev-
eraging marketing spend to deliver meas-
ureable results to your business’ bottom
line. Innovative thinking, experiential
marketing techniques, a team-based at-
titude and a real desire to understand what
makes your business tick ensure delivery
of this promise from marketing execution
through to your P&L statement.”
– Charles Savage: CEO, Global Trader
“thirtyfour comes to the table with fresh
and innovative ways to rehaul traditional
promotion mechanics. They truly partner
with SAB on every project and provide an
excellent service. They are a pleasure to
work with.”
– Nerisha Ganasan: executive brand
manager, Castle Lager
The ANNUAL 2008 — 223
AGENCY PROFILE
Timesquare
Advertising
Type of Agency:
Advertising
Number of accounts/clients:
15
BIGGEST SPENDING CLIENTS:
Daihatsu, Reckitt Benckiser,
Merck Pharmaceuticals
Accounts won in 2008:
Vestergaard Frandsen
Ecostrong
Accounts lost in 2008:
None
Company Ownership:
Kim Millar
Number of staff:
21
Billings:
24 million
Key awards in 2008:
None
Key aGENCY STAFF:
Owner: Kim Millar
Client service director: Mike Kane-Smith,
Creative director: Gillian Bridger
Key moment in 2008:
Repositioning of the agency
Contact details:
Tel: +27 87 940 1629
The agency in 50 words:
Timesquare is committed to its evolution
of connecting business, staff and most
importantly, its clients. There is a sense
of urgency and intensity to design and
create inspiring (and ideally award-
winning) work in a great environment.
The agency expects this contagious
energy to have a positive impact on
existing client’s brands, while raising
the profile and appeal of its own brand.
If the only Times Square you know of is in
New York, you’re not alone. But three things
are for sure: firstly, you’ll definitely have
encountered work by the agency sharing this
global hub’s name at some point during your
day. That’s because Timesquare Advertising
has a special focus on the brands that make
up our urban experience, and which touch
on the things we love. Secondly, once you
encounter Timesquare the agency, you’ll
see that it shares the vigour, dynamism
and sheer go-go-go of its namesake. And
thirdly, you’re bound to start to hear a lot
more about it as it makes its presence felt
on the local ad scene.
In fact, it may surprise you to learn that
the agency has been around for 18 years.
In the words of managing director Kim
224 — The ANNUAL 2008
Millar, Timesquare is like a teenager, bold,
brimming with energy and braced to take
the next step forward.
It’s taken some time to reach this point:
initially focused exclusively on the medi-
cal environment, Millar combined her
big-agency experience with an intimate
knowledge of the healthcare industry to
create a number of extremely successful
interventions, ranging from campaigns to
product launches and packaging design.
With the laws governing advertising
in the healthcare arena changing in 2002,
the agency made a strategic decision to
broaden its scope, and a move into advertis-
ing over-the-counter medicines established
the platform for a natural progression into
the FMCG space. “Our shift allowed us to
hone the skills required for multichannel
communication,” Millar says – which is
why Timesquare is as adept at commu-
nicating to medical specialists as it is to
traders, high-end consumers and mom-
and-pop-stores.
It also brought with it a desire to repre-
sent more brands – “specifically, brands we
love”, Millar says. And that led to Times-
quare’s repositioning in 2007, when the
agency underwent a true star turn. Its in-
01.
terest in exploring broader industries was
met with a soaring response from clients,
with the result that the agency experienced
continued growth. This has resulted in a
concentrated search for talent, and has
culminated in the agency’s relocation to
new premises which, according to Millar,
gives true expression to its ethos. “I strongly
believe that your environment influences
the way you think,” she says, “so our new
home is specifically designed to allow for
stimulating experiences. We have a Chef’s
Table, an opulent library with Nintendo
Wii, as well as meeting areas and open
spaces that will encourage connection and
energy flow. The space mirrors the contrast
of urban life, which is after all what we’re
about, representing brands that target vastly
different markets. After all, in a cityscape,
you’re likely to find a fast food outlet on
the corner, a hairdresser across the road,
and so on.” It is also, she says, a space that
encourages integration between the agency’s
various departments (client service, creative
and production), and one that also invites
clients to get involved.
That’s important, because relationships
with clients are central to how Timesquare
operates. “Love” is a word Millar scatters
liberally through conversation, because
she’s adamant that the agency works only
with clients who share a mutual respect
and outlook, and on brands for which it
has true passion. “There’s no other way.
You do it with passion, or you don’t do it
at all. It’s like cooking a meal – you can
taste if it’s been prepared with love. By the
same token, if the passion’s there, you can
see it in the work we do, in the care and
commitment and the attention to detail.
And we invest the same energy in TV ads,
point-of-sale material or print – they’re all
equally important to us.”
That’s an essential part of Timesquare’s
energy she adds, and one of the reasons
the agency is unique. Another reason is
its ability to connect at all levels. “We can
see where our clients are right now, and
which communication solution is going to
suit them best at the moment. We never
lose sight of their direction and goals, but
if something’s not right for them, we’re not
going to suggest it. We’re not into creativity
for its own sake. We want to see our clients
take their business to the next level, and
sometimes it takes hard, solid communica-
tion to do just that.”
Timesquare’s relationship with Lom-
bard Insurance Group is a case in point.
The insurance and risk management experts
requested help from Timesquare to drive
business-to-business advertising. That
was two years ago, and what started as a
brief for a single trade ad, began with the
development of a strategy that has since held
together a new corporate identity and profile,
internal intranet campaign, conferences
and the annual Lombard Golf tournament.
“Lombard’s business has grown, and we’ve
grown alongside them as their needs have de-
veloped,” Millar comments. Dion Rheeder,
marketing manager at Lombard Insurance
Group, concurs that the relationship has
been a fruitful one. “Timesquare has always
been very professional in their dealings, and
their knowledge about us has developed as
we’ve grown,” he comments.
But at the same time, when more fo-
cus is required on the brand, Timesquare
can deliver. Here, the agency’s work with
Daihatsu stands out. Timesquare encour-
aged the client to depart from its traditional
hard-sell approach, instead developing a
stronger brand personality, as exempli-
fied with the most recent TV campaign
for the Sirion, with its “Live Big, Drive
Compact” positioning. As a result, Daihatsu
has enjoyed continued success even in the
current market.
Timesquare’s work for other clients,
including through-the-line campaigns for
Dispirin, Gaviscon, Strepsils, Iams Eu-
kanuba and Vanish, not only demonstrate
the agency’s level of skills and attention to

02.
04.
detail, but also its ability to communicate
across channels. “Few agencies are able to
speak to consumers across the spectrum. It
takes a very different kind of communica-
tion to sell a two-pack Strepsils into a spaza
store than to sell in a range of SKUs to the
pharmacist. That’s why below-the-line
communications are becoming increasingly
important, going forward.”
Millar has other ideas about where the
industry is headed, and some of the key
challenges that are sure to leave their mark
in the future include the skills shortage
and pitch processes, as well as increasing
demands from clients without a concurrent
increase in budgets. As a small agency,
Timesquare is affected by all.
So, what’s the answer? “When it comes
AGENCY PROFILE
03.
01. On the go… Timesquare outside their
new home.
02. A big ad for a compact car - brand positioning
TVC for Daihatsu Sirion.
03. The Amazing Race TV show creates an
opportunity to reinforce Disprin’s efficacy.
“Works fast, for people who live in the fastlane”.
04. New logo design and print campaign takes
forward-thinking, innovative Lombard
Insurance Group into the future.
05. Disprin moves away from “headache tablet”
territory into the broader benefits of removing pain.
05.
to budgets, we have to measure the return
on investment. Added to which, our growth,
and the growth of our clients, have made it
particularly important for us to participate
in addressing our industry skills shortage,
because as they up their stakes, so must we.
We address the problem through mentoring,
training programmes and internships.”
The question of free pitching is a little
more tricky, however. It becomes expensive
for small agencies to redirect their resources
towards pitch projects, especially when there
are several other, usually larger, agencies
involved. But, Millar concludes, although
Timesquare is eager to bring on board new
clients – particularly those seeking a more
creative approach – it is very selective about
participating in pitches
The ANNUAL 2008 — 225
AGENCY PROFILE
Troika
Imagineering
Works
Type of Agency:
Integrated brand communications
Number of accounts/clients:
17
BIGGEST SPENDING CLIENTS:
Dimension Data, RAM Couriers,
Sappi, Internet Solutions,
Bowman Gilfillan Attorneys
Accounts won in 2008:
Cool Kidz Corp, Teach South Africa
Accounts lost in 2008:
None
Company Ownership:
Independent
Number of staff:
22
Billings:
R19 million
Key awards in 2008:
Troika does not enter awards
Key aGENCY STAFF:
Not disclosed
Key moment in 2008:
Launch of Interactive division.
Contact details:
Tel: +27 11 884 0775
Email: info@troika-iw.com
Website: www.troika-iw.com
The agency in 50 words:
Troika is a specialised brand
communications company that uses
multiple media and alternative channels
to build and add value to brands. “Think
hard. Dream wildly. Execute flawlessly.”
This mantra has served Troika well
over 15 years of highly effective brand
building for leading companies
“Power to the Brand”. Troika Imagineering
Works’ strapline succinctly sums up what
drives the Sandton-based agency. It also
explains why Troika – a multi-disciplined,
integrated, brand communications power-
house – punches well above its weight in
terms of creativity and delivery.
“Every campaign we do revolves around
a core idea that emanates from a single in-
tegrated strategy,” explains chief imagineer
Graham Rothschild. “We use the platforms
and channels that are right for a particular
brand to power that brand.”
“Clients don’t have to brief multiple
agencies,” adds his partner and fellow chief
imagineer, Neill Moross. “As a single point
228 — The ANNUAL 2008
of contact we can ensure there’s a consistent
message to market created by one team. If
we don’t have the expertise in-house – and
we do have specialists in many areas – we
will partner with those who do, ensuring
that the brand image remains intact at every
point of contact.”
Rothschild and Moross launched Troika
15 years ago and they still oversee day-to-
day operations of the 22-strong team of
imagineers. The duo is actively involved
at every level of the business – strategy,
concept and execution.
Despite its relatively small size, the
agency boasts a prestigious blue-chip cli-
ent list that includes companies such as
Dimension Data and Sappi that have been
with it for more than a decade. Rothschild
and Moross are uncompromising about the
quality of the work and their philosophical
troika of “thinking hard, dreaming wildly
and executing flawlessly”.
The growth of one of their flagship
clients, RAM Hand-to-Hand Couriers,
is testament to the agency’s intelligence,
creativity and technical capability. When the
family owned business approached Troika
in 2004, it was operating under the radar in
a very niche market. Troika rebranded the
company and helped it to go mainstream.
The result? The number of RAM vehicles
on the road has more than doubled to over
600 vehicles, and research last year showed
that awareness of the RAM brand had shot
up significantly.
This year Troika shifted the RAM
campaign up a gear, putting the brand on
TV. The challenge was to conceptualise a
campaign that could be produced cost effec-
tively without compromising on production
values. Smart scripting, careful planning
and use of digital video allowed the agency
to shoot three 15 second TV spots in one
day, at around half the market cost. “It’s
a myth that you have to shoot on film. We
used video and produced excellent quality
ads,” says Rothschild.
Troika’s extraordinary versatility is high-
lighted in a recent integrated campaign for
IT giants Dimension Data and Cisco. The
two companies collaborated on developing
an IP telephony system for medium-sized
businesses. These companies seldom have
the know-how to assess sophisticated, highly
technical solutions. Troika’s solution was to
communicate only the business benefits and
strip out unnecessary techno-jargon.
It started by devising a user-friendly
name for the solution – “The Answer.” The
agency then developed a logo and produced
sales collateral, email banners and billboards
to drive potential buyers to a website which
it also designed and provided content for.
Troika’s solution extended all the way to
providing scripts to guide telesales staff!
“It’s harder to sell technology solutions
than candy or soap. You have to grasp what
are often highly complex offerings, convert
them to business speak and push the buttons
of the sophisticated decision makers that
you’re talking to,” says Rothschild.
While Troika has attracted several other
leading IT companies such as Internet
Solutions, the agency isn’t limited to an
IT niche and its client list is diverse. What
many other clients share, including Bow-
man Gilfillan Attorneys, Sappi, Lilly and
TransUnion, is a serious, no-nonsense ap-
proach to business and protection of their
corporate image.
We asked if this had anything to do
with Troika’s own heavyweight and even
manly image of a “works” where brands are
forged. “I think it has more to do with our
reputation for handling complex service
offerings well,” says Rothschild. “We just
aren’t associated with cute once-off ideas.
Like our clients, we’re strategic, and it
seems that this is what FMCG companies
want as well as we have received a flurry
of approaches from this sector in recent
months.”
Troika is still enjoying positive growth
but, like most agencies, it has felt the eco-
nomic tightening and admits that clients are
mindful of costs and taking that much longer
to commit to projects. “There’s pressure on
agency overheads and it doesn’t augur well for
service delivery and quality in the industry,”
says Rothschild. But the imagineers have
noticed that even economic belt tightening
can open up new opportunities.
“Our clients are becoming more entre-
preneurial,” says PR Imagineer, Marilyn de
Villiers. “They’re finding new ways of doing
things and that’s very exciting for us.”
Troika has also become more involved
in recruitment drives that have gained
new prominence. Companies are chasing
after scarce skills and they have to be more
careful when hiring. This, De Villiers says,
has a direct impact on PR communication:
“There’s more emphasis on staff – cur-
rent and future – as a primary audience.
Nowadays companies have to sell them-
selves as much as the candidates who they
interview do.”
In line with its strategic approach and
the changing media environment, Troika
is now offering interactive digital design
services and has brought an experienced
interactive designer on board.
Moross is excited about the creative

01. Office door decals and screensaver
encouraging Bowman Gilfillan staffers to tread
lightly and reduce their carbon footprint
02. Complete brand refresh for leading auto
retail chain
03. Providing the answer for Dimension Data and
Cisco. Naming, logo, website, billboards, brochure,
online banners
04. No subcontractors. Getting RAM’s message across
with entertaining, cost-effective 15-second TV ads
opportunities that interactive offers: “In-
stead of exhibition visitors leaving their
business cards behind for a draw, we’ve
developed on-stand, online activities that
require them to log in and really interact
with the brand.”
The agency has also developed an ad-
vanced tool that enables clients to upload
publications onto their websites so that,
instead of users having to scroll through
unyielding PDFs, they can control their
own browsing and quickly dip in and out
of the sections that interest them. Sappi has
used the tool for its latest annual report and
is extending its use to other publications
globally. Even PowerPoint presentations
can now include animation and live ac-
tion video. Recently Troika facilitated the
delivery of a live, interactive presentation
over the web.
The imagineers are in a position to
lead campaigns with interactive media,
but they hasten to add that it’s just one
channel of communication in the mix
right now. “Conventional media such as
TV, print, outdoor and collateral such as
hard copy brochures are still important
and aren’t going to go away in a hurry,”
says Rothschild.
De Villiers is interested in the im-
plications of social network sites such as
YouTube for PR campaigns. “Blogging has
also become a huge component of rising
consumer and corporate activity,” she says.
AGENCY PROFILE
01.
02.
“Because of the reach of the web, one bad
blog and one bad viral campaign can liter-
ally destroy your brand. These new social
channels are therefore playing an increas-
ingly strategic role in PR today.”
For years Troika has been on top of an-
other trend that is now coming to the fore,
green marketing. “Green issues have long
been important to Sappi. The annual calendar
we produced for Sappi last year and this year,
revolve around the highly evocative theme
of sustainability,” says Moross.
This year several other clients embarked
on internal green promotional campaigns.
Troika is also helping Dimension Data to
market green-orientated infrastructure.
At the recent ‘Green Buildings’ summit
in Johannesburg, Troika placed cardboard
cut-outs of people around the conference
venue. They were accompanied by blurbs 03. 04.
explaining that they decided not to attend
in person but were participating via a Di-
mension Data enabled videoconference…
as they were trying to reduce their carbon
footprint. Attendees were given saplings
as gifts.
“We create powerful
The example again points to the agency’s ideas and then use the
versatility and its real ability to be a single
point of contact for any brand communi-
platforms and channels
cation. Whether it’s dealing with a single that are right for a
report, devising full brand solutions, or fac-
ing current macroeconomic issues, Troika
particular brand to power
Imagineering Works offers solutions that – in that brand.”
the words of Moross – just work!
The ANNUAL 2008 — 229
AGENCY PROFILE
Yellowwood
(Pty) Ltd
Type of agency:
Branding and marketing strategists
Number of accounts/clients:
Number of accounts varies – Yellowwood
takes on clients on a per-project basis
Biggest spending clients:
BMW, DiData, Nedbank, Engen, SAA, Sasol,
Exclusive Books, Santam, Cricket SA
Accounts won in 2008:
Varies – per project
Accounts lost in 2008:
Varies – per project
Company ownership:
Management and staff
Contact details:
Yellowwood Cape Town
Tel: +27 21 880 1489
Fax: +27 21 880 1477
Physical address:
Middle Building
Cottillion Place
TechnoWay, TechnoPark
Stellenbosch, 7599
Contact: Kay Nash, CEO
Email: Kayn@ywood.co.za
Agency billings:
An average of R1-million per project and
about R25-million per annum
Key awards in 2008:
None
Number of staff:
25 in-house plus many expert consultants
Key agency staff:
Chief executive officer: Kay Nash
Group managing director: Ivan Moroke
Chairman: Andy Rice
The agency snapshot in 50 words:
Think unconventional branding wisdom.
Yellowwood offers high-level brand
consulting at senior executive level and on
an individual basis. There are no formulas
– just results. The business consults to some
of South Africa’s top brands and designs
strategic experiences for them that are both
practical and useful
Yellowwood was founded in 1997 and in 2005
Future Architects and Yellowwood were amal-
gamated with Kay Nash, Ivan Moroke and
Andy Rice steering the ship. Nash has a history
in advertising, branding design, and marketing,
Moroke comes from a background in market-
ing, advertising and brand consultancy while
Rice is one of the most respected
brand and communications strategists in
South Africa. It’s a team that promises – and
gets – results. A company’s brand is one of
230 — The ANNUAL 2008
its biggest assets although brands are often
perceived as intangible. Nothing could
be further from the truth. Take away the
value of a company’s net physical assets and
what you’re left with is its brand value, which
can run into billions of rands. It’s a formula not
lost on the country’s most prominent brands,
which
01. plough significant resources into main-
taining their visibility.
Says CEO Kay Nash: “We have many
big clients and we work on a per-project
basis – there are only small retainers. In
the Cape our clients include Engen, San-
tam, RGBC, Media 24, Bank Wind-
hoek, and lots of smaller clients. From our
Johannesburg office we run the BMW, Ned-
bank, Didata, SAA Cricket, SA Incredible
Connection, Sasol and Exclusive Books ac-
counts, among others.”
Group MD Ivan Moroke says: “Yellow-
wood has a full time crew of 25 people. How-
ever, we also like to bring in experts who work
for us as strategy partners – at the moment we
have about 10 of those.
“Our business is about total marketing
strategy in all its formats, encompassing all
the classical marketing elements – segmenta-
tion, brand, architecture and portfolio strategy.
We also conduct marketing training, creating
systems and processes for companies in order
to make them more profitable and efficient.
We design experiences and plot the future of
top brands.
“Our task is to bring businesses to the
point where they can deliver on their promises
to customers. We take strategic thinking and
make it both practical and useful for an organi-
sation,” he says.
Nash adds that the company also has a re-
search function where a team garners insights
and intelligence about an organisation and its
market dynamics covering competitors, local
and global trends – target markets that they are
able to use to good effect. This research takes
both a creative and formal approach.
Branding is not just about changing and
designing the look of an organisation. “You
have to live it too,” she says. “To help clients
do this, we have a highly-experienced creative
team that is able to apply creativity to strategy
in a way that most companies and their cus-
tomers find inspirational. This team is one of
the most seasoned in the country as our philos-
ophy is not to employ junior people. We deal
at a very senior level and you can’t put a baby
at the boardroom table. Our people are hugely
experienced and experts at what they do.
“In this business you have to be on your toes,
but at the same time concepts like sharing, abun-
dance and generosity are also important. We are
not territorial. The phrase ‘A beautiful madness’
comes to mind when describing this business,”
she says.
Yellowwood is a vibrant place and hugely
creative, but ultimately branding strategy has
to evolve into implementation. The company
is therefore relaxed in approach but focused at
the same time. Their offices in Johannesburg
and Cape give them a good national footprint,
and although it doesn’t want to become too
large and sprawling, it is taking on a growing
amount of international work as well. South Af-
rica is often attractive to overseas businesses be-
cause they can attach a rand value to resources
that would be considerably more expensive
internationally.
In terms of company philosophy, Moroke
says Yellowwood believes in the interdepend-
ence of business and brands.
“We are business strategists, using market-
ing and branding as the means to a commer-
cially appropriate end.
“We understand the impact of courage
and ambition and we are attracted to clients
who share our view that it is better to explore
the outer limits of the possible -- and then, if
necessary pull back – rather than to stay cau-
tiously within our close-to-home comfort
zone. We look for opportunities to implement
changes of principle, rather than changes of
degree, for therein lies serious competitive ad-
vantage. We recognise that we cannot always
adopt these changes, but when the time is right
our clients will be the first to do so,” he says.
The people at the helm of Yellowwood
have a great depth of experience.
Kay Nash, CEO, is a well-respected strategy
leader and larger than life personality in the in-
dustry. Before Yellowwood, she spent four years
with Enterprise IG as group managing director
and deputy CEO of Africa Middle East and
steered the business through two international
sales and full operational re-engineering while
maintaining their local market leadership.
She was also the managing director of En-
terprise Connection and group marketing direc-
tor of Incredible Connection and experienced
the IT industry first hand as they disposed of 11
business globally and rebuilt the group.
Nash served her time in the advertising
industry as group head of strategy FCB for
three years. She also ran her own marketing
consultancy in the UK for five years. Her early
career in FMCG was with SA Breweries and
Cadbury Schweppes.
Group managing director Ivan Moroke
began his career in marketing at British Ameri-
can Tobacco, working his way through various
divisions including sales, brand promotions,
CRM and sponsorship. His move to interna-
tional strategic marketing consultancy Added
Value allowed him to fast-track his strategic
brand marketing skills.
He then moved to the agency environ-
ment as a senior strategic planner for OIL, the
strategic planning and research arm of Lowe
Bull Group. He soon became a board director
of the agency, and OIL’s strategic director.
In 2006 Moroke was made MD of
Lowe Bull Johannesburg. He recently
joined Yellowwood as group managing
director. His experience covers diverse
sectors which including banking, insur-
ance, fuel, liquor, fast food, tobacco,
groceries and soft drinks.
Yellowwood chairman Andy Rice is a

01.
03.
04.
Cambridge University graduate. His subse-
quent career has been spent entirely in market-
ing and advertising, eventually becoming di-
rector of strategic planning at Ogilvy & Mather
Johannesburg.
He left O&M in 1995 to establish a free-
lance strategic planning consultancy and
02.
founded Yellowwood two years later. Rice
is one of the most respected brand and com-
munications strategists in the country and con-
tinues to feature as one of the most influential
people in the industry every year.
Nash is upbeat about Yellowwood’s
future.
AGENCY PROFILE
01. Endearmints (FMCG)
02. Spitz visual language brochure set
03. Spitz retail interior
04. Abagold super premium packaging system
05. La Croix du Sud hard cover brochure
05.
“This business is continually re-inventing
itself and that’s a good thing. Globally, brand-
ing is a dynamic business and we’re well placed,
with the right skills, to stay ahead of the wave.
“We do business in an unconventional
way and that gets us – and our clients – no-
ticed. That’s just the way we like it,” she says.
The ANNUAL 2008 — 231
8IFUIFS
JUT
B
CSBOE
SPBETIPX

BO

8IFUIFS
JUT
B
CSBOE
SPBETIPX

BO

FWFOU
PS
B
DMBTTJD
BDUJWBUJPO

CF
FWFOU
PS
B
DMBTTJD
BDUJWBUJPO

CF
UXFFO
PVS
FJHIU
CVTJOFTT
VOJUT
XF

UXFFO
PVS
FJHIU
CVTJOFTT
VOJUT
XF

IBWF
UIF
DBQBCJMJUZ
BOE
SFTPVSDFT

IBWF
UIF
DBQBCJMJUZ
BOE
SFTPVSDFT

UP
IBOEMF
JU
GSPN
TUBSU
UP
öOJTI
UP
IBOEMF
JU
GSPN
TUBSU
UP
öOJTI

"U
;.(
XF
BSF
EFEJDBUFE
UP
POF

"U
;.(
XF
BSF
EFEJDBUFE
UP
POF

UIJOH
HJWJOH
ZPVS
CSBOE
UIF
FEHF

UIJOH
HJWJOH
ZPVS
CSBOE
UIF
FEHF

XJUI
PSJHJOBM
FòFDUJWF
DBNQBJHOT

XJUI
PSJHJOBM
FòFDUJWF
DBNQBJHOT

EFMJWFSFE
XJUI
QBTTJPO
BOE
WFSWF
EFMJWFSFE
XJUI
QBTTJPO
BOE
WFSWF

#SBOE
&ODPVOUFST
#SBOE
&ODPVOUFST
#SBOE
$IBSBDUFST
#SBOE
$IBSBDUFST
#SBOE
3PBE
TIPXT
#SBOE
3PBE
TIPXT
$4*
$BNQBJHOT
$4*
$BNQBJHOT
(JH3JH
&YUSBWBHBO[BT
(JH3JH
&YUSBWBHBO[BT
*OEVTUSJBM
5IFBUSF
*OEVTUSJBM
5IFBUSF
&&WFOU
.BOBHFNFOU

WFOU
.BOBHFNFOU

;JOUP
5BMFOU
;JOUP
5BMFOU

XXX[JOUPDP[B
XXX[JOUPDP[B







0VS
BQQSPBDI
UP
NBOBHJOH
UIF
DIBSBD
0VS
BQQSPBDI
UP
NBOBHJOH
UIF
DIBSBD FODPVOUFST

FODPVOUFST
TBNQMJOH

TBNQMJOH
DMBTTJD

DMBTTJD
QSPNP
QSPNP TVSSPVOEFE

TVSSPVOEFE
CZ

CZ
TPNF

TPNF
PG

PG
UIF

UIF
NPTU

NPTU
UBM
UBM
UFST
XBT
EJòFSFOU
UP
XIBU
PVS
DPNQFUJ
UFST
XBT
EJòFSFOU
UP
XIBU
PVS
DPNQFUJ UJPOT

UJPOT
FUD


FUD

UP

UP
CSBOE

CSBOE
BOE

BOE
JOEVTUSJBM

JOEVTUSJBM
UIF
UIF FOUFE
QFPQMF
JO
UIF
CVTJOFTT
XIP
FOKPZ

FOUFE
QFPQMF
JO
UIF
CVTJOFTT
XIP
FOKPZ

UPST
XFSF
EPJOH
BU
UIF
UJNF
0VS
DIBSBD
UPST
XFSF
EPJOH
BU
UIF
UJNF
0VS
DIBSBD BUSF
BUSF IBWJOH
GVO
XJUI
UIF
CSBOET
FOUSVTUFE
UP

IBWJOH
GVO
XJUI
UIF
CSBOET
FOUSVTUFE
UP

UFST

UFST
FEVDBUFE

FEVDBUFE
LJET

LJET
EVSJOH

EVSJOH
TDIPPM

TDIPPM
IPVST

IPVST
UIFN
UIFNww


BOE
XFSF
PVU
BOE
BCPVU
JO
UIF
USBEF
JO

BOE
XFSF
PVU
BOE
BCPVU
JO
UIF
USBEF
JO

5IF
DPNQBOZ
IBT
B
SFQVUBUJPO
GPS
FEHZ


5IF
DPNQBOZ
IBT
B
SFQVUBUJPO
GPS
FEHZ

UIF
BGUFSOPPOT
BOE
PWFS
XFFLFOET
QSP
UIF
BGUFSOPPOT
BOE
PWFS
XFFLFOET
QSP DSFBUJWF
BDUJWBUJPOT
UIBU
BMXBZT
BUUSBDUT

DSFBUJWF
BDUJWBUJPOT
UIBU
BMXBZT
BUUSBDUT
;JOUP
MJWFT
VQ
UP
JUT
OBNF
5IF
DPNQBOZ

;JOUP
MJWFT
VQ
UP
JUT
OBNF
5IF
DPNQBOZ

NPUJOH
TBMFT
NPUJOH
TBMFT BUUFOUJPO

BUUFOUJPO
SFBMMZ
PòFST
iBMM
UIJOHTw
o
XIBUFWFS
ZPVS

SFBMMZ
PòFST
iBMM
UIJOHTw
o
XIBUFWFS
ZPVS

CSBOE
BDUJWBUJPO
OFFET

CSBOE
BDUJWBUJPO
OFFET

$MJFOUT

$MJFOUT
XFSF

XFSF
JNQSFTTFE

JNQSFTTFE
CZ

CZ
UIF

UIF
SFTVMUT

SFTVMUT
"
EJWFSTF
DMJFOU
CBTF
NFBOT
UIBU
;JOUP
JT

"
EJWFSTF
DMJFOU
CBTF
NFBOT
UIBU
;JOUP
JT

BOE

BOE
TPPO

TPPO
SFRVFTUT

SFRVFTUT
XFSF

XFSF
SPMMJOH

SPMMJOH
JO

JO
GPS

GPS
DPOTUBOUMZ

DPOTUBOUMZ
DIBMMFOHFE

DIBMMFOHFE
UP

UP
UIJOL

UIJOL
BOE

BOE
PQ
PQ
TQFDJBMJTFE
JOTUPSF
BDUJWJUJFT
5IF
SFTU
JT

TQFDJBMJTFE
JOTUPSF
BDUJWJUJFT
5IF
SFTU
JT
FSBUF

FSBUF
PVUPGUIFCPY

PVUPGUIFCPY
8IBU

8IBU
XPSLT

XPSLT
GPS

GPS

IJTUPSZ
IJTUPSZ ww
TIF
TNJMFT


TIF
TNJMFT
'.$(

'.$(
DMJFOUT

DMJFOUT
TVDI

TVDI
BT

BT
.D$BJO

.D$BJO
'SP[FO

'SP[FO

7FHFUBCMFT

7FHFUBCMFT
:VN:VN

:VN:VN
QFBOVU

QFBOVU
CVUUFS

CVUUFS

.JDIFMMF
$PNCSJODL
IBT
SFBTPO
UP
TNJMF

.JDIFMMF
$PNCSJODL
IBT
SFBTPO
UP
TNJMF
BOE
%FOOZ
.VTISPPNT
EPFT
OPU
OFDFT
BOE
%FOOZ
.VTISPPNT
EPFT
OPU
OFDFT
5IF
;JOUP
.BSLFUJOH
(SPVQ
PòFST
CSBOE

5IF
;JOUP
.BSLFUJOH
(SPVQ
PòFST
CSBOE
TBSJMZ
XPSL
GPS
DMJFOUT
TVDI
BT
.5/
BOE

TBSJMZ
XPSL
GPS
DMJFOUT
TVDI
BT
.5/
BOE

BDUJWBUJPO
TFSWJDFT
SBOHJOH
GSPN
CSBOE

BDUJWBUJPO
TFSWJDFT
SBOHJOH
GSPN
CSBOE
5FUSB
1BL
5FUSB
1BL ww
TBZT
$PNCSJODL
i-VDLJMZ
*
BN


TBZT
$PNCSJODL
i-VDLJMZ
*
BN

 THE ROCKSTARS

The Rockstars
THE ROCKSTARS
Investing in our talent
By Adelle Wapnick
The development of people in the design and advertising industry is not a high priority, but we need to give it our
urgent attention if we’re to keep the words “talent” and “creativity” synonymous with our industries.
The industry today is an environment of relent-
less performance pressures. While this is true of
most industries, the business of services relating
to the delivery of creativity has become even
more difficult. That’s because there is little, if
any, balance.
Before, there were long lunches, golf
days, commissions and mark-ups. Now
there’s greater accountability, perform-
ance contracts, fee structures and tender-
ing. Our business has become all about
processes and time, rather than talent, or
our greatest currency, ideas. While the
latter is appreciated, and for some clients
is still important, it’s no longer the most
important element, as is evident in the
average work that’s out there, but that’s
another debate.
In a state of constant change, it’s no
wonder we have little time or energy to
adjust the manner in which we manage
our industry, our agencies and most im-
portantly, our people.
Let’s look at our people. I have to won-
der why, in the time of a severe national
skills shortage, we as an industry, are,
one, doing very little to attract great tal-
ent, and two, as individual agencies are
doing even less to inspire and retain those
we do have.
There are many people – tired, exhaust-
ed and uninspired – who have left in an
attempt to seek alternatives. In our industry
particularly, few manage and lead people
in a way that allows them personal mastery
within their careers. People do well, earn
well, win clients and a couple of awards,
but as leaders, we do little to ensure that
our people are able to consistently realise
the results that matter most deeply to them.
And we don’t create an environment that
assists them in becoming committed to
their own lifelong learning. They therefore
feel the need to leave, or make the decision
not to enter the industry at all.
And, because we’re not attracting
enough talent for the relevant areas of
our business, many are being put into
positions they are not equipped to handle.
They may have insufficient experience,
236 — The ANNUAL 2008
but the need drives leaders to place them
there. There’s no alternative. As a result,
the industry is weakened.
On the issue of attraction, it’s fasci-
nating that schools offering design and
advertising as part of their curricula do
not regularly consult with the industry to
understand what is ultimately required.
It’s evident from many students entering
the industry that this is not happening.
Schools could do an enormous amount
to assist the industry.
On the flip side, I find it equally con-
cerning that as a collective, we are not
going to schools sooner, to talk to learners
about career opportunities in our industry.
When I’ve suggested this to colleagues in
the past, the feeling has been that with
regards to the school guidance/life orienta-
tion curriculum, government is opposed to
any interference from business, and that
there is too much bureaucracy besides.
One comment was that we have to focus
on our businesses, that this is the job of
educators. All well and good if we’re being
fed talented individuals who understand
what our industry has to offer. But we’re
not, and they don’t.
So, let’s pretend for a moment that
we are identifying and attracting the best
there is out there, and that they have been
successfully recruited. What then? In an
industry that is fairly incestuous, we’re re-
cruiting from the same small pot of people.
I’ve yet to interview anyone who feels that
their agency did everything in their power
to develop their talents, and to figure out
the best way to transform those talents
into performance. Ironically, this is what
enables business to be more productive
and successful.
Instead, most describe their past en-
vironments as volatile and inconsistent.
Some suggest fear-based, highly judgmental
and critical management, and bosses who
are demanding rather than curious, and
controlling rather than teaching. This is
a sure sign that while there may be high
levels of creativity and intelligence, there’s
little emotional intelligence, and little
understanding of what an open, learning
organisation can achieve.
This is old-style management or leader-
ship. As Peter Senge, writer of The Fifth
Discipline suggests, environments that
encourage openness, reflection, deeper
conversations and personal mastery are
those that uniquely energise change. What
with the daily challenges and changes
we’re facing, it’s a wonder we have not
looked to such philosophies as an alterna-
tive to the way in which we currently lead.
These new forms of leadership encourage
personal development in ways that we, as
businesses, can benefit.
Doing things differently
There are many practical solutions
to the problem, most of which require
intervention. A good start is a climate
survey in which a clear understanding of
the business culture and people’s collective
and individual needs are identified.
Then, typically, one looks to the devel-
opment of the individual on three levels:
skill and competency, interpersonal rela-
tions and development of self.
Skill and competence can be taught
and learned, mostly through institutions,
on the job experience and mentoring. This
happens quite naturally in our industry.
For those departments that classically don’t
receive much attention though, a curricu-
lum could be developed for maintenance
or enhancement of their skills.
Getting individuals to look at ways in
which to develop their interpersonal skills
is somewhat more complex. It may begin
with a better understanding of the self and
others, through, for example, personality
profiling. Here, not only are traits identi-
fied, but ways in which to more effectively
communicate with different personality
types may also be explored. Workshops
around these insights can be beneficial, as
they potentially establish clarity for each
individual and those they’re working with.
This is where maturity in relationships
can be achieved.
The final step, personal development,
is even more complex, as it requires self-
awareness on every level. The pursuit of
this deeper understanding goes to personal
mastery. This means providing a forum for
open and honest communication where the
individual can express his or her personal
dreams, aspirations and vision, as well as
any problems, conflicts or incompatibilities
that may need addressing.
The personal development process is
also more difficult as it requires choice.
No one can be forced to develop personal
mastery. It can be encouraged however,
in a number of ways, one example of
which is executive coaching. This gives
people the time and space to work in a
non-biased environment, and to find ways
in which to increase their competence,
be more effective and fulfilled in their
role, and thereby develop personally. The
coaching discipline is quite practical,
yet can go as deep as the client requires.
There are many ways in which to seek
out personal mastery, most of which are
personal and private. Any way you look
at it, ultimately there is benefit for the
individual and the business.
All these processes are time consum-
ing and sometimes costly, and while
we can’t always be everything to eve-
ryone, we need to make better efforts.
There’s no doubt that by investing in
the development of people, payback is
guaranteed, and often incalculable.
Changing belief systems and behav-
iours is, again, not an easy process, but
what we can do is work hard at cultivat-
ing a climate in which the principles of
personal mastery are practised; where
it is understood that personal devel-
opment is valued, even at the risk of
people’s seeking their higher purpose
elsewhere.
It can be best done by building busi-
nesses where it is safe for people to
have a personal and collective vision,
where commitment to the truth is com-
monplace, and where challenging the
status quo is required.
There is nothing more important to
an individual committed to his or her
own growth than a supportive environ-
ment. And the essence of the strategy
is easy: set an example.
 THE ROCKSTARS

The ANNUAL 2008 — 237

THE ROCKSTARS
The era of honesty in marketing
By Alistair Duff
It is always good to start an article with a broad statement that has the potential
for a blood-curdling debate with industry experts countrywide.
So here we go; it is my belief that advertising
can be segmented into two clear types over
the last 100 and a bit years. In the broadest
possible strokes we can divide all commer-
cials into intrinsic and extrinsic messaging
platforms.
Certainly early advertisements were
fairly straightforward, “Hey! We’ve in-
vented the light bulb, the motor car, or
the electric toaster; you should give it a
whirl.” Just the idea that you could light
a room without risking burning down
the house, leave the horses in the field or
enjoy non-cremated toast in the morning
was more than enough incentive to find
out more. With mass production came
the paradigm shift that now characterises
modern advertising. Suddenly a lot of
companies made lightbulbs and toasters
were almost a dime a dozen (that’s inf la-
tion for you and don’t get me started on
how much a Wimpy breakfast cost in the
eighties). With newfound competition,
advertisers started to differentiate their
various products and services through
personality and tone.
We had moved from the unique sell-
ing proposition (USP) to the emotional
selling platform (ESP).
The campaign that best exemplifies
this sudden interest in character is the
famous Ogilvy VW Beetle campaign.
I think you could probably sell tickets
to the meeting in which they presented
“Lemon” as a headline. Still, marketing
had irrevocably changed; the world of
advertising was giving up on intrinsics and
functionality and was full steam ahead on
selling an image or a lifestyle. This was
the birthing ground of the brand. While
we may have added relationship market-
ing, direct and online, we remain firmly
entrenched in the era of the brand.
The brand has had its setbacks. It even
died in 1993, when “Marlboro Friday”
caused Wall Street to pen a rather hasty
obituary, but it is now clear that the
rumours of its death were, as the saying
goes, greatly exaggerated. For those unin-
formed about this infamous day it started
238 — The ANNUAL 2008
with a simple discount. After spending
billions of dollars on advertising their
brand, Marlboro cigarettes decided to
dump its existing marketing and slashed
its price by 20%.
The company believed that price re-
duction seemed the only effective way of
competing against a number of discount
brands that had been steadily eating away
at their market share. The reaction on
Wall Street was profound. If Marlboro,
the icon and longest running campaign
in advertising’s history, had lost faith in
their brand then surely the whole notion
of brands was questionable. Ironically,
the death of the brand was instead the
birth of the superbrand. It is a fact that
the companies that came out strong-
est from this recession were those that
had increased their spending during
this period. Suddenly brands like Nike
and Microsoft started to emerge as true
household names.
Currently we are still in the era of
the superbrand, which has extended
to include fashion houses, fast foods,
and even personalities. Paris Hilton is a
brand. She is many other things I’m sure,
but she is assuredly a brand. In South
Africa we have become awash with new
labels since 1993 but internationally the
winds of change may well be blowing
once more. A strong culture of anti-
corporation and anti-brand fervour has
been growing steadily since way back
in the mid nineties. We have all heard
the growing voice of dissent in the past
decade. Nike, Gap and numerous other
beloved icons have been tarnished by
scandals around sweatshops. Americans
discovered Enron had committed the
greatest consumer scam of all time, cre-
ating power outages and enormous bills
across the United States and on top of
this they found out that their president
had a wandering cigar, no matter how
many times he had denied it. Over time
Americans have certainly begun to lose
faith in the brands that had previously
been held in high esteem. The impact
on advertising in the United States is
marked: more and more corporations
have begun to listen to their consumers
and create brand images that ref lect
their new sense of responsibility from
free trade to eco-friendliness.
This process has been fast-tracked
by the new digital revolution. W hen
Time magazine announced, in 1996,
that their Person of the Year was “You”,
it acted as a public acknowledgement
that citizens and consumers are more
empowered now than at any point in
history. To simply click on a mouse a
couple of times and discover anything
you might want to know about a company
puts an entirely new relevance on the
idea of being a good corporate citizen.
With the current drive for companies to
bring people into new online networks
and strive to make their products and
services part of the digital community
it is prudent to ensure that the company
itself has no skeletons in the closet. The
much anticipated closer relationships
with customers also brings with it a more
honest and actionable dialogue.
As an industry that should be at the
forefront of future trends sometimes the
easiest to predict are those already taking
place elsewhere. However this is made
more immediate by recent developments
within South Africa. Tiger Brands, a
bastion among blue chip industrials, is
still recovering from a price-fix scam
involving bread and medicine. The SABC
is in the papers on a daily basis as their
dirty laundry is aired publically. Our
president in waiting has continually been
involved in scandal for the last few years
to such a degree that a shadow has been
cast over the entire ruling ANC party.
The similarities between catalytic fac-
tors in our market and those previously
seen in places like the United States
are striking.
As South African companies and
their brands formulate blueprints for a
successful future in this market a moment
of introspection is advised to ensure that
honesty is entrenched as a key tenet of
their road forward.
 THE ROCKSTARS

The ANNUAL 2008 — 239

THE ROCKSTARS
Brand Activation: Coming of age
by Andy Sutcliffe
“Whosoever desires constant success must change his
conduct with the times” - Machiavelli, The Prince.
The future of marketing is engagement.
Globally the classic media quartet of print,
radio, TV and outdoor are no longer the pri-
mary drivers of any marketing campaign
because they rely on a passive audience.
The world has moved away from mass
market, interruption-based adver tising
to a more relevant engagement.
Advertising used to be a predictable
one-way communication, but the new
age of digital media has succeeded in
disr upt i ng adver t isi ng’s t radit ional
top - dow n approach and levelled out
t he play i ng f ield of med ia opt ions.
With the onset of satellite TV and more
prog ramme and channel choices, T V
audiences have become increasingly
fragmented. Add to this the arrival of
tech nolog ies like PV R , which ef fec-
tively hands t he steer ing wheel over
to the viewer and allows audiences the
option of by-passing T V adver tising.
T V, like print and radio, no longer has
a st rong hold on audience at tent ion
span and message f low.
T he exter nal landscape demands
that marketers adapt their strategies to
keep pace with consumer purchase and
communication habits. T he fact t hat
the number of consumer brands avail-
able on super market shelves equal 14
times what they were 20 years ago, and
South African consumers in metropoli-
tan areas are exposed to an estimated
2 0 0 0 bra nd messages a day ( T NS
R e sea rch Su r vey s, Joh a n ne sbu r g)
mea ns t h at wh i le t he compet it ion
across bra nds has i ncreased, so too
has compet it ion for t he consu mer’s
eyeballs. As a consequence, something
relatively new and exciting is star ting
to happen between advertiser and con-
sumer below the so-called traditional
adver tising radar: a conversation.
T he power of brand activation is
ev idenced i n its abilit y to br i ng t he
spir it of t he bra nd to life a nd move
t hroug h-t he-line to engage in a per-
sonal and relevant way where the target
consumer eats, sleeps, works, plays,
240 — The ANNUAL 2008
shops and rela xes. Brand activation
involves neit her randomly simplistic
nor deg ree based “tr y me or buy me”
techniques, but is sharply def ined and
targeted. T he aim is to drive demand
and to sell products v ia a number of
chan nels including exper iential, re -
tail point of sale, dig ital, one-to - one
communication, mobile, email, print,
radio, T V, f ilm etc. To qualif y as true
brand activation, it is imperative that
a sale is made. The list of engagement
options and inter face touch points is
li mit less. R at her t ha n a t radit ional
approach, a bra nd ca mpaig n m ig ht
include f lying a hot-air balloon around
the world; throwing a party in a park;
producing content that travels virally;
creating a promotional T V show; de-
vising an interactive game that can be
accessed v ia cellphones; creating an
a nimated poster t h roug h lent icular
tech nolog y; POS t hat is t r ig gered
by sensors; or embedding a tag in a
poster so consu mer s ca n dow n load
infor mation to t heir phones. T he list
is endless.
Below-the-line offers clients a more
ef fec t ive a lter nat ive to t r ad it iona l
adver tising because it’s measured on
conver sion a nd long-ter m loya lt y.
W hile historically, the average budget
split bet ween above-t he-line and be -
low-t he-line has seen an 80/20 ratio,
t his model is fast chang ing in direct
proportion to dramatic changes in the
marketing landscape. For example, in
the past two years SA B has increased
its below-t he -li ne spend by 30% i n
2006 to over 65% in 2007. Globally, t h i n k i ng agenc ies need to develop Ad agencies need to apply liberated,
more and more brands are harnessing bra nd-releva nt ideas f i r st, v iew i ng open-minded t hink ing to get clients
t he power of engagement marketing media cha n nels as secondar y to t he out of t he r ut of traditional adver tis-
a nd i nvest i ng sig n i f ica nt ly i n non- idea. It’s a signif icant mindset shift to ing campaig ns.
traditional channels. As early as 2005 move away f rom t he communication Today ’s t i me - st r apped, med ia-
the world’s largest marketing ser vices stereot y pe t hat has a campaign hing- slicing and multitasking consumer has
g roup, Om nicom at t r ibuted 64% of i ng of f a T V spot a nd t hen work i ng made the concept of an above-the-line
its total revenue to its below-t he-line back wards to shoehor n an idea into only approach obsolete. Brand activa-
business div isions. the format. T he key is to maintain an tion is t he answer to t he t raditional
Engagement marketing relies on impartial approach to media channels media buying top-down approach that
a med ia- a nd cha n nel-neut r a l ap - so that each campaign uses the media has dominated so much of what used to
proach. Future -facing and for ward- cha n nel most nat u rally suited to it. def ine marketing in Sout h A f r ica.

Get “wired” in Canada
By Ann Nurock
W hen asked to wr ite about advertising in
Canada, for the first time I truly could say
that the advertising I now practice is not the
advertising I was used to.
When asked to write about adver tising
in Canada, for the f irst time I truly could
say that the adver tising I now practice is
not the adver tising I was used to. Af ter
three months in Toronto, I ref lect about
the things that have impacted most on
my li fe in t he co mmunica t io n s / b u si -
ness arena and by their very nature, my
personal life.
Is it t he renow ned bad weat her
of Toronto? No, it has been i n t he
h ig h 20 s si nce we a r r ived. Is it t he
Mou nt ies we hear about? No, I have
yet to see one, T he Rock ies I have
not yet v isited, Maple sy r up I do not
eat a nd Celi ne Dion, I have not a nd
do not l isten to. So wh at h as been
t he g reatest impact on me, ever yone
around me in a business and personal
level... t he i nter net!
Now t h is may sou nd l i ke ever y
article one reads about this ubiquitous
force t hat we all i n t he com mu nica-
tions and marketing industr y have to
adapt to or we w i l l supposed ly d ie.
But i n Ca n ad a we do l ive a nd d ie
by t he World Wide Web a nd ever y
ma n i fest at ion of it, i n ever y si ng le
pa r t of ou r lives. Yes, t he best kept
sec ret about t h is cou nt r y is t hat it
is “w i red”.
Canada, t he home of Black Ber r y,
h a s a n i nte r net ba ndw idt h t h at i s
comparable to its vast ness, being t he
world’s second-largest countr y in size.
As an aside, can you imagine that 90%
of the countr y is uninhabited! Canada
is a r g u ably t he most soph ist icated
i nter net ma rket i n t he world w it h a
70% penetration (vs 61% in t he USA)
and expected to r ise to 80% by 2011.
T he average Ca nad ia n spends 43.6
hours a mont h on-line, amounting to
41% of t heir t ime.
I n t he past t wo years t he web has
become t he #1 destination for Cana-
dians in t he quest to choose products
and ser vices. This includes ever ything
f r om r e se a r c h to conte nt /opi n ion
sha r i ng to t ra nsact ional pu rchases.
T h is consu mpt ion of t he i nter net is
THE ROCKSTARS
sur pr isingly not reser ved for
t he yout h. W hile 84% of Ca-
nadia ns aged 18+ a re act ive
on social net work i ng, v iew-
i ng 828 pages per mont h, a
whopping 70% of web users in
t he 55+ demog raphic v isited
a social net work.
So you ask how t h is has
impacted on my new life. Grey
Ca nada der ives over 60% of
its revenue f rom t he d ig ital
space, as a t r u ly i nteg rated
agency. There is no campaign
wit hout a digital component.
The people we hire, be they in
accou nt ma nagement, st rat-
eg y a nd of cou r se c reat ive,
must be prof ic ient i n bot h
“mass” a nd dig ital com mu-
n icat ion, even t houg h t here
a re t hose who ver y cle a rly
specialise in t he one medium
or t he ot her.
All this makes r unning an
agenc y in Canada a lot more
i nterest i ng a nd challeng i ng
pa r t ic u la rly oper at i ng i n a
ve r y compet it ive e nv i r on -
ment. Don’t let a nyone tel l
you Canada is a “sleepy mar-
ket.” Clients expect total communica- e x i s t a ny mor e. We le t ou r f i n g e r s it i s t he t h r i l l of bidd i n g f u r iou sly
t ion solut ions t hat not on ly add ress do t he t rawli ng over t he i nter net ag a i nst someone i n Ven ice Beach or
t hei r classic consu mer ma rkets but a nd once t he preference is made, Va ncouver for a second- h a nd DV D
a lso ta rget eco - sy stems i n order to e it he r or de r o n - l i ne or he ad of f to o r a s i g n e d s e l f - p o r t r a i t of Fr i d a
achieve bra nd t ract ion, i nvolvement ou r s to r e of c ho i c e . W h e t h e r i t i s K a h lo (t r ut h f u l ly) w it h 10 m i nute s
a nd measu rable resu lts. s hop pi n g a r ou nd for b e st de a l on a to g o. I wo n t h e f o r m e r i t e m b u t
As I come f rom what is of ten dis- T V or c he ck i n g on one’s lau nd r y at c le a r l y not t he l at te r. T he lu x u r y
pa rag i ng ly k now n as a “mass back- t he cor ne r d r y cle a ne r, e ve r y si n g le of i m me d i ac y i s e v ide nt w he n t he
g r ou nd”, w h at r e de e m s me i s my ne e d or s e r v ic e i s av a i l able o n l i ne c ho s e n it e m a r r i ve s o n you r do o r
reg u la r “Ba mbi i n t he head l ig ht s” 2 4 / 7.T h i s l e a d s t o t h e o b l i g a t i o n ste p w it h i n t h ree d ay s.
ex pression as I embrace a nd ex plore m a rkete r s h ave to b e t he r e for t hei r So, wh i le t h i n g s h ave c h a n g e d
t his new ter r itor y. My creat ives love consu mer s. T hey a re act ively look i ng sig nif icantly liv ing in a market domi-
t h is a nd d row n me i n new sites a nd for i n for m at ion, so ove rlook i n g t he n ated by t he w w w, I h ave come to
te c h nolo g y r e s u lt i n g i n me of te n mediu m a nd not hav i ng t he r ig ht realise t hat “i mpossible is not h i ng”.
t h i nk i ng t hey a re t he new “Master s me s s a g e for t he m to e n g a g e w it h i s Unlike t he cer taint y of t he Canadian
of t he Un iver se”. a m i s s e d op p or t u n it y or s a le. T he w inter to come, we can not anticipate
I n my personal life t he impact say i ng “ you on ly have one cha nce to what on li ne phenomenon is com i ng
h a s b e e n ju st a s g r e at . W he n s hop - m a ke a n i mpr e s sion” i s ne ve r t r ue r nex t, but one t h i ng we ca n be su re
pi n g , ye s you g ue s s e d it s hop pi n g , t h a n on t he we b. of, is t h at people a nd beh av iou r is
t he c o nc e pt of t r awl i n g t he m a l l s , W h i le E B ay i s t he doyen of t he ever cha ng i ng a nd no more so t ha n
of w h ic h t he r e a r e m a ny, do e s not i nte r ne t i n te r m s of t r a n s ac t io n s , i n a cou nt r y like Ca nada.
The ANNUAL 2008 — 241
THE ROCKSTARS
2008 and beyond
by Anthony Swart
Stronger brands will weather the storm.
In thinking about branding trends and what
may be around the corner in 2009, I couldn’t
help but consider the past (that’s the beauty
of hindsight isn’t it?) and hopefully learn from
our oversights, as well as look to the future.
Now I’m no soothsayer, but one thing’s for
sure: times are tough and brands need to work
harder than they ever have before!
With all the talk of doom and gloom
in our world economy, brands and brand
managers need to take heed. Consumers
are cash-strapped and are more inclined
to weed out weaker brands, so check your
brand vitals. A brand is only valuable if
it can translate consumer sentiment into
shareholder value, so in this time of dis-
ease, brands must adopt the appropriate
strategy to survive, that is, drawing on
existing loyalty and building equity.
My advice to you is “invest to protect”.
Resisting the urge to slash the marketing
budget is vital to your strategy. Research
shows that brands with the foresight to
invest more – at worst the same – in mar-
keting and ad spend in a climate of com-
petitor cutbacks, stand to gain the most
in the long term.
Brand Accountability
Now that you have caught your con-
sumer’s attention, you need to keep it.
In these tough economic times, brand
accountability is paramount. Let your
marketing and ad spend bring the consum-
ers to your door, but to keep them there
you need to remain true to your brand
promise – now more than ever you need
to be able to deliver on your claims of
quality and value. Remember the mantra
in the minds of most consumers: “buy
once, buy well”.
These consumers will be expecting
the best from your brand. Most purchas-
ing decisions are driven by brand values.
Whether it’s the decision to acquire a new
vehicle, where they may choose Mercedes-
Benz for being well engineered and reli-
able; or where the decision is to buy a new
pair of trainers, they may choose Nike for
their sport-engineered quality. Often it can
242 — The ANNUAL 2008
be said that consumers choose brands for
their conspicuous appeal – they are sexy
and would like to be seen wearing them,
driving them and inviting them into their
homes. Whatever the reason, brands need
to be true to their offer and deliver on
their promise, if not they will surely fail.
No amount of advertising can correct an
inconsistent brand promise!
Now there may be times when brands
make mistakes (let’s face it, we all do at one
point or another). Be honest about them,
apologise and fix them. When Lexus first
launched in America, one of their first ma-
jor actions was a product recall to rectify
a small fault on one of their models. What
was interesting here is that this recall was
handled so successfully; Lexus actually
established positive reputation from an
ostensibly negative action.
Branded Brands
As demanding, experienced consumers
hunt for the best, it’s no wonder that brands
are combining their respective core com-
petencies into new and desirable products
and services – the branded brand.
On a local kulula flight to Cape Town,
I was pleasantly surprised to see that Kauai
was the meal offering on board. It makes
sense. Kulula is responsible for the flight and
understands this business, something they
know and do well, why not bring a partner on
board to handle the food? The same goes for
Mini and Puma. Mini has styled the “Puma
Mini Cooper S” with Puma air mesh footwear
technology in the car’s seats – injecting more
comfort and breathable shock absorption
into the seats.
This is a trend that many of us are
aware of, but what we may not know is the
reciprocal relationships that are forming
between the brands. Back to our example
of Mini and Puma: you can now purchase
an exclusive pair of Mini driving shoes,
based on Puma’s motor sport shoe. Bentley
use Breitling clocks in their cars. You can
now purchase a Breitling watch inspired
by Bentley’s design and adorned with the
coveted Bentley logo – now that’s what I
call returning the favour!
Digital Growth
Unless you have been unconscious for
the last decade or so, you will be aware of
the massive growth in digital technology.
Google, Facebook, Mixit (to name but a
few) have taken over our (and more so
our children’s) physical space. A word of
warning – brands beware! If your brand
has existed largely in the physical space
and hasn’t made the leap to cyberspace,
you’re in trouble. Many brands have ad-
hered to this warning and are well on their
way to crossing over – banks have adopted
(and well I might say) the functionality of
internet and cellphone banking. Even our
newspapers have an online component.
Cyberspace has created a global vil-
lage of opportunities accessible by a click
of a mouse. My advice to you: be sure
that your brand is on the receiving end
of that click!
Brand Potential in Africa
For many years, Africa has been known
as the Dark Continent. My experience
in Africa has shown that lights are being
switched on. Africa has massive potential –
it is largely underdeveloped, has untapped
consumers, massive mineral and commod-
ity wealth and an abundance of physical
resources – Mother Africa is coming into
her own! Many brands are reaping the
rewards of her potential; MTN is a case in
point. A couple of years ago the cell-phone
giant took an educated gamble to expand
their African network to Nigeria, and has
been handsomely rewarded. Their network
now extends over more than 16 countries
across the continent.
Global brands are using our shores
to their advantage – Mercedes-Benz has
a plant in East London that manufac-
tures and exports right-hand drive C-
Class Mercs (it’s the only plant outside of
Germany to manufacture these models).
Regional brands, too, are increasing their
footprint in Africa – Checkers, Standard
Bank and even Nando’s have a firm foot
in place on our continent. My advice: use
our continent, and use her wisely, she has
a lot to offer!
 THE ROCKSTARS

The ANNUAL 2008 — 243

THE ROCKSTARS
Making radio punch its rightful weight
By Aubrey Melden
Hey, what a medium!
In 1975 there were just seven radio stations,
now there are a glorious 135. A powerful tool
to reach into the very hearts and homes of
the consumer. A tool that, by expanding
into 135 stations has answered the need of
consumer actualisation. A colourful mixture
of national, regional and community stations
with around 29 million listeners. From inti-
mate talk shows, to up-beat music and rude
humour, to urban black music and all the
languages too. You name it and the astute
media planner can precisely pinpoint the
audience they need to reach. In an environ-
ment that is very, very personal. Where the
listener is glued to it, for an average of four
hours a day!
Indeed, the creative community, and
its clients, have a wonderful canvas to
paint upon, yet radio remains, as part
of the creative arsenal, sadly the “Cin-
derella” medium. It only comes out,
in all its creative glory, occasionally,
particularly at Loerie time! In fact, this
year as one judge informed me, over 70%
of the winners were “Proactive” com-
mercials. The scam ads, ads prepared
by agencies (sometimes without the
knowledge of clients, sometimes with)
purely to up the number of awards the
agency could receive.
I suppose you could trace the damage
back to late 1970s, when television first
appeared in our homes. The creatives
clambered over themselves to get their
TV reels together. And in a way, who
can blame them? Television is much
easier to create and execute than a ra-
dio commercial. In television you have
sound and pictures to help you express
and dramatise your message. In radio,
only sound. Only sound? I think not.
Remember the little girl when asked
what she preferred, radio or television?
She promptly answered, “Radio.” When
asked why she replied, “I prefer the
pictures on radio!” What she meant was
radio engaged and involved her more.
It worked her imagination. Radio has
been rightfully dubbed the “theatre of
the mind”, yes sir, you can paint pic-
244 — The ANNUAL 2008
tures on radio.
I call for a renaissance of good radio
writing. Not the often limp and tepid
stuff we so often hear these days. And
if you don’t believe how good radio can
be, or you need inspiration, get hold of
the work of one of the most successful
radio writers the world has ever know,
Stan Freberg’s “Tip of the Freberg”
CD Collection (www.rhino.com). More
that 100 tracks including a commercial
for Pittsburg Paints where he literally
paints, yep paints, on radio, some of
Pittsburgs’ 720 colours using the sighting
of Moby Dick as a vivid dramatisation
of colours including subtle shades of
white, snowberry and aquamarine. In
another he brings a rainbow of colours
over the Empire State Building. As Stan
said, “You can put anything you like
into radio. And he does, including a
screaming giant pterodactyl!
Closer to home, you could contact
John Culverwell, a director at Sonovi-
sion who runs interactive workshops,
at no cost, to help clients and agencies
understand and use better, the power
of radio. Indeed, I owe much to John,
who’s helped produce many of my award-
winning commercials.
Where else can you start? You can
start with the media department meeting
with the creative department. As I men-
tioned up front in this article, often by
looking at the fragmentation taking place
you can pinpoint a station, and indeed a
programme, within that station, where
you can f light your commercial. You
can actually use the tone of that precise
programme’s environment to enhance
your commercial. Recently one of our
clients took all its TV spend and put it
onto one station, in one programme.
The result? A wallet-warming increase
in sales of 28%!
With Zam-Buk we, along with the
media independent, and our client,
pinpointed YFM and the late DJ and
host, Khabzela. The show helped take
the phrase “The Real Makoya” and
spread it virally, to a state where it has
now become part of the brand’s and
nation’s vocabulary. Khabzela also dem-
onstrated, using theatre of the mind,
how the legendary magic of Zam-Buk
can relieve mosquito bites and also at-
tempted to repair scratches in a “Tikkie
Draai” CD! The later being hyperbole,
of course!
It’s a misnomer that radio is only
a frequency and support medium too.
By cherry picking it can have enormous
impact and create cult listening. Some
years back an agency produced a series
of commercials that ran on one national
station. The commercials followed the
footsteps of a character “test-driving”
a pair of velskoen from Cape Town to
Durban. The character, did, as it were,
“radio in”, from time to time, in a won-
derfully warm and engaging Afrikaans
accent, commenting on how the shoes
were wearing-in and feeling, as he un-
dertook his (f ictitious) journey. The
nation followed his jovial jaunt, every
step of the way, and the commercial put
the shoes on the map.
Accents? Too often it’s the same old
voices we hear. Or bland voices that
should be discarded in the casting session
(Yep, you do need to cast for your radio
commercials. It seems so obvious but
as we are dealing with sound, painting
pictures with sound, we need all the help
we can get to engage our audience. Cast
and discard the voices that will not cut
through the clutter). Remember with
the increase in stations, and radio spend
(radio spend has grown from R1.5 billion
to R2.9 billion in rate card from 2002
to 2008) and the enormous fragmenta-
tion in all media we need to fight hard
to gain the ear of the audience.
Olmeca Tequila, some years ago,
gained the ear of the audience. With the
lazy and lyrical voice of a Mexican. A
Mexican on South African radio? Why
not? Investec did it too. With a Mexi-
can? No, it was Irish, or was it Scottish?
Either way it got my ear.
But the examples I have used, do go
back though the years. We still have much
to do here to get the Renaissance going.
It, of course, doesn’t always start with
a voice. That could be the inspiration
behind the idea. But, it always starts with
a script. And somehow we seem to have
got into a downward spiral here. Good
advertising, in any medium, is there,
not to “say” things to people but to “do”
things to people. To move them.
Too often the commercials we hear
today are no more than an announce-
ment. They tell people what to think.
What to do. And we seem to assume that
the audience is listening to the radio to
listen out for our commercial message.
They are not. They are listening for the
news, the traffic report, the sport, the
cranium crushing music. That is our
competition. That is what we need to get
past. We need to arouse their curiosity.
Woo them. Surprise, delight, engage,
entice. Don’t shout, no one buys from
a bully. Wake them gently and talk to
them as human beings.
And please, if you are going to have a
response mechanism in the commercial,
a telephone number, or web address,
don’t say it once, play with it, repeat it.
Do you really imagine that the audience
is sitting there, waiting for your com-
mercial, pen poised, ready to take down
the number or web address?
I guess one good thing comes out
of the “proactive” work that wins the
awards. It does show we have talent to
produce, sometimes, great radio adver-
tising. We just need to do it, day in, day
out. For a medium, that from a produc-
tion point of view, it is very cheap to
produce, and a good voice costs just as
much as a bad bland voice. Sound effects
cost buttons, and can move emotional
mountains. And a bad script is, well, a
waste of valuable airtime and valuable
client’s money.
Rise-up. Write it, rehearse it, rip it
up, write it again, cast it, even pilot it --
to try it out. But, above all, renaissance
it. Radio, can be invasive and persuasive,
it deserves to punch its weight. You can
help put the fist in a silken glove
 THE ROCKSTARS

The ANNUAL 2008 — 245

THE ROCKSTARS
Wanted: The digital agency of the future
By Ben Wagner and Evan Milton
Online and digital marketing has been a crucial component of the marketing mix for
more than a decade now.
Online and digital marketing has been a crucial
component of the marketing mix for more than
a decade now. Over the same time period, the
internet has weathered a boom and a “bomb”,
come of age in terms of business models,
matured as an advertising space, and enjoyed
renewed interest as a channel for direct and
tailored interactions between companies and
their customers.
There are also the continuing advances
in online search; in video and music; and
the growth of podcasting. Then there
are blogs and vlogs; social networks like
Facebook and MySpace; sharing services
like Digg, Flickr and Wikipedia; open-
source programming; and the increasing
convergence of mobile and online platforms
and services. It’s what ‘net-marketers’
lump together as “Web2.0”, and it’s the
trend that Time gave a face when, in 2006,
they glued a piece of mirror-paper to the
magazine’s cover and voted “You” as the
person of the year. “You control the In-
formation Age,” they wrote, “Welcome
to your world.”
Given this new world – and make no
mistake that it is a new world for advertising
– what do we need from the digital agency
of the future? Especially when “we” can
mean a brand, the client, traditional agen-
cies, direct marketers, strategists, so-called
“full service” agencies, digital agencies
themselves and, of course, the end user.
We suggest that one place to start is right
there, at the end: with the user.
Remembering the user
Digital agencies, far more so than tra-
ditional above-the-line or below-the-line
houses, have always been concerned with
the actual people who engage with the
media we create. Maybe it’s because these
users can mail us directly or start blog-
ging or commenting when they don’t like
something, or because we know we’ll be
exposing the websites we make to 365/24/7
uptime and so they’d better be user friendly,
or because we’ve been trying to sell “in-
teractivity” from the word go. Maybe it’s
because digital has always been measurable
246 — The ANNUAL 2008
or because, far too often, we’re saddled
with clients who think concepts intended
for print or TV can be translated to a new
medium in a few days.
As the trend moves away from think-
ing of “the consumer” and is replaced
with a more human view of customers,
“brand adorers” and long-term relation-
ships with people, it is time to consider
how the marketing profession handles
these changes. Digital agencies are closer
to emerging technologies, and should be
advising on where brands, products and
services need to shift their attention. Also,
digital agencies have always had to under-
stand the concerns of both the “techie”
and “marketer”, and have long been work-
ing out how to maximise what we learn
from measuring customers’ interactions
with the marketing that we produce. The
agency of the future will be built around
the interactions of the future.
We must be careful of speaking in
clichés – terms that are so over-used that
they’ve become meaningless. The creative
huddles punt “the big idea”, strategists
chatter on about being “channel agnostic”,
media teams talk about a “360 vision” and
agency finance suits drive home a “full serv-
ice offering”, whatever that might mean.
The fact is that agencies – whether they
are digital or otherwise – need to change
their thinking. The starting point must be
an understanding of the product, service
or brand and the people who are going to
use it or establish a relationship with it.
From this comes the strategy, the creative
ideas and the channel decisions. What is
most critical in the process, though, is that
the teams involved in this process need to
be truly media neutral and engagement
neutral. They need to be thinking about
the offering and how people will interact
with it, and not about the inventory or
resource surplus they hope to fill, or about
how it’s been done before.
The digital realm of the present is
already a space where ongoing experiences
between brands and individuals can be tai-
lor-made, measured and customised on the
fly to create unique customer experiences.
The digital agency of the future should be
taking the lead in creating a brand-aware
and consumer-conscious marketing mix
that is results-driven, channel-agnostic
and caters for feedback. Also, traditional
agencies and clients should be recognising
the value of this input it and embracing it.
It is clear that the customers already are.
The digital agency of the future
Let’s look at this from another per-
spective. Note the kinds of expertise that
leading international digital agencies are
recruiting. Naturally, there are design-
ers, programmers and project managers
and the geek-chic designations you’d ex-
pect: “experience director”, “minister of
propaganda”, “database wrangler” and
the like. But consider the positions for
data intelligence, geographic analysis,
experiential retail-space design and com-
munity management.
The point is this: the current digital
agency already does more than just make
websites and send emails. If it’s worth its
salt, it will have a suite of solutions that
cover digital marketing pillars ranging
from rich media banner campaigns and
search engine optimisation through to
proactive PR, online reputation man-
agement and using detailed metrics to
refine campaigns and show return on
investment.
The digital agency of the future will
do even more. It will be an integrated
agency that:
- departs from a position of media and
engagement neutrality,
- offers strong creative,
- is underpinned by sound technology,
- is strategically led,
- has an in-depth knowledge of media,
- operates with a close eye on measur-
ability.
Most importantly, the digital agency
of the future will be one that understands
the changing dynamic between brands
and the people who interact with them
- and can assist clients and traditional
advertising agencies in working within
 THE ROCKSTARS

The ANNUAL 2008 — 247

THE ROCKSTARS
Changing the landscape of advertising
By Brett Morris
I’ve learnt a lot in the past 18 months, which for me is always a good sign because if I’m
learning it means I’m exploring new territory and new territory tends to lead to growth
and new ideas.
S o I t h o u g h t I ’d s h a re s o m e of w h a t
I’ve learnt, but f ir s t some contex t . Not
long ago I was executive creative direc-
to r of t h e l a rg e s t a d ve r t i sin g a g e n cy
in t he count r y . We ha d lo ng -s tanding
relationships wit h some of t he bigges t
blue- chip client s around. I was working
with a great bunch of creative people. We
were enjoying probably the best awards
and f inancial succe s s in t he a g ency ’s
80 -year his tor y. And then I lef t .
Fi r st I joi ned a client ( yes, shock
a nd hor r or, a cl ie nt) i n a n e x pe r i -
me nt a l r ole a s t he i r c h ief c r e at i ve
of f icer a nd t hen recent ly pa r t nered
w it h t hem to for m my ow n compa ny.
W hen I tell people t his t hey generally
a lw ay s a s k me t he s a me que st ion ?
“ W hy d id you do it? ” T he que st ion
is t he sa me whet her t hey a re i n t he
adver t isi ng i ndust r y or not, but t hey
ask it for d i f ferent reasons. My col-
le a g ue s i n t he ad i ndu st r y wa nt to
k now why I joined a client and people
outside of t he industr y generally want
to k now why I wou ld le ave a g o o d
job for t he complete u n k now n. T hey
a re bot h ver y good quest ions, wh ich
I w i l l now at tempt to a n swer.
Fi r st , as to t he que st ion of why
a cl ient , t he a n swer is not so much
about why a client, but wh ich client.
T he r e i s a n on g oi n g a nd no doubt
never - end i ng debate i n ou r i ndust r y
about t he role and relevance of
c r e a t i v i t y, h o w m u c h o r h o w l i t t l e
it should be applied a nd whet her
creat ive people are i n it for t hem-
selves or for t he bet ter ment of a
brand or business. T hen I met a
cl ient who wasn’t i ntere sted i n
t hat debate. As far as t hey were
concer ned, creat iv it y was t he most
v a lu able bu s i ne s s to ol t h at t he y h ad
a nd t hey wa nted to i nject it i nto
ever y aspect of t heir busi ness.
T h at made a lot of sen se to me.
248 — The ANNUAL 2008
A nd I t h i nk t here a re more a nd more
busi nesses out t here t hat a re beg i n-
n i ng to apprec iate t he va lue of c rea-
t ive t h i n k i ng i n t hei r busi ness. A nd
I’m not just talk ing about adver tising,
I’m t a l k i n g about c reat ive t h i n k i n g
t hat focuses on broader busi ness a nd
bra nd issues t hat ca n ac t ua l ly a f fec t
(a nd somet i mes even deter m i ne) t he
way a br a nd beh ave s or a compa ny
doe s bu si ne ss.
A nd t here’s good reason for t h is.
D e s p ite w h at m a ny p e o ple t h i n k ,
creative people are not t he stereot y pi-
c a l w ierdos w it h f u n ny clot he s a nd
st ra nge facial hair – well, maybe t hey
a re t h at too but t h at doe sn’t ef fec t
t he way t hey t h i n k. You see t he best
c reat ive people i n my ex per ience a re
qu ite si mply t he be st problem solv-
er s. T hey a re i nc red ibly foc used a nd
d isc ipl i ned t h i n ker s who a re able to
prov ide smar t solutions to oppor tuni-
t ies or problems. T he fac t t hat ma ny
cl ient s c hoose to on ly u se t h is sk i l l
to m a ke ads, is a not her issue.
T he reason agencies tend to
de f au lt to m a k i n g ad s i s p r obabl y
be c au se, i n m a ny c ase s, cl ient a nd
a g e nc y r el at ion s h ip s h ave b e c ome
qu ite t ra nsac t iona l. T here a re over -
elabor ate s y stem s to cope w it h t he
m a ny l a ye r s of a p p r ov a l , w h i c h i s
g e ne r a l l y w hy t he out put i s mo s t l y
adver t isi ng. T hese relat ionsh ips
don’t a l low for a deeper i nvolvement
i n t he bu si ne s s i n orde r to i n nov ate
a n d t h i n k b e yo n d t h e t r a d it i o n a l .
I n f ac t , it ’s qu ite t he opposite. T h is
t y pe of relat ionsh ip tends to en-
cou rage a nd even rewa rd a more
for mu l a ic ap p r oac h .
A not he r pr oble m t h at a g e nc ie s
seem to su f fer f rom is t hat t hey for m
s i lo s t h at h a ve g r e at d i f f ic u lt y i n
col l ab or at i n g. W h ic h g i ve s r i se to
a not her never - end i ng debate a rou nd
i nte g r at ion . T h i s m ay h ave some -
t h i n g to do w it h t he f ac t t h at t he se
si l o s (w h e t h e r t h e y i n t e n d t o t r y
and collaborate w it h each ot her
o r n o t) t e n d t o b e p o p u l a t e d w i t h
specialists i n a specif ic discipli ne
who are not necessar ily able to
t hi nk across plat for ms.
But t h is is cha ng i ng. A s t he me -
d ia la ndsc ape c h a n ge s a nd bud get s
become tig hter and brands are forced
to in novate, t here is renewed appetite
for st ron ger cl ient agenc y relat ion -
sh ips, or bet ter yet, “pa r t ner sh ips”.
M a ny compa n ie s a r e r e a l i si n g t he
power of employ i n g c reat ive t h i n k-
i ng w it h g reater dept h. A nd I t h i n k
t hat a compa ny like Na ndo’s, as t hey
cont i nua lly ma nage to do, is lead i ng
t he c h a r ge.
I t he n r e a l i s e d , w h i le wo r k i n g
w it h Na ndo’s i n t h is way, t h at t h is
new realm of creat ive t h i nk i ng cou ld
b e f a r b et te r appl ie d a s a se pa r ate
c reat ive ent it y. I mag i ne a more ho -
l ist ic approach to c reat iv it y i n busi-
ness a nd bra nd development, look i ng
beyond a st a nd a rd ised i ndust r y ap -
pr oac h to de velop c h a n nel - neut r a l
solut ion s t h at be st ser ve t he br a nd
a nd busi ness objec t ives. I mag i ne a n
env i ron ment t h at brou g ht toget her
c r e at ive t h i n ker s t h at cou ld c r e ate
bu si ne s s fo c u se d solut ion s , r at he r
t h a n ju st adver t isi n g.
I m ag i ne a compa ny t h at worked
bot h broadly a nd deeply, pooli ng t he
ex per t ise of mu lt id isc ipl i na r y i nd i -
v idua ls to work toget her i n doma i n-
specif ic teams. Imagine if t hese teams
cou ld be pa r t ly or wholly outsou rced
i n order to enable us to work ac ross
a r a n g e of i ndu st r ie s a nd f i nd t he
best people for t he job. I mag i ne t hat
t hey wou ld demonst r ate t hei r va lue
t h rou g h col labor at ion w it h cl ient s,
ot her tea ms, a nd t h i n ker s f rom out-
side ou r ow n wa l ls.
I m ag i ne t h at.
 THE ROCKSTARS

The ANNUAL 2008 — 249

THE ROCKSTARS
A TV commercial for R50k…really
By Brian Wright
When Jeremy visited our agency soft selling us the THE ANNUAL 2008 and why we
should be in it he asked us how much it costs to make a TV advertisement.
No d oubt he alre a dy h a d a g o o d id e a
but, when we said that we had done
o ne fo r a s li t t le a s R50 0 0 0 fo r o ne of
o u r cl i e nt s h e i m m e d i a te l y a s ke d u s
to w r i te a n a r t icl e a s to h o w t hi s ca n
be done.
Wit h consumer spending re -
st rai ned pr i ma r ily due to h ig h pet rol
pr ice s a nd i ntere st r ate s, ma rketer s
have got to ai m at get t i ng more ba ng
for t hei r buck . Si mu lt a neously, t he
consu mer/c ustomer com mu n icat ion
la ndscape is consta nt ly cha ng i ng a nd
adver t isers should be look i ng at t heir
ex ist i ng med ia m i x a nd messages to
ensu re t hat t hei r t a r get ma rket s a re
bei ng engaged ef fect ively to i ncrease
t he i r br a nd e q u it y a nd t he i r s l ic e
of t he pie.
G et t i ng back to t he topic we were
asked to w r ite about: How c a n you
produce a T V adver t isement for f i f t y
t housa nd Sout h A f r ica n ra nd? Wel l,
a low- cost product ion need not mea n
low qualit y or reduced ef fect iveness.
K e e pi n g cost s dow n i s r e a l ly qu ite
si mple: Cut out t he f i l m c r ew, t he
set bu i ld i ng , t he cast a nd t he ji ng le
produc t ion a nd you a re t here! W hat
you w i l l get is some c reat ive copy, a
few v isuals, a lit tle dig ital animation,
back g rou nd sou nd a nd a voice - over.
D on’t e x pe c t one of t ho se c a r toon
i n s u r a n c e a d s e i t h e r. ( “ No t s u r e
i f we a r e to t a ke t hem se r iou sly? ” )
T he a n i mat ion we a re t a l k i ng about
is si mple words, c apt ion s a nd a few
i mages cha ng i ng shape or mor ph i ng
i nto t he nex t i mage.
A f u ndamental t r ut h is t hat words
a re power f u l, wel l placed a nd t i med
i n a low - c o s t p r o duc t i o n a nd t he
message ca n be as st rong as a v isua l
i n a h ig h cost produc t ion (a nd cou ld
be more ef fec t ive).
Scen a r ios where you cou ld ser i -
ously consider a low- cost adver t like
250 — The ANNUAL 2008
t h is wou ld be:
- You h ave a ve r y low bud g et a nd
wa nt to ploug h it i nto t he med ia ex-
posu re a nd not t he produc t ion.
- W he r e t he r e i s a c omp el l i n g a r -
g u me nt to u se t he br a nd - bu i ld i n g
med iu m, T V.
- I f you r br a nd a nd /or you r message
is ver y releva nt to t he spec i f ic pro -
g r a m me aud ie nce a nd t he spe c i f ic
t i me slot (e.g. sel l i n g Bible s du r i n g
t he e pi log ue).
T hen t he “Keep it Simple St upid”
adver t cou ld be ju st t he way to go.
T h e t r i c k i s to f i n d t h e s w e e t
spot v is - à -v is t he c reat ive idea a nd
t he exec ut ion of it wh ich a f fec ts t he
c o s t a n d to m a r r y t h i s b a c k w i t h
you r objec t ive.
Not so si mple i n rea l it y wh ich is
why adver t iser s a nd t hei r agenc ie s,
w it h a l l t he g o o d i nte nt ion i n t he
world, a l l too of ten get it w ron g.
So what makes a n adver t ef fec-
tive?
Fi r st ly, t he r e ne e d s to b e some
k i nd of appeal, st i mu lat i ng t he aud i-
ence to en g a g e w it h t he adve r t i se -
me nt. A nd t he r e ne e d s to b e some
k i nd of c a l l - to - ac t i o n a nd s t r o n g
br a nd assoc iat ion.
T he se a re c r it ic a l f ac tor s i n t he
produc t ion of you r adver t isement. I f
you don’t g et t he se absolute basic s
r ig ht when produci ng you r adver t ise -
ment, r at her donate you r ma rket i ng
budget to a more wor t hy c au se. We
h ave a l l seen t he se c reat ive master -
pieces but have no idea what or which
br a nd was bei n g adver t ised.
Once t he basics a re i n place,
we g et i nto whe r e t he bi g buck s i n
c r e at i n g a d ve r t i s e me nt s a r e: T he
e nte r t a i n me nt v a lue a nd j u s t how
memor able you r adver t isement is.
I f you r adve r t i s e me nt do e s not
stand out in some way, you are simply
r ele g ate d to c lut te r, “ b ac k g r ou nd
noi se”, wh ic h you r potent i a l aud i -
e nc e s i mpl y f i lte r s out . T h i s do e s
not even enter t he real ms of t he con-
sc iou s m i nd but is releg ated to t he
sub - consc ious t rash ca n of t he r ig ht
br a i n . You don’t e ve n g e t clo s e to
t he cerebr a l cor tex!
E st abl ish i ng resona nce w it h you r
aud ie nc e w i l l g e t t he i r br a i n s i nto
ac t io n a nd o n l y t he n w i l l t he y e n -
g a g e w it h you r b r a nd a s you w a nt
t he m to.
I n su m ma r y, you need to be su re
t hat T V is where you need to be
a nd t he n c o n s ide r t he fol low i n g i n
de te r m i n i n g t he ap pr opr i ate s p e nd
o n p r o d u c i n g y ou r T V a d v e r t i s e -
me nt :
- T h e s l ot s a r e g o i n g to c o s t you ,
so you ne e d to e n su r e t h at t he y a r e
wel l t a r g e te d .
- T V a i n’t c he ap, so g e t t he i nve st-
ment split r ig ht bet ween put t i ng
you r money i nto t he f l ig ht i n g of t he
c om me r c i a l a nd t he p r o duc t io n of
it . D o n’t u nde r e s t i m ate t he p owe r
of repet it ion, cor rect prog ra m me
t a r get i n g , ch a n nel selec t ion, as wel l
a s a si n g le - m i nde d appr oac h to t he
c r e at i ve
- Will you r bra nd posit ion i ng be
e n h a nc e d ?
- Wi l l you r message or ca l l-to -ac t ion
b e c omp el l i n g ?
- W h at do you ne e d to do to e n su r e
t h at you r adve r t i sement w i l l appe a l
t o y o u r t a r g e t a u d i e n c e (a n d n o t
ne c e s s a r i l y you ! )?
- W i l l you r me s s a g e r e s o n ate w it h
you r t a r get m a rket a nd en g age t hei r
c on s c iou s m i nd s ?
B e s u r e t h at y ou a r e i n v e s t i n g
you r mone y i n you r br a nd a nd not
wa st i n g it when pr o duc i n g you r ad -
ve r t i s i n g c a m p a i g n s . E n s u r e you r
a g e nc y h a s t h e e x p e r t i s e a n d t h at
t hei r i nterests a re a lig ned w it h you r s
a nd not s ome c r e at i ve aw a r d .
 THE ROCKSTARS

The ANNUAL 2008 — 251

THE ROCKSTARS
There are no laurels to rest on when the going gets tough!
By Dale Tomlinson
Ok, so the gauntlet is down...
Just when everything was going so swimmingly
– products flying off the shelves, buildings
growing faster than weeds, executives guz-
zling single malts and taxis guzzling gas. Then
someone changed the rules. America – land
of milk and honey had a subprime collapse,
oil went through the roof and maize replaced
gold at Fort Knox. And get used to it – this is
the new game and these are the new rules.
Things will settle a little, gas will appear to
be more affordable than a few months ago,
you will still savour the single malt, maybe
not doubles, and the consumption calcula-
tion between diesel and petrol will have been
worked and reworked. But leave those rose
tinted spectacles on the side table. We have to
work for our rewards – no more silver platters
and fewer quick wins.
I’m not sure if this is a recession or a
speed bump with teeth but what this envi-
ronment does do is allow talent to strut its
stuff. I’m not just talking creative talent
but the hidden untapped talent in every
sphere of your business. Bean counters
who can make the numbers dance without
cutting corners, production people who
discover what their “resource” is really
capable of, HR people who buy better
fertilizer for better people rather than
watering mediocrity. Marketers will have
to build brands rather than the other way
round and agencies will be measured on
share growth and relevance rather than
own industry accolades.
This is the time when marketers and
agencies seriously need to sit down and
find the rich stuff that will make for great
solutions to new challenges. I think some-
times we forget that we both have the same
objectives – we just sit in different buildings
and use different tools. We should both be
facing in the same direction, shoulder to
shoulder, not staring at each other. The
problems and the answers, for that matter
do not lie between us – they’re out “there”.
Agencies burn too much valuable energy
impressing clients and clients equally burn
252 — The ANNUAL 2008
a lot of intellect in trying to catch us out.
We’re on the same side. It is time to role
up our sleeves and dig for those truffles
together; no longer the route of least re-
sistance so that we can meander our way
to potential success; no more “TV is the
answer – now what was your question?”
So what does this mean for us? It
means that now, more than ever, we have
to behave like and be treated like business
partners – not suppliers. The passion,
skills, intuition and insights that we bring
to the table are truly a competitive advan-
tage when the ante is upped. Consumers
are firmly in the driving seat. We need to
appeal to them in a language and location
and with a proposition that absolutely suits
their current circumstance and frame of
mind. Whether it’s a question of the hard-
pressed consumer having too little money
or too many questions, we have to walk
that tight rope between rational choice and
emotional desire. A recent survey by a UK
Horticultural Society showed that in the
same period there was a 31% increase in
vegetable seed sales and a corresponding
32% decline in flower seeds.
Does this mean that consumers will
only buy “the cheap stuff”? Not at all. It
does mean though that they will be far
more critical and hold brands accountable
to deliver on their promise. Value is not
the same as cheap. Premium brands must
deliver premium performance and an ex-
pected level of emotional satisfaction. Value
brands must satisfy demanding everyday
needs. The smart marketers have already
responded to this less-than-forgiving cli-
mate. Just take a look at how a few of our
own clients have ensured that they are as
relevant now as they were when there was
a little more money to go around:
SA Home Loans, the leading independ-
ent home provider, has used its “non-bank
nimbleness” to provide its customer base
with easier access to funds in a buyers’
market or simply the release of much needed
funds to see them through the squeeze or
to enhance an existing home, rather than
buy a new one.
Rainbow Chickens have taken the sim-
ple polony or vienna – historically a tube of
“pork, soya and filler pulp” and produced a
range of premium 100% chicken meat prod-
ucts that allow cash-strapped but discerning
consumers access to high-quality everyday
sandwich fillers and lunch box solutions.
These products under the Simply Chicken
brand have shown exceptional growth and
proved that chicken is not a commodity
and consumers are discerning.
Unilever has taken cognisance of both
value pressure and environmentally sen-
sitive issues with its international “small
and mighty” roll out – offering higher
performing concentrates in their homecare
range that simultaneously reduce the cost
of packaging and have less impact on the
environment – a win-win all round.
Russell Hobbs are looking at products
such as their thermo kettles and coffee mak-
ers that, once boiled, keep the water at an
optimum temperature for an extended pe-
riod, reducing electricity consumption.
What better time to launch the new
Magnum Mini into South Africa so that
those Magnum addicts can still get their
fix in smaller portions?
While the smart brand owners and serv-
ice providers have got their heads around
the issues, what do we need to bring to the
table? That unfortunate title of “advertis-
ing agency,” that so many of us seem to
be quite happy to be saddled with, has
to go. It assumes that all we are capable
of doing is making advertising. I’m not
sure what we should call ourselves but we
had better find out soon before Spielberg
makes a movie about us that rivals Jurassic
Park. We need to be the ideas people with
a deep understanding of both the brands in
our care and the complex tapestry of con-
sumers we are trying to engage. Channel
neutrality is critical if we are to step out
of our comfort zones and cease defaulting
to TV or “promos” as being the panacea
for all marketing ills. Only once we have
cracked the “idea” and ensured that it is
campaignable with the appropriate lon-
gevity that is worth our clients investing
good money in – should the channel debate
start. TV will put the brand in their face,
sampling in their hand, online in their of-
fice or home, eventing in their leisure time
etc etc. It is the correct mix of all or some
of these methods of engagement that will
ensure that we meet the correct long- or
short-term needs – or both.
That great ad for the new battery oper-
ated toilet brush that incidentally won an
award for the agency but never engaged
the consumer while the attached “free
trip to New York” incentive drove sales
in-store, would have had both “specialists”
patting themselves on their backs for a job
well done. The truth being that neither
had ensured that some relevant long-term
residual gain was made. Those days of
myriads of people “doing different things”
for the same brand at the same time, are
over. It may suit the service providers’
immediate billing goal but has seriously
short-changed the brand.
I am not saying that we have to bolt as
many channels together as we can. It can
be a single channel but it had better be the
right one – not one that simply plays to our
strengths and not the brands’ needs and
the consumers’ preference. Campaigns
have to be integrated and single minded
with consistent imagery and tone. If we
don’t have the skills at hand – we need to
partner. The brand comes first.
To wrap up – it’s not about us, it’s
about them. Those brands, consumers
and clients whose resources are stretched
and are desperately trying to find a com-
mon meeting point from which they can
initiate a mutually beneficial and hope-
fully long-term relationship. Achieve
that and we deser ve to be invited to
the party. Let’s get “off our laurels”
and do what we’re being asked for and
paid for.
 THE ROCKSTARS

The ANNUAL 2008 — 253

THE ROCKSTARS
Pubic Relations 2.0: How PR professionals are staking
their claim on Web2.0
By DAN PINCH
Having worked at an online PR agency when the Web 1.0 bubble burst in the late nineties,
and being aware that our industry has a bad reputation for breathlessly hyping issues,
I’m wary of hurling another log on the Web 2.0 fire.
With that said, I honestly believe that
developments in the digital media arena
over the last few years are significant to
the point that they are changing how PR
will be defined and practised in the very
near future. I’d also add that of all the
marketing disciplines, PR cer tainly has
most to gain from Web 2.0 – if we can
determine how to use it sensibly.
But what exactly is Web 2.0? Essen-
tially it is a kind of a PR invention in itself.
Blogs, podcasts, social networking (Face-
book being the most significant example
in SA), streaming media (for example,
YouTube videos) are all in fact a neat
repackaging of features that have existed
since the mid-nineties. The difference
today is that these types of application
have gone mainstream and the user expe-
rience has evolved thanks to broadband
and the breakneck evolution of the web.
Strip Web 2.0 down to what it basically
does, which is sharing content, spreading
messages across networks of people and
having a conversation with people (for
example, peers whose opinion you value
or potential customers) and it becomes
directly relevant to what public relations
is supposed to be – that of relating and
communicating with the public.
We’d like to think people move into
public relations because they are pas-
sionate about enabling clients to get their
side of the stor y across to their audi-
ences. We’re not there to build websites,
shoot videos or hold parties (not to say
we won’t, but only if it meets our clients’
business objectives) but we are there to
act as advocates for our clients, enabling
them to connect and communicate with
inf luencers that matter to them. So it’s
not that the technology of digital media
and Web 2.0 is particularly enthralling,
but rather it is the sheer number of people
online and the new innovative ways in
which businesses and brands can interact
with them.
And because PR does not have a vested
interest in any particular channel or plat-
254 — The ANNUAL 2008
form, we are perhaps best placed of all the
marketing disciplines to make use of the
opportunities presented by Web 2.0. The
reason for this is that some of the best tools
for online communications are either free
or very low cost and only require the time
and energy to figuring out how it works.
For example, Wordpress, free blogging
software, is, in my opinion, far superior to
off-the-shelf content management systems
that companies pay thousands for to create
a blog. YouTube offers free hosting for
video and is designed to make that video
content found and shared easily. Facebook
is a spectacularly useful CRM tool and
is also free to use. The only associated
costs lie in the development of ideas,
bringing these to life and nurturing an
audience for these.
W hile other marketing disciplines
might see the free culture of the web as a
revenue threat, it is a massive opportunity
for PR practitioners as we typically sell
our communication skills, and not the
platfor ms we utilise. However, before
anyone gets overexcited, there are some
elements of concern. Do a quick search
on PR 2.0 and you’ll probably find a bar-
rage of blog posts heralding the death of
PR – wired journalists feel the web has
more than enough tools to dig out stories
without needing the help of PR people.
Examples of this in practice are applica-
ble to a number of international brands:
once they launch a product/service in one
country, information is instantly available
to local journalists who can immediately
write about it. The story will be decrepit
by the time the local SA launch happens
typically days, weeks or months later.
There are also many examples of how
quickly bad news and criticism travels
online via blogs to the point that it dra-
matically affects profits. Bloggers are a
phenomenon that the PR industry needs
to get to grips with and to be honest I
think worldwide we’ve done this rather
badly. Writing my own blog has really
illuminated this as I have been on the
receiving end of some dire PR pitches –
both local and international. The dilemma
is that PRs assume that bloggers work in
the same way, and obey the same r ules
as jour nalists. Wrong. Bloggers aren’t
being paid to write, they’re doing it out
of a mixture of passion and ego, so being
on the receiving end of a BCC’d press
release mailout after a story has already
broken is going to result in, at best, a
swift delete, and at worst, a bitchy blog
post read by potentially tens of thousands.
Blogs have potentially vast inf luence but
require special treatment and an intimate
knowledge of what is appropriate to pitch
as a stor y – in other words that old PR
mant ra of read the publication before
you pitch is now even more relevant than
ever before.
Pe r h ap s one of t he big ge st op p or-
t u n it ie s of Web 2 .0 i s for b r a nd s a nd
compa n ies to create, or rat her become,
t h e i r ow n m e d i a . Not n e c e s s a r i ly a s
ju s t a n ot h e r c o r p o r a t e we b sit e , b u t
r a t h e r t a k i n g a n e d it o r i a l a p p r o a c h
a nd t h i n k i ng a b out wh a t t he out sid e
world wou ld real ly l i ke t o k now about
t hei r bu si ne s s or b r a nd a nd wh at t he
b e s t o n l i n e t o ol fo r c o m m u n ic a t i n g
t h i s s h o u ld b e . A g a i n , d e t e r m i n i n g
wh at i s news wor t hy f r om t he m a s s of
i n for mat ion t hat sit s w it h i n a compa ny
i s a c o r e PR s k i l l: it d o e s n’t t a ke a
hu ge le a p t o f ig u r e out how t o t el l a
compell i ngly stor y v ia a blog, podca st
(i nt e r ne t r a d io), a Fa c eb o ok g r ou p or
a YouTu b e v ide o.
Ju st a s i n t he “ t r a d it ional” PR
d o m a i n , t h e r e a r e goi n g t o b e s o m e
compa n ies a nd agencies t hat get on li ne
PR a nd some t h at ju st get it s p e ct a cu -
la rly w r ong. I f , a s a n i nd u st r y, we’r e
w i l l i n g t o p u t i n t h e h o m e wo r k a n d
r e a l ly f ig u r e out how t o t r a n slat e ou r
c or e sk i l l s i nt o t h is new, excit i ng e n -
v i r on me nt , Web 2 .0 hold s some g r e at
op p or t u n it ie s.
Fo r b a ck g r o u n d a n d l i n k s t o t h e
topics ment ioned above visit the
onli ne version of this ar t icle at
w w w.at mosblog.c om
 THE ROCKSTARS

The ANNUAL 2008 — 255

THE ROCKSTARS
A handful of Ps
By Francis blitz
After another year in the trenches – 31 to date – I thought I might warm to my topic of
“How many Ps in advertising’.
As suggested last year there are at least 4
Ps in advertising: Profit, Partnership, Peo-
ple, Product. However, on reflection one
should probably add Prizes, Performance
and Place to that list.
Profit came under more pressure this
year as clients introduced new devilish
ways – aided by their hired hands –
the cost consultants - to restrict their
agency’s capacity to make a margin. I
heard of one new wrinkle which was
that a leading marketer had added a
rider to his fee that if tasks were not
completed on time or at all the agency
would not be paid. Fair enough if you
have a def ined scope of work but who
will objectively assess per for mance
against approval procedures, research
results, brief changes, subjectivity….?
As one industry commentator told me,
he has never seen the industr y so on
the back foot as now. None of this has
been helped by the global economy and
our own galloping inf lation. It will be
interesting to see how marketers react
to this cycle of consumer belt tightening
and whether agencies fall prey to the
soft target of budget cuts once more.
In my exper ience clients t hat resist
the urge to slash ad budgets end up in
a stronger market position when the
cycle turns.
Partnership is a concept that I fear
many marketers only pay lip service to
today because of either their egos or self-
doubt/experience (or lack thereof ). It’s
easier to adopt a master/servant – did I
mean supplier? –relationship than have
an agency speak its mind. Seemingly
it is only knowledgeable (even about
their own limitations), open-minded
clients who enjoy the benefits of a true
partnership with their agency. The new
generation on client side seemingly are
looking to promote their careers and do
not consider the legacy they will leave
behind as they seek personal recogni-
tion through the ads they make. Is this
a generational thing?
People are one’s greatest asset and
256 — The ANNUAL 2008
managing these very different people
our industry attracts can be challenging
and always exciting. I believe that our
industry has been hard hit by the brain
drain with many of our ex-colleagues
f leeing our shores to gain great ac-
claim internationally. This has been
compounded by the fact that due to
our income squeeze many smart young
people do not see adver tising as an
exciting industr y to join unless they
want to be in the creative department.
Seemingly the generational thing is also
at play with lots of job hopping rather
than career building – the trouble is
I can’t ask Graeme Codr ing ton for
verification – he has emigrated.
Prizes/awards are clearly the obvi-
ous way to market your agency, but at
what cost? The cost of entry is high with
some of the bigger agencies spending
up to R1 million on entries per an-
num. Seemingly it is a numbers game
and if you look at the league tables for
Loeries, the biggest winner had a one
in t hree hit rate in ter ms of awards
to f inalist (no-one knows how many
entries they made) while another once
creatively famous agency had a one
in 10 hit rate. It would be interesting
to calculate the ratio of f inalists and
awards to entries. Does this preclude
some agencies from competing? There
is also the perennial question of doing
work for awards only and not in the
honest endeavour of building one’s
client’s business. Again this might
be a generational issue.
Performance is another interesting
P and one worth serious consideration
from a number of angles. If one has a
true partnership, I believe one should
have a remuneration model that enables
agencies to put their money where the
mouths are by sharing in the client’s risk
and success. The effect of advertising
can rarely be isolated unless a client
dominates a market, enjoys consistent
production and 100% distr ibution,
like SAB. I remember a time when we
helped arrest a decline by Castle and
won back nearly 20 share points when
the only marketing variable that changed
was the advertising – we won an Apex
Grand Prix for that. Is performance
creating brand platforms that endure
like we did for Cadbury on both Dairy
Milk and Lunch Bar over more than 20
years – the question is: were we well
rewarded? Unfortunately until there is
a true partnership and a strong belief
that agencies should succeed – not be
squeezed financially – they will rarely
get their just desserts. There are some
clients who do espouse and practice
not only partnerships but rewarding
remuneration models but they are not
legion in their numbers. I have heard
of an agency being paid its incentive
in share options.
Place is a P worth consideration as
we live in a dynamic country trying to
find its identity – this is going to be an
exciting journey for all of us in com-
munications. Recently I was invited to
Ghana by a prospective client and it was
interesting to see how this 41-year-old
democracy had evolved and how proudly
Ghanaian they were with Fridays be-
ing national dress day, not casual day.
Our mantra is “contagious ideas that
change conversations” about brands and
companies. This taps into one of our
national past times – conversations – the
success of the cellphone companies bears
testament to this. This is something
we have done for many years where
we promoted the insight that all South
Africans wanted to live in harmony in
our ground-breaking “Fellows of the
Charles Glass Society” campaigns that
drew negative comment from the press
of the day but drove market share as the
idea took hold – we couldn’t have done
it without a brave client. We did it for
Cadbur y’s Lunch Bar with Makatini
from 1990 until 2007 and now with
the new campaign platform “Lunch
Bar? Obvious!”
The key thought for all of us is to
watch our Ps and continue to ask lots
of Qs.
 THE ROCKSTARS

The ANNUAL 2008 — 257

THE ROCKSTARS
Advertising in a regulated environment
By Gail Schimmel
To understand advertising in a regulated environment, and the importance
of adher ing to that regulation, the best approach is to imagine advertising
in an unregulated environment .
Adver tising creatives and marketers
of t e n co m p l a i n a b o u t h a v i n g t o w o r k
w i t h i n t h e re s t r i c t i o n s o f a d v e r t i s i n g
re g u l a t i o n , w h e t h e r i n t h e fo r m of l e g -
i s l a t i o n o r t h e A d v e r t i s i n g St a n d a r d s
Authority. Legal advisors such as myself
are a gr u d g e p urch a s e a t b e s t , an d are
re g a rd e d a s t h e e n e m i e s of cre a t i v i ty .
B u t a d ver t i sin g in a re gul a te d enviro n -
m ent is a p r ivil e g e t h a t m any a d ver t is-
e r s s e e m d e t e r m i n e d to a b u s e .
Fo r t he c r e at i ve , t he f i r s t f lu s h
of i m a g i n i n g i s pl e a s u r a bl e . Fo r a
st a r t, we cou ld have sex y, A mer ica n-
t y p e c o m p a r at i ve a d ve r t i s i n g , a n d
ma ke clever d ig s at ou r compet itor s,
who i n t u r n wou ld m a ke cle ve r d i g s
at u s . T h e r e c a n b e n o dou bt t h at
c o n s u me r s wou ld love t he ad s , a nd
t h e a w a r d s wou ld c o m e r ol l i n g i n .
We c ou ld e s c he w p ol it ic a l c o r r e c t-
ne s s a nd obje c t i f y me n, wome n a nd
mi nor it y race g roups – what t he
hell, we cou ld object i f y major it y
r ac e g r oup s to o! We c ou ld pu nt t he
poi nt s t hat we k now to be t r ue about
t h e p r o d u c t , w i t hou t t h at t e d i ou s
bu si ne s s of ac t u a l ly h av i n g to pr ove
it , a nd we cou ld te st t he hy p ot he si s
“s e x s e l l s ” t o o u r h e a r t s c o n t e n t .
T he Mot he r G r u nd ie s of t h i s world
cou ld ta ke a f ly i ng leap, because
we’d h ave complete f reedom of com-
m e r c i a l s p e e c h . T h e r e ’s no dou bt ,
a lot of f u n wou ld b e h a d .
But t a ke it a ste p f u r t he r – L or d
of t he F l ie s i n adver t isi ng i f you w i l l
– because you have to remember t hat
not e ve r y ad ve r t i s e r i s you a nd me:
f i n e s ou l s w i t h a n i n n at e s e n s e of
r ig ht a nd w rong. Even i n a reg u lated
e nv i r on me nt one f i nd s t h at t he r e i s
always t he ma rketer who feels no
ne e d to s t i c k , at le a s t , to t he b a s i c
nor m s of r i g ht a nd w r on g , a nd w ho
258 — The ANNUAL 2008
has no problem steali ng f rom t he
p o or to fe e d t he b ot tom l i ne. I n a n
u n r e g u l ate d e nv i r o n me nt t h i s t y p e
o f a d v e r t i s e r w o u l d p r o s p e r, a n d
con su me r s wou ld b e su r r ou nde d by
u nproven cla i ms. C ha r ac ter s such as
t he i n f a mou s D r R at h wou ld mu lt i -
ply, a nd bog us c u res for ca ncer, A ids
a n d e r e c t i le d y s f u nc t i o n wou l d b e
ava i lable on ever y super ma rket shel f.
Eve r y pr o duc t wou ld b e t he “ b e st ”,
a n d f e w p r o d u c t s w o u l d d e l i v e r.
T he f a l lou t , of c ou r s e , wou l d b e a
c y n ic a l c on su me r, w ho wou ld move
f rom bel iev i ng some of t he st u f f t hat
t he y s e e i n adve r t i s i n g to b el ie v i n g
none of it. So t he sex y, ed g y, awa rd-
w i n n i n g c a mpa i g n wou ld a mu se t he
c o n s u m e r, b u t wou l d f a i l to m a k e
sales. A nd when t hat happens, i n
t he e nd it i s t he c r e at i ve s w ho lo s e
t he i r j o b s .
A nd it is t he con su mer s who lose
t hei r money. I n a reg u lated env i ron -
ment, t here a re st i l l cha rlat a ns w ish -
i n g to e x ploit t he de s p e r ate – “ You
h a v e wo n” c a m p a i g n s , “ E a r n R 15
0 0 0 f i l l i n g e nve lo p e s” s c a m s – you
k n ow t h e t y p e . I n a n u n r e g u l at e d
env i ron ment t hese sca ms wou ld
pr ol i fe r ate , of fe r i n g t he i mp o s s i ble
to t he v u l ne r able a mo n g u s , t a k i n g
t he i r s a v i n g s a nd of fe r i n g t he m no
r e cou r se. “ Fr e e dom of spe e c h,” t he
p e r p e t r ator s wou ld mut te r, a s t he y
c l i m b e d i nto t h e i r s p o r t s c a r s a n d
d r ov e a w a y, l e a v i n g t h e c o n s u m e r
hold i n g t h e f au lt y p r o du c t .
A n d t h e wo n d e r f u l j ok e s at t h e
ex pense of mi nor it y sensit iv it ies
t h at c ou ld now i nc lu de r ac i a l s lu r s
a n d g e n d e r b a s e d v i o l e n c e ? We ’d
slowly see a generat ion emerge where
i ntole r a nc e i s t he nor m, a nd w he r e
we do n’t e v e n m a k e a n at t e m p t to
c h a n g e t he le s s at t r ac t ive aspe c t s of
ou r soc iet y t h r ou g h set t i n g a b et te r
e x a mple. So 5 0 pe ople wou ld b e a r -
rested for i m it at i ng a n ad? “Freedom
o f s p e e c h ,” t h e a d v e r t i s e r w o u l d
mu m ble , a s h e f le d t h e s c e ne .
O f c ou r s e , n o t e v e r y r u l e r e l at-
i n g to ad ve r t i s i n g g o e s to t he noble
e n d s t h at I i m pl y a b ove . T h e r e a r e
r u le s t h at h ave c r e pt i nto t he b o ok s
t h r ou g h de d ic at e d lob b y i n g f r o m a
pa r t ic u l a r i nte r e st g r oup. T he r e a r e
r u le s t h at r e s u lt f r om t he i nte r ve n -
t ion of gover n ment – a n i nter ven-
t i o n , i n c i d e n t a l l y, t h a t t h e s y s t e m
of s e l f- r e g u l at io n t h r ou g h t he A S A
i s d e s i g n e d to a v o i d – a n d t h a t o f -
ten ref lect a gover n ment bee i n a
gover n ment bon net, rat her t ha n a
real concer n. T here a re r u les t hat
made sense in t he sixties, when
t he A SA was fou nded, but have
lo s t me a n i n g now. A nd it ’s t he r ole
of t he adver t iser a nd ma rketer to
we e d out t he s e r u le s , a nd lobb y for
t heir removal. But t here are also
r ules t hat are cor ner stones to a
soph i st ic ate d a nd mor a l adve r t i si n g
c o m mu n it y – s u c h a s t ho s e a g a i n s t
m i s l e a d i n g a d v e r t i s i n g , t ho s e p r o -
te c t i n g c h i ld r e n a nd t ho s e p r e ve nt-
i ng t he ex ploitat ion of v u l nerable
consumers.
D o n’t g e t m e w r o n g . I b e l i e v e
t h at f r e e dom of spe e c h i s i nc r e d i bly
i m p o r t a n t a n d w o r t h f i g h t i n g f o r.
Adve r t i se r s s hou ld cont i nue to pu s h
t he envelope to create adver t isi ng
t h at i s e xc it i n g to s e e a nd t h at c r e -
ates t he t y pe of compet it ion t hat
one wou ld ex pect i n a f i r st world
e c o n o m y. B u t i f y o u w a n t t o r u n
w i t h t h e d o g s , y o u c a n’t a d v e r t i s e
like a puppy – and w it h an aspi-
rat ion to a f ir st world economy
c ome s t he ac c e pt a nc e of f i r s t wor ld
adver t isi ng reg u lat ion.
 THE ROCKSTARS

The ANNUAL 2008 — 259

THE ROCKSTARS
Progress wiped out the Yangtze River dolphin.
I bet big traditional ad agencies are the next to go.
By Glen james
In fact, if one thinks about it they’ve been slowly going extinct for the last 10 years. In
South Africa especially, technology has allowed a tsunami of small agencies to get start-
ed. Many of which just a few years ago found it quite difficult to attract bigger chunks of
business, but are now picking up larger accounts with ease. Why is this happening?
One of the reasons is that in a smaller agency,
the senior guys who started the company get
involved with creating the work. Unlike a lot of
bigger, traditionally structured agencies where
the senior people invariable get sucked into
the management of the company, leaving the
creation of advertising to the mid and sometimes
junior levels.
Another issue that drives clients com-
pletely crazy is the movement of staff on
their business. From month to month people
change on the team, never building up a level
of knowledge that becomes invaluable over
time. The biggest advantage at a smaller
operation is that the senior people generally
stick around longer because they tend to have
some form of ownership.
In fact, for me ownership is the defining
factor between the two structures. Unlike
20 or 30 years ago, when many advertising
people were quite content to have a steady
job. Over the last few years one of the first
issues raised at any interview is what kind of
ownership is available at the agency for senior
people. Of course a lot of the big agencies
are finding it very difficult to accommodate
these kinds of requests. We have seen the ef-
fects of this over the last 10 years, with many
senior advertising executives and creatives
starting their own shops to give themselves
ownership. An interesting development
recently was a small agency started under
the auspices of a mega international con-
glomerate; this would have solved the issue
of retaining very senior people and giving
them the ownership they needed.
Another nail in the coffin of big tradi-
tional agency structures is their need to cater
for every discipline required by their clients.
No advertising structure can maintain all the
different expertise needed and still make a
profit. The fear, of course, is that if you can’t
supply something, the client will go our and
find it themselves. Which is exactly what’s
260 — The ANNUAL 2008
been happening. The only way to solve this
is to form alliances with companies that have
the required expertise. If these relationships
are set up fairly and transparently, they’ll work
seamlessly alongside the agency, delivering a
level of experience that would be impossible
for the agency to supply on its own. The days
are gone where a big agency can simply set up
a new division overnight – besides the money
not being there, the people just don’t exist.
On the subject of disciplines, I was in-
terested to notice recently during a period
of interviewing senior creatives that not one
of them discussed any interesting ideas in
relation to the internet, or the cellphone,
or a customer rewards programme, or mo-
bile media, or…you get the point. They all
sat down and proudly showed their latest
30-second television commercial or double
page spread print ad. It felt like I was in a
time warp. What is happening? The world’s
products and budgets have moved on and
big agencies are still employing people who
refuse to come to terms with it. Talk to any
small agency creative director and he’ll tell
you about the remarkable learning curve
they’ve gone through in the last five years.
Advertising has become a multi-faceted
industry and if your agency hasn’t got the
ability to manage every aspect of the proc-
ess you’ll soon be getting Mr Darwin very
excited.
Last week I read a marketing article
published in the States that introduced an
advertising concept that could do away with
advertising agencies altogether. This involved
the internet and a company’s customers
creating the advertising they wanted to see.
It is similar to the way American sitcom
producers create their programmes, with
story lines written and published on the
internet; viewers are then invited to not
only choose which story line works for them
but to contribute by changing the stories
as well. Now imagine how this works in an
advertising sense. The company develops
its products in a public forum on the in-
ternet. The consumer is then asked how
to position the products. They are then
encouraged to write the ads and to suggest
which media they would expect to see the
commercial messages in. Finally, crowed
the article, here’s the way advertising can
be relevant, believable and immediate.
This concept is still in its infancy but just
imagine the opportunities it would present.
Real one-to-one customised relationships
with your target markets. Precise reliable
data about who reacted to your message
and how. The ability to change tack at a
moment’s notice. And maybe the biggest
benefit of all: the saving of bucketfuls of
money. Sounds brilliant to me.
As the channels to market evolve and
advances in technology begin to force costs
down, the bigger agencies are going to find
it increasing difficult to survive.
Overheads, the cost of hiring and keep-
ing the people to maintain a heirachical
structure and so on are going to erode their
bottom line until it will become financially
unviable to continue. The smaller agen-
cies – those that have knowledge of the
broader aspects of marketing and have
negotiated partnerships with specialist
companies they can call on when the need
arises – are going to find themselves more
and more in demand.
A recent newspaper article suggested
that in 10 years’ time, 80% of the careers
available will be for jobs that haven’t been
invented yet! Things are moving, if not
at the speed of light then very close to
it. In almost every industry – medicine,
technology, agriculture – you name it,
it’s changing on a daily basis.
The only industry in fact, that is
lagging behind, is the one that espous-
es to be at the forefront of change and
creativity.
 THE ROCKSTARS

The ANNUAL 2008 — 261

THE ROCKSTARS
10 big media trends
By Gordon Patterson
As much as we’d like to believe that change is evolutionary, if we stop and take the time to look around, the reality
today suggests that the perception of evolution is really driven by consistent revolution.
Looking back it ’s not dif ficult to see why
trend predic tions are of ten wrong or
worse, grossly misleading. We’ve seen
unbelievable upheavals in all areas of
life, business, culture, spor t, economy
and obviously in media. It seems we’re
surrounded by contractions like the world
getting smaller yet we want more out of
it . Rather than life get ting simpler it ’s
really becoming more complicated and
people seem to be getting older younger
and then younger older.
So where do I st a r t ; 2 010 per -
haps?
W hile t his date star ted of f being
linked to soccer, in realit y it has be -
come far more signif icant to all South
A fr icans. It marks t he event t hat will
simultaneously celebrate and def ine
ou r ent r y i nto a new era of soc ia l,
economic and political development.
Media is inextr icably linked to t hese
forces; it bot h ef fects cha nge wh ile
being af fected by t he change.
T here’s a n old say i ng “when i n
doubt, predict t hat t he present trend
w i l l cont i nue” a nd for ma ny yea r s
t his was a safe bet. T his concept has
reached its sell-by date.
From my perspective t hese major
trends will not only affect us but will
increasingly become ev ident around
t he world:
1. M ASS TO ME TO W E
(Content is king & social networking )
Mass media have since t he begin-
n i ng of t i me relied on t hei r abi lit y
to reach large nu mbers of potent ial
consumers with a single message. The
bigger t he coverage t he more power-
f u l t he med iu m, t he more i ncome
generated. Shif ting consumer needs,
new tech nolog y and f ierce competi-
tion are forcing mass media to deliver
to t he i ndiv idual. Telev ision is par -
ticularly af fected by t his trend as we
seen t he movement f rom ter rest r ial
to satellite to VOD to IP T V gaining
momentum.
262 — The ANNUAL 2008
2. PR IMETIME IS MY TIME
Tech nolog ica l adva nces w i ll a l-
low consu mer s to def i ne what a nd
when they want to watch. W hile PV R
technolog y has so far been limited to
aff luent market segments, the poten-
tial of memor y storage capacity in the
soon-to-be-released digital to analogue
decoders for t he mass market cannot
be u nder stated. Severa l telev ision
sets cur rently of fer t his feature as a
sta nda rd. T he abilit y to delay v iew
will, if made available in the analogue
decoders, make pr imetime my time.
3. LIVING OUT OF HOME R ATHER
TH AN AT HOME
People are spending more time out
of home than ever before. The mobility
of media and out of home media will
g row in relevance as at-home media
consumption of all media declines.
4. EXPOSUR E TO ENGAGEMENT
(Permission- based marketing )
Exposing t he message to t he cor-
rect people at t he cor rect time is no
longer enoug h as people t hese days
simply t u ne out to clutter. Motivat-
ing response requires t he target con-
sumer to respond and engage with the
com mu nicat ion i n some way. T h is
i ncreases t he responsibilit y of bot h
the creative and media professional to
leverage t he media platfor m in a way
that offers engagement. Once engage-
ment has been achieved, per mission-
based mark ing initiatives can follow
with instant gratif ication/reward being
a key consumer incentive.
5. GROW ING R ELEVANCE OF
DR THEORY
M e d i a f r a g m e nt at i o n a n d t h e
growing ability of consumers to avoid
adver t isi ng /promot ional messag i ng
means that continuity is a key success
fac tor. Cost of c ustomer/relat ion-
sh ip acqu isit ion w i l l become a hot
topic in measuring the effectiveness of
campaigns and will dr ive adver tising
rates. A lready some adver tisers have
for mulated rate cards based on f ixed
customer acquisition costs.
6 . PROSUMERS R ATHER TH AN
CONSUMERS
(the power of 1)
Gone are t he days were market-
er s dictate product per sonalit y a nd
character. Wit h g row ing con nectiv-
it y w it h i n reach of ma ny consu m -
ers arou nd t he world, we are seeing
consu mers play i ng a g reater role i n
def ining product positioning and ap-
peal. A few years ago one consumer
could only inf luence their immediate
family, friends and colleagues. Today
that same consumer can reach millions
of people t h roug h numerous dig ital
platfor ms. T heir exper ience wit h t he
bra nd ( bot h posit ive a nd negat ive)
ca n spread rapid ly. T he ma rket i ng
community has picked up on this and
in an ef for t to tap into t his trend has
ex plored t he v iral benef its of CGM
(consumer-generated messaging) ini-
tiatives.
7. GLOBALISATION
(Brands without boarders)
T he world is t r uly becoming t he
consu mer’s “cor ner café” a nd most
bra nds a re eit her g lobal cit i zens or
def ined by global citizens. The market-
ing challenge to t hink global but act
local has never been more important or
as complicated. W here contradictions
in brand personality/positioning exist
bet ween markets t he disconnect will
create consumer conf usion.
8 . TIME , THE SCARCEST
COM MODIT Y
We l ive i n a n era where t i me is
becoming the scarcest commodity and
as such com mu n icat ion a nd med ia
platforms that do not provide value and
relevance are simply ignored. Consum-
ers have lear nt to multi-task in order
to obtain more – more infor mation,
more entertainment, more reward and
more stimulation. It’s not uncommon
to see the youth “texting” while listen-
ing to radio/ipod, watching television
or even hav ing a conversation.
9. LIQUID CONT ENT
(info/enter tainment
a c c e s s o n m u l t i p l e p l a t f o r m s)
Content w it hout border s! Wit h
t he advent of t he mobile age, con-
sumers want access to in for ma-
t ion or enter tai n ment on whatever
mobile dev ise t hey have. A lready
we see t hat cellular phones have
b e c o me c a lc u l ato r s , d i a r ie s , r ad io s ,
telev isions a nd game consoles.
Media platfor ms are exper i-
menting w it h t his concept and
several pr int g roups are already
shif ting focus to becoming dig-
ital multi-facet ted entities w it h
b r a n d s o n s e v e r a l p l a t f o r m s . I t ’s
becomi ng hard to def i ne even t he
m e d i a pl at f o r m s . W h at f o r e x a m ple
is a newspaper a nd what makes it
dif ferent f rom a maga zine? A nd
what is telev ision, a screen i n t he
lou nge, my computer in t he of-
f ice or an electronic billboard? I
g uess t he real question is, does
it mat ter?
10 . I N S TA N T R E WA R D / R E C O G N I -
T I O N / R E S U LT S
(a n d a b s o l u t e t r a n s p a r e n c y)
Consumers, marketers and ad-
ve r t i s e r s w i l l w a nt e ve r y t h i n g n ow !
Change will be rapid and trends
w ill be more inf luenced by where
we’r e g oi n g r at he r t h a n w he r e we’ve
come f rom. Research will need
to be bot h f lex ible a nd f requent,
focusing on facts.
A s m e d i a p r o f e s s i o n a l s w e ’r e
all investing in u nderstanding t he
f ut u r e a nd a s I r e ad some whe r e “ t he
genius of i nvesti ng is recog nisi ng
t he direction of a t rend and not
j u s t c a t c h i n g t h e h i g h s a n d l o w s ”.
I n t he years a head we w ill have
bot h ext remes.
 THE ROCKSTARS

The ANNUAL 2008 — 263

THE ROCKSTARS
If you see a silver lining – grab it!
By Harry Herber
It’s strange how things change in just the space of a few months. Last year when I was
about to write a piece for this publication, things were really looking rosy. Not that
there weren’t storm clouds on the horizon. But the seven years of fat (or so it felt) that
we had been enjoying created a belief that the good times would just keep rolling.
Wow! Were we in for a really nasty surprise
in 2008! The first few months were sur-
prisingly buoyant and agencies and media
owners alike revelled in the Indian Summer
of spend. Hoots of derision greeted any
mention of recession or belt tightening.
“We choose not to participate!” became
the standard response when asked if any
cutbacks were being experienced. And
then WHACK! Participation was manda-
tory, and inescapable.
One has seen little reaction from
the agencies to date. Sure there has
been a lunch or two fewer with the new
reality dawning. And client’s reaction?
Other than looking harder at any area
of marketing spend, they are surpris-
ingly realistic in their expectations.
Advertising and communications are
not seen as the panacea of all consumer
non-spending evils. I think this is borne
out by the really low level of pitching
going on at the moment. Other than
those businesses awarded on a f ixed-
term contract, and therefore legally
having to go out to tender, little else
is on the go.
However where we are seeing reac-
tion to the downtur n is from media
owners. Their budgets were set last
year so there is an ever increasing cred-
ibility gap between their projected sales
and the new cold, hard truth. This has
galvanised them into action. “Yield”
has become the new catch-phrase of
t he media industr y. If margins are
increased on deteriorating volume then
at least the prof it targets may be met.
So discounts are being examined like
never before. Reduced spend is really
an issue, and far more conser vative
discount offers are being tabled by the
prudent for advertisers merely maintain-
ing the status quo. This is balanced by
incentives for increased spend (in the
few instances that it applies) and lavish
264 — The ANNUAL 2008
rewards are being offered for greater
share of the clients’ budget. Astute
negotiators are walking away from the
table with all three parties – agency,
client and media owner – feeling that
a good deal has been done.
And now the media industry is actu-
ally examining concepts that go beyond
the traditional. The doors are being
f lung open to new and innovative usage
ideas, and the true professionals are in
fact self-generating ideas and actively
marketing them to agencies and clients
alike. So in adversity we’re seeing a
lot of positives!
Not only are we getting more ideas
to tempt clients, but service levels have
been increased across the board, and
competition is leading to a far smoother
implementation of the day-to-day busi-
ness of advertising. The last obvious
benef it is that media owners, many of
them younger, and used to the buoy-
ant times, are growing in stature and
learning on a very sharp curve how to
operate in these times of paucity – a
new but ver y impor tant exper ience
for all!
Enough, though, on past events.
W hat can we expect in the year 2009?
One is hearing a lot of positives about
inf lation having peaked, and possible
interest rate cuts. But ever ything is
tinged wit h caution – and I believe
this will be the overriding sentiment
that will inf luence the communica-
tions industry and the budgets, in the
coming year. Even a mild upturn will
be welcomed, and f iercely contested,
and there are sure to be winners and
losers. And this upturn will probably
be apparent in the second half of 2009
only, and more likely the last quarter
of the year. So keep the belt tight is
sage advice.
Winners in the next year? Well the
radio stations should benef it – t hat
is if the greed motive is parked. By
this I mean they are of all media least
affected by inf lationar y forces – their
product cost is most easily contained.
The T V stations, on the other hand,
have to contend wit h t he increased
price of programming given the rand’s
slow slide, and a projected exchange
rate of between R8.50 and R9.25 in
2009. But they have their advertising
pricing model pretty stabilised, and
are all aggressively pushing for greater
partnerships with the larger advertis-
ers. Also they are starting to get their
sponsorship sales revenues up as they
focus on areas outside of traditional/
classic advertising. Plus, they are look-
ing at product placement as a growing
area of massive potential.
So T V and radio look good. Ditto
for t he out of home i ndust r y, where
mor e a nd mor e opp or t u n it ie s a r e
b e i n g de velop e d , a nd adve r t i s e r s
a r e b e i n g s p o i lt f o r c ho i c e . T h e
on ly neg at ive i s t he s he e r nu mb e r
of operator s, wh ich is lead i ng to a n
over t raded ma rket.
It’s t he pr i nt g uys who a re goi ng
to have to pu ll somet h i ng out of t he
f ire. T heir costs are based largely on
d ist r ibut ion (read pet rol pr ice) a nd
paper costs (read i n f lat ion a nd ra nd
weak ness). It’s fa r toug her for t hem
to contain rates, and any increase just
makes compet it ive med ia look more
appeali ng. A nd w it h “new media” –
dr iven by inter net and cellular being
t he really sex y hot buttons – spend is
sure to be channelled into these areas,
especially g iven t he low cost of entr y.
So t he pr i nt med ia w i ll have to box
really sma r t i n t he nex t yea r or so i f
t hey’re not to go back wa rds.
C o n c l u s i o n ? I t ’s g o i n g t o b e
toug h out t here – but si lver li n i ng s
a re sh i n i ng ever y where. G rab t hem
– or someone else w i ll.
 THE ROCKSTARS

The ANNUAL 2008 — 265

THE ROCKSTARS
Slashing marketing budgets is financial suicide
By Ingrid Veysie.
According to Nielsen’s AIS/Adex figures, the 2008 Q2 South African advertising expenditures decreased by 28.6%
compared to 2007 and is the lowest Q2 advertising expenditure since 2005. This shows that the heavy hand of mar-
keting budget cuts is already evident.
Currently the question on most market-
ers’ lips, therefore, is how to maintain
and hopefully grow their brand’s equity
and status with a diminished marketing
budget .
Marketing budget vulnerability
Fi r st, let ’s look at why ma rket-
i ng budgets a re so v u l nerable i n a n
economic dow nt ur n. As par t of cost-
c ut t i n g ac t i v it ie s , compa n ie s u n -
der take a t horoug h a nalysis of t hei r
phy sic a l a s set s to a sce r t a i n wh ic h
a re cr it ica l a nd wh ich a re d ispensa-
ble a nd what i mpac t t he reduc t ion
mig ht have on t he compa ny’s overall
per for ma nce i n t he s hor t a nd long
ter m. T he sa me r igorous a nalysis is
not always applied to i nta ng ible as-
sets l i ke br a nds, ma k i ng it a major
reason why a ma rket i ng budget is a
pr imar y cost- cutting target. A not her
reason is t he w idely held percept ion
t hat ma rket i ng ex pendit u re is a cost
a nd not a n i nvest ment. It is also one
of t he most ex ped ient cost- c ut t i ng
measures t hat pressur ised executives
ca n i mplement.
C onseque nces of market ing budget
cuts
Cutting t he marketing investment
needed to suppor t the most impor tant
si ng le cor porate asset - t he bra nd -
w it hout consider i ng t he long-ter m
da mage, is f i na ncial su icide. T here
is a g reat deal of ev idence t hat dem-
on st r ate s t h at a reduc t ion i n ma r -
ket i n g spe nd du r i n g a n e conom ic
dow nt u r n is shor tsig hted. Doi ng so
could erode brand equit y and stat us,
t hereby lower i ng a compa ny ’s com-
266 — The ANNUAL 2008
pet it iveness consider ably when t he
economy recover s.
Brand equity is built up over a long
per iod of time, which also means t hat
t he i mpac t f rom a dec reased i nvest-
ment may not show up initially. T his
is refer red to as t he “depot ef fec t.”
However, if t he lack of bra nd i nvest-
ment cont i nues for some t i me it ca n
lead to bra nd erosion.
Vital importance of brands
Br a nds represent a relat ionsh ip
of t r u st w it h t he con su me r, m a k-
i ng it probably t he most i mpor t a nt
component of a ny busi ness. Bra nds
st i mu late dema nd a nd help sec u re
f ut u re ea r n i ng s t h roug h i nc reased
loyalt y. Ef fective brand per for mance
is not just a f u nc t ion of ma rket i ng
spend, but a tool to c reate va lue for
a l l st a keholder s. T herefore, br a nd
m a n a g e me nt s hou ld no lon g e r b e
seen as pu rely a marketi ng f u nction,
but as a n i nteg rated pa r t of t he total
ma nagement process, w it h a st rong
marketing-f inance inter face. It needs
to b e ele v ate d to a v it a l pa r t of a
(value -based) busi ness st rateg y a nd
shou ld be on ever y top ma nagement
agenda. Pa r t of t he challenge lies i n
t he abi l it y of ma rket i ng exec ut ives
to ef fec t ively a nd ef f ic ient ly t r ack
ma rket i ng per for ma nce to prove its
i nteg ral value.
Advice
R eg a rd le s s of a l l t h is, t he c u r -
rent rea l it y is most ma rketer s need
to de a l w it h d i m i n i s he d bud g e t s ,
so how do we ma x i m ise t hem to t r y
a nd avoid bra nd erosion? Star t w it h
a na ly si ng you r spend over, say, t he
pa s t ye a r a nd c ompa r e t he s p e nd
w it h t he projec ted br a nd per for m -
a nce, awa reness a nd br a nd loya lt y.
I nclude you r key compet itor s i n t h is
analysis. If relevant competitive data
i s not av a i lable i n you r m a rket i n g
i ntel ligence depa r t ment, work on a
basis of ex pe r t as su mpt ion s. T he
cr it ical poi nt is to ident if y a nd posi-
tion your brand in an eff iciency zone,
in which you neit her over-spend” nor
“u nder - spend”.
Nor mally I would recommend you
manage your marketing budget ef fec-
t ively (do t he r ig ht t h i ng s) bala nced
w it h ef f ic ie nt ly (do t h i n g s r i g ht).
However, when money is t ig ht, it is
w iser to put more emphasis on ma n-
ag ing ef fectively, and get ting t he ba-
sics r ig ht, t han manag ing ef f iciently,
which may lead you to over-engineer-
i ng i n a quest for per fec t ion.
I n a m ission to do t h i ng s r ig ht,
ma rketer s may have to ex pa nd t hei r
c u r rent f r a me of reference beyond
only optimising the marketing budget.
A s t he economy cha nges, so too do
t he needs a nd ex pec tat ions of con-
su mer s. It cou ld denote t he need to
develop bet ter foc us by i mprov i n g
brand value propositions or redesign-
ing t he brand architecture to achieve
bra nd sy nerg y.
S e e t h i s d i f f ic u lt p e r io d a s a n
oppor t u n it y to r ef i ne t he pr oduc t
por tfolio strateg y and to make recom-
mendat ions on t he ent i re ma rket i ng
and sales channel mix. Marketers are
i n a posit ion to lead compa ny-w ide
change in response to cha ng ing buy-
ing patterns by reshaping a company’s
public prof ile and building new mar-
ket i n g c apabi l it ie s t h rou g hout t he
compa ny as a whole.
Some ideas on how to rapidly tailor
a marketing spend more ef f iciently is
to re -allocate t he ex isti ng marketi ng
budget f rom a cost ly a nd ex tensive
classica l “above -t he -l i ne” com mu-
n icat ion ca mpa ig n to a n i n novat ive
targeted “below-t he -line” campaig n,
wh ic h cou ld i nclude v i r a l m a rket-
ing. You could also re-str ucture your
br a nd p or t fol io by d i s c o nt i nu i n g
br a nds t hat a re not add ressi ng t he
needs of you r t a rgeted ma rket seg-
ments.
Measur ing marketing results
“I k now ha l f of my adver t isi ng
money is wasted. T he problem is I
don’t k now wh ich ha l f !” (Q uote by
t he fou nder of Un i lever – W i l l ia m
Hesket h L ever). T h is quotat ion, a l-
t houg h f rom 1923, is still relevant to
marketers today, who complain about
t he lack of i nst r u ments to measu re
t heir marketing spend. T his becomes
even more apparent when the economy
look s ble a k a nd cost c ut t i n g i s on
ever y compa ny ’s agenda i n a bid to
stay compet it ive.
Once a ll you r ef f icient bra nd
cha nges have been made, I recom -
mend you set up a t rack ing system to
conti nuously monitor t he bra nd per -
for mance against a comprehensive set
of key performance indicators (K PIs).
Make sure t hese indicators allow you
to quickly identif y which levers to pull
if your brand plan goes “off the rails”.
Remember, it’s d i f f ic u lt to ma nage
what you ca n’t measu re.
 THE ROCKSTARS

The ANNUAL 2008 — 267

THE ROCKSTARS
A new look at an old debate
By Ivan Moroke
As marketers and advertisers deal with sticky questions of relevance and loss of cred-
ibility, Ivan Moroke suggests answers can be found by taking a different approach to
solving the long-running creativity vs effectiveness debate
It’s a discussion that’s been going on for
ages – should advertisers be focusing on
developing creatively innovative adverts
that win awards, or should their end goal
rather be delivering effective adverts that
drive sales and deliver to a client’s bottom-
line? The position from the two opposing
sides seems clear. Most agencies want to
win awards and see nothing wrong with the
pursuit of creativity for its own sake – after
all, being creative is what they get paid
to do. In reality, it is highly unlikely you
will meet many internationally renowned
creative gurus who are where they are
purely because of the number of products
they moved into Mrs Khumalo’s shopping
basket. Most marketers on the client side,
however, want to see their hard-earned
adver tising spend deliver tangible divi-
dends – after all, why else are they paying
to have adverts developed? Equally rare
is the successful marketer whose office is
lined with creative awards while the sales
graph have always been dipping.
And while this is a debate that some
mig ht arg ue has ex hausted all new
avenues of argument, I would like to
propose that there’s value in revisiting
it – this time from a different angle.
Because this is a debate that’s relevant
only to t he adver tising industr y – it
applies to the entire marketing sector
and has par ticularly relevance cur-
rently. Externally marketers are feeling
ever-increasing pressure to justify the
value that they add to business, while
internally the industr y is asking itself
some searching questions about why
it’s lost so much credibility and what
it can do to regain ground in making
itself relevant again.
T he f law in t he creativ it y vs ef-
fectiveness debate is that it has only
ever been applied to the specif ic f ield
of advertising. And in this regard, the
answer is simple. Whatever advertisers
wish to believe or argue to the contrary
it is possible to build a successful brand
268 — The ANNUAL 2008
wit hout creative adver tising. T here
are countless examples of companies
t hat have ma naged to do just t hat.
Take Woolworths, for example. It’s a
trusted brand, associated with high-
quality goods and service and recently
added to its accolades the International
Responsible Retailer of the Year award.
But its ads don’t necessar ily st r ike
one as a k nock-out on the creativit y
scorecard.
The converse is also true. A crea-
tive ad mig ht win awards but it can
do nothing in the long term to save a
brand whose intrinsics are f lawed. In
fact, the incongruency created between
ads that promise the earth and brands
that fail to deliver lies at the heart of
why the promises made by advertisers
and marketers are sometimes viewed
wit h a degree of scepticism in some
quarters.
So forget about the creative ad de-
bate. The real question we should be
asking is whether creative marketing
has anything to add business’ bottom-
line. A nd by marketing I mean t he
entire spect r um of what marketing
used to cover – customer experience,
packaging, branding and advertising.
To avoid confusion, let’s refer to it as
communication.
In this debate, creativity is certainly
not redundant. W hen it infor ms all
areas of bra nd buildi ng it ca n be a
powerful differentiator. Some might
argue that even creative communication
is not necessar y, so long as you have a
unique and powerful product offering.
A nd yes, there are those brands and
brand categories that manage to get by
with dull-as-dishwater communication
strategies – home shopping channels
leap to mind – and rely solely on what
they offer the customer. In such cases,
the creativity or innovation is applied
to the product. W hether in reality the
product’s functionality is actually in-
novative is a discussion for anot her
time. But the most powerful BR ANDS
are those that combine an innovative
offering with a creative communica-
tion strateg y.
While creative adverts may (or may
not – dependi ng on you r posit ion)
help to sell products, creative com-
munication helps to build brands. And
that delivers long-lasting bottom-line
value. Using creativity to inform the
packaging, customer interfacing and
advertising of a product lends some-
thing that a creative advert alone can-
not. It builds a brand perception that
outlives both product uniqueness and
advertising awards.
Ta ke mobi le phone c a me r a s for
e x a m pl e . T h e f i r s t mo b i l e p ho n e
ca mera t hat lau nched ha rd ly needed
a c r e at ive com mu n ic at ion st r ateg y
to get people to buy it. A l l it h ad to
do was a n nou nce it s a r r iva l. But by
employ i n g c reat iv it y i n it s com mu -
n ic at ion st r ateg y, t he compa ny d id
fa r more t h a n si mply d r ive sa le s of
a n i n novat ive produc t. It rei n forced
itsel f as a pioneer i ng, g rou nd-break-
i n g br a nd t h at d r ive s revolut ion a r y
ideas. Such brand perceptions remain
long a f ter t he compa ny ceased to be
t he on ly pr ov ide r of mobi le phone
c a mer as. C reat ive com mu n ic at ion
st rateg ies ca n help bra nds to get t he
mo st m i le a g e out of t he i r pr o duc t
i n novat ion s so t h at when compet i -
tor s lau nch ‘me too’ produc t s – a nd
t hey a lway s w i l l – t hey st i l l ret a i n a
compet it ive ed ge.
T he poi nt is t hat t he ent i re ma r -
ket i ng m i x – not just t he adver t isi ng
- needs to be c reat ively i n for med i f
br a nds a re to set t hem selve s apa r t.
A nd wh i le c reat ive com mu n icat ion,
l i ke c reat ive adver t isi n g , c a n never
h ide a bra nd’s i nt r i nsic f laws, it ca n
t a k e a br a nd to t he ne x t le vel, a l l
ot her t h i n g s rem a i n i n g equ a l. A nd
t hat’s a cla i m t hat c reat ive adver t is -
i n g on it s ow n c a n’t m a ke.
 THE ROCKSTARS

The ANNUAL 2008 — 269

THE ROCKSTARS
Creative intelligence – The next step forward
By Jason Knight
We wake up every morning of our lives to a world that is not the same as the one
we went to sleep in the night before.
As people we can see this paradigm in two
ways, depending on the type of person we
are, either it’s the most exciting thing in
the world or the scariest. As marketers and
communications people, however, we have
no choice: we need to feel the excitement or
look for another profession. It is our job to
grab the reins of this new world that we wake
up to every morning and make it work for us
rather than the other way around.
So how do we keep up with this new
world we wake up to every day? And more
importantly, how do we get ahead so
that we can create the new world order
rather than merely react to it? In my
opinion, it’s a multi-pronged strategy
that is based principally on two funda-
mental ingredients.
1. Open-mindedness
2. Collaboration
If we get the mix of ingredients right,
we have the potential to create and live
a powerful driving philosophy and new
approach to how we think and work. It’s
called creative intelligence.
The primary ingredient is open-
mindedness, everything worthwhile
starts with an open mind; a closed mind
shuts out all opportunity. This becomes
particularly pertinent when we look at
the current business landscape. Busi-
ness and branding in every category is
evolving at a head-spinning pace; what
worked and what was news yesterday,
is exactly that. The building and main-
tenance of brands and communication
is becoming increasingly revolutionary
and decreasingly evolutionary and so
we need to be open-minded enough to
potentially discard the formulas that
have worked for us, the thinking that
got us here and the approach that has
built our brand and guided how, and to
whom, we communicate.
The second consideration and ad-
vocate for open-mindedness is the ex-
pansion of “brand geography”. Gone
270 — The ANNUAL 2008
are the days when brands were built
in regions or in countries. Brands and
communication have fewer constraints
in today’s market and we have and in-
creasing responsibility to understand the
global context of business and branding
and communication.
That understanding begins with all
of us knowing what’s out there, and by
out there I don’t mean just your con-
sumer, in your region, in your category,
in your segment, in your country. Of
course we need an intimate knowledge
and insightful understanding of our
consumer, but that’s not enough any
more. We need to have a more holistic
understanding and brand intelligence.
Our (albeit small) internet penetration
and economic growth have meant that
consumers are far more aware of just
how borderless brands are. It’s quite
a sobering thought that brand percep-
tions and relationships are being built
outside of the control of South African
marketers, without any local reference
or local marketing activity.
We need to step up to the plate and
take on responsibility for building a frame
of reference for what and who are driving
and innovating in global business, who
the thought leaders are and how all of
that is translating into product innova-
tion brand building and communication.
Consumers aren’t thinking in categories
and countries any more when it comes
to brands; neither should we.
The next vital ingredient is collabora-
tion. All around us walls are crumbling,
lines are blurring and silos are ceasing
to exist. There are no longer boundaries
between virtual and reality, work and
life, and now strategy and creativity.
As agency people, and I use the term
loosely, we need to actively break down
prehistoric classifications. Our industry
is under enough pressure and we need to
be looking at new ways to help it evolve
and create a new way of thinking. One
such way is to re-evaluate the way we
classify people and their contributions to
the communication process. Creativity is
an approach to a challenge, not a depart-
ment, and the same applies to strategy.
Once upon a time the “strategist” and
the “creative” sat in their little silos and
got on with their jobs. That was a time
long ago; things have changed, but not
enough. It is no longer the sole respon-
sibility of the art director and writer to
be creative nor is it the sole domain of
the strategist to understand our client’s
business and brand objectives, the en-
vironment and consumers.
At Ireland Davenport we have re-
defined convention, not only in theory
but in action. These roles have become
symbiotic, bringing to life the underlying
philosophy behind creative intelligence.
We don’t believe in a process in which
one discipline hands over responsibility
in the process but rather one in which
the various disciplines are f luid and
combine at ever y junction to create
something that is bigger than the some
of the participants. Strateg y should
inform creative, which should in tern
inform strategy, and so it goes. Our true
strength lies in our ability to combine
not in our individual brilliance. This
philosophy has also come to life in a
blog that we have created that tracks
and documents the most progressive
business and strategic thinking as well
as creative genius from around the world
so that we all have a constant feed of
inspiration – the best of both worlds if
you like. (www.idcreativeintelligence.
blogspot.com)
So in our case, the whole in this
instance truly is greater than the sum
of the parts and we need to constantly
be adding those two vital ingredients
(it’s not always easy, no one ever said it
would be) so that we can wake up every
morning and be inspired and excited by
the prospects of the new day and step
boldly into the future of our industry
rather than being bewildered and unsure
and taking tentative and meek little
steps forward.
 THE ROCKSTARS

The ANNUAL 2008 — 271

THE ROCKSTARS
Predicting the future
By Johan prins
I think I can say, without danger of contradiction, that this article was the very (and I mean very) last one to be
submitted for publication in this year’s The Annual. I missed the initial deadline. I missed the extended deadline.
Eventually, a deadline was created just for me. Working in media, deadlines are sacrosanct, so one needs a very
good reason to miss one. I had a very good reason: My article is supposed to be about the future of media.
U n l e s s y o u ’r e p r o g n o s t i c a t i n g a b o u t
the far future (and especially if you
ke e p t h i n g s n i c e a n d v a g u e, l i ke N o s -
t ra d a m u s d i d), p re d i c t i o n i s a d a n g e r-
ous enterprise. This is especially true
w h e n y o u t r y t o p re d i c t w h a t ’s g o i n g
to happen in media, where innova-
tion is of ten rewarded with striking
audience grow th, whilst at the same
t i m e, a s P o p p e r a n d Ku h n p o i n t e d o u t
in dif ferent ways, being inherently
u n p re d i c ta b l e . In ot h e r w o rd s , t h e o n e
t hin g t h a t i s likely to h ave t h e gre a te s t
imp ac t on w ha t you ’re t r ying to pre dic t
i s t h e ve r y t h i n g t h a t , b y i t s n a t u re, i s
u n p re d i c t a b l e .
T he i n he r e nt l y u n k now able n a -
t u r e o f f u t u r e i n n o v a t i o n d o e s n’t
m e a n t h a t o n e c a n’ t p r e p a r e f o r
w h at ’s l i k e l y to h a p p e n . T h e r e a r e
pr o c e s s e s t h at a r e a l r e ady ap pa r e nt
i n t he market, a nd it is possible
(a nd ne c e s s a r y) to e x t r apol ate t he i r
p r o b a b l e i m p a c t i nto t h e n e a r f u -
t u r e . It i s i m p o r t a nt to r e m e m b e r,
h o w e v e r, t h a t s o m e t h i n g e n t i r e l y
n e w m i g ht e m e r g e at a n y m o m e nt
to t h row out a l l of ou r be st-la id
pl a n s . It i s p o s s i ble a n d n e c e s s a r y
to prepa re, but i mpossible to be
e nt i r e l y p r e p a r e d .
L et ’s st a r t by def i n i ng what “me -
d ia” is a l l about. W hen you get r ig ht
dow n to it , m a rket i n g /adve r t i si n g i s
a b ou t h a v i n g s o m e k i n d of i m p a c t
o n b e h a v iou r. Tr a d it io n a l l y, we do
t h at b y i nt e r j e c t i n g ou r s e l ve s i nto
a n env i ron ment t h at a l r e ady h as t he
at tent ion of member s of ou r ta r -
g e t au d i e nc e . Pe o ple l i k e w atc h i n g
t e l e v i s i o n , s o we pl a c e a d ve r t i s i n g
i n t he middle of t heir favou r ite
prog r a m me s. People l i ke to u se
272 — The ANNUAL 2008
t he i r c e l l p ho ne s , s o we s e n d t he m
u nw a nt e d SM S s o r p ho ne t h e m u p
to s e l l L i f e I n s u r a n c e . S o, we f i n d
w he r e t he t a r g e t m a rke t i s fo c u s i n g
i t s a t t e n t i o n (o r w h e r e t h e t a r g e t
m a r k e t i s), a n d we pl a c e ou r m e s -
s a g e s a c c o r d i n g l y, h o p i n g t h at b y
i nte r r upt i n g t hei r l ive s i n some way
we g e t t h e m to bu y ou r p r o du c t .
T he major cha nges t hat we’ve
b e e n s e e i n g i n m e d i a r e l at e to t wo
i nter - con nected processes: t he
i ncreasi ng availabilit y of media
opt ions to a la rger propor t ion of
t he population, and changes in
t he ways i n wh ich i n for mat ion is
t ransfer red.
T h e f i r s t p r o c e s s h a s l e d to i n -
creased media ubiquit y and f rag-
me nt at io n : Pe ople a r e i nc r e a s i n g l y
s u r r ou n d e d b y “ m e d i a” (e n v i r o n -
m e nt s w he r e t h e y c a n r e c e i ve a n d /
or send i n for mat ion, a nd where
t hei r at tent ion may be focused at
a n y g i v e n t i m e), b u t m o r e m e d i a
opt ions mea n t hat audiences a re
spread more t h i n ly across mu lt i-
ple plat for ms. Audience seg ment
def i nit ions have t herefore become
na r rower a nd less d isc rete (t he lat ter
because i nd iv idu a ls tend to be mem -
b e r s of mu lt i ple p o s s i ble s e g m e nt s
si mu lt a ne ou sly) a nd me d i a a g enc ie s
h a v e c o n s e q u e nt l y b e g u n to f o c u s
mo r e o n “ t a r g e t i n g ” t h a n “ b r o a d -
cast i ng ”. A s a consequence, det a i led
a nd r el i able con su mpt ion d at a h ave
g a i ne d i n c r e a s e d i m p o r t a n c e , a n d
w i ll w it hout a doubt become st ill
mo r e i m p o r t a nt i n f u t u r e .
T he s e c ond p r o c e s s (t he c h a n g e
i n del ive r y me c h a n i s m s) w i l l h ave a
f a r mor e pr ofou nd i mpac t on f ut u r e
media st rateg ies. I n t h is rega rd,
He n r y J e n k i n s f r o m M . I .T. d r a w s
a u s e f u l d i s t i n c t i o n b e t we e n “ m e -
d i a” (s u c h a s r e c o r d e d s o u n d , o r
r e a d a bl e p r i nt), “g e n r e s” (s u c h a s
a s o a p o p e r a o r a g a m e s how) a n d
“d e l i v e r y t e c h n o l o g i e s ” (s u c h a s
DV D s, t he i nter net on a n a log ue tel -
ev ision). He poi nt s out t h at “med ia”
d o n’t g o e x t i n c t , b u t t h a t g e n r e s
r ise and fall i n popular it y a nd de -
l i ve r y te c h n iq u e s c a n c h a n g e q u ite
r a p i d l y. I f you t h i n k a b ou t i t , t h i s
i s t r u e . T he i nt e r ne t , fo r e x a m ple ,
i s n’t r e a l l y a n e w “ m e d i u m” – i t ’s
a deliver y tech nolog y t hat allows
user s to consu me t he t h ree g reat
“me d i a”: r e ad able p r i nt , aud io a nd
v ideo recordi ngs i n new ways a nd
n e w c o nt e x t s .
C h a n g e s i n del ive r y me c h a n i sm s
(t he i nt roduc t ion of t he i nter net a nd
d ig it a l broadcast i n g , t he i nteg r at ion
of newspaper a nd telev ision w it h
on l i ne adju nc t s, etc) mea n t h at con -
su mer s choose not on ly wh ich med ia
to c o n s u me , but how to c o n s u me it
( I can read t he Economist maga-
z i ne , v i s it t he we b s ite or dow n lo ad
t h e au d i o ve r s i o n to m y i Po d ) a n d
w he t he r (a nd how) to i nte r ac t w it h
i t ( bl o g g i n g , C N N i - R e p o r t). It i s
e ve n p o s s i ble to s h i f t c o nte nt f r om
o ne del i ve r y me c h a n i s m to a not he r
(dow n l o a d t h e we b s i t e o n P C , bu t
t ra nsfer it to a mobile phone a nd
r e a d i t t h e r e). Tr a d i t i o n a l “ m e d i a
ow ner s” a re t herefore now becom i ng
c o nt e nt p r ov i d e r s , s p e c i a l i s i n g ( i f
t h e y ’r e g o i n g to b e s u c c e s s f u l ) i n
deliver i ng a speci f ic t y pe of con-
t e nt t h at i s at t r a c t i v e to a s p e c i f i c
“ t y p e ” of c o n s u m e r (o r, g i ve n t h at
c o n s u me r s h ave mu lt i ple i nte r e s t s ,
“ i nt e r e s t g r ou p s” ).
T he mu lt iplicit y of media op -
t ions, t he abilit y to sh i f t content
f r o m o n e pl at f o r m to a n o t h e r a n d
t h e p o s s i b i l i t y o f i n t e r a c t i o n (o r
c reat i ng t he content you r self ) all
me a n t h at “c on su me r s” a r e b e c om -
i n g a c t i v e p a r t i c i p a nt s i n a mu lt i -
l a y e r e d we b o f i n f o r m at i o n . T h e y
a re no longer passive “receiver s”
of messages, but i ncreasi ng ly ac-
t ive co - creator s, editor s a nd se -
l e c to r s .
T h is doe sn’t mea n t hat t he
30 - second ad is dead, a ny more t h a n
s i g n a g e o u t s i d e s h o p s (o n e o f t h e
f i r s t fo r m s of a d ve r t i s i n g ) i s de a d .
A n a d v e r t i s e r wou l d howe v e r b e a
fo ol to r ely on ly on si g n a g e or p o st-
er s, a nd t he sa me w i l l apply to t hose
w h o r e l y o n s t a t i c (c o n s u m p t i o n -
based) “i nter r upt ive” adver t isi ng
i n f u t u r e . A d ve r t i s i n g w i l l h a ve to
b e i nc r e a si n g ly t a r g ete d i n te r m s of
content, i nstead of on ly w it h re spec t
to pl a c e m e nt . D i f f e r e nt pl at f o r m s
w ill allow for dif ferent levels of
sele c t ion a nd i nte r ac t ion, a nd t he se
plat for m-related capabilit ies w ill
deter m i ne user s’ ex pec tat ions of
content. Adver t iser s who prov ide
c o n t e n t t h a t d o e s n’t m a t c h t h e s e
contex t- based ex pec t at ion s w i l l
s i m pl y f a i l to g a i n c o n s u m e r s’ at-
t e nt i o n .
T he secret, t herefore, w ill be
content t hat i nteg rates w it h a nd
a d s t o t h e c o n s u m e r ’s e x p e r i e n c e
of t he deliver y mecha nism. T he
d ay s of “ we i nte r r upt ou r pr og r a m -
m i n g to br i n g you t he se com me rc i a l
m e s s a g e s” a r e we l l a n d t r u l y ov e r.
Me d i a w i l l b e w he r e ve r c o n s u me r s
a re, a nd content w ill have to do
t he same.
 THE ROCKSTARS

The ANNUAL 2008 — 273

THE ROCKSTARS
Web 2.0 shifts market forces – demands Marketing 2.0
By Jonathan hall
Powerful advances in the connectivity and interactivity of the internet and the mobile web have made it simple for
people to link up, create and share information in a matter of seconds.
At face value, millions of digitally networked
people appear to be a marketer’s utopia.
But the social networking and social media
phenomena have shifted market forces
and the balances of power substantially
and introduced new marketing challenges.
Jonathan Hall, CEO of leading community
engagement specialist, The Virtual Works,
pinpoints some of the key strategic con-
siderations that modern marketers and
communicators must navigate to succeed
in a networked and interactive world.
Shift in community: In principle,
Web 2.0 has int roduced little new,
simply enabling humans to belong to
communities more easily – and to more
effectively benefit from and contribute
to them as they’ve always needed to do.
(Communities are groups of people who
associate through any form of common
interest.) Because technology makes it
far easier for people to congregate than
ever before and puts up fewer barriers
to entry or exit than real ones, virtual
communities are growing far faster than
their live-world counterparts. However,
while the principles of identity, worth
and support are common to real and
digital communities alike, online ones
differ from physical communities in a
few key ways. Firstly, they’re f luid. The
complement of an online community can
grow, morph or decline in ways unlike
real communities. Digital communi-
ties know no geographical boundaries.
Members interact signif icantly faster
and more eff iciently than real ones.
Virtual members can participate in a
community and remain anonymous or
even invisible. And technology makes it
makes it possible for people to partici-
pate in a matrix of many more virtual
communities than in real ones.
Shifts in power: The levels of trust
that bind social or business networks
and the ease and speed at which mem-
bers’ opinions can be sought and gained
is shifting power away from advertisers
274 — The ANNUAL 2008
and tempering the inf luencing strength
of brands. Because social media puts
broadcast communication tools in the
hands of everyone, the customer is strik-
ing back. Communities are becoming
major decision making inf luencers in
the 21st century and must be carefully
factored into modern marketing plans.
Now, more than ever, companies need
to vigilantly manage each customer’s
experience of their product or service,
and respond quickly to poor experi-
ences, because an individual customer’s
sphere of inf luence is far wider and
more powerful than ever before.
Shifts toward conversations: Con-
ventional communicators were trained
to tell. In today’s climate, where the
customer has a digital voice as well as
an ear; the customer now demands to
be heard. T he trend toward greater
interaction and collaboration with cus-
tomers requires new competencies.
Now marketing is less about messaging
and more about creating and manag-
ing conversations with customers. The
trend requires a few new key compe-
tencies: the systems, structures and
skills to collaborate with customers,
and a responsive culture. The ability
to collaborate wit h customers wit h
agility and f lexibility is becoming an
increasingly important source of stra-
tegic advantage.
Shifts in segments: Since technology
has made it simple for people to find and
interact with like-minded people, you’d
think that markets would progressively
consolidate into very targetable broad
interest groups. Yet they haven’t. In
fact, the converse is true. Technology
is fuelling a continuous splintering of
traditional segments into micro com-
munities of interlinked customers and
introducing new levels of complexity
into the marketing mix.
Web 2.0 dynamics beg the modern
marketer to solve a few key challenges:
how to identif y ever mutating com-
munities and member molecules – and
how to engage them suff iciently well
to establish and nurture a preferred
relationship with your products and
services.
The short answer is: Not easily. The
first paradigm shift that marketers must
make is this: In the Web 2.0 world with
a plethora of search, syndication and
social networking tools at the disposal
of the customer, communities and com-
munity members will find and value who
they choose. But marketers can apply
some proven Marketing 2.0 techniques
to thrive in this inverted, complex and
networked world.
1. Get micro relevant: Specif ic rel-
evance to communities is perhaps the
most signif icant of the Marketing 2.0
factors that will get members to en-
gage. Relevance comes from an abil-
ity to pinpoint the essence that binds
community members together and the
insight to discern the subtle differences
that distinguish one community from
another. Use techniques to identif y
community molecules and to cost ef-
fectively engineer the value that will
result in community engagement.
2. Get ranked and rated: No matter
how good your community value propo-
sition is, communities are going to have
to notice it in order to consider the ben-
ef it of a relationship with your brand.
The myriad of ways to get communities
to notice your proposed contribution
range from database marketing, email
campaigns, search engine optimisation,
linking, key word acquisition campaigns
and the harnessing of social network-
ing, through to online advertising and
blogging. Hire a guide to pick the right
options for your business.
3. Get reputable and real: Keeping
your hard-ear ned communit y cred-
ibility is the real trick. In an age where
reputations are destroyed at the click
of a mouse, this is easier to do in con-
cept than in practice. However, some
sound rules are emerging. Experience
is proving that message weary and wary
communities value transparency and
truth above all else and resist traditional
marketing hype. Case studies reveal
that communities punish disrespect for
a community member and dishonesty
harshly.
Get responsive: Inviting people to
converse and not pitching up the con-
versation for it is fatal in an interactive
world. Putting in smart systems to hear
is one thing. But making certain that
resources respond is as, if not more,
important. The digital world enables
real-time collaboration and as suppliers
get better at reacting to e- conversa-
tions with e-speed, customers expect
it more. The Web 2.0 world demands
2.0 structures and processes to respond
with agility.
No matter how you def ine it, Web
2.0, social networking and social me-
dia is no fad. It’s big, sustainable and
gaining momentum. In, 2007, Forrester
Research forecast that social media
would impact almost every role, in every
company, in all parts of the world. The
McKinsey Group predicted that social
media enabled collaboration would be-
come one of the most impactful of the
eight technology trends they identified.
The Gartner Group also identified Web
2.0 as a powerful transformative force.
And they were right. Today, MySpace
has more than 220 million profiles. 100
million YouTube videos are watched
every 12 hours and the numbers of blogs
have almost doubled to more than 110
million in less than a year. A few blogs
per second get created 24/7. Social
networking and media will continue to
revolutionise the way humans relate and
do business for years to come.
 THE ROCKSTARS

The ANNUAL 2008 — 275

THE ROCKSTARS
Media spend trends 2009.
What marketers should look out for
By Josh Dovey
There are at least two schools of thought on the way the
advertising market will go in 2009. For the optimists (the
sales directors of media owners) the slowdown we have
seen in 2008 is a “blip” not a trend and adspend should
soon recover to show double-digit growth.
The pessimists (perhaps the f inancial di-
rectors) would argue that adspend cannot
detach itself from the broader economy.
Thus we will continue to see a decline in
real terms as growth in advertising revenue
falls behind the level of CPI inflation.
If I had to choose one view I would
be inclined to side with the pessimists,
but as ever, it’s more complicated than
t hat.
T here is no quest ion t hat g row t h
in ad expenditure slowed markedly in
2008, with many adver tisers trimming
budgets in line wit h reduced sales vol-
umes in Sout h A f r ica. T here was also
a second level of budget re- evaluation
from multinational clients facing tough
trading conditions in the United States
and Europe, wit h whole reg ions being
asked to justif y marketing expenditure
to HQ i n New York or L ondon. T his
trimming of demand for time and space
means t hat media ow ners are of fer ing
plent y of ava i labi l it y even i n pr i me
slots, and market pr ices have sof tened
considerably.
For 2009? Well it’s hard to see much
volume growth in the local adver tising
market while interest rates remain high
and consumer expenditure is relatively
depressed, so for t he f irst par t of t he
year t he sof ter market conditions and
lower pr ices w ill continue.
However, South A frica is still fore-
cast to show robust GDP growt h (esti-
mated at 4% next year by The Economist
panel). Oil pr ices should level of f and
leave some room for interest rate cuts,
a nd t here is ev idence t hat big global
sponsors will start to spending in South
A frica to suppor t their market share in
276 — The ANNUAL 2008
advance of 2010 World Cup. These fac-
tors would point to a mild recover y in
adspend in t he second half of 2009.
W hat should marketers look out for?
Well i n a ny market t he clever money
gets in ahead of the trend. Adver tising
budgets always look v ulnerable when
things are tight, but sensible investment
can pay big dividends. A recent ar ticle
in t he Financial Times about Reck itt
Ben k iser (not a n OM D client) made
for interesting reading.
“…in a market growing by 4% (USA
& Europe) Reckitt has achieved like-for-
like sales growth of 10%, increasing its
market share at a time many expected
it to suf fer… It is reaping t he benef its
of its decision to advertise strongly into
t he dow ntur n.”
Now you may be t h i n k i ng “ Wel l
he would say t hat wouldn’t he? OM D
ea r ns a com m ission on what cl ients
spend.”
T he realit y is we are mostly paid a
fee, or fee equivalent basis, so no, it’s
not t hat. Of course t here is some self
interest: prof itable, happy clients who
are growing their market share and mar-
gins generally don’t f ire their agencies!
I think marketers should look to expand
ma rket sha re by tak i ng adva ntage of
these softer media market conditions in
the f irst par t of the year, and be mind-
f ul t hat when setting budgets for 2009
there could be some recover y in the last
quar ter. Oh, and I could go on about
how “dig ital” w ill change ever y t hing
but w it h penet ration of broadband at
less t han 10% of SA homes it won’t do
t hat in 2009. W hen it g rows, it really
will change ever ything though, so start
getting ready for it now…
 THE ROCKSTARS

The ANNUAL 2008 — 277

THE ROCKSTARS
Breathing life (and magic) into Brand Positioning
By Keith Stevens and Ginny Felps
Positioning is dead. Seriously! One of the toughest and singularly most important hurdles in the brand journey is the
point at which its strategy is mobilised.
And most businesses rely on a two-
dimensional, static brand model to
do the job. Brand tools like onions,
bullseyes and keys are what we’ve
used for years to distil brands down
to their core, their most clear ar ticu-
lation. But therein lays the rub. As
the market get s more competitive,
these tools just aren’t adequate and
worse still, leave too much open to
interpretation.
A sk f ive creat ive di rector s to
de l i ve r a T V c a mp a i g n bu i lt o n t he
d e s c r i p to r s “ m o d e r n , A f r i c a n a n d
st yl i s h” a nd you’ l l g et f ive d i f fe r e nt
e x p r e s s i o n s . T h r ow i n t h e b e l ow -
t h e - l i n e a g e n c y, t h e i n - s to r e g u y s ,
t he PR folk, t he c ustomer ser v ice
t rai ner s a nd t he HR people, a nd
you’ll get a whole new ra nge of
v isualised ver sions. A si mplist ic
p o i nt , but w he n o ne c o n s i de r s t h at
t he goal of t ig ht bra nd buildi ng is
i n de l i ve r i n g t he s a me b r a nd e x p e -
r i e nc e i n e ve r y f ac e t of t he b r a nd’s
m a n i fe s t at io n, you s t a r t to s e e t h at
c u r r e nt p o s it i o n i n g mo de l s a r e not
t e l l i n g t h e w h o l e s to r y.
Po s i t i o n i n g to ol s ne e d to b e f a r
more speci f ic a nd releva nt. T hey
c a n’t b e s n aps hot s, some ide a l -
istic v ision of t he brand. T hey
need dept h a nd colou r as well as
a no -nonsense, u nequivocal ar -
t iculat ion of t he bra nd, i n all its
mu lt i l aye r e d g lor y. T he y a l s o ne e d
to h a ve t he f le x i b i l it y to move i nto
t he f ut ure.
I can hear t he sceptics g roan
f r o m h e r e : s u r e , t h a t ’s w h a t w e ’ v e
b e e n s a y i n g ; t h a t ’s w h a t w e d o ;
we k n ow a r e a l b r a n d i s m o r e t h a n
just its proposition and a few ad-
278 — The ANNUAL 2008
jectives i n t he “personalit y” layer
of t h e o n i o n ; t h at ’s w h at ou r s to r y
b o a r d s a n d m o o d c h a r t s a n d s h ow
reels a re all about.
But t he t r ut h is t hese ex pres-
sion s u su a l ly l i ve i n t he a g e nc y side
of t h e b r a n d wo r l d . A n d w h e n b i g
b r a n d s a r e u s i n g u p to f ou r to f i v e
a g e nc ie s to de l i ve r t he i r br a nd , t he
p r o ble m i s e x a c e r b at e d . M i s i nt e r -
pretation f ract u res t he message
a n d t h e b r a n d o w n e r s d o n’t f u l l y
ow n t he o ne t r u e r e p r e s e nt at i o n of
t heir brand.
S o, we h ave a c h a l le n g e. B r a nd s
a r e n’t s t a t i c . T h e y a r e n’t t wo d i -
me n s ion a l. T he y ’r e mor e l i ke
cha racter s on a mission whose li fe
stor ies are evolv i ng. T hey have
per sonalit ies, of ten f lawed. T hey
develop f rom a nd evolve i nto t he
cult ural memes and mores t hey
are par t of. T hey have var ious
socio - cult u ral roles. T hey a re as
mu lt i f acete d a nd h i stor y- r ic h a s t he
societ ies t hey operate i n. So how
c a n we b e t t e r b u i l d – a n d mo b i l i s e
- bra nd stor ies t hat ref lect t h is?
F i r s t l y, t h e i n s i g ht wo r k we u s e
to u nder pi n bra nd creat ion needs
t o c h a n g e . W h a t ’s b e e n m i s s i n g
f r o m t he t r a d it i o n a l t r iu m v i r at e of
c o n s u m e r s , c o m p e t i to r s a n d t r a d e
resea rch is cu lt u ral i nsig ht. Cu l-
t u ral i nsig ht g ives bra nd ow ner s
a v ision of t he context i n which
t heir brands live and a good v iew
o f h ow t h at c o nt e x t w i l l c h a n g e i n
t he f ut ure.
T h is is not ju st about t r end spot-
t i n g . I t ’s a b o u t g e t t i n g t o g r i p s
w it h t he seism ic sh i f ts i n what we
c a l l “Cu lt u r a l C e nt r e s of G r a v it y ”
or COGS, a nd t he social, cult u ral
a nd econom ic factor s t hat i n for m
t he m. S h i f t s i n at t it ude s to he a lt h,
mater ial value, et h ics, gender a nd
i d e n t i t y a n d t e c h n o l o g y, f o r e x -
a m pl e , h a v e h a d s i g n i f i c a nt r e p e r -
cussions for brands ever y where,
i nc lu d i n g ou r ow n s out he r n c o r ne r
o f t h e g l o b e . Fo r b r a n d s t o b u i l d
r e a l c u lt u r a l c apit a l ove r t i me , t h i s
k i nd of i n s i g ht c a n he l p bu s i ne s s e s
s t r at e g ic a l l y de c o de how c u lt u r e i s
evolv i ng a nd use t he i n for mat ion
to k e e p t he i r br a nd s f r e s h, r ele v a nt
a nd mobile.
S e c o n d l y (a n d g o o d n e w s f o r
a g e n c i e s) i s t h a t w e n e e d t o g e t
bet ter at a r t icu lat i ng ou r bra nds
i n ways t hat a re solid enoug h to
resist m isi nter pretat ion, but alive
e n ou g h to b e c a m p a i g n - a b l e , b o t h
n ow a n d i n t h e f u t u r e . B e c a u s e a
s t r a t e g y w o r k s i f i t ’s a c t i o n a b l e .
B r a nd to ol s s hou ld br e at he l i fe i nto
b r a n d s . We ’ v e s p e n t a l o t o f t i m e
on t h is; developi ng a Bra nd Stor y
to ol t h at he l p s u s bu i ld a c h a r ac te r
i n ste ad of ju st a pr opo sit ion. B a se d
on a sta r t i ng poi nt of u n iver sally
recog n isable Ju ng ia n a rchet y pes,
bra nds ca n become t r ue i ndiv idu-
a l s: w i t h a v o i c e a n d a p a s t a n d a
per sona l it y, wa r t s a nd a l l; a t a n g ible
ent it y w it h t a lent s a nd emot ion s a nd
a n ap p r op r i ate c u lt u r a l c o nte x t . A
t h r e e d i me n s io n a l a r t ic u l at io n t h at
works towa rds t he g rail of bra nd
buildi ng: consistent execut ion,
f rom cha n nel st rateg y to com mu-
n icat ions to ser v ice.
W h at m a ke s t h i s c ombi n at ion of
ele me nt s wor k – i n s i g ht a nd a r t ic u -
lat ion - is t he ack nowle d g ement t h at
a br a nd ne e d s mobi l it y a nd c u lt u r a l
c o nt e x t to h a ve lo n g - t e r m v a l i d it y.
Coke does it; ever y i ncremental
evolut ionar y move t he bra nd has
made has kept it releva nt w it h t he
c u r r e nt g e ne r at i o n , w i t hou t lo s i n g
t he o ne b e for e it . A p ple ap p e a r s to
b e doi n g it to o, but ad m it te d ly w it h
le s s he r it a g e a nd mor e bu mp s a lon g
t h e r o a d . Ta k e Vo l v o a s a n o t h e r
e x a m ple . T he y ’ve ow ne d s a f e t y fo r
years. But safet y has become a
tablestake i n t he categor y a nd t he
c a r br a nd i s fe el i n g a l it t le s t at ic a s
a r e s u lt . W i t h a s ol i d u n d e r s t a n d -
i n g o f h ow t h e c o n c e p t o f s a f e t y i s
evolv i n g i n a c u lt u r a l contex t , Volvo
cou ld be pla n n i ng a head; mak i ng
su re t heir ar ticulation of safet y
i s r e l e v a n t n o w, w h i l e p l a n n i n g
f o r h o w a n d w h e r e “s a f e t y ” m i g h t
e vol ve a nd lo ok l i k e i n t he c u lt u r a l
contex t of each seg ment of t hei r
ma ny markets i n t he f ut u re.
W it h a f u l l y mobi l i s e d p o s it io n -
i n g model, br a nd ow ner s a nd agenc y
pa r t ner s ca n act ivate st rateg y to -
day t hat has a n eye on buildi ng
r e a l lo n g - t e r m c u lt u r a l c a p it a l a nd
br a nd e qu it y. A f te r a l l, for m a ny of
u s , t h e b e s t p a r t s of g e t t i n g to t h e
b o t to m l i n e a r e t h e g r e at , m a g i c a l
stor ies we help to weave i nto li fe
in t he process.
K e ith and G inny are brand special -
i st s a t b r a n d r e n o va t i o n a n d i n n o va -
t i o n c o m p a n y, A d d e d Va l u e . A U K
l a d w h o d i t c h e d L o n d o n fo r l o v e a n d
a Z i m ba b w e a n w h o c a n’t g e t e n o u g h
o f t h e J o z i b u zz , t h e y’v e b o t h fa l l e n
f o r t h e S A B r a n d S t o r y, h o o k l i n e
a n d s i n k e r.
 THE ROCKSTARS

The ANNUAL 2008 — 279

THE ROCKSTARS
Prior preparation prevents poor performance
By Larry Shiller
The 2010 Fifa World Cup: a turning point for South Africa. The ultimate showcase of
our country and brand.
A n d y e t , d e s p i te t h i s i n cre d i b l e o p p o r-
tuni ty b ein g vir tu ally o n our d o o r s tep s ,
ve r y fe w l o ca l co m p a n i e s h a ve s ta r te d
to gear up for this event. New infra-
s t r uc ture and limite d use of t he ident ity
would seem to be the only tangible
acknowledgement that South Africa
w i l l b e h o s t i n g t h e b i g g e s t e ve nt i n t h e
world in less than two years’ time.
W h e t h e r i t b e c y n i c i s m , a p at h y
or a f u nda mental lack of com mu-
nicat ion t hat has resulted i n ou r
lack of pro -activ it y a nd general
excitement about t he event, t he
realit y is t hat t he per vasive “wait
a n d s e e ” at t i t u d e a d o p t e d b y m o s t
w ill have ver y real consequences
– s o o n . T h i s i s b e c a u s e t h e 2 010
F i f a Wo r l d C u p b r i n g s w i t h i t a
ver y speci f ic a nd li m ited w i ndow
o f o p p o r t u n i t y. A s a n e v e n t t h a t
u n ite s t he wor ld , a nd i nde e d S out h
A f r i c a , c o m p a n i e s s hou l d b e u s i n g
it to build t hei r bra nds bot h i n-
t e r n a l l y a n d e x t e r n a l l y, p r e p a r i n g
n ow : p r e p a r i n g p r o p e r l y.
T h i s y e a r ’s B e i j i n g O l y m p i c s
pr ov ide d u s w it h t he u lt i m ate s how -
case of what is possible if t r uly
prepa red. T he absolute at tent ion
to de t a i l a nd f i n i s h i n g touc he s t he y
i ncor porated – f rom t he openi ng
c e r e mo ny to t he i n s t a nt a ne ou s a nd
f lawless r u n ni ng of t he var ious
spor t i ng code s – t he whole event was
not on ly well executed, but was a
“s p e c t ac u l a r ”, e nt ic i n g u s to w atc h
as ma ny of t he events as we cou ld
a n d , m o r e i m p o r t a nt l y, f r e q u e nt l y
w i s h we we r e t he r e to e x p e r ie nc e it
for ou r selves. T he slick execut ion
demonst rated by t he Ch i nese is a
result of ca ref ul a nd coordi nated
pla n n i ng a nd ma nagement – t hat
sta r ted well i n adva nce.
I n Sout h A f r ica, despite hav-
i ng t his mam mot h event on ou r
d o o r s t e p , w e ’r e c u r r e n t l y s e e i n g
l i t t l e p r e p a r at i v e m a r k e t i n g a c t i v -
280 — The ANNUAL 2008
it y. Pe r c e i ve d c o nt r ove r s y a s to ou r
inf rast r uct ural readiness and ca-
pac it y h a s le f t mo s t S out h A f r ic a n s
reluc t a nt to t a ke t he event on boa rd.
W i t h “ n o t h i n g t o b e l i e v e i n y e t ”,
t h i s fe e l i n g of dou bt h a s t r a n s l ate d
d i r e c t l y i nto a l a c k of p r e p a r at i o n ,
a nd a lack of cor respondi ng ma r -
ket i ng a nd bra ndi ng st rateg y a nd
act iv it y as a result.
We at t he Sw itc h G roup f i nd t h is
e x t r e m e l y c o n c e r n i n g . We h a v e a
r e s p o n s i b i l i t y to e n s u r e t h at a l l o f
ou r c l i e nt s a r e a s p r e p a r e d a s t h e y
p o s s i b l y c a n b e f o r 2 010 – w h i c h
me a n s g a l v a n i s i n g t he m i nto ac t ion
n o w a n d a v e r t i n g t h e l a s t- m i n u t e
s c r a m ble fo r m a r k e t i n g a nd b r a nd -
i ng elements.
M a rketer s need to decide now
on exact ly what it is t hey w ish to
ac h ie ve du r i n g t he 2 010 World Cup
a nd put a st rateg y i n place to fa-
cilitate t h is. T h is wou ld i nclude,
for e x a mple ( but not b e l i m ite d to),
t he legal requ i rements associated
w it h ide nt it y a nd br a nd u s a g e , sup -
plier ident i f icat ion a nd br ief i ng,
m a r k e t i n g c ol l ate r a l ( p r o duc t s a nd
p r o m o t i o n a l m a t e r i a l ), c a m p a i g n
e xe c ut io n ( p r omot io n s a nd c omp e -
t i t i o n s) a n d k e y d e l i v e r a b l e d a t e s .
T ho s e c o m p a n i e s o p e r at i n g o n t h e
p e r i phe r y, or not d i r e c t l y l i n k e d to
2 010 , w i l l a l s o h a v e t o d e c i d e o n
t he i r a p p r o ac h i n t e r m s of le ve r a g -
i n g t he e ve nt w it hout i n f r i n g i n g o n
t radema rks a nd copy r ig hts.
A s s uc h , a l l c o m p a n i e s , r e g a r d -
l e s s o f t h e i r s i z e a n d i n d u s t r y,
shou ld be tak i ng a cr it ical look at
t heir position i n t he local market,
a nd st rateg isi ng as to how t hey
w i l l h a r ne s s t he op p or t u n it y of t he
Wo r l d C u p. W h e t h e r c h o o s i n g t o
f o c u s o n e ’s at t e nt i o n d u r i n g t h e s e
a l mo st t wo mont h s on e x i st i n g c u s -
tomer s, or rat her on t he v isitor s
to Sout h A f r ica, one needs to put
a p l a n i n p l a c e s o a s t o l i n k o n e ’s
br a nd or br a nd u sa g e i n a n i nteg r at-
e d w a y. C o m p a n i e s n e e d to d e c i d e
w h at m a r k e t i n g ac t i v it i e s - p r o mo -
t io n s , ne w p r o duc t s , c o mp e t it io n s ,
bra nd collateral – t hey w ill need
to have i n place to take ma x i mu m
adva ntage of t his occasion, a nd
s t a r t d e v e l o p i n g t h e s e n o w.
T he e c o no m ic b e ne f it s i n t e r m s
of i ncreased dema nd for v i r t ually
all products a nd ser v ices du r i ng
b o t h t h e r u n - u p t o a n d t h e Wo r l d
Cup itself, have been repeatedly
touted to Sout h A f r ica ns. W hat
m a n y f a i l t o r e a l i s e , h o w e v e r, i s
t hat wh ile we have healt hy levels
of p r o duc t i v it y c ap ac it y, t he s e w i l l
become i ncreasi ng ly li mited as we
g e t c l o s e r t o 2 010. T h e r e a r e o n l y
so ma ny ser v ice prov ider s to t he
m a rket i n g i ndu st r y, a l l of wh ic h a r e
g oi n g to be work i n g u nder i nc r e ase d
pr e s su r e i n t he r u n - up to t he e ve nt .
L eave you r pla n n i n g a nd subsequent
pr o duc t ion work to o l ate , a nd t he r e
w i l l b e def i n ite con se quence s. Work
w i l l h ave to b e out sou r c e d , p o s si bly
even to over seas compa n ies; sup -
pl i e s w i l l h a v e to b e i m p o r t e d – i n
ef fect negat i ng all of t he benef its
p r e v i ou s l y e a r m a r k e d f o r ou r lo c a l
e c o n o m y.
W h e n i t c o m e s to t h e 2 010 F i f a
Wo r ld Cu p t he n , it ’s t i m e fo r bu s i -
ness to show its com mit ment to
t he event – and star t prepar ing
n o w. H a v e t h e n e c e s s a r y s t r a t e g i c
conver sat ions, consu lt t he bra nd-
i n g e x p e r t s , pl a n you r p r o duc t a nd
ser v ice di f ferent iat ion tech n iques
for t hese rapid ly approach i ng t wo
mont h s , a nd let ’s st a r t br e a k i n g t he
2010 bot t leneck . We must recapt u re
t he i nitial euphor ia ex per ienced
w h e n F I FA a n n o u n c e d S o u t h A f -
r i c a a s t h e 2 010 h o s t n a t i o n . L e t
u s u s e t h i s op p or t u n it y to s how t he
wor ld w h at a c u lt u r a l l y u n iq u e a nd
capable people we really a re.
 THE ROCKSTARS

The ANNUAL 2008 — 281

THE ROCKSTARS
Attributes of a creative director in
a fragmented
media environment
By michael bLore
Don’t be intimidated. So a lot has happened over the past
few years. And yes, we live in very interesting times. The
Information Age hit us like a perfect storm and everything
(seemingly) changed overnight.
Suddenly, the market had access to our infor-
mation, access to brands and they used that
information to start to control brands, remake
them their way. Consumers started deciding the
tone and manner of their favourite brands, what
they stand for and what they mean to them.
They even decided that the internet was the new
media of choice. Marketers woke up one day to
realise that they weren’t in control anymore, the
consumers were, and had placed themselves
at the very centre of the marketing world. So
brand managers in their droves turned to their
agencies in panic, looking for answers.
The other thing that happened was
that the media environment exploded.
Cellphones became televisions. So did
fridges. We have taxi-TVs, in-store check-
out counter TVs, our laptops are TVs and
so on and so on and the list is endless.
Both marketers and consumers alike are
faced with a myriad of screens, further
fragmenting the media environment. And
what happens? Some clever technology
companies and mobile companies see a
gap and start offering “digital solutions”,
“specialist mobile advertising” and more.
The buzz in the industry is that advertis-
ing agencies are dead if they don’t reinvent
themselves and that television as a medium
is something of the past. So brand manag-
ers in their droves turn to their agencies in
panic, looking for answers. And they start
looking elsewhere too.
So what are the answers? Simple. Or
rather, basics – we need to go back to basics.
When television was invented, it took the
industry by storm. We were suddenly asked
to develop big ideas, moving pictures, to
go on TV. But we didn’t all do a course to
figure out how the signal came into the
aerial and was translated into pictures on
TV with the help of a tube. No, we did
what we do best, come up with great ideas
that tell great stories and help sell a lot of
282 — The ANNUAL 2008
product to our markets by making the right
kind of emotional connections between our
markets and our client’s brands. That’s the
first thing marketers need to understand:
there will always be the people who bring
ideas to life through technology. That isn’t
the agency’s job. It’s our job to sell through
the ideas. And don’t worry mister client,
we will manage the production process for
you too. Just like we always have.
TV isn’t dead. You don’t see a lot of
flat screens and LCD’s in the trash do you?
We just need to understand that times are
changing and that there is now much more
opportunity in the way we use TV, or in
fact any medium, to reach people and make
the kind of long-lasting emotional connec-
tions that truly inspire brand loyalty. That
includes the Internet and mobile. And so
what if the consumer wants to have a say
and involve themselves in our brands? As
long as we embrace their engagement and
interactivity with our brands, we will learn
more about our markets, much faster than
any of the usual research methods. It’s
honest too – the truth. Isn’t that what we
want from our customers, their informa-
tion, feelings, input and truth? I know I
do. It helps me sell a lot more of my client’s
products. I mean, how do you go wrong if
you let people (because they don’t think of
themselves as consumers or a target market)
tell you what they want from your brands
and then give them what they want. I believe
that gives us more control over the success
of our brands, even though it doesn’t feel
that way in the beginning. It’s like having
a creative department of 10 million people
working on my client’s business.
So take a deep breath. Don’t be intimi-
dated. Great communication and advertis-
ing is still all about the big ideas. Do what
you do best and do it well for your clients.
You’ll probably be around for some time
to come.
 THE ROCKSTARS

The ANNUAL 2008 — 283

THE ROCKSTARS
Brand… the one and only love?
By Michelle Caldeira
Is brand the be-all and end-all in employee communication?
The things which attract people to a company
can be very different from those that retain
or engage them. This means that employers
have to emphasise different elements of the
employment relationship at different stages
of the employment lifecycle to create and
sustain employee engagement. Engagement
is the degree to which employees commit to
their organisation, and how hard they work
and how long they stay as a result of that
commitment. Pretty much like a relationship.
You need to work at both. And communicate
appropriately – at the right stage.
In an idyllic world, one would want
love to be at the heart of all. And if we had
to think of the heart of an organisation’s
communication, that love should be the
brand. However, if the brand was love,
then it would need to be said that one
cannot live on love alone.
A relationship grows and shifts. And
in the journey, we question where this
love is taking us, what we will do together
and apart, where we will live. It has its
ups and downs. And it needs great com-
munication. So it is for the brand in an
organisation.
The employee journey within the or-
ganisation starts with the first exposure,
which may be a general awareness of the
external brand through advertising or a
first meeting through recruitment. That
first tantalising date. When both parties
are on their best behaviour. Followed by
the formal introduction to the family in an
orientation programme, where one discov-
ers the game plan for this courtship.
The flirtation continues in a probation
period. We settle in, meeting the family
and friends, finding out who they are and
what they do, and learning what we need
to do as part of this group.
In the next stage of the relationship,
we enter the arena of performance man-
agement, where we now need to step up
and where we are encouraged to be a great
partner and deliver on the promises made
in those early, heady days.
The relationship settles into that com-
fortable phase where we have learnt an ease
284 — The ANNUAL 2008
with one another. Career development
lies around the corner, where the age-old
question: “Where is this relationship going
to?” is asked… and where we are chal-
lenged to acquire new skills and possibly
take on more responsibility. Some take it
on. Others don’t.
To grow in our relationship, we need
to learn about boundaries. We also need
to learn to become coaches, allowing for
growth and offering direction. Leadership
is asked of us in our relationship with “me,
we, work, world”.
And for all this, we like a little reward
or two. Whether it be a salary or a bonus,
it gets our attention. Even better is a warm
afterglow of recognition. A “well done”
from your meaningful other (manager)
goes a long way.
Our environment then gets the once-
over. Does it do what it should for me? Is
it ergonomically sound? This then gets us
to consider our wellbeing, when we weigh
up the pros and cons of our work/life bal-
ance, and possibly choose to live a healthier
lifestyle – enabled by our partnership. In
this process of change, we explore the
benefits of transformation, considering
diversity and playing our part in building
our spirit – our nation.
All these lessons that we have learnt
from the first date until now have engaged
us. At this point, some are deeply commit-
ted, and others may want a way out. And
that’s when we call in employee relations
(if we haven’t already) – checking that we
know our rights within the relationship.
The do’s and don’ts.
And if the time has come to exit, we
need to review our reasons for leaving. Have
we been woo-ed by another? Is it just a
tired relationship, or greener pastures that
call? Does it end in an amicable divorce, a
soured relationship or a happy separation?
Could there be a return to the fold?
The story is ongoing – as are our re-
lationships. And constant within this is
communication. From the first moment
of recruitment to the final exit interview,
the employee is communicated to. How
effectively is the question.
The employee journey is not only about
the brand. Brand does not live without
vision and values. And vice versa. Some
companies have carefully co-ordinated
messaging in the business, others allow a
free-for-all. The larger the organisation,
the more difficult it often is to co-ordinate
the messaging. HR, Marketing, IT and
Finance, amongst others, all bombard the
employee. And all expect the employee
to respond positively to their messages.
Many of these departments try to “brand”
themselves.
Think of the message chain here. There
is the business vision (being the leading
/ best / ultimate...). There is the strategy
(say, five imperatives). There is the brand
(architecture, personality, promise). There
are the values (four or five, if we’re lucky).
There are the desired behaviours (15 to
20 – say, four per value). There are the
priority business initiatives (customer
centricity, employer of choice, innova-
tion, etc.) each of which are broken down
into sub-projects). And all these (plus
loads more) are communicated at differ-
ent stages, and sometimes simultaneously,
within the employment lifecycle.
Brand can only be effectively com-
municated in a passionate, committed
relationship with vision and values, tailored
to employment lifecycle.
How do we do this? To achieve tar-
geted and co-ordinated messaging, buy-
in is needed at the top. The CEO needs
to be committed, and Human Resources
and Marketing need to actually work
together. Ego, politics and self interest
need to be left at the door. And there
needs to be a true partnership between
those who lead the messaging.
Vision, values and brand need to be
integrated. Without this triumvirate,
most internal communication will only
be passable, instead of wildly passionate
and effective.
So, let’s spread the love. Integrate
the head (vision), heart (brand) and
hands (values / behaviours) to engage
employees and enjoy a fulf illing rela-
tionship.
 THE ROCKSTARS

The ANNUAL 2008 — 285

THE ROCKSTARS
What’s great about South African advertising?
By mike abel
What constitutes a great South African ad? Well, imagine African elephants being born
out of eggs and wondering through the desert, the elder brother supporting the younger.
O r, g u y s b r a a i n g o n t h e ro of of a N e w
Yo r k a p a r t m e n t b l o c k w h i l e a f r i e n d
delivers ice-cold Castles in celebra-
tion of the rugby. A man who places
hi s b e d o n Ca s t ro l oil t in s b e cau s e h e’s
s care d of t he to ko lo sh . T he s e are s o m e
o f o u r b e s t- l o v e d a n d r e m e m b e r e d
local ads.
B u t w h y?
A l l of t he m a r e u n l i k el y s c e n a r -
i o s , t h at i s , i f you a r e n o t a l o c a l .
T h e m a g i c o f t h i s p l a c e , S ’e f r i k a
is t hat it is such a mu lt i- c u lt u ral
melt i ng pot, a n i nter play of f i r st
a nd t h i rd world t h at ac t u a l ly a l low s
o ne to b e l ie ve t he s e nt i me nt of ou r
c ou nt r y ’s m a r k e t i n g l i ne , t h at i t ’s
“a l i v e w i t h p o s s i b i l i t i e s”. S o m e of
ou r f i ne st adver t isi n g over t he ye a r s
h a s b e e n u n iq u e l y S out h A f r ic a n –
t h e f r a g i l e a n d e t h e r e a l s t u f f t h at
bonds consu mer s to bra nds a nd
c re ate s a u n ique a f f i n it y t h at c re e ps
i nto you r h e a r t .
O u r b e st ad s a r e n at u r a l ly, emo -
t ional ones. T he say i ng goes t hat
“ by mov i n g pe ople , you move pr o d -
u c t ”. I f w e l o o k a t i c o n i c b r a n d s
t hat have consistent ly played to
t he u n iq ue ne s s of t h i s c ou nt r y a nd
its stor ies, ma ny bra nds such as
Vo l k s w a g e n , K l i p d r i f t , Vo d a c o m ,
Cast rol, Coke a nd Joko come to
m i nd, to n a me but a few. T hey of ten
tell stor ies t hat ca n be on ly told
here, or if not, a re executed i n a
t y p i c a l l y S ou t h A f r i c a n w a y. T h i s
“way” g ives one a sense of home,
c h a r m , f a m i l i a r it y a nd e mp at hy o r
e v e n p at ho s .
A n d t h e n a g a i n , we m a k e s o m e
of t he worlds’ best ads t hat have
not one d r op of loc a l st u f f i n it , but
t hey are concept ualised by crea-
t i ve m i n d s t h at h a ve b e e n f o r m e d ,
infor med and inf luenced by t he
s t r u c t u r e , c h ao s a n d e ve n m y t hol -
og y of bei ng pa r t of bot h t he old
286 — The ANNUAL 2008
a n d n e w S ou t h A f r i c a .
T he tension bet ween ou r past
a nd pre sent is played out beaut i f u l ly
i n B o e t a n d S w a e r g e t t i n g a B EE
pa r t ner, T he Vodacom ads where t he
g uy i n t he L e opa rd sk i n u nde r pa nt s
gets h i msel f i nto ongoi ng t rouble
a n d i s “s a v e d ” b y t h e o l d e r b l a c k
ob s e r ve r c a l l i n g for help. Vo d ac om
did it agai n i n t he spoof of “t he
Gods must cra z y” ad where t he
b ok k e ’s b a l l f a l l s ou t of t h e pl a n e ,
like t he or ig i nal Coke bot t le a nd
l a n d s o n a B u s h m a n’s h e a d – a n d
t h e n t h e y pl a y r u g b y.
“M e t E i s h” b r i l l i a n t l y a n d e f -
for t lessly toys w it h t h is h istor ic
f r ic t io n w he r e c o n f l ic t i n g c u lt u r a l
g roups m isu nder sta ndi ng s of one
a not he r ’s l a n g u a g e ac t u a l l y b r i n g s
t h e u n l i k e l y f r i e n d s to g e t h e r. A n d
not i n a c o nt r i ve d w a y e i t h e r.
Vol k swagen, obv iously ver y close
to my hea r t, has played w it h t h is
“ lo c a l ne s s” i n m a ny d i f fe r e nt w ay s.
T h e r e ’s t h e o l d Vo l k s i e B u s a d s
w it h D av id K r a me r a nd h i s r e d vel -
l ie s . S a r e l v a n de r Me r we w ho s a id
t h at t h e ol d Pa s s at i n t h e e i g ht i e s
“s t u c k to t h e r o a d l i k e b o e r e wo r s
to a b r a a i g r i d ”.
T h e r e ’s t h e s t o r y o f a y o u n g
black g irl who is broug ht up by
h e r p o o r, w i d o w e d f a t h e r d u r i n g
t h e s t r u g g le ye a r s a n d r e w a r d s h i s
love b y b u y i n g h i m a Pol o. O r t h e
you ng wh ite G olf- d r iv i ng y uppie
(do t h e y s t i l l u s e t h at wo r d ?) w ho
h e l p s t h i s ol d bl i n d bl a c k g u y f i n d
h i s s o n , a nd a s h i s “ b r a i l le d” h a nd
move ac r o s s t he V W log o, he s m i le s
b e c au s e he r e a l i s e s t h at o n l y a V W
d r iver wou ld help some st ra nger
t h i s mu c h .
A n d t h e n t h e r e ’s t h e p e r e n n i a l
s to r y of t h e f r a c t u r e d r e l at i o n s h i p
b e t we e n a f at h e r a n d s o n a n d t h e y
t a ke a r oad - t r ip i n t he i r Tou a r e g to
br i n g t hem tog et he r. He r e t he s he e r
h au nt i n g be aut y of t h i s cou nt r y a nd
it s people c reate a releva nt backd rop
to t he reconc i l iat ion. T here’s a l it t le
m a g ic mome nt i n t h i s ad w he r e t he
te e n a g e son lo ok s lon g i n g ly out t he
w i ndow at t h is you ng M a lay g i rl a nd
t h e u n l i k e l y a n d f o r b i d d e n l ov e i n
ou r c ou nt r y ’s p a s t , i s h i nt e d at .
Ta l k i n g a b ou t r e c o n c i l i at i o n , I
t h i n k ou r abi lit y to laug h at each
ot he r ’s d i f fe r e nc e s , q u i r k s a nd foi -
ble s is wh at m a ke s Sout h A f r ic a a nd
it ’s adve r t i si n g so s p e c i a l. To l au g h
a t t w o l a d i e s d i s c u s s i n g P o l k a ’s
i nte r ne t s p e c i a l i n t he “ S e - r i -y a s! ”
a d w i t hou t c au s i n g of f e nc e , to t h e
h i s tor ic M ack h at i n i “ S c ot s m a n” i n
t h e “M u c h m o r e m u n c h a d s ” a n d
more recent ly t he Halls ad where
ou r hero, a n ever yday A f r ica n au nt y,
shouts out at a U FO t hat wa nts
t o s t e a l h e r f r i e n d t o “ Vo e t s e k ! ”.
S i m i l a r l y t h e l a t e s t “ We ’ v e b e e n
h av i n g it ” Vo d acom ad p oke s g o o d -
he a r te d f u n at w h at c ou ld s i m i l a rly
b e c o n s i d e r e d , a b i t of a n A f r i c a n
c o nt i n e nt t r a g e d y.
A n d t h e n t h e r e ’s S u n I n t e r n a -
t i o n a l ’s C h a r l i z e a d t h a t u n d e r -
s t a n d s t h at e v e n t h e m o s t f a m ou s
a nd celebr ated of Sout h A f r ica ns has
ou r c ou nt r y i n t h e i r s ou l a n d t h at
t here is no bet ter place to re con ne c t
w it h t hem selve s, t h a n to come home
– obv iously to Su n I nter nat ional.
I n fact Charlize herself summed
i t u p w h e n t a l k i n g to D e r e k Wat t s
“ B u t you k n ow w h at t h e y s a y, you
ca n take t he g i rl out of t he bush
but you ca n never take t he bush
ou t of t h e g i r l .”
We a r e a c o u n t r y o f w h i t e s i n
bl ack sk i n s (not “coconut s” – I h ate
t h at jud g ment a l te r m) a nd black s i n
w h ite s k i n s. We a r e A f r ic a n s , a l l of
u s , but w it h wo nde r f u l d i f fe r e nc e s
t h at we h ave le a r nt to c elebr ate a nd
l au g h at . I n ou r c a s e it i s c e r t a i n l y
“a r t i m i t at i n g l i f e , i m i t at i n g a r t ”.
 THE ROCKSTARS

The ANNUAL 2008 — 287

THE ROCKSTARS
Marketers’ Top 10 wish list for Agencies of the Future
BY mike bosman
“Greater knowledge of the digital space” tops the list of what marketers want from their advertising and marketing
agencies in the next 12 months.
This is according to the Boston based global
consulting group, Sapient, who have recently
released the results of a survey of 200 senior
marketing executives.
An astonishing 45% of the respondents
have switched advertising agencies or plan
to switch in the next 12 months, for one
with greater digital knowledge.
Based on the survey results, Sapient
issued the Top Ten Wish List of Agencies
as follows:
1. A greater knowledge of digital space
2. More use of ‘pull interactions’
3. Leverage of virtual communities
4. Agency executives who use the technol-
ogy they are promoting
5. Chief digital officers make agencies
more appealing
6. Web 2.0 and social media savvy
7. Agencies that understand consumer
behaviour
8. Demonstrates strategic thinking
9. Branding and creative abilities
10. Ability to measure success
Those of us who have been around
the block a few times in the advertising
industry, can reflect on how times have
changed! Just a few years ago, strategic
thinking and creative capabilities typically
topped the list in these types of polls.
So we must expect digital technologies
to have a major impact on our marketing
and advertising community. We can al-
ready see this pressure building. Yet, as
an advertising industry, we seem to either
be in a state of denial about this or suf-
fering from a severe bout of a reluctance
to face up to it.
Many of us who grew up in the 80’s and
before that (horrors) feel that the digital
world is something ‘out there’, foreign and
possibly difficult to come to grips with.
What I think we fail to sometimes see
is the extent to which all sorts of digital
technologies have set about successfully
infiltrating our lives in recent years. It
is fast approaching the situation where
understanding what these technologies
288 — The ANNUAL 2008
can do is no longer an option.
Most of us have seamlessly migrated
in recent years to banking online or at an
ATM, a reported 96% of the South African
population uses a cell phone, most of us in
business use some combination of a laptop,
scanner, digital camera, the worldwide
web and iPod. Together with this, all of us
who drive a car built in recent years may
not realise that, whether we like it or not,
we are already deeply immersed in freely
using digital technologies each day.
Likewise, because of online and cell
phone address books we have moved be-
yond having to remember cell phone num-
bers. For the average person, it is about
as irrelevant as having a hard copy of the
Encylopaedia Brittanica.
When we use our cell phones and ATM
machines none of us really care or have
the slightest interest in understanding the
technology, hardware or software that al-
lows us to make the phone call, send the
message or transact as the case may be.
Most people don’t have the faintest
concept of what is happening behind the
scenes when they switch on their TV, let
alone switch on a light ... and this for me
makes the whole digital marketing so
thrilling - there is no requirement for the
user to have any understanding of the
platforms and technologies that deliver
digital solutions.
Rather we as marketers and commu-
nicators can concentrate on what are paid
to do - working out how we build our
brands and how we increase sales of our
product. Also most of the time, with the
use of digital technology, we are able to
accurately determine the return on our
investment and these metrics will improve
as the technologies improve.
These days if you climb aboard a mod-
ern commercial aircraft, a single touch
screen at the entrance of the aircraft indi-
cates the open or closed position of each of
the aircraft doors, controls the temperature
of the cabin, the volume and content of
the safety announcements, the lighting for
the cabin and the in-flight entertainment
is controlled and displayed.
With the exception of the pilots, these
days almost everything on the flight deck
is digital and the flight controls and en-
gines are also all digitally controlled. It
makes the life of the pilots incredibly easy
compared to years gone by and provides
amazing backup and safety for both pi-
lots and passengers. The world of little
round gauges and big round gauges are
gone forever.
The critical challenge for all of us
in the advertising, marketing and com-
munications industry is to realise that
digital technologies are here to stay and
to understand that these technologies will
make our life in marketing much easier
and more fun.
If you have had an opportunity to watch
eNews carefully since it was launched
recently, you may have noticed that there
are no cameramen operating the cameras!
They are all remotely controlled – no doubt
more efficiently and with many more re-
dundancies built in than before.
For companies, like ourselves, who pro-
vide digital media services to the marketing
and communications industry, our major
challenge is to provide you, the industry,
with simple, turnkey solutions which can
be 100% relied upon. These solutions have
to deliver sales improvement results and
other efficiencies. If they don’t, we will
be out of business and rightly so. The
days of wondering whether your ad was
flighted and whether it had any effect on
your sales numbers are past.
So why is it that many mainstream
agencies around the world are so reluctant
to embrace this new and tremendously
exciting digital direction in marketing?
There is no doubt that the attraction and
the opportunity of producing an incredible
TV commercial is still enjoyed by most
mainstream agency creatives.
Digital is cool, but the creative work
does not quite have the same creative pro-
file or pull. It is also slightly disconcerting
because in the digital world the technology
is constantly changing, improving all the
time and becoming more cost efficient - it
takes a lot of time to keep up.
Agencies these days are also very
hectic and busy places. There simply
isn’t the time to spend exploring new
things.
Having said that, the days of pro-
ducing, say, one ‘Back to School’ cam-
paign for use all around South Africa
are over - just as the days of producing
one magazine ad, for insertion into many
magazines, also disappeared several
years ago. The market is simply too
fragmented and diversified for those sort
of campaigns to work. Digital campaigns
produce creative content in layers so that
different imagery, language and prices
can be used in a very cost-effective man-
ner. Content can also be changed at the
push of a button and very cheaply.
The idea of printing POP material
for stores and retail outlets and then dis-
tributing it via distribution centres and
trucks to locations all over the country
is incredibly old-fashioned, inefficient
and environmentally unfriendly.
These days customised content can
be downloaded to any environment in
a few seconds. Not only can different
demographics and psychographics be
monitored but so too imagery can be
changed in stores and shopping centres
to match the day-part, the weather and/
or local activities.
The idea that fast food outlets should
spend millions in distributing plastic
backlit menu boards once or twice a year
doesn’t make any sense. This means that
products and prices can only be adjusted
once or twice a year. Why would mar-
keters want to live like that if they can
make changes each day, or each hour
if necessary?
We also should not expect our digital
marketing technologies to cancel out our
activities in any other communication
channels. The internet didn’t make
newspapers obsolete, TV didn’t wipe
out magazines. Legal publishers that
now sell CD’s and access to websites on
law will not stop selling books. On the
contrary, book sales have increased since
digital offerings were launched.
 THE ROCKSTARS

The ANNUAL 2008 — 289

THE ROCKSTARS
Global multinational companies & advertising in a
recessionary environment
By Modise Makhene
These are interesting times for both marketers and advertising agencies. After 5
years of a bull run the world over, economies across the globe are cooling off.
Interestingly, the recessionary pressures
are more acute in developed economies.
Emerging markets are affected, but not to
the same extent. The dominant marketing
paradigm under such circumstances has
always been to drastically cut marketing
spend in order to achieve the bottom-line in
the short term. The question that needs to
be asked which has never been adequately
answered is, what is the opportunity cost
of not sustaining advertising spend in a
recessionary environment and more im-
portantly how to channel the spend in the
most optimal manner which in effect takes
advantage of the situation and prepares a
brand or brand portfolio for traction when
the economy begins to tick upwards.
A few traditional multinational com-
panies are subverting the dominant
paradigm of less advertising spend in a
slow economic environment. This is a
relatively new trend. The reasons could
be manifold, but I want to focus on 3;
f irstly, multinational brand compa-
nies by definition have a footprint that
spans the globe and are the first ones
to realize the effects of gloablisation.
Secondly, the consumer has changed
signif icantly resulting in a need for a
closer engagement and new ways of
communicating with them, thirdly, the
fragmentation of media has spawned
new media channels which are highly
engaging, cheaper and measurable, thus
being able to account for the return on
investment at board level.
Multinational companies understand
the effects of globalisation. Globalisa-
tion has meant that ideas, skills, capital
and the output of that, being branded
products can be spawned from other
markets other than the first world mar-
kets amongst other things. The BR IC
countries and “Next 11”are creating
t hei r ow n emerg i ng ma rket mu lt i-
national brands which tend to get to
market quicker, are nimble and are on
a high investment trajector y as they
continue their pursuit of transitioning
290 — The ANNUAL 2008
from an emerging market brand to a
truly multinational brand. By def ini-
tion, these are challenger brands. As
they aggressively seek market share,
they tend to maintain or increase their
marketing spend, in a recessionary en-
vironment. Telecoms companies such
as MT N, Zain, and Bharti are cases
in point. The phenomenon is however
not limited to this sector.
As we all know, consumers will em-
brace these brands, firstly based on the
quality of their offering and secondly,
in an economic slump they will tend to
be more visible as their share of voice
increases relative to those brands that
are spending less.
That the consumer has changed is
well documented. The average consumer
has become more knowledgeable and
discerning in the way they interact with
brands. They have become cynical and
are less receptive to mass marketing
messages. Even brands with a strongly
built heritage that has stood the test of
time have found that they have to be
constantly forensic in their approach.
It is no longer business as usual when
communicating to consumers. Mes-
sages that are encoded in integrity can
become the cornerstone of a closer and
honest engagement with consumers. In
an economic slowdown, consumers are
looking for added value. Added value
does not equate only to a price-point
play. Multinational brands are begin-
ning to understand that there are other
brand dimensions that come into play
such as true innovation, as opposed
to the gimmicky ty pe, cause related
marketing and issues of a sustainable
environment. Innovation plays a crucial
role in delivering added value during an
economic down-turn. As perverse as it
may seem, a slow turn in the economy
can prove to be an opportune time to
leverage a new product launch when
ever yone else has scaled back t heir
advertising spend. The informed con-
sumer is also forcing brands to examine
t heir attitudes towards a my r iad of
social aspects of brand engagement
such as environmental and socially
responsible issues. It is a case of being
socially responsible, is good for busi-
ness. It is to be expected that when
times are tough, consumers will go on
a f inancial diet of some sorts and will
forgo or indulge less on some brands
or categories. However, it stands to
reason that they will be predisposed to
brands that continue to build an affinity
which is underpinned by sustainable or
cause related marketing programmes.
The message is simple; create market-
ing messages that hinge on integrity
partnerships.
It is worth noting that whilst frag-
mentation of media communication
channels is seen as a headache by most,
it in fact can be an invaluable opportu-
nity to a marketer during an economic
slump. Firstly, media fragmentation
happens because consumers are to an
extent, but not altogether tired of old
media and are embracing new media
which is more personal. That speaks
volumes to marketers as they can chan-
nel their communication to media which
consumers are generally highly receptive
to. Secondly, such media platforms tend
to be cheaper and the costs continue to
be more affordable, thirdly, it is much
easier for marketers to justify maintain-
ing their budget levels and explaining
the associated “budget stretch” and ROI
because this media is measurable.
The message going forward is un-
ambiguously clear; an economic slump
is an opportunity to rally around the
brand. The critical success factor is
how to do that and successfully weather
the tough times so that the brand is on
the right trajectory for the future. A lot
of multinationals are heeding the call.
T hey are scaling back on big media
spend and redirecting their resources
towards marketing programmes that
build on loyalty and speak truthfully
to consumers.
 THE ROCKSTARS

The ANNUAL 2008 — 291

THE ROCKSTARS
Fear of Failure
By Muzi Kuzwayo
The chairman of TBWA, Jean-Marie Dru, once said
that advertising is a nation speaking to itself in bursts of
30 seconds, but what is the conversation in South Africa
right now?
Undoubtedly it is about leadership or lack
thereof, which is why as a country we didn’t
perform as well at Cannes as in the previous
years.
The reason for our poor performance
is because we have recoiled into a shell of
fear. And so when the democracy circus
played out in the tunnels of power, the
resounding laughter of admen and women
failed to echo on radio and television. The
greatest obstruction has been the industry’s
own intransigence to transformation, and
the subsequent fear that if we laughed out
loud we could be misconstrued as a white-
dominated industry that has no regard for
black authority. Add to that the fear of
being of excluded from state tenders.
This has made us lose our seat at the
table of influencers of society. As an in-
dustry we did some of our best work when
we challenged the conventions of South
African society for the better. Somehow,
that seems to have all changed and we are
now keeping quiet so as to stay out of the
firing line. It is the tragedy of our time
that the conversation within the advertis-
ing industry has shifted from discussing
creative work to profits from the quality
of the work to the quantity of the services
we offer.
Advertising at its best is not about mar-
keting strategies, sales plans and pushing
marked-down wares, but about dreams.
It is about creating a pie in the sky and
motivating people into believing that they
can get a piece of it. So that they can wake
up early in the morning and jump into a
taxi, a train or even the back of a van in
order to raise their standards of living.
What is wrong with a man or woman who
dreams of a better education and health
for their children? Dreams are at their
most telling when they are outrageous.
Advertising can and must tell society that
in the same vein that it can dream of a
better car, it can dream and get better
292— The ANNUAL 2008
leadership. Continuous dissatisfaction
with the status quo is part of the package
and we have every right to dream of better
leadership than what we have at any given
time. That is how society gets better.
Scientists who study living systems tell
us that you can never really direct a living
system – whether it is a human being (I
am sure many parents would agree to that
fact) or a company. You can only disturb
it. If this is true, then what is our role as
advertising men and women?
Granted, there is no automatic recipe
for success, but the first step is to generate
disequilibrium, and give power to those
who will say the wrong things at the wrong
place and time because they see things
differently. It may well be that their poorly
packaged thoughts carry an insight that
will change society for the better.
I am not calling for an all-out revenge of
the losers who helped polish the apartheid
turd, or those who resisted transformation
because they have an innate disdain for
democracy. To the contrary, I am calling
on all patriots with their quirky sense of
responsibility to shape the future of this
country with the brands that they build.
After all, brands can make a meaningful
contribution to the culture and image of
a society. For instance, what would be
the German industrial culture without
Mercedes Benz or BMW? I cannot pic-
ture South Africa’s Gold Rush without
Standard Bank, and in the black family,
a house is not a home without Vaseline
Petroleum Jelly.
But what are the patriots to do when
they have no mandate to make political
utterances? They can laugh, and allow their
infectious laughter to make the whole na-
tion laugh at itself. The last time I checked,
no one needs a political mandate to laugh.
But the joke will turn on the industry when
the nation realises that after all these years,
we’ve only spoken about transformation,
and nothing has been done.
 THE ROCKSTARS

The ANNUAL 2008 — 293

THE ROCKSTARS
Green. The new black?
By Neil Clarence
Branding takes an interesting turn with the rise of the
green issue. Is this a passing fad or can it deliver real
results for your company’s image?
Customers typically associate internal market-
ing company Actuate with a vivid orange that’s
become the hallmark of their brand. But lately,
a new colour has shown its face – and has an
interesting branding story to tell.
“Green is the new orange for us!” an-
nounces Grace Harding, CEO of Actuate,
in typically enthusiastic style. It may well
be “the new black” for all the attention it’s
currently getting. What Grace is referring
to is the company’s recently launched inter-
nal campaign to encourage staff to follow
more environmentally friendly behaviour
in seven simple steps. “We matched it with
an external campaign challenging clients
to do the same,” says Grace.
The idea came about at one of the com-
pany’s monthly Focus Days, where the Actu-
ate team sharpen their strategic, relationship
and creative skills at hotels, bowling clubs,
art galleries or even ice rinks. “We worked
out our carbon footprint from a book we
found called The Carbon Diet and decided
it was time to make some changes,” says
Neil Clarence, creative director. So, Actuate
set about changing the office light bulbs to
compact fluorescent lights, set all computer
screen savers to switch to power-saving
mode earlier, installed Mondi paper and
other general recycling bins, and switched
to recycled Typek paper.
“We also endeavour to buy local as
this means a lower carbon footprint for
all products, and encourage employees to
walk the short distance to the shops during
lunch, instead of driving,” says Neil. To
this end, a bucket of flip-flops sits at the
door for those who would otherwise use
the old high-heel excuse. “We’re serious
about being green,” says Grace.
They’re not the only ones. But is eco-
marketing, as it’s come to be known, not just
another fad trend? Do clients and employees
really care if you’re not green and can the
“green” marketing angle really make a
difference to a business’ bottom line?
If you’re a heavy industrial, technologi-
cal or manufacturing company, it certainly
294 — The ANNUAL 2008
can. Sustainability measurement scorecards
like the JSE’s Socially Responsible Invest-
ment (SRI) Index and the Global Reporting
Index make reporting on environmental
impact essential for any such company that
takes reputation management seriously.
But the issue extends further than
sustainability reporting standards and
the need to meet the demands of public
lobby groups. “It’s about showing that you
share the values that your customers and
your staff live by – values of responsibility,
environmental awareness and a willingness
to make a difference,” says Neil.
With concerns about the environment
taking centre stage, more and more com-
panies are going green – and deriving real
competitive edge benefits. “The importance
of making a difference is something Wool-
worths certainly understands,” says Neil,
referring to that organisation’s standing as
international Responsible Retailer of the
Year in the 2008 World Retail Awards,
and its win in the Mail and Guardian’s
Greening the Future Award in June this
year. Both of these awards are in recognition
of Woolworths’ “Good Business Journey,”
an ongoing strategy to “make a difference
in our communities, our country and our
world,” as the company describes it.
“If customers feel they can trust your
responsibility as an organisation, they will and this affects their ability to ‘get people organisation is an asset,” adds Grace.
respond well to your brand – and ‘green’ is on board’,” says Grace Harding. But she and Neil offer a word of cau-
what’s uppermost in many people’s minds Going green is a great way to make tion. ‘Greening’ is not a bandwagon you
right now when it comes to businesses being a connection. If nothing else, it shows can hop on and off of. If you’re going to
responsible,” says Neil. “It also shows you’re you’re a caring organisation that’s con- do it, do it authentically, with conviction,
aware of what’s going on around you, that cerned about more than making a buck or not at all. “There’s nothing more po-
you’re switched on, tuned in and can react and getting your pound of flesh out your tentially harmful to a company’s brand
quickly, creatively and proactively,” he contin- workers. “If people can feel good about than to lie. Employees and customers alike
ues. None of which can harm your brand. the company they work for, it definitely have a fine-tuned ability to pick up on
The same principle applies when it affects their motivation, enthusiasm and inauthenticity – and it makes them run a
comes to employees. Actuate’s core busi- overall performance,” says Neil. mile,” says Grace.
ness involves consulting to corporates on A sense of company pride can also While Actuate’s business does not, by
how to market themselves successfully to spill over into environments outside the its nature, have a high carbon footprint,
that toughest of customers – the employee. workplace, benefiting your brand as an the company has taken the issue of green-
“Companies spend so much time trying employer. “With the advents of internet ing itself seriously, backing up external
to reach their employees – to connect and and blogs, every employee is a potential talk with internal action. “Our next step
engage with them. They battle to have journalist. Any initiative that influences is to buy a hybrid car for the company,”
authentic conversations with employees employees to tell good stories about an concludes Neil.
15671 SAPPI adS UD R 13/10/08 13:40 Page 4
C M Y CM MY CY CMY K
THE ROCKSTARS
Brand thinking in a recession
By Neil van der Weele
No brand, regardless of its size or its strengths, should regard itself as immune from what is currently shaping up to
be a global economic downturn.
As more and more South African consum-
er s are forced to mind their rands and
sense in cash-s t rapped and uncer tain
t ime s, taking s teps to re ce s sion proof
your brand – or at the very leas t, make
yourself aware of the critical challenges
facing brands during a recession – is a
wise precaution. In fact, clever marketing
dur in g re ce s sio n ar y t ime s can b e t he
catalys t for a bet ter per formance once
the inevitable ups wing begins .
Chang ing behaviour
One of t he major realisat ions
br a nd ow ne r s mu st come to te r m s
w it h dur ing a recession is t hat
c on su me r s b e h ave d i f fe r e nt ly a nd
m a k e d e c i s i o n s i n a n e w w a y. I n
general, when t he economy is on
t he up, con su mer s tend to be more
ex per imental and reck less. But, when
t i me s a r e h a rd , con su me r s b e h ave
mor e r at ion a l ly a nd a r e w i l l i n g to
post pone pu rch ase s, t r ade dow n or
buy le ss, spend le ss on lav ish goods
a nd ser v ice s t h at d isplay i ncome or
we a lt h, a nd f avou r mu lt i - pu r p o s e
g o o d s o v e r s p e c i a l i s e d p r o du c t s .
Con su me r s a r e mor e a n x iou s , r i sk
aver se a nd conser vat ive, but a re a lso
more br a nd loya l.
Howe ve r, t he s e g e ne r ic t r e nd s
“to t r ade dow n” a nd “rema i n br a nd
loy a l” ap pl y d i f fe r e nt l y to d i f fe r -
ent i ncome a nd soc i a l g r oups, a nd
a l s o ac r o s s c ate g or ie s . For e x a m -
ple, du r i n g boom t i me s, a n upper -
i ncome shopper buys t he best of
ever y t h i ng i nclud i ng bra nded ba ked
bea ns whereas a lower -i ncome shop -
per buy s a cheaper br a nd of bea n s.
I n a r e c e s s io n , t he u p p e r - i nc o me
shopper may t rade - dow n to no -na me
br a nd c a n ne d b e a n s to e n su r e s he
c a n st i l l a f ford to buy K a r oo la mb
but – because t he lower income shop -
296 — The ANNUAL 2008
per ca n no longer a f ford meat, even
c a n ne d me at – b e a n s b e c o me t he
ma i n sou rce of protei n for t he fa m-
i ly a nd it is l i kely t h at s he’l l prefer
to buy t he be st be a n s s he c a n, a nd
p o s si bly w i l l t r ade up to t he mor e
ex pen sive.
So, c a n ne d me at , a s a c ate g or y
m ay lo s e , w h i le ba k e d b e a n s , a s a
categor y, benef its. O t her categor ies
t h at h i stor ic a l ly t h r i ve i n a r e c e s -
s i o n a r e ho m e f u r n i s h i n g s , ho m e
enter tai n ment a nd related categor ies
( b e c au s e c o n s u me r s a r e n’t a f for d
to buy a new hou se, t he y i nve st i n
t hei r ex ist i n g home s). A lso, i n u n -
cer tai n t imes, people tend to nu r t u re
per son a l bonds, so com mu n ic at ion
ser v ices a nd g reet i ng ca rd sa les stay
buoyant and of course, in good or bad
t i me s, a lcohol w i l l a lway s cont i nue
to benef it.
Implications for market e rs
T h is cha nge i n consu mer behav-
iou r h as t wo m ajor i mpl ic at ion s for
ma rketer s.
Fi r st ly, t r u ste d br a nd s a r e v a l -
ued bec au se con su mer s k now wh at
t h e y ’r e g e t t i n g , bu t a f f o r d a b i l i t y
doe s become a key d r iver.
S e c o nd l y, m a r k e te r s a nd t he i r
m a rket i n g pa r t ne r s ne e d to i nve st
mor e i n g et t i n g to k now how t hei r
consu mer s a re redef i n i ng va lue. By
talk i ng to t heir customer s to f i nd out
how t he dow nt u r n is a f fec t i ng t hei r
lives a nd t hei r produc t choices, t hey
w i l l ac q u i r e v a lu able i n for m at io n
about how t he br a nd s hou ld reac t.
T h is “reac t ion” ca n come i n one
or m a ny for m s, i nclud i n g:
- Focusi ng on fa mily values because,
as h a rd t i me s approac h, con su mer s
ret reat to f a m i l ia r place s.
- Work ing hard to maintain t he brand
essence but adjust i ng t he message to
stay relevant to a chang ing consumer.
For e x a mple, po sit ion i n g a lu x u r y
ca r as t he most st yl ish du r i ng boom
t i me s i s f i ne, but t a l k i n g about it s
h ig h resa le va lue du r i ng a recession
w i ll at t rac t t hose consu mer s look i ng
for du r abi l it y a nd va lue.
- Adju st i n g t he pack a g i n g for m at s
so t h at con su mer s loya l to a prem i-
u m br a nd c a n eit her buy la r ger but
more econom ic a l pack s, or sm a l ler
c heaper pack s.
-Reminding consumers why t he brand
is wor t h t he pr ice by foc usi ng on its
f u nc t ion a l adva nt age s.
- T h i n k i ng t w ice before lau nch i ng a
new produc t u n le ss it add re sse s t he
new con su mer rea l it y.
A l l t h i s i mpl ie s t h at m a rke te r s
keep spend i ng on t hei r br a nds … at
a t i me when most f i na ncial d i rector s
a nd hold i ng boa rds w i l l be i nsist i ng
t hey c ut back .
- C or e i n s i g ht … b o o st m a rke t i n g
spend i n a rece ssion
T he c or e i n s i g ht i s t h at now i s
t he t i me to i nve st b e c au s e m a rke t
sha re is cheaper i n a rece ssion. T he
reason for t h is is t h at h ig her s h a re
of voice (SOV ) c a n be ac h ie ve d by
t he bra nd t hat adver t ises as its com-
pet itor s sc a le back t hei r m a rket i n g
spend, a nd s h a re of m a rket (SOM)
is related to SOV.
Proctor & Gamble CEO AG L af ley
su m med it up: “ We h ave a ph i loso -
phy a nd a st r ateg y. W hen t i me s a re
tou g h, you bu i ld s h a re.”
T hen, t he P rof it I mpac t of M a r -
ket i n g St r ateg ie s ( PI M S ) d at aba se,
p r e s e nt e d at t h e M a r c h 2 0 0 8 I PA
con fe r ence, s howe d t h at compa n ie s
t hat i nvested du r i ng a recession
ac h ie ve d a s i g n i f ic a nt l y h i g he r r e -
t u r n on capit a l employed a nd g a i ned
u p t o a n a d d i t i o n a l 13% m a r k e t
s h a r e a f te r t he h a rd t i me s h ad end -
e d . C ompa n ie s t h at c ut m a r k e t i n g
spend enjoye d supe r ior ROI du r i n g
t he r e ce s sion, but ac h ie ve d i n fe r ior
r e su lt s a f te r it e nde d .
T he i mpl icat ions of t h is for va r i -
ou s br a nd s a r e:
- Sm a l l or n ic he br a nd s s hou ld fo -
cus on t hei r core bra nd of fer i ng
r at her t h a n spread i n g t hei r ex ist i n g
r e s ou r c e s to o t h i n l y.
- L a rger bra nds ca n cont i nue to
i n nov at e , e s p e c i a l l y i n r e c e s s i o n -
f r ie nd ly a r e a s.
- We a k e r b r a n d s s h o u l d f o c u s o n
pr ote c t i n g e x i st i n g s h a r e by fo c u s -
i n g on t hei r most loya l a nd va lu able
c on s u me r s.
- I f you mu st c ut e x pen se s, t hen c ut
w isely a nd substit ute w it h more
c o s t- e f fe c t i ve c h a n ne l s , l i k e r ad io
or i n - s tor e , or t r i m you r T V s p ot s
f r om 6 0 s e c ond s to 3 0 s e c ond s.
- I f r e s ou r c e s a r e ve r y t i g ht , t he n
now i s t he t i me to concent r ate you r
marketi ng muscle behi nd t hose
br a nd s t h at a r e mo st l i kely to su r -
v ive a nd leave t he ot her s to si n k
or s w i m .
I n conclusion, recessions are
f u ll of oppor t u n it ies. W h ile t hey
p r u ne t he e c o no my, t he y c a n a l s o
b e a s ou r c e of g r e at i n nov at io n a s
org a n isat ions re -t h i n k t hemselves to
f i nd bet ter ef f ic ienc ie s. T her e is no
“one solut ion” a nd br a nds w i l l most
l i kely need a hea lt hy m a rket i n g m i x
to we at he r t he r e c e s s ion wel l.
U l t i m a t e l y, w h i l e i t m a y b e a
c h a l len g i n g yea r for u s a l l, we mu st
h ave cou r a g e a nd v i sion a nd t h i n k
long-ter m. By look i ng for t he oppor -
t u n it ie s , t he he a lt h of ou r cl ie nt s’
br a nds i n t he f ut u re w i l l depend on
t he st r ate g ie s we put i n pl ac e now.
 THE ROCKSTARS

The ANNUAL 2008 — 297

THE ROCKSTARS
New World Order
By Nina Morris
Great creative concepts are one thing, squeezing them into a budget under half a
million for a 30-second TV ad is another!
Long gone are t he d ays when Agencie s
w e re g i v e n l a rg e b u d g e t s to p ro d u ce
o n e T V C . T h i n k b a c k t o 19 8 8 , t o t h e
Co nt i n e nta l Ty re s ‘ro of to p’ a d . It co s t
R300k to produce. Today that very same
ad would cos t R3m . How ab out anot her
i co n i c S o u t h Af r i ca n co m m e rc i a l , t h e
J & B ‘ b u t t e r f l y ’, i t c o s t R 35 0 k i n 19 91
a n d t o d a y t h a t w o u l d co s t t h e c l i e n t
R4 m . H o w m a n y cl i e nt s a re s p e n d i n g
t h a t k i n d of m o n e y to d a y?
T he world has cha nged. T he
g lo b a l e c o no m y i s u n d e r p r e s s u r e
(to say t he least!); as a re su lt people
a nd busi ness a re more foc ussed t ha n
ever, on per for m a nce a nd ret u r n on
i nve s t me nt . T he g r e at 6 0 - s e c ond
br a nd ad s t h at we love to m a k e a r e
fe w a nd f a r b e t we e n . T he y pl ay a
lon g te r m g a me of con ne c t i n g emo -
t ion a l ly w it h t he con su me r t he r eby
bu i ld i n g t he br a nd ove r t i me. We
don’t have t i me. We need ac t ion a nd
we need it now. I nst a nt g r at i f icat ion
i s t he m a nt r a of t he mome nt . T h i s
is not a Sout h A f r ica n phenomenon,
it’s a g loba l one. Ever y where cl ients
w a nt to b e o n T V, a s it s t i l l i s t he
h i g h e s t r e a c h m e d i u m p l u s i f i t ’s
a m e a s u r a bl e m e s s a g e l i k e a o n c e
of f p r omot ion a l T V ad , t he r e s u lt s
c a n b e s e e n a l m o s t i m m e d i a t e l y.
T he aver age len g t h of a T VC is st i l l
3 0 s e c ond s. Howe ve r, c ut dow n to
15 s e c ond s a nd 2 0 s e c ond s ad s a r e
slowly but su rely becom i ng t he nor m
a nd alt houg h dig ital a nd mobile
med ia a re g row i n g f ast , for t he nex t
few ye a r s at le a st , it ’s st i l l a l l about
T V. S o now you h ave s ay, 3 0 s e c -
ond s to con ne c t w it h t he con su me r
298 — The ANNUAL 2008
t h roug h a bit of stor y telli ng a nd
t hen i n w it h you r produc t a nd pr ice
w h e r e n e c e s s a r y. Yo u r b u d g e t i s
R 50 0k , t h at doe s n’t even pay for a n
ave r a g e o ne d ay s ho ot ! You r c l ie nt
wa nts t he best product ion values
(t hat mea ns shoot i ng on 35m m), t he
b e s t p e r f o r m a nc e s a n d a b r i l l i a nt
c o n c e p t to h a n g i t a l l o n . N o t a n
e a s y t a s k . T h i s i s w he n you r e a l l y
h ave to g e t c r e at i ve.
T he challenge is get t i ng t he client
to u nder st a nd what ca n a nd ca n’t be
done w it h R 50 0k . Eve r yone wa nt s
t he Fe r r a r i but c a n on l y a f for d t he
c he ap C h i ne s e i mp or t . Eve nt u a l ly
t he y t r y to s t r i p t he Fe r r a r i dow n
to such a deg ree t hat it on ly has
t he Fe r r a r i b o d y a nd t he I mp or t ’s
e n g i ne ! W h at a me s s . T he c o s t of
f i l m i ng has gone up, but t he budgets
h ave r e m a i ne d t he s a me i f not le s s
a nd t he s c r i pt s a r e not g e t t i n g a ny
si mple r. T he b ot tom l i ne i s t h at we
a re ex pe c te d to produce qu a l it y ad s
for le s s a nd le s s . M a ny c l ie nt s a r e
ig nora nt of costs a nd la nd up c ut t i ng
c o s t s i n a l l t he w r o n g pl a c e s , l i k e
not w a nt i n g to pay for a r t i st ’s fe e s ,
voic e fe e s a nd mu s ic . I f t he a d i s
goi ng to c ut t h roug h, t he se a re v it a l
i n g r e d ie nt s to a s uc c e s s f u l ad . We
a l l k now t hat costs i nc rease bet ween
11% a nd 15% a n nua l ly, however jus -
t i f y i n g t h i s i s e nou g h to g i ve e ve n
t he tou g he st producer a n u lcer. T V
h a s a lw ay s b e e n e x p e n si ve not on ly
to pr o duc e but to f l i g ht a s wel l. S o
it ’s no wo nde r t h at t ho s e f abu lou s
6 0 se cond ad s a r e a l mo st e x t i nc t a s
t he c o st of f l i g ht i n g it ju st onc e on
G e ne r at ion s c o s t s R 2 0 0 k !
T hen of cou r se we have t h is prob -
lem of get t i ng t he creat ive tea m
to w r ite to t he budget. So of ten
c l ie nt s a r e p r e s e nte d w it h a s c r i pt
t h at look s g re at on paper but by t he
t i me you’ve c o s te d it out , it ’s w a y
out of t he ba l l pa rk . To o m a ny c a st
me m b e r s , to o m a ny lo c at io n s , to o
much of ever y t h i ng. So t hat’s eit her
back to t he d r aw i n g boa rd or t r y i n g
to conv i nce t he cl ient to spend more
m o n e y. N o t i d e a l . R e a l l y c l e v e r
c re at ive s k now t he cost of put t i n g a
produc t ion toget her a nd u nder st a nd
t h at it ’s not j u s t a b out c o m i n g u p
w it h a g reat idea but ma k i ng it work
w it h i n a l i m ite d bud g et. O f cou r se
t h i s i s r e st r ic t i ve , but t he y ne e d to
le a r n how to c ome up w it h s i mple ,
good ideas t hat not on ly bu i ld br a nd
but s el l s t u f f to o.
A ll we have to do is to adjust
ou r ex pectat ions. A gencies have
to get t heir heads arou nd t he fact
t hat less is more; clients in t ur n
need to understand what t heir
money ca n buy t hem. So ca n we
m a k e a h i g h i m p a c t , g o o d q u a l i t y,
ef fective T V ads for R 500k? Only
just. A ny t hing under R 500k w ill
compromise on product ion values
a nd overall i mpact, but i f we box
clever w it h a cut t h roug h concept
t he ad w ill be memorable and de -
l i v e r r e s u l t s . We h a v e t o s t a r t b y
educat i ng ou r people a nd clients
t o ‘ t h e n e w w o r l d o r d e r ’. I t ’s n o t
about t he biggest, most spectacu-
l a r a d s a n y m o r e ; i t ’s a b o u t c l e v e r
ideas commu nicated in a simple
way s t h at don’t comprom ise on
t he f u ndamentals.
 THE ROCKSTARS

The ANNUAL 2008 —299

THE ROCKSTARS
Putting the ad(D) agency back where it should be!
By PAUL MIDDLETON
What the advertising industry needs is to get back to basics and go back to the tried and
tested way of doing things in an ethical way and with a healthy dose of integrity.
A regrouping of the adver tising com-
munity and the way that we do things
is imminent if we are to maintain a
stake as an integral par t of a healthy
business strategy and star t working
fo r cl i e nt s ra t h e r t h a n a g a i n s t t h e m . I t
i s n ot o n l y f ra g m e nta t i o n w i t h i n a g e n -
ci e s t h a t i s ca u s i n g t h i s d i v i s i o n , b u t a
total lack of communication between
divisions within the industry that has
l e d to n o b o d y k n o w in g , o r ca r in g , w h a t
is going on unless it relates directly
to them.
Research conducted by the
I ndependent A genc y Search a nd
S e l e c t i o n C o m p a n y ( I A S ), s h o w s
t h a t a p p r ox i m a t e l y 5 0% o f c l i e n t s
p e r c e i v e a d e c l i n e i n o u t p u t to b e
a major factor i n t he breakdow n
of c l i e nt- a g e nc y r e l at i o n s h i p s , f ol -
lowed closely by t he t i m i ng issue
and meeting deadlines. A major
factor cont r ibut i ng to t h is is t he
d e c l i n e o f t h e f u l l - s e r v i c e a g e n c y.
T he i ndu st r y, a s a whole, h a s slowly
lo s t s i g ht of t he f u l l - s e r v ic e a g e nc y
a n d h a s c o n s e q u e nt l y lo s t v a lu a ble
g rou nd, a nd face, w it h clients.
T h i s c u r r e nt f r a g me nt at io n a nd
t he mov ing away f rom t he f ull-
ser v ice agenc y is u ndoubted ly a v it a l
f a c to r i n c o m b at i n g i s s u e s r e l at i n g
to t i me a nd de ad l i ne s. H av i n g e ac h
discipli ne w it h its ow n st r uct u re,
of f ice space a nd even cu lt u re ca n
add massive time delays and can
have a negat ive i mpact on out put.
Bei ng u nder one roof, operat i ng
as one cohesive unit and hav ing
t he r ig ht ma nagement d r iv i ng for
v a lu e c o n s i s t e nt l y, r e le nt le s s l y a nd
c o n t i nu a l l y p l u s a c r a z e d s e n s e o f
u r g enc y t h at compels ac t ion en su r e s
t hat deliver y is on t i me a nd a head
300 — The ANNUAL 2008
of ex pectat ions for t he client.
C o - or d i n at io n b e t we e n s t r ate g y
( b r a n d , m e d i a & c r e a t i v e), m e d i a
p l a n n i n g , b u y i n g , c r e a t i v e , D T P,
t raf f ic, product ion, client ser v-
ice a nd ad mi nist rat ion creates a
sea m less cha n nel of com mu n ica-
t ion t h roug hout a n agenc y t hat is
invaluable. A team t hat can get
toget her for a meet i ng i n a mat-
ter of m i nutes lends a n edge a nd
promotes t he same v ision, even
t houg h ever yone may not always
be i n ag reement, deadli nes must
b e a d h e r e d t o.
E mploy i n g l i ke - m i nde d st a f f a nd
hav i ng staid core values is cr it ical
to hav i ng a team t hat ca n work
to g e t h e r i n p e r f e c t h a r m o n y w h i l e
sea m lessly i nteg rat i ng t hemselves
i nto t he m a n a g e me nt te a m s of t he i r
clients should needs be. Get t i ng
i n s ide t he c l ie nt s’ he ad s a nd le a r n -
i ng how to sat isf y t heir needs is
essential for deliver i ng t he best
value a nd t h is is what u lt i mately
w i l l s e t t he m apa r t f r om ot he r r u n -
ners in t he f ield.
A long w it h t his sy nerg y comes
t he net ef fect of reduci ng agenc y
ove r he a d s a n d s a v i n g o n de l i ve r i e s
a nd f i xed costs like sw itchboa rds,
copier s, net work s, I T i n f rast r uc -
t u r e a nd ad m i n i st r at ion . T he l i st i s
e n d l e s s , t h e b e n e f i t s hu g e a n d t h e
compet it ive adv a nt a g e a no - br a i ne r.
T his is what sets agencies apar t
f r o m t h e h e r d , a t i g h t- k n i t , s e a m -
less a nd consistent approach t hat
meets a nd exceeds ex pectat ions
held by clients ever y t i me.
To g a i n a comp e t it i ve adv a nt a g e
do e s not a lw ay s r e s t o n a n a g e nc y ’s
creative lau rels, a nd it is a well
k now n fact t hat creat iv it y equals
t i me. About 80% of meet i ng t he
c l i e n t ’s e x p e c t a t i o n s i s t o d e l i v e r
a nd, when consider i ng t he pict u re
hol ist ic a l ly, we of ten se e t he ne e d to
s e t p a r a m e t e r s to c l i e nt s’ e x p e c t a -
t io n s of c r e at i v it y i n o r de r to m a k e
t he de ad l i ne. It i s e a s y for u s to g e t
lost i n t he t h r oe s of awa rd -w i n n i n g ,
e g o - s t r ok i n g a d ve r t s t h at r a i s e ou r
prof iles a nd make us feel good –
b u t do t h e s e n e c e s s a r i l y m e a n f e e t
t h r ou g h t h e d o o r a n d r i n g i n g t i l l s
for t he client?
We n e e d t o r e g r o u p a n d l i n k
tog e t he r for a st r on g e r i ndu st r y, not
one t hat f loats all boats when t he
tide is hig h but leaves t he smaller
c ompa n ie s st r a nde d w it h t he d r y i n g
kelp when t h i ng s take a dow nwa rd
t u r n. T h is is t he ver y reason t hat I
i nvolve myself heav ily on i ndust r y
boards such as t he Adver tising
M e d i a Fo r u m (A M F ); A s s o c i a t i o n
for Com mu n icat ion a nd Adver t is-
i n g (AC A); t h e S o u t h A f r i c a n R e -
s e a r c h F o u n d a t i o n ( S A A R F ); t h e
R adio Adver t isi ng Bu reau ( R A B)
a nd t he Marketi ng Association of
S o u t h A f r i c a ( M A S A). A s w i t h t h e
f rag mentation i n t he adver tisi ng
agenc y itself, we see t he ver y same
t hing happening wit h t he divi-
sion and lack of commu nication
bet ween t he adver t iser s, ma rket-
er s, broadcaster s, com mu n icator s
and so on.
T he a n s we r i s s i mple: by m a k i n g
a dif ference, however small a nd
get t i ng t he i ndust r y bodies to talk
a nd work toget her of fer s pa r t of a
solut ion. H av i n g me d i a a nd c r e at i ve
agencies toget her is key for clients
and w ill improve out put, create
h a p p i e r c l i e n t s a n d , u l t i m a t e l y, a
bet ter i ndust r y for all.
 THE ROCKSTARS

The ANNUAL 2008 — 301

THE ROCKSTARS
...from a jetlagged creative’s POV
By Ronald Wohlman
In the ’80s and ’90s, the biggest thing in the ad biz was the 30-second TV commercial. Today, the 30-second com-
mercial is literally the last thing anyone wants to talk about. It’s possibly the only dirty word left in the business. To
mention it is to declare your age: 40+. Today the buzz word in advertising is global. And I expect it will be this
way for a long, long time.
I blame the internet of course. I blame
O b a m a G i r l . I b l a m e t h a t fo o l i s h k i d
i n Io w a b l a b b e r i n g o n a b o u t B r i t n e y
Spears. I blame every person broadcast-
ing themselves. I blame every blogger.
Eve r y w e b s i te. Eve r y s e l l e r o n e b a y .
Why? Because they all went global at
the push of a download but ton. And if
they can do it, then why the hell can’ t
your trus ted brand of tampon? Which
brings me to my life.
My wonder f u l cl ient s a nd t hei r
f abu lou s pr o duc t s a l l w a nt g loba l
fa me. A nd t hey deser ve it too. A nd
I’m t a l k i ng t he k i nd of g loba l fa me
a nd recog nition t he Jolie -Pit ts enjoy.
For c reat ives, where we once had to
w a it for Supe r b owl Su nd ay or t he
Osca r s to get worldw ide aud iences,
we now have t he oppor t u n it y to play
to g lobal audiences of millions ever y
si ng le day of t he week . So t h is is as
excit i ng a nd dema nd i ng a nd ex h i la-
rati ng as ou r busi ness gets. But wait,
before we get too exc ited, let’s t a ke
it step by exc r uc iat i ng step.
I n prev ious yea r s, c reat ives may
have spent weeks whining about t heir
lack of u nder st a nd i n g of t he br ief.
B oy we r e t ho s e d a y s e a s y. To d a y
we h ave whole cou nt r ie s to wh i ne
about. Cu lt u ra l d i f ferences keep me
awa ke at n i g ht. Women appe a r i n g
i n adve r t i s i n g i n t he M idd le E a st
must have t hei r heads covered. Un -
ma r r ied couples i n C h i na ca n’t k iss
or touc h . C h i ld r e n i n It a ly a r e n’t
a l lowe d to b e i n c om me r c i a l s for
produc ts t hey don’t per sona l ly use,
a nd i f t hey a re, t hen a n adu lt must
be over seei ng t hem. T he Br its love
302 — The ANNUAL 2008
i r o ny. T he A me r ic a n s love b r o ad
hu mou r. T he Swe de s l i ke it d a rk .
A nd on a nd on a nd on it goes. A nd I
haven’t even sta r ted on I nd ia where
t here a re 30 0+ c u lt u r a l d i f ferences
on one cont i nent. Believe me when I
tell you, global adver tising is going to
k i ll more c reat ives t ha n la rger logos
or leg a l wa r n i ng s ever d id.
B ut b e fo r e you r u lc e r s b e g i n s
to bleed, I recom mend tea m i n g up
w it h a ver y smar t global pla n ner. It’s
clear t hat we w ill see t he st reng t hen-
i ng role a nd i n f luence of t he g loba l
pla n ner i n t he agenc y of t he f ut u re.
He or s he w i l l b e come t he cl ient ’s
a nd t he c reat ive’s tou r g u ide. A nd
s o, a s we move i nto t he f ut u r e , I
see pa r t ner sh ips bet ween c reat ive s
a nd pla n ner s becom i ng t he new “a r t
d i rec tor/copy w r iter ” relat ionsh ip of
adver t isi ng past.
I a l s o s e e t h e r ole of t h e c o n -
su mer cha ng i ng more rad ica lly t ha n
we’ve e ve r k now n . A g a i n, t h a n k s
to t he i nte r ne t , A K A t he wo r ld’s
la r ge st “spea ker ’s cor ner ”, we now
s e e t he e me r g e nc e of mor e vo c a l,
more dema nd i ng, more challeng i ng,
sav v y consu mer s. Folk s who ca n see
t h rou g h you r bu l ls h it at t he speed
of a double cl ick . T he se m i l l ion s
of super - c r it ica l deckcha i r pu nd it s
w i l l eit her applaud you r adver t isi ng
or l itera l ly sh red it to bits. E xc it i ng
t i mes i ndeed.
But wa it t here’s more. Just when
you t h i n k t he c h a l len g e s c a n’t g et
a ny tou g he r, it occ u r s to you t h at
not ever y br a nd “goi ng g loba l” has
t he spend i n g power of a n Apple or
a M ic rosof t or t he A i rl i nes a nd t he
ba n k s. Some ca n st i l l ba rely a f ford
t he 30 - second T V ad.
Did someone say v iral? Yea h “v i-
r a l” has become t he euphem ism for
“ ha nd-held cheapie, shot i n t he of-
f ice, bit- of-f unny, loaded on YouTube
or spread v ia ema i l, popu la rly used
to conc e a l a l ack of r e a l adve r t i s -
i ng dol la r s”. T he good news is v i ra l
adver t isi ng is a whole new br i l l ia nt
world of c r e at iv it y ju st w a it i n g to
ex plode.
But for ever y problem t here a re
cou nt less c reat ive solut ions.
A nd yes, wh ile i n ma ny cases
o ne s olut io n m a y b e a s s i mple a s
put t i n g t he c reat ive s on a pla ne to
some cou nt r y where t he c u r renc y is
wor t h shit, to shoot t he same ad seven
t i mes usi ng d i f ferent cast member s,
of course wit h no on- camera dialog ue
and bear ing in mind t hat music t hat’s
h ip i n Fr a nce cou ld be too sug ge s -
t ive, even si n f u l i n Kuwa it.
(Oh, a nd please ma ke su re some
PA is ha ng i ng a rou nd t he set shoot-
i ng t he “beh i nd-t he - scenes” of you r
margar ine commercial, on his camera
phone, because CON T E N T is st i l l
K I NG.)
T here are countless solutions, and
f i nd i ng t hem is ex ac t ly what ma kes
t he f ut u re of adver t isi ng more c rea-
t ive t ha n it’s ever been.
Howe v e r, w h i l e e v e r y t h i n g i n
adve r t i s i n g s e e m s to b e c h a n g i n g
second by second, one t hi ng remai ns
a const a nt. Not u n l i ke her pe s, I’m
talk ing about consumer testing. T he
f inal hurdle in t he race to global fame
a nd for t u ne.
Unlike i n t he simple days of local
adve r t i si n g , whe r e you r c a mpa i g n
was te sted i n New Jer sey, a nd per -
h ap s C h ic a g o, it i s now te s te d i n
Hong Kong a nd Helsi n k i. Mu mba i
to M ia m i. Ha mbu rg to Holla nd. (At
t his stage I recommend ref illing your
presc r ipt ions for a nt i-a n x iet y med i-
cat ions.) W hat, t he tag li ne doesn’t
t r a n slate??? Hu h, wh at , even “ ju st
do it” is obscene i n some la ng uages?
(Oh a nd bet ween u s, t he G er m a n s
hate met aphor s.)
S o m a y b e t he f ut u r e of g lob a l
adver t isi ng is si lence. No music. No
d i a log ue. No t a g l i ne s. M ay b e it ’s
sil houet ted f ig u res da nci ng to music
by U2 or COL DPL AY, w it h just your
product v isible (and in use), and t hen
j u s t t he n a me of you r p r o duc t o r
compa ny logo comes up. Oh no wait,
A PPL E a l ready d id t hat. Br i l l ia nt.
Ok ay, how about a gor i l la play i ng a
Phil Collins song on dr ums? Gor illas
aren’t sacred a nimals i n I ndia, it ca n
work . Oh no, done. Bou nc i ng ba l ls
i n a nondesc r ipt c it y? Done.
I n my o pi n io n , a l l of t h i s j u s t
makes adver tising r ig ht now t he most
t h r i lli ng ca reer to be i n it. Fa r more
e xc it i n g t h a n it e ve r wa s. T he old
school t hree-mar tini lunch, cigarettes
a nd adu lter y, li nes of coke a nd h issy
f its, have not hi ng on t he 360 deg ree,
mu lt i- cha n nel g loba l adver t isi ng of
to d ay a nd tomor r ow. T he pl ay i n g
f ie ld now i s w ide , w ide op e n a nd
completely m i nd- blow i ng.
A nd to t h i n k, I never even got to
mention t he joys of f ly ing to all t hese
dest i nat ions. T hat’s a whole ot her
stor y. Pa r t ic u la rly, when, l i ke me,
you look l i ke a Musl i m r abbi.
 THE ROCKSTARS

The ANNUAL 2008 — 303

THE ROCKSTARS
Why marketers don’t trust agencies
By steve miller
Marketers don’t trust agencies
It’s not that they don’t need them, nor is it about
not liking them. The fact is, the more experienced
marketers just don’t trust all agencies some of
the time and some of them all of the time.
Strategic irrelevance
There are a multitude of reasons, but
the most fundamental may be that market-
ing and advertising diverged a decade or so
ago as marketing matured as a commercial
discipline. Most agencies just never caught
up, never got their head around the fact that
marketing was so much more about business
and so much less about communication than
it had been heretofore.
They woke up late to the fact that design,
availability and pricing mattered so much
more in the mix, that many consumers are
disintermediated by both the trade and
shoppers. They didn’t seem to comprehend
the strong wind of commercial sense behind
the most basic of marketing decisions. To
this day many still evidence a lack of un-
derstanding of advertising’s reduced role
in the mix.
With this lack of understanding came a
gradual but inevitable slide in the strategic
pecking order. Where agency CEOs had
sat at the boardroom table and had influ-
enced business and marketing thought,
they found themselves consorting largely
with marketing directors until they slipped
further into the clutches of marketing and
brand managers.
And here the merry dance of consult-
ing, ego and posturing began, a dance that
continues to this day among some, fuelling
the common perception that communica-
tion agencies may be the last bastion of the
“tits and balloons” approach to service and
selling. And in today’s markets, that’s just
not going to cut it and adds further to levels
of mistrust as marketing directors have
their ears tweaked by their fellow board
members and even their non-execs, who
derisively point to the latest agency folly,
either in the creative work or the people or
their processes.
Financial impropriety
The second reason many marketers mistrust
304 — The ANNUAL 2008
agencies is that they are engaging in a flawed
business model.
Most agencies these days appear to
charge their clients for staying busy. Monthly
retainers are arrived at by charging portions
of agency peoples’ time. Ergo, the more
people you can stuff into a client, the more
functions can “touch the work” and the
busier you can keep them, the more profit-
able the account becomes.
Somehow the quality of the output is
less important than the process of getting
there. Revert after revert will occur with
no-one stopping to question the folly of the
process or the brief. Work equals money and
the more they keep busy the more time they
can reconcile to the account and bill.
And yet most client organisations reward
the quality of the output and not the effort
of their staff. Clever, efficient and effective
outputs trump long hours, fruitless toil and
misallocation or abuse of resource.
This mismatch has not gone unnoticed
amongst savvy clients.
Even when all eyes are on the creative
end product, it seems to be for the quality of
its art and craft, not its commercial or brand
impact. Creativity is celebrated over business
improvement, Cannes features as an award
target not as a holiday destination in which
to spend well-earned annual bonuses.
And finally, some of the commercial
agreements some agencies are said to have
entered into with certain of their clients
makes Jacob Zuma appear a neonate in the
game of back-scratching. While the stories
may be more colourful than the substance
and envy and competitiveness may be at the
heart of the snide remarks, the prevalence
of the stories and the level of acerbity that
accompanies their re-telling hardly foster
trust in the industry amongst less brazenly
self-serving clients.
Unseemly practices
Even the process of getting and keeping
business in the agency world is somewhat
tawdry and hardly likely to engender respect
or trust. Pitching and poaching seem to be
the order of the day.
Pitching competition rises to levels of
tastlessness rivaling street-side prostitution,
as agencies primp and preen to attract at-
tention and business. networks are pumped,
rich promises are made, pitch teams appear
and are never seen again, briefs to keep the
presentations to credentials or strategic ap-
proaches are ignored as agencies cat fight,
sometimes over meager pickings.
Yes, clients’ egos foster this activity
and some of the pitches, particularly from
state institutions and desired brands, seem
designed less to find a great agency for their
brands and more to show off and even to
generate alternative revenue.
Yet a simple agreement by major agency
heads might stop this indecorous custom
dead in its tracks. But they seemingly can’t
or won’t lest another agency break ranks and
steals an advantage.
How do you trust that kind of mindset
as a marketer?! And remember, this is at the
wooing stage of the relationship – what do
you then expect in the screwing stage?
The final straw is when ex-agency per-
sonnel are appointed to senior marketing
roles, now largely apparently as a result of
some BEE imperative. Their erstwhile col-
leagues’ unseemly haste to ingratiate them-
selves and replace the existing competition
only makes seasoned marketers shake their
heads in wonderment. Stories of continuing
financial interests being shared only serve to
further sully the name of agencies and clients
alike, a situation unlikely to breed trust and
respect among those looking on.
Finding common ground
There is no doubt that agencies mistrust
many of their clients, too. Justly so.
A litany of broken promises and bullshit
budgets, poorly skilled and over-promoted
clients, parsimonious fees that serve to starve
rather than sustain agencies, bad briefing,
even poorer creative judgment and sickening
corporate politics don’t make for the most
attractive partners, do they?
And yet the relationship between mar-
keter and agency is largely symbiotic. We
need each other to create great work and we
need to like and trust each other to do it.
We have much work to do together.
 THE ROCKSTARS

The ANNUAL 2008 — 305

THE ROCKSTARS
Economic slowdown forces change in marketing mix
By terry behan
The year 2008 has been a watershed for many brands in emerging markets and South
Africa in particular.
The subprime lending crisis in the United
Sates, domestic political upheaval in the
aftermath of Polokwane peppered with a
dash of drama on the infrastructure front,
that is Eskom, and an unclear future on
where interest rates will settle, if at all, has
left the local economy looking a tad ragged,
a bit like Britney Spears after a trip to the
hairdresser.
Coupled with this is that South Africa
has enjoyed the best part of a decade of
relatively uninterrupted economic growth
going from zero in the mid nineties to
hero by 2006. Our economy, and more
importantly for marketers, economic
sentiment for the past 18 months has
been shrinking faster than the polar ice
caps. The booming market conditions
that have contributed to the positive
creation and growth of many of South
Africa’s best loved brands over the past
10 years have fundamentally shifted.
Brands now have to contend with tougher
market conditions. Trading conditions
resemble mature markets in developed
economies where smaller margins, slower
growth and a more savvy consumer pre-
vail. This shift has hit many emerging
markets faster than a Jamaican sprinter
creating confusion and leaving business
owners and marketers uncertain what
to do next.
But regrettably, this is where the
humour stops. Brands and the marketing
teams who manage them have responded
to this environmental shift in varied
manners, but this response can by and
large be quantified by reaction as opposed
to action. This reaction has manifested
itself in the belief that the consumer
continues to be driven by brand recall
and recognition and thus the reactive
response has been to maintain and in
some cases increase the proliferation of
the above-the-line communication into
an already over-communicated, over-
stimulated and an increasingly harried
consumer, who has moved from fickle
to focused in an remarkably short space
of time in the way they consume and
306 — The ANNUAL 2008
associate with brands.
This approach may have been relevant
and appropriate when market categories
were expanding, growing and in many
cases forming in developing economy
era, circa; South Africa 1996 – 2006,
where consumers were introduced to
genuinely new product categories, had
reasonable amounts of disposal income
and ridden the wave of positive growth
and sentiment.
How the consumer prefers to absorb
media and be communicated to during
times of economic hardship are differ-
ent to the prevailing conditions of the
last decade. Understanding consumer
behaviour, and more importantly, trends
in consumer behavior can be utilised as
a competitive advantage and a great way
to stay ahead of the game, especially in
an emotionally driven market like South
Africa where consumer sentiment shifts
rapidly. It’s essential that brands are able
to not only keep abreast of consumer
trends but also to anticipate and retool
their organisations accordingly.
There are, however, some impedi-
ments to this required clarity of thinking.
Top of the list is the misplaced belief
that brands succeed because the prod-
uct offering is in some way unique. In
mature market categories such as cel-
lular telephony, banking, leisure and
retail, the consumer is already aware
of the category and your brand and has
most probably already made his or her
purchase decision. There is no USP to
cling to, thus the focus shifts away from
creating strong recall and recognition
to protecting a brand’s existing mar-
ket share and organically growing new
market share or preferably stealing it
from your competitors by understand-
ing the consumer’s needs and reacting
appropriately.
This requires marketers to utilise
historical data in a far more effective
and relevant manner. Pace is the name
of the game. Normally the research data
received by the marketing team can be
up to 90 days’ old from time of capture.
It normally takes the business another
90 days to get to grips with the changing
consumer requirements and additional
90 days to implement any meaningful
solution to retool the business and an-
other 90 days for the consumer to feel
the effect. On average a full year goes
by before a brand has sufficiently read-
justed its behaviour or communication
to address a trend. During this time the
behavioural driver that created the trend
in the f irst place may very well have
passed or a new counter trend may have
emerged, negating the brand’s response
to the initial trend. In other words, the
process of adjustment takes too long.
So what should brand owners be
doing to adjust the engagement with
the market?
In mature market categories, brands
will still advertise, in the traditional
sense, to keep their products and services
on the list of considerations. But there
is a fundamental shift in focus from
recall and recognition to reputation and
experience. As economies down gear,
the behavioral drivers inf luencing the
consumer are increasingly informed by
reputation, as people tend to care more
about the brand experience. Why? Well,
the less money we have the more care-
ful we are about what we do with it and
whom we spend it with.
This can pose difficulties for brands
because many marketers have honed their
skill in crafting the above-the-line process
and largely ignored the reputational and
experiential elements that affect their
brands. This is the area that requires
attention. Reputation is governed by
experience and experience is formed
beyond the initial call to action. It is
created through tactile encounters that
the consumer has when they connect with
the brand across many different brand
touchpoints. Each touchpoint should
be identified, assessed, managed and
improved to limit the risk of negative
brand exposure and reputational dam-
age. Don’t give the consumer reason to
start thinking about alternatives.
 THE ROCKSTARS

The ANNUAL 2008 — 307

THE ROCKSTARS
Why ad agencies need to
understand the youth
By Tim Beckerling
When I had jus t f inished high school I
spent a month at the coast without my
parent s with my aunt and uncle. During
my stay we visited relatives I wasn’t that
close to who knew of me, but didn’t re-
ally KNOW me. Eager to be one of the
adult s and quite conscious of it at the
time, I shook hands and was overly polite
to everyone.
It w a s n i c e to t he i r do g s a n d
t hei r ch i ld ren a nd d id ever y t h i ng I
cou ld to f it i n. Su re, I was wea r i ng
my “ Nobody k now s I’m a le sbia n”
t- sh i r t, wh ich i n h i ndsig ht probably
didn’t help constr uct t he per fect f irst
impression, but t hat’s just who I am.
Come dinner time, I was escorted past
t he ma i n t able a nd to my complete
su r pr ise fou nd my place at t he k ids
t able, whose Tupper wa re f u r n it u re
w a s n’t e x ac t ly ac com mo d at i n g to
my close to si x foot f rame. T hey w ill
never k now t he silent f ur y t hat welled
i n me a s I s hove l le d t he to dd le r -
si z ed por t ion of roast ch icken i nto
my mout h w it h t he Wi n n ie t he Poo
plastic cutler y, spilling Oros onto t he
ot her k ids ever y t i me I at tempted to
move my leg s. Conver sat ion to du ll
t he pa i n was i mpossible as my fel -
low di ner s were doi ng all t hey cou ld
not to piss i n t hei r pa nts, let a lone
st r i n g sentence s tog et he r. W hen I
t h i n k about it now, I was probably
i n bet ter compa ny t ha n i f I had sat
at t he ma i n table, but t he “adu lts’”
lack of u nder st a nd i ng , to t h is day,
conju re s si n ister t hou g ht s of way s
I c ou ld k id n ap a nd tor t u r e t ho s e
basta rds.
It is ex ac t ly t h is sor t of m isu n-
der st a nd i ng t hat so ma ny ad agen-
c ies have when it comes to br a nds,
not rest r ic ted to yout h br a nds, but
perhaps more ev ident t here t han any-
where else. A g reat way to a l ienate
k ids, is to treat t hem like k ids. W hile
you Kooch ie Koo a seven yea r old,
t hey a re t h i n k i ng “C heck t h is oke.
W hat a n asshole”. Tr y watch i ng a n
308 — The ANNUAL 2008
animated f ilm or T V programme with
a you ng k id and see which par ts t hey
laug h at. I n ma ny i nsta nces, it’s not
t he a nv i l fa l l i ng on someone’s foot
t h at c r ack s t hem up, it ’s ser iou sly
i ntellec t ual social com menta r y t hat
gets t hem laug h i ng. T he ot her g reat
t hing about lig hties is t heir complete
d isreg a rd for t he need to be pol it i-
cally cor rect. T hey laugh at stuf f t hat
g row n ups won’t a l low t hem selve s
to laug h at.
Ask any k id and t hey will tell you,
t hey don’t buy t h i ng s because of t he
ads. But i f Tony Hawk sk ate s on a
Bird house deck, t hat’s t he f irst t hing
on t heir Ch r ist mas list. To an extent
t hey a re r ig ht, t r ad it iona l for ms of
adver t isi ng a re i ncreasi ng ly ig nored
by an ever-increasingly sophisticated
yout h ma rket. Emu lat i ng heroes (or
a nt i-heroes), is t he way t hey decide
which t hi ngs to buy. Adver tisi ng has
always projected its products as ways
to f it i nto soc iet y bet ter. T h roug h
f resh you ng eyes, k ids a re especially
sensitive to t his and who could blame
t hem for not wa nt i n g to f it i nto a
soc iet y t h at doe s n’t h ave a ny r e a l
heroes?
Ou r problem isn’t rea lly f i nd i ng
way s to u nde r st a nd k id s, it ’s t h at
we t reat adu lts l i ke t hey a re st upid
a nd t hen ex pec t k ids to look up to
us. A huge nu mber of cl ients i nsist
on dumbing dow n communication so
t h at people w i l l u nder st a nd it. A l l
t h is c reates is u n i mag i nat ive relays
of basic infor mation, put for ward in a
condescendi ng way. No wonder k ids
don’t g ive a sh it about what adu lts
say – look at how we com mu n icate
w it h each ot her. A l l k ids wa nt a re
r e ason s to bel ieve i n pe ople. G ive
t hem t hat a nd you won’t have to sell
t he m a ny t h i n g , t he y w i l l ac t i vely
seek out what it is you have to of fer.
It rea l ly isn’t a que st ion of us a nd
t hem, because we were all k ids once
a nd t her e a r e some of u s t h at w i l l
never let go of t he k id i nside.
 THE ROCKSTARS

The ANNUAL 2008 — 309

THE ROCKSTARS
Marketing in a recession
By Tim Byrne
As much as Finance Minister Trevor Manuel tells us we are not in a recession, the cur-
rent economic climate in South Africa feels uncomfortably familiar.
I can remember (albeit rather mistily) the
market conditions in this country in the late
’90s, when the bond rate languished in the
mid 20s, you could sell your car for more
than you bought it for three years earlier,
and a 10% annual salary increase was good
encouragement to look for another job.
And then came the noughties. Af-
ter we had all got over the paranoia of
Y2K, the country experienced a period
of strong economic growth, single digit
inf lation, a dramatic decrease in interest
rates, credit for all and sundry, and may-
hem in the country’s shopping centres.
South Africa had never had it so good,
and even the most intellectually chal-
lenged of marketers managed to make a
little hay in the blissful sunshine.
However, nothing lasts forever, and
the prosperity bubble well and truly
burst in late 2007, with the sub-prime
mortgage crisis in the US, the oil price
explosion, Jacob Zuma and Eskom.
Add this to some of the most repulsive
crime on the planet, the brain drain,
daily reports of graft and corruption,
our complete ineptitude north of the
Limpopo and an abysmal Olympics,
and it becomes easy to understand how
the nation has gone from a winning to
losing mojo in just 18 months.
South Africans are currently in a
state of depression and, if we agree in
principle with Rene Descartes and his
quintessential statement “I think, there-
fore I am”, we are more than capable of
creating our own psychological reces-
sion. And as positive and upbeat as Mr.
Manuel so admirably remains, the rest
of us are battling to punch the sky with
quite the same degree of enthusiasm.
Whether real or perceived, a blanket of
recession has settled upon most of us.
What is interesting in all of this is
that the current economic conditions
represent the first real challenge to a
whole new generation of marketers who
so far have been swept along on the
boom-time current. Anyone under thirty
is unlikely to be able to remember how
310 — The ANNUAL 2008
things worked in the late 90s, because
when you’re 23 or below you are simply
not interested in such issues. Whoever
said “youth is wasted on the young”
obviously came from a more conserva-
tive era.
So what should the bright young
marketers of today be aware of when it
comes to marketing in a recession?
The big debate in the past centred
on whether or not it was prudent to cut
back on marketing budget in tough times.
Most companies historically focused
on the bottom line and “if you are not
making the sales cut the costs” could be
heard in boardrooms across the country.
The odd marketing orientated company
bucked the trend, and continued to
spend in the tough times. And lo and
behold, they did better, not only in the
bad times, but in the good times that
followed too.
There is enough evidence world-
wide to prove that companies that see
advertising as a means of generating
sales rather than as a cost centre win
through in the long run, all other things
being equal. However, as important as
it is to keep spending in a recession,
it is equally imperative to understand
how our consumers’ collective mind
set changes when the economic climate
moves from summer to winter.
One of the worst things we as mar-
keters can do in diff icult times is to
continue to address our consumers in
the same tonality or with the same mes-
sage we used in the good times. “Let’s
take the campaign we did last year and
run it again this year, and then we can
save the production costs”. Why is this
wrong? Because, quite simply, the joyful
bonhomie of the good times is completely
inappropriate to the national psyche in
times of trouble. And the main message
can be too. A bit like wearing a party
frock to a funeral.
One thing we have learnt from past
experience is that in order for our ad-
vertising to work optimally, it needs to
be in accord with our consumer’s frame
of mind. In the advertising industry
we are always waxing lyrical about the
relationships we work so hard to build
with our consumers, and how these
relationships are at the very heart of
our brand value.
The best definition of a relationship I
have so far come across is “an awareness
of another’s state of being”. At all times
we need to be aware of our customer’s
state of being, and then, and only then,
apply the most appropriate tonality and
messaging to our communication.
By way of example, let’s look at credit
cards. Before the National Credit Act and
the dramatic increase in interest rates,
credit cards were everyone’s best friend.
South African consumers couldn’t get
enough of them, and the paradise of overt
materialism that they promised. Credit
card advertising before the NCA was all
about aspiration, spending, conspicu-
ous consumerism, luxury and instant
gratification.
And then the financial bomb hit and
South Africans ran out of disposable
income. Shortly thereafter the streets of
our cities were littered with small pieces
of cut up plastic, as consumers blamed
all their woes on the hologram card.
How appropriate would it have been to
continue marketing credit cards in the
same tone and manner as the previous
year? And yet many card sellers (not
card marketers) did just that.
Over and above tonality, the message
itself needs to be continually examined.
In the example above, whilst advertising
the availability of credit in a recession
may be taboo, to advertise the safest
form of payment or having an emergency
reserve may not be.
The simple point I am trying to make
is that when the economy turns, market-
ers need to assess their communication
to determine the appropriateness of both
its message and tonality to the prevail-
ing mind set of the consumer. If these
are in sync, even stronger relationships
will result. If they are out of sync, the
damage caused may be irreparable.
 THE ROCKSTARS

The ANNUAL 2008 — 311

 THE ROCKSTARS

The Industry
Associations
INDUSTRY ASSOCIATIONS
Audit Bureau of Circulations (ABC)
The Audit Bureau of Circulations (ABC) is a non-profit
organisation, based on a bi-partite agreement between
advertiser and advertising agencies and media owners.
Its main objective is to promote the interests of the buy-
ers (advertisers and marketers) and sellers (media own-
ers) of advertising and promotional material by provid-
ing accurate and comparable circulation data.
The ABC’s primary function of the certification and
provision of accurate and comparable circulation figures
is achieved through agreement or auditing standards,
on the certificates and on the reports submitted.
The bureau is managed by a board of directors,
elected every year by the annual general meeting. The
day-to-day activities of the bureau are handled by a per-
manent staff headed by the general manager.
Publisher members are requested to submit au-
dited figures verifying their circulation, by means of a
circulation certificate. They must abide by a code of
conduct which includes:
• The provision of circulation data that is in no way
inaccurate, misleading or distorted;
• Acting with the utmost good faith;
• Dealing honestly and fairly with advertisers and
suppliers.
The audit of the certificate must be conducted by
a registered accountant and auditor who must have
full access to all financial accounts and other relevant
records connected with the publication for the purpose
of a complete and accurate ABC audit.
The bureau does random check audits to verify the
information submitted by the publisher.
CONTACT DETAILS
Tel: +27 11 484 3624
Website: www.abc.org.za
314 — The ANNUAL 2008
The Association for Communication Advertising Media Association of
and Advertising (ACA) South Africa (AMASA)
The Association for Communication and Advertis-
ing (ACA) represents about 100 communications and
advertising agencies that collectively contribute about
95% of the total measured ad spend in South Africa.  media education and training in South Africa. This
The association was formed by the industry, for the
industry, in 1971, in an effort to self-regulate. Today,
the ACA is active in all areas of the industry includ-
ing transformation, education, setting of standards and
ethics. Members of the ACA are those accredited com-
munications and advertising companies that have com-
mitted themselves to the ACA Code, principles, disci-
plines and ethics.  top media agencies. Our intention is to allow students
ACA members enjoy benefits such as discounted
rates on television production insurance and archival
search for competitive reels; access to research informa-
tion such as industry trends and surveys; legal advice on
compliance to the ASA Code and any other regulatory
compliance issues; guidelines for tenders and pitches;
policies; client agency contracts and a wealth of other
relevant and industry-related information.
The ACA’s prestigious APEX awards recognise
leading agencies, their clients and their respective
brands’ performance effectiveness. APEX represents the
best in the business of effectiveness because it awards
and celebrates the highest standards and achievements
of communications campaigns.
The AAA School of Advertising is a wholly owned
subsidiary of the ACA. It is the school that feeds the
industry with qualified professionals and where the in-
dustry shops for talent. With campuses in Johannesburg
and Cape Town, the AAA School provides professional,
SAQA- and internationally accredited education and
training for the industry.  those wanting to improve, or refresh, their understand-
In a forward thinking initiative that aims to open
doors for all the industry’s bodies to pull together, the
ACA and the Advertising Media Forum (AMF) joined
forces, affording paid up members of the AMF mem-
bership to the ACA.
The ACA is managed by an executive team – the
CEO, Odette Roper, and the CFO, Russell Cory, and
is overseen by chairman Reinher Behrens (director:
TBWA\Hunt Lascaris), vice-chairpersons Boniswa Pe-
zisa (group executive director: Net#work BBDO), Mike
Gendel (CEO: Gendel Advertising and Marketing), and
Modise Makhene (Group CEO: J Walter Thompson)
and a board of 21 representatives. 
CONTACT DETAILS
Tel: +27 11 781 2772
Website: www.acasa.co.za
Established in 1971, the Advertising Media Associa-
tion of South Africa (AMASA) is a non-profit organisa-
tion that since its inception has been at the forefront of
year, AMASA launches its bursary fund, an annual ini-
tiative seeking to bring fresh media talent into the cur-
rent staff-starved industry.
AMASA chairman Brad Aigner says that the last few
years of the organisation’s fundraising activities have been
building up to this moment. “AMASA’s bursary fund will
allow individuals to have a foot in the door at one of our
with talent and potential full access to the industry and
to gather real experience on the ground in order to kick-
start a career in media. We are in dialogue with various
media agencies across the country and initial reaction
has been very encouraging.”
To fulfil its main mandate of increasing media edu-
cation in South Africa, AMASA interfaces with other
commercial educational organisations such as the AAA
School of Advertising. AMASA committee members
are responsible for setting exams and arranging top-
class lecturers, who give freely of their time to impart
their knowledge to learners.
A further education drive comes in the form of an
intensive four-day workshop, held each year at Lit-
tle Switzerland in the Drakensburg. “Close to 70 del-
egates attend each year,” says Aigner. “They are either
currently employed as media planners, are studying me-
dia or are involved in other areas of sales, marketing,
communication and advertising. Again, lecturers give
freely of their time to broaden the knowledge base of
ing of media.”
As additional added value, each month AMA-
SA brings the industry topical issues to the fore that
directly affect the media, advertising and marketing
industries. “Industry leaders from media owners, re-
search houses, media and creative agencies keenly par-
ticipate each month,” says Aigner. This forum is offered
free to AMASA members.
CONTACT DETAILS
Tel: +27 11 562 6800
Website: www.amasa.org.za

Advertising Media Forum (AMF)
The Advertising Media Forum (AMF) is a collective
of media agencies and individuals including media
strategists, planners, buyers and consultants through
whom 95% of all media expenditure in South Africa
is bought.
The AMF advises and represents relevant organisa-
tions and aims to create open channels of communication
and encourage and support transparent policies, strate-
gies and transactions within the industry. At the same
time, the AMF acts as a conduit for a wealth of relevant
and important information designed to deliver data of
vital importance to the media strategy, planning and
buying industry.
Various committees are assigned to address chang-
es in the industry landscape, forecast trends, monitor
activity and make key decisions to guide the industry.
These include outdoor, print, radio, TV, research, mo-
bile and industry liaison and also act as lobbyists for
issues affecting the industry in areas regarding media
inflation, legislation and BBBEE compliance.
Affiliated to the Association for Communication
and Advertising, the AMF is a valuable advisory and
consultative body to the advertising, marketing and en-
tire media industry. It provides a platform for these to
co-ordinate a common policy to promote acceptable
media industry standards and practices.
The role of the AMF is to enhance and upgrade
the quality of professionalism in the media industry
while encouraging wider participation across the board.
It also seeks to make a meaningful contribution at all
levels, including national legislation, towards the devel-
opment of sound national media policies. By keeping
abreast of relevant issues, the AMF debates what should
be excluded and included legislatively to legally ensure
best practices.
Industry participation is key and members benefit
directly from the influence on decisions that are guid-
ed and monitored on their behalf. The AMF initiates
and encourages policies to achieve meaningful and
sustained participation in the media industry by all
South Africans.
CONTACT DETAILS
Website: www.amf.org.za
Advertising Standards Authority of
South Africa (ASA)
The Advertising Standards Authority of South Africa
(ASA) is an independent body set up and paid for by
the marketing communications industry to regulate
advertising in the public interest through a system of
self-regulation.
The ASA works closely with the government, statu-
tory bodies, consumer organisations and the industry to
ensure that the content of advertising meets the require-
ments of the Code of Advertising Practice. An example
of this co-operation this year was the addition to the
code of new rules for advertising food and beverages to
children. As a result the government has refrained from
enforcing legislation on the subject.
The ASA, which is celebrating its 40th birthday this
year, has welcomed the Direct Marketing Association,
the Association of Travel Agencies and the Marketing
Association of South Africa as members.
Self-regulation is a system by which the marketing
communication industry voluntarily regulates the con-
tent of advertising. The three parts of the industry – the
advertisers who pay for the advertising, the advertising
agencies responsible for its form and content, and the
media that carry it – work together, to agree advertising
standards and to set up a system to ensure that adver-
tisements which fail to meet those standards are quickly
corrected or removed.
The Code of Advertising Practice is the guiding
document of the ASA. The code is based upon the In-
ternational Code of Advertising Practice, prepared by
the International Chamber of Commerce. The code
requires all advertising to be legal, decent, honest and
truthful, and be prepared with a sense of responsibility
to the consumer.
If a person believes that the content of an advertise-
ment is untruthful, misleading or harmful in any way,
a complaint may be lodged with the ASA. Any person
can lodge a complaint regarding the content of an ad-
vertisement. The ASA will deal with complaints about
advertising content but not with complaints about con-
tractual matters or service standards.
Consumer complaints are dealt with free of charge
while competitor complaints are subject to a filing fee.
CONTACT DETAILS
Tel: +27 11 781 2006
Website: www.asasa.org.za
INDUSTRY ASSOCIATIONS
The Creative Circle (CC)
The Creative Circle (CC) is in the process of launching
a new website that will greatly enhance its offering to
members and other visitors. Previously the website was
used mainly to show the CC Ad of the Month and Year
finalists and winners. The new site will be a more useful
portal involving all creative disciplines including, film,
design, digital and music.
Other CC highlights of 2008 were the undoubted
success of the Loeries, which it jointly owns with the As-
sociation for Communication and Advertising. The CC
has also stepped up its involvement of junior creative
people in judging of the ad of the month awards.
The CC aims to improve the standard of the South
African advertising industry’s creative products and to
enhance its reputation as one of the country’s world-
class industries. The CC is elected by and represents
the wider South African creative community. It aims to
encourage and promote creative excellence that is rel-
evant and meaningful in the South African advertising
and communication industry. The CC endeavours to
inspire and stimulate the growth of creative talent by
supporting development and empowerment schemes,
educational programmes and awards initiatives. It is
continually resolved to prove to the industry and the
marketing world as a whole the value and effectiveness
of creative advertising.
The CC strives to promote creativity as a busi-
ness resource. It represents the creative community in
lobbying relevant industry bodies on issues affecting
members.
The CC decides which international and local ad-
vertising awards to formally endorse from time to time.
These are currently the CC Monthly Awards, Ad of
Year, Cannes, D&AD, Clios, One Show, The Loerie
Awards and The Eagle Awards.
An educational committee has recently been con-
stituted to find ways of helping develop disadvantaged
creative people who are either in the industry or seek-
ing to come into the creative side of the advertising in-
dustry. A priority for the year ahead is to increase the
number of black people in the industry.
CONTACT DETAILS
Tel: +27 11 912-0062
Website: www.creativecircle.co.za
The ANNUAL 2008 — 315
INDUSTRY ASSOCIATIONS
The Independent Communications
Authority of South Africa (ICASA)
The Independent Communications Authority of South
Africa (ICASA) regulates the telecommunications,
broadcasting and postal industries.
ICASA promotes the attainment of universal service
and access by requiring telecoms operators to service
underdeveloped areas and by ensuring that licensees
contribute to the Universal Service Access Fund. It also
ensures that relevant and appropriate broadcasting serv-
ices are extended to all citizens. To this end, ICASA is
finalising regulations that will require broadcasters to
also contribute to the fund.
ICASA promotes ownership and control of telecom-
munication and broadcasting services by people from
historically disadvantaged groups. During the 2007/08
financial year, ICASA licensed five broadcasters to pro-
vide subscription satellite broadcasting services to foster
participation by such individuals.
ICASA ensures rules apply equally to all industry
players. The administration of regulatory justice and
fairness is important for the creation of regulatory cer-
tainty. It is crucial for competition, for building con-
fidence in the market and to attract investment to the
communications market. To this end, ICASA is finalis-
ing regulations for interconnection and facilities leasing
that are aimed at ensuring that the cost of communica-
tion is acceptable.
ICASA educates telecommunications consumers on
their rights and complaints handling. During the year
regulations to protect the interests of consumers were
promulgated. A Consumer Advisory Panel was appoint-
ed to advise ICASA. Further, regulations on the Code
on People with Disabilities were published to regulate
the manner in which operators deal with the disabled.
ICASA has also published Handset Subsidy regula-
tions that will allow consumers to choose a term of be-
tween six and 24 months for their cellphone contracts.
The regulations will also ensure that there is transpar-
ency in consumers’ contracts.
CONTACT DETAILS
Tel: +27 11 566 3000
Website: www.icasa.org.za
316 — The ANNUAL 2008
The Marketing Association of South
Africa (MA[SA])
The Marketing Association of South Africa (MA[SA])
was formed in 2007 as the overarching body to repre-
sent the interests of the whole marketing community.
It aims to:
• protect the interests of the industry’s customers;
• provide members with competitive advantage;
• provide the marketing community with information
about industry trends and developments;
• promote good practice; and
• protect the industry’s brand reputation.
MA(SA)’s initial objective was to regain marketing
industry representation on key bodies that had been
vacant since the disestablishment of the Marketing
Federation. MA(SA) now has representatives serving
on the boards of the Advertising Standards Authority,
the South Aftrica Advertising Research Foundation,
the Levy Collection Agency and the Audit Bureau of
Circulations.
Interdependent partnerships have been realised
through re-establishing professional links with the As-
sociation for Communication and Advertising, Con-
sumer Goods Council of South Africa and the Direct
Marketing Association of South Africa. Mirroring the
Public Relations Institute of Southern Africa, the Di-
rect Marketing Association and even organisations like
the Institute of Directors, MA(SA) now represents mar-
keters from both the individual and corporate environ-
ment. An impressive eight out of the top 10 advertisers
in South Africa are MA(SA) corporate members.
MA(SA) has appointed Chris de Villiers (formally
the CEO of Chartered Secretaries Southern Africa) as
he has been tasked with increasing membership, build-
ing on interdependent partnerships and leveraging the
power of complementary bodies in addressing issues of
mutual relevance, such as food labelling, media infla-
tion, advertising to children and free pitching.
MA(SA) is very clear on its positioning as a promot-
er, not a provider of services to the marketing profession
and as such is working with complementary bodies on
issues dealing with education, legislation, lobbying and
regulations. The re-establishment of an independent
oversight committee is also nearing finality.
CONTACT DETAILS
Tel: +27 12 844 1123
Website: www.marketingsa.co.za
National Association of
Broadcasters (NAB)
The National Association of Broadcasters (NAB) is
the voice of South Africa’s broadcasting industry. Its
vision is to maintain an environment in which South
African radio and television broadcasters can thrive –
serving audiences and contributing to development and
diversity. 
The NAB’s formation coincided with the South
Africa’s democratisation and the freeing of the air-
waves. Over the years the NAB’s membership growth
has matched that of the industry to a point where it
is representative of most sectors of South African
broadcasting.
This representation means that it is able to draw
on a wide range of resources when formulating submis-
sions, representations and research.
NAB represents the interests of South African
broadcasting and works to promote:
• A broadcasting system that provides choice and
diversity for audiences;
• A favourable climate for broadcasters to operate in;
• A broadcasting industry grounded in the principles
of democracy, diversity and freedom of expression.
More than 80 organisations belong to the NAB and
hundreds of individuals working in broadcasting and as-
sociated industries involve themselves in its activities.
The NAB also interacts with other stakeholders in-
cluding advertisers, agencies, producers and performers
in order to optimise South Africa’s cultural and com-
munications industries to the benefit of all. 
Over the past months, the NAB has made ground-
breaking strides in various fields of the broadcasting in-
dustry which include:
• active participation in the formulation of the dig-
ital migration recommendations to the Minister of
Communications, which culminated in a policy ap-
proved by the the cabinet on 6 August 2008;
• development of a learnership programme run in con-
junction with National Electronic Media Institute
of South Africa. The first intake of learners was in
January 2007;
• commenting on a number of parliamentary bills.
The comments made by the NAB have in most cas-
es been valued by parliament, as they shed light on
the protection of broadcasting;
• negotiating with collecting societies in the music in-
dustry on issues of principle concerning royalties.
CONTACT DETAILS
Tel: +27 11 325 5741
Website: www.nab.org.za

Out of home Media South Africa
(OhMSA)
Out of Home Media South Africa (OHMSA) has made
steady progress in the year in promoting members’ in-
terests, says the executive director, Les Holley.
Late last year the first OHMSA awards ceremony
was held to recognize creative work. “We needed some-
thing that was specific to our industry and believe that the
format of the awards that has been developed is helping
to promote pride in and commitment to the industry,”
says Holley.
Another significant development has been work to
develop a measure of outdoor exposure opportunities
that will give the industry a currency to value its display
space on a similar basis to all other media owners.
“The activities of certain legislative bodies at all lev-
els remain a constant challenge,” says Holley. “Some
local authorities, in particular, appear to be intent on
destroying our industry in their jurisdictions by promul-
gating Draconian regulations that hinder our members’
operations and growth. We are continually lobbying
regulators to ensure an environment where we can have
space to operate. Unfortunately in many cases the more
the councils tighten up, the more unscrupulous media
owners act to escape the constraints, so encouraging the
authorities to make ever stricter regulations, to the det-
riment of legitimate and compliant operators.”
OHMSA members may not contract for or erect an
outdoor advertising site or display for which approval
has not been given – by the landlord or owner, the mu-
nicipal authority, where applicable, and, where neces-
sary, the provincial or national roads authorities or any
other relevant regulatory authority.
Holley says he thinks black townships and rural ar-
eas represent underutilised areas of growth for the in-
dustry. “Not everybody has moved to town. Marketers
are fighting for the urban rand but there are still lots of
rural rands available. I believe the township and rural
areas can provide the astute marketer an opportunity
to steal a march on his opposition by taking relevant
brands there.”
CONTACT DETAILS
Tel: +27 11 781 9367
Website: www.ohmsa.co.za
The Online Publishing Association
(OPA)
The Online Publishing Association (OPA) has been on
a major membership recruitment drive this year and
now boasts 18 agencies as full members. The OPA
also opened up membership to small publishers free of
charge and saw their numbers double to more than 60
in only three months.
The OPA is an independent body and voluntary
association aimed at:
• building trust in South African online publishing
websites as a viable medium for advertisers to reach
a key niche audience;
• increasing the share of advertising, sponsorship and
marketing spend directed at South African online
publishing websites;
• ensuring a sustainable and vibrant online publishing
industry in South Africa; and
• promoting freedom of speech within the online
publishing environment in South Africa.
The OPA aims to provide a non-profit forum in
which online publishers can address issues of common
interest; and which can represent online publishers to
advertising agencies and the advertising community, the
press, government and the public.
The OPA:
• formulated and implemented a strategy to educate
advertising agencies about the benefits of online
advertising;
• developed an audience measurement and tracking
product to act as a planning tool for advertising
agencies and the advertising community;
• endorses the highest standards of editorial quality
and integrity, credibility and accountability;
• develops and promotes standards across all aspects
of the online publishing industry;
• enhances the trust necessary to support sustainable
online publishing businesses;
• helps online publishers to drive revenue through a
variety of means, including advertising, charging for
content, sponsorships and services;
• raises the profile and credibility of online publish-
ers; and
• engages positively with all related and government
bodies in order to further and protect the inter-
ests of a sustainable online publishing industry in
South Africa.
The OPA’s inaugural The Bookmarks awards took
place in November. The event rewards creativity in the
online industry.
CONTACT DETAILS
Tel: +27 11 454 3534
Website: www.opa.org.za
INDUSTRY ASSOCIATIONS
Print Media SA (PMSA)
South Africa is one of the few countries in the world
where a number of facets of the print media operate to-
gether within one organisation. Print Media South Af-
rica (PMSA) represents more than 700 newspaper and
magazine titles in South Africa. PMSA is organised into
three specific, focused operating bodies that addresses
the specific needs of the respective industry sectors:
• The Newspaper Association of South Africa
(NASA) – formerly known as the Newspaper Press
Union – was founded in November 1882, making
it the oldest communication industry association
in South Africa. NASA membership comprises 43
urban and metropolitan daily, weekly, twice weekly
and monthly newspapers. It represents all the titles
of South Africa’s four major newspaper publish-
ing groups. These groups have committed finances
to grow diversity within the print media industry
through the Media Development & Diversity Agen-
cy, a statutory body established to encourage and
create an environment for the development of small,
independent previously disadvantaged publishers.
• The Magazine Publishers Association of South Af-
rica represents the interests of custom, consumer
and business-to-business magazine publishers. It
represents about 400 magazines.
• The Association of Independent Publishers (AIP),
formerly known as the Community Press Associa-
tion of Southern Africa, seeks to become the pri-
mary clearing house for research, policy debate and
the setting of industry standards for the grassroots
media sector. The AIP was established in Johannes-
burg at a plenary summit of independent grassroots
publishers from across South Africa. The new re-
gional umbrella body incorporates South Africa’s
125-year-old Community Press Association and
the Independent Media Alliance lobby group, and
has been accepted as a constituent member of the
PMSA cluster of media advocacy associations. AIP
currently represents more than 350 members and
intends to represent the majority of South Africa’s
small independent newspapers.
CONTACT DETAILS
Tel: +27 11 484 3624
Website: www.printmedia.org.za
The ANNUAL 2008 — 317
INDUSTRY ASSOCIATIONS
The Public Relations Institute of
Southern Africa (PRISA)
The Public Relations Institute of Southern Africa
(PRISA) represents professionals in public relations and
communication management throughout the southern
African region. It is a founding member of the Global
Alliance for Public Relations & Communication Man-
agement and initiated the formation of the Council for
Communication Management (CCM) in South Africa.
The Council is the co-ordinating body representing var-
ious groupings of professionals in South Africa.
PRISA plays a leading role in uniting professionals
and driving transformation.
PRISA represents and positions its members at
various forums, including the 2010 Communication
Partnership, the Services Seta, chambers of commerce,
Marketing Advertising and Communication Charter
committee and other industry bodies.
One of PRISA’s roles is to provide continuing
professional development for its registered practitioners
and students.
Continental and global initiatives
The institute hosted the Federation of African Public
Relations Associations’ (FAPRA)’s 2006 council meet-
ings and conference in Johannesburg.
On the global front, PRISA hosted the World Pub-
lic Relations Festival for the Global Alliance and its
members in Cape Town in 2007. This event gave South
African public relations and communication profession-
als the opportunity to showcase and benchmark their
excellent work, as well as network with a global profes-
sional community.
Challenges
Key focus areas for the future include ethical practice,
the link between sustainable development and public
relations and communication, the promotion of pro-
fessional credentials and recognition of accreditation
and the encouragement of creativity and innovation.
Through PRISA’s PRISM awards, best practice is
recognised. Apart from creativity, emphasis is on the
research and evaluation component of the programmes/
campaigns submitted.
Business, government and academia
In South Africa the profession is gaining recognition
among business leaders for the impact it delivers on
the bottom line. Government has also recognised the
professional’s contribution to effective communication
by upgrading the public relations and communication
management posts within its departments to chief di-
rector level.
CONTACT DETAILS
Tel: +27 11 326 1262
Website: www.prisa.co.za
318 — The ANNUAL 2008
The South African Advertising
Research Foundation (SAARF)
The South African Advertising Research Foundation
(SAARF) commissions and manages media audience
and product/brand research for the benefit of its stake-
holders, thereby providing data for target marketing
and a common currency for the buying of media space
and time.
AMPS (All Media and Products Survey), RAMS
(Radio Audience Measurement Survey), and TAMS
(Television Audience Measurement Survey) are the
registered trade names of the major research surveys
conducted by SAARF. Media owners use the surveys to
market their media as well as for strategic editorial and
programme planning.
Advances this year included:
• the launch of a market segmentation tool based on
research to identify Attitude Groups;
• RAMS data is being collected for 13+ years for
the second half of this year instead of the usual
16+ years;
• TAMS data is being released for all people aged
4+ years (previously 7+ years); and
• A TV sub-committee has been formed because of
expected developments in the field.
SAARF was founded in 1974 as a joint industry
committee by people from the marketing, media and ad-
vertising community who realised there was a need for
a comprehensive, unbiased, reliable, regular and techni-
cally excellent survey. Its purpose would be to provide
data about the use of the mass media, and about the
consumption of products and services by users of the
mass media.
The AMPS and RAMS survey covers the total adult
population, with a few exceptions. The survey uses per-
sonal in-home interviews of thousands of persons repre-
sentative of the total adult population.
Next year the AMPS sample is being increased to
25 000 from about 21 000. Also, people from the age
of 15 years (previously 16) will be interviewed, in line
with international practice. AMPS and RAMS will be
fully national for the whole year, where currently they
are national for the first half of the year and large urban
only for the second half.
CONTACT DETAILS
Tel: +27 11 463-5340/1/2
Website: www.saarf.co.za
The Southern African Marketing
Research Association (SAMRA)
A membership survey during 2008 yielded useful
information, and results will be used to provide better
membership benefits. On the agenda for 2008/2009
is the creation of a qualitative research interest group,
as well as an interest group for consulting/freelance
researchers.
An accreditation process for SAMRA full mem-
bers has been developed, and will be implement-
ed in the next year. Benefits related to accredita-
tion include recognition and acknowledgement
from the research community and clients and list-
ing of the names of accredited members on the
SAMRA website.
The SAMRA website is to be upgraded and con-
tent significantly revamped to ensure that information is
current, and the secure functionality can be used.
SAMRA Corporate has created a bursary for a fi-
nal year student, as part of a broad-based black eco-
nomic empowerment strategy, to be awarded annually,
and SAMRA Corporate company contributions will be
matched by SAMRA Rand-for-Rand.
A SAMRA Advisory Panel has been constituted
to consider requests for expert opinion, and provide
assistance with ethical and research industry-related
matters.
There are 27 portfolio positions on the SAMRA
Council. Each of the volunteers filling those positions
carries the responsibility of continuous and increased
delivery against SAMRA’s aims/objectives and specific
benefits to members.
SAMRA chairman Niel Victor has set the following
goals for the year:
• Increased transformation of council to ensure a
better representation of both black and young
members;
• Chair visibility at branch, national and other events
to improve feedback from members;
• Marketing research career and industry exposure
at tertiary learning institutions through involvement
in and sponsorship of career days or other similar
opportunities;
• Enhancing the current industry promotion pro-
gramme by implementing an appropriate and media
visible platform for exchange, discussion and debate
of topical issues; and
• Conducting a complete member information data-
base update project.
CONTACT DETAILS
Tel: +27 11 886 3771
Website: www.samra.co.za

Advertising: The unspeakable attempting to fool the
unsuspecting into thinking they need the unnecessary
by Ben Trovato
Growing up in Durban, I never watched
much television because we never had
one. Nobody else had one, either. That’s
because the National Party believed TV
was Satan’s way of brainwashing decent
God-fearing people. We now know this
to be true.
Eventually the country fell to the devil
worshippers and Pandora’s box began ap-
pearing in homes around the country. Be-
fore God created the remote control, my
father would bark: “Volume! Volume!”
whenever an advert appeared. I recorded
a personal best of 2.5 seconds over four
metres. And that was from a lying start.
These days, when I visit the elders
to check on their health and my inherit-
ance, I am alarmed to see that nothing has
changed. If anything, my father’s aver-
sion to commercials now borders on the
psychotic. The screen fading to black sig-
nals the start of a violent scramble for the
remote. Cats and dogs scatter. Tea cups
go flying. My mother’s screaming – “for
Christ’s sake find the remote before he
has a stroke” – sets off the neighbour’s car
alarm. Shutting out the pandemonium, I
watch a blonde woman having what looks
like an orgasm or some kind of epileptic
fit, so excited is she about her new grime-
fighting oven cleaner.
I am fascinated by advertising in the
way that I am fascinated by hypnosis.
What makes seemingly normal, ration-
al people do strange and stupid things?
Why do people happily plunge them-
selves into debt after seeing something be-
ing advertised and deciding that they sim-
ply had to have it? Especially when nothing
new is being advertised. New would be a
jet pack that allows you to fly to work. Or
a home liposuction kit (no anaesthetic
needed!). All we’re being offered is more
of the same. Cars, cellphones, clothes,
banks. Bigger, better, faster, more. But
nothing new.
Advertising is not a science. If any-
thing, it is witchcraft. Creative directors
and copywriters are sorcerers by trade.
They are spellbinders and dreamweav-
ers. They are voodoo merchants trained
to influence minds. Blood-letting ritu-
als have been replaced by coke-chopping
rituals and instead of using bile of the bat
and eye of the newt, they use aerial shots
and digital effects.
Necromancers particularly gifted in
the dark art of enticing and entrancing do
not go short in life. For their ability to turn
people into lemmings and sheep, the war-
locks and witches are richly rewarded by
the kings and queens of commerce. They
drive, use, wear, drink and eat everything
that made it into the 2008 Top Brands.
They created, then became their creations.
They are like shining mortal gods.
This morning I went to Pick n Pay, not
because it is this year’s fifth overall favour-
ite brand, but because I wasn’t dressed for
Woolworths. Inside, my knees broke into
a sweat at the sight of millions of sheeple
browsing in the aisles. Others huddled
in one another’s shade in queues that
stretched deep into the belly of the beast.
Zipping up my fleece, I bleat a path
to the health section. My wife, Brenda,
had suggested that I bulk up after a case
of South Africa’s most favoured beer
slipped from my feeble grasp and turned
the garage floor into something quite
indescribable.
The first item I saw was a can of
“HAZARD”. Interesting marketing gim-
mick, I thought, slipping on a pair of shop-
lifted rubber gloves and inspecting the
product more closely. It was a “Lifestyle
Management Interceptor for Syndrome
X”. Of course it was. “But,” I said to the
can, “how will I know if I have Syndrome
X?” The can wisely kept its mouth shut.
With a bit of help from a little old lady,
I managed to heave a giant tin of Fast
Grow Muscle Fuel High Protein MRP
CLOSING
Shake with Calcium Caseinate and WPC
into my trolley. If the label is anything
to go by, I will be taking gold in the
450kg weightlifting event at the 2012
London Olympics.
I then proceeded in a north-westerly
direction to the domestic hygiene section,
which rubs up obscenely against the death
section, a charnel house of candles, sprays,
pellets, traps and electric devices designed
to murder the smallest living creatures on
earth. The shelves were covered in prod-
ucts ranging from those guaranteeing
the death sentence for rats (no drawn-out
trials here, folks!) to bottles of stuff that
kill all known germs dead.
Well, all the semi-literate ones,
anyway.
Crossing myself and saying half a Hail
Mary, I quickly moved away from this en-
tomological holocaust in the making and
stumbled into the aisle for ladies that,
thanks to David Beckham’s predilection
for primping and preening, is now also the
aisle for men. I briefly considered buying
Brenda something called Emergency Hair
Rescue Treatment in case her hair ever
found itself on a sinking ship or, God for-
bid, went into cardiac arrest.
As for gel, well, hell. There was
Party-Proof Gel (the vomit slides right
off!) and Indestructible Gel (bulletproof
your head!) and even WWE Smackdown
Gel for wrestlers who might be put off
by the inherent gayness of Wet Effect
Gel (friends will think you shower 20
times a day!).
There was shampoo for black people,
white people, tourists, toddlers, teenag-
ers, geriatrics, the disabled, people with
hair that is too flat, too dry, too thin, too
dull – every one of them promising to give
you a mane to make an Arabian stallion
envious. Most people I know would settle
for looking marginally less repulsive to
the opposite sex.
Having forgotten why I was wandering
aimlessly about this hotbed of lies and de-
ceit, I drove home, poured myself a big fat
glass of every real South African’s favour-
ite brands – Klippies & Coke – switched
on the telly and marvelled at a world in
which snails ice skate, meerkats dance and
ugly boys get beautiful girls with a single
spray of deodorant.
The ANNUAL 2008 — 319