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Think Creative Africa Creates Campaign For Flying Fish Seltzer

Think Creative Africa Creates Campaign For Flying Fish Seltzer

The campaign, which runs for five months, will deliver a genuinely lighthearted and original concept whilst educating the South African audience about alcoholic seltzer as a category, at the same time positioning the Flying Fish variants as the best option when looking for lightweight refreshment.

Think Creative Africa was selected to create and implement the campaign following a competitive three-way pitch facilitated by The integrated campaign will be executed as a collection of impactfully placed social, influencer, digital and Out of Home communications, leading with a one-of-a-kind ambassador who will be sharing the Soft Life bubbles of wisdom found in Flying Fish Seltzer.

Even though the seltzer category is big in the United States, it is still on a rising trajectory in South Africa, which makes the campaign particularly significant. The category is ripe for growth and a wider audience is ready to experience a new type of alcoholic beverage that delivers on the crispness of its ingredients, which include sparkling water and fresh fruit juice, with an added kick and a low sugar content that is easy on the ‘mkhaba’. The new Flying Fish Seltzer campaign is strategically geared to fill the gap and accelerate demand for those looking for a healthier alternative without compromising on the fun.

Thibedi Meso, Executive Creative Director, Think Creative Africa, said, ‘Flying Fish Seltzer is a challenger brand that educates in a fun, fresh way to drive trial and consideration. Our client was open to our idea and excited to hear about our approach of positioning Flying Fish Seltzer as the drink for those who aspire to live the Soft Life. The target audience is dealing with a quarter life crisis, and the general view is that life is hard. Therefore, we felt strongly that the brand should show up in a way that will appeal to those who don’t let life bring them down; those who, despite the hardships of life, never hesitate or wait to live the Soft Life.’

The commercial introduces Low Sugar Bae, the soft life guru and author of The Book of Soft Life. With his smooth deep voice, he expounds his preferred way of living and shares quotes such as: ‘Live every day as if akekh’ uGogo’ and ‘Spontaneity is the spice of soft life’. The commercial sheds light on the product in a way that is flirty and fun.

‘Our aim is always to create great campaigns through an African lens, with creativity that is memorable and talks directly to the targeted consumer. Abo Mkhulu Bae or older gentlemen in great shape have long caused a stir on social media, and we couldn’t think of a better ambassador to deliver our message. Low Sugar Bae still looks great at his ripe age because Flying Fish Seltzer is his drink of choice, and he’s here to give us some insight into how we can enjoy Flying Fish Seltzer whilst getting a taste of the Soft Life,’ continued Meso.

Zetu Damane, Think Creative Africa’s Chief Strategic Officer, explained that standing out in the cluttered flavoured alcoholic spirits category is a mammoth task. That’s why it was important to connect with consumers using an insight they could really relate to while showing up in a fresh unexpected way. Who better than the wisened low sugar bae to guide this anxiety fraught generation through their quarter-life crisis?

‘We were struck by the skilful originality of the concept presented by Think Creative Africa, together with their solid understanding of our target audience and our ambitions for the brand. Their creative and solutions-driven acumen is palpable and apparent in their campaign ideas. We’re excited to be working with this formidable team,’ said Nonjabulo Ndwandwe, Product Owner of Flying Fish Seltzer at AB InBev.


RAPT Creative’s Jameson Campaign Shortlisted For Gerety Awards

RAPT Creatives Jameson Campaign Shortlisted For Gerety Awards

Named for Frances Gerety, the copywriter who coined the slogan ‘A diamond is forever’, the prestigious global advertising Gerety Awards judging panels comprise only female advertising professionals, and are the industry’s only creative prize to reward advertising campaigns that resonate most with a female audience. A campaign for Jameson’s Month of Comedy entitled ‘Beatha’, created by RAPT Creative, has been announced as one of the finalists in the awards.

This year only 314 entries were shortlisted from 37 different countries. RAPT Creative’s shortlisted campaign is for an April Fool’s prank it played on South Africa’s public to launch Jameson’s Month of Comedy platform in 2021.

According to the agency’s Group Executive Creative Director, Sanché Jansen van Rensburg, the Gerety Awards redefine the standard to which advertising is held because they select the best in advertising – all advertising, not just advertising made for women, through the female lens. We’re delighted with our finalist status, because it affirms RAPT Creative’s understanding of what it takes to communicate and resonate with key markets.’

‘Women make up to 80% of all purchasing decisions globally so having all female judging panels mean that the Awards set a benchmark that is relevant to market reality. Given today’s challenging business environments, clients need agencies who truly ‘get the market’, and this is where RAPT excels. Being recognised for this by a global powerhouse of judges is proof of our deep insight into the hearts and minds of consumers, as well as our ability to deliver relevant creative,’ she said.

‘Making this all the more precious to us is that we are the only independent local agency to make the finalist list. Congratulations to the two other South African agencies to make ‘the cut’ – Ogilvy and VMLY&R.’


Research Report Provides Insights Into Township Economic Growth

RogerWilco And Survey54 Produce Township CX Report

Almost half of South Africa’s urban population lives in townships, representing hundreds of billions of rands in spending power in the vibrant and growing kasi economy. Despite this, little data is available to help marketers and brands effectively target this audience.

With the release of the 2022 annual Township CX Report, brands and marketers must take note. The research report provides insights into township economic growth across stokvels, spazas, fashion and food.

Key insights of this year’s report include:

South African fashion brands are increasingly seen as premium and desirable, with three-quarters of respondents choosing local over international when using their store accounts.

Township ecommerce is growing exponentially, with 70% of respondents having made online purchases in 2022, compared to 28% in 2021.

New delivery services are springing up around traditional township food.

While trust in banks has increased, they are seen as saving rather than investment vehicles. Fifty-eight percent of respondents belong to at least one stokvel; these are diversifying beyond the traditional saving model to offer investment opportunities.

Cash remains king, with trust in mobile payments and banks from a transactional perspective low. Education around smartphones and mobile payments is essential to grow this market.

For grocery shopping, convenience is key. Transport costs and proximity to SASSA offices make large supermarkets a strategic monthly venture, while spaza shops are used for daily items. Township loyalty programmes remain an untapped opportunity.

Word of mouth remains the most trusted recommendation source, while social media – particularly Facebook and WhatsApp – has overtaken TV. Trust in influencers and community leaders has declined substantially.

Produced by digital agency Rogerwilco and market research company Survey54, The 2022 South African Township CX Report represents the saving, spending and shopping behaviour of over 1400 township residents across South Africa. Coupled with the inaugural 2021 report, it reveals trends in consumer behaviour to help marketers make more strategic investments moving forward.

Significantly, the findings demonstrate the emergence of a holistic, self-sustaining ecosystem in the kasi economy, with many residents opting for home-grown brands that are trusted by the local community. Spaza shops, eateries and delivery services are capitalising on this trust, taking advantage of opportunities in communities historically underserved by large brands. For example, 29% of our respondents report having ordered online from small independent food outlets, the majority of which evolved out of the Covid crisis.

‘The kasi economy is alive and visible in townships across the country where entrepreneurship is the lifeblood of these communities,’ said Mongezi Mtati, brand strategist at Rogerwilco. ‘This year’s findings show a leaning towards building and leveraging kasi brands, where township residents are looking more to their own for services and products, from the small fruit, vegetable and snacks stall to the premium café.’

Spaza shop spending is much higher than in 2021, and brands are responding, developing products specifically for distribution in these outlets, which also lowers the barrier to trying new products by selling smaller, single items. Although monthly grocery shopping is strategically planned in conjunction with SASSA office locations and special offers at larger retailers, there is an overwhelming consensus (90%) that respondents would welcome spaza loyalty programmes. In this light, spaza shops hold a wealth of potential for brands wishing to break into or retain their presence in the township market.

Home-grown fashion is also gaining more attention from local consumers. Clothing forms an integral part of the shopper experience, and 74% of respondents report being more likely to buy local fashion brands with their store accounts if their favoured brands are readily available in the stores where they shop.

‘We’re excited that the concept of ‘local is lekker’ is making way for the idea that local is premium,’ said Mtati. ‘Wearing a home-grown fashion label is now as good as, if not better than being donned in international fashion brands, and local designers are benefitting from the demand for authentic, unique local clothing.’

Financial institutions will have to rethink their value proposition for low-income earners to compete with stokvels’ growing popularity and diversification. While banks are still used for traditional savings purposes, there is a clear opportunity for products and campaigns tailored to young professionals living in townships.

The 2022 South African Township CX Report covers, in-depth, the topics of fashion, internet and e-commerce, stokvels, convenience, trust, and payments. Its findings are supplemented with qualitative insights from on-the-ground consumers and additional context provided by a panel of industry experts who add interpretation from their first-hand marketing experience to the incredibly diverse township audience.

One message is clear from the report: brands need to recognise the importance of tailoring their products and messages for the unique ecosystem developing in townships. It is becoming increasingly clear that trust and authenticity have a high premium in this environment. Thoughtful investments will pay dividends in the long run because, ultimately, despite the disruptions of the Covid-19 pandemic, the kasi economy is on a trajectory to continue its exponential growth. The full report can be accessed here.


Branding Lessons Learned From Barbie’s Evolution

Branding Lessons Learned From Barbie's Evolution
Emma Cox, Marketing Manager at Irvine Partners.

Emma Cox, Marketing Manager at Irvine Partners, writes that Barbie®’s ‘innovation’ was initiated after Mattel, Inc. conducted an in-depth consumer research piece in 2014, focusing closely on the Barbie brand and how aspirational and relevant the doll was to young children in the 21st century. Turns out Barbie wasn’t the admirable icon she once was.

Fascinated by my child’s imaginative play, I Googled ‘When did Barbie® become inclusive?’ I learned that a diverse range of Barbie® dolls only entered the market seven years ago, and the whole thing was sparked by a significant decline in sales.

Mattel introduced four new Barbie® body types in early 2015, and today the ‘Barbie® Fashionistas’ range includes over 170 dolls, each advocating representation, inclusion and diversity.

There are some really interesting learnings we can take from Barbie®’s evolution, some that a marketing team can very easily and quite simply implement when looking at their brand strategy. I’ve listed my top four below:

Understanding your target market is crucial. In Mattel’s case they were looking at both the millennial parent (who cares deeply about the brands they allow in their home) and the impact it may have on their child. The other is the Gen Alpha child (born between 2010 and 2024) who, because of their parents, is more self-aware, inclusive and receptive to embracing individuality than generations before. Mattel’s continual analysis of the market and being open to facing the cold hard facts in a non-biased way propelled their brand forward and allowed them to hold onto a strong 62-year reputation.

Brand evolution is crucial (and inevitable). In this instance, Barbie®’s evolution took place over a short period of time. However, this isn’t the case for all brands. The Oxford dictionary states the word: ‘evolve’ means: to develop gradually. Being able to regularly question your brand’s relevance and being agile (brave) enough to evolve is key to remaining relevant, ultimately boosting sales and retaining/acquiring customers.

Pioneer change. Because if you don’t, someone else will. I sat there wondering what would’ve happened to Barbie® if Mattel hadn’t conducted an in-depth consumer research piece or listened to their target audience. Would a competitor have won over the market? Would Barbie® have become a fond and distant memory in your and my mind? We’ll never know.

Insights can be found everywhere. I am sure many fellow marketers will agree that it is almost impossible to switch off your ‘marketing brain’. Although this can sometimes feel like a never-ending hamster wheel, there are learnings around every corner.


TAMS Panel In Good Health Despite Changes In SA’s Television Market

TAMS Panel In Good Health Despite Changes In SA's Television Market
Gary Whitaker, BRC CEO.

The Broadcast Research Council of South Africa (BRC) is a non-profit industry body which operates as an independent entity. Its goal is to provide objective, transparent data, which caters to the audience measurement needs of the radio, television, marketing and advertising industries in South Africa.

The BRC has updated the media and advertising industry on the TV Audience Measurement Study (TAMS). Although the television universe has been affected by Covid-19, lockdowns and severe challenges over the past couple of years, the overall TAMS panel is in good shape.

Due to the absence of the Establishment Survey (ES), a new Television-only ES was commissioned. The Television universe was last updated in October 2020 and utilised Publisher Audience Measurement Survey (PAMS) for the update. In the space of two years much has happened, including flux in the market. For example, change in terms of habits whether forced or unforced, movement to new platforms, new players entering the market, different ways of viewing and the use of different devices, which have affected the television universe.

‘As a result of the lack of data and the massive flux in the market, we took the decision to commission a TV-only ES in order to determine and focus purely on the TV market,’ said the BRC’s CEO, Gary Whitaker.

Currently 97% of panel homes are installed, with 90% (2821) of households reporting, despite being heavily affected by loadshedding and Covid-19. The panel weighting (or representative balance) target of 70% for individuals has always been exceeded and the household weighting of 80% is well over the targeted 65%. The panel is a ‘well-weighted’ panel.

Digital Terrestrial TV (DTT) representation on the panel is a good representation of what is actually happening in the country. ‘With DTT, we are dealing with a lot of estimates and the space is very complex. Over the coming months we expect to get data from external sources on the actual numbers as well as our own TV ES to gain a better understanding of these numbers,’ said Whitaker.

The TAMS panel is still in good shape; however some recommendations were made by the panel auditors. Panel maintenance is a continuous process and has been prioritised in a five-step process (over a period of time). This will address the churn of 452 replacement Households (HHs), 302 replacement HHs who no longer fit the TAMS TV universe definition, adding 83 new HHs, addressing the balance of pay and non-pay HHs and to develop a plan that will replace HHs that have been on the panel for more than eight years.

According to Whitaker, as with any panel, change cannot be enacted over a short period of time as that will cause instability in the data and impact changes that are not necessarily naturally occurring. The panel must accurately represent the South African TV landscape and the maintenance of any panel is an ongoing process.

It is interesting to note that according to Nielsen’s Digital Consumer Survey, there are now 4.5 million consumers, aged 15+, that only use streaming services (up from approximately 2 million consumers two years ago). 16.5 million people consume both linear TV and streaming content.

According to the Fusion survey from 2021, the biggest change from the Fusion 2018 survey is that ‘Any Streaming’ increased by 6%. There has been a significant increase of 16% over the two surveys in internet subscriptions for TV shows or movies.

YouTube is still the most viewed Video on Demand (VOD) platform with Netflix coming in second. Interesting to note is that the number of devices being used to watch have declined from an average 2.5 to 2 although multi-screening or watching on more than one screen has increased daily from 39% to 52%.

The BRC panel already measures viewership on television screens, however, Over the Top (OTT) measurement also needs to be considered, as viewership is taking place across multiple devices simultaneously. To this end, in the near future, the BRC will be engaging with providers to measure OTT viewership and regain ratings that have been ‘lost’ to alternative devices or dual screen viewership.

Commercial spot or log verification services has been awarded to Nielsen after an RFP was sent out by the BRC. Adding to an already comprehensive website containing multiple informative dashboards, a new dashboard has been created, where at a glance and in real time, on any given day, the platform can spot any transgressions and where they are coming from.

Still to come this year, the full Television ES study will be released in the fourth quarter of the year with fieldwork scheduled for July to September 2022. As there may be a certain settling in period because of DTT, another study may be run early next year. It remains critical that all changes in South African viewership be reflected in the universe.

‘To summarise, the TAMS panel is in good health even though there have been massive changes in the South African television market. The BRC website has become a complete hub of knowledge which includes multiple dashboards, panel health and universe updates and so much more. We encourage the industry to make use of this invaluable resource. We will be having TAMS engagements with the industry and stakeholders more frequently so that everyone is on the same page, especially during this time of change, and look forward to these engagements,’ concluded Whitaker.

The full TAMS update presentation can be downloaded and viewed here.


Win One Of 20 Tickets To The Nedbank IMC Conference

Win One Of 20 Tickets To The Nedbank IMC Conference

The theme of the 2022 Nedbank Integrated Marketing Conference (IMC) is ‘Marketing Relevance, Unpacked and Interrogated’. You could win one of 20 tickets, worth R2000 each, to Africa’s foremost marketing conference featuring the best of global and local thought leaders.

Modern Marketing is a proud media partner of the Nedbank IMC. Comment on our Facebook, Instagram or Twitter post, telling us: How can marketers get brand relevance right? If your answer is relevant enough, you could win a ticket to the virtual event, which features 30 thought leaders, including international speakers, unpacking marketing relevance. The event takes place on 29 July 2022.

Is it relevant? This is the question that every good marketer should be asking. But being relevant in the hurly burly world of a pandemic, the digital onslaught and hectic levels of customer expectation is a big ask.

The Nedbank IMC organisers believe that relevance is marketing’s new mantra. The acid test and benchmark for whatever you put out there, irrespective of whether you are a multi-national corporation or a one-person agency operating from your kitchen. This conference is relevant to everyone in the business of communication. On the 29th July, they plan on unpacking and interrogating relevance and how to find it and keep it.


New Audience Origin Global Data Service Provides Deep Understanding Of The Human Mindset

New Audience Origin Global Data Service Provides Deep Understanding Of The Human Mindset

A first in Africa, Audience Origin is a revolutionary audience product, uniquely designed to be globally consistent, locally relevant and future-proofed by enabling third-party and first-party data connections.

GroupM, in collaboration with Wavemaker, Mediacom and Mindshare, has launched Audience Origin. This global data service provides deep understanding of the human mindset through a connected data foundation.

‘The data landscape is constantly shifting and evolving. Consumer behaviour will continue to develop in unpredictable ways. To understand these changes better, we had to completely rethink how we collect audience data. Audience Origin was developed to provide a unique way to look at data using the power of identity and data science to connect different data sets. The Audience Origin approach is based on building up different layers of audience data and insight to meet global and local client needs,’ said Delia Condé, Head of Analytics and Insights at Wavemaker.

There are four levels to the Audience Origin data spine:

1. Core Survey: this is the globally-consistent foundational layer that focuses only on the data that is hard to ascribe or to fuse, but essential for planning. This is the data that must be collected by asking people.
2. Ascription: this is data that can be ascribed or modelled to everyone at the right level of accuracy if we only ask a proportion of the questionnaire to some people in the sample.
3. Fusion: data that we want to fuse onto the core survey. This includes data sources that are locally relevant. For example, The Fusion data (SA industry survey) or TGI data.
4. First-Party Data – this enables an enriched view of audiences as we connect client first party data such as CRM data.

‘In total, these layers will create an aggregate learnings database, delivering deeper, richer and more impactful audience planning insights, shared across markets, to create excellence in planning and activation,’ added Condé.

Available in 74 markets globally, they can tap into a core data set comprising more than a million consumers, across 60 different categories, segmented into 18 different personality archetypes, covering 22 touchpoints and 48 attitudinal and lifestyle attributes.

As research in Africa is limited and often outdated, the data gap that Audience Origin fills is vital to effective and efficient planning. With Audience Origin, there is now consistent and current data to use to inform regional and local market strategies. These insights highlight the nuances in each market’s culture, beliefs and attitudes. This becomes essential to help target and communicate more effectively.

‘This audience data becomes the glue that connects strategy with activation. An integral element of this is panel data which lets us connect key components of audience insight at the individual level to link attitudes and demographics to media and category behaviour. In effect, this provides organisations with the ability to use more flexible local targeting solutions that support persona-based targeting or ID-based targeting,’ added Condé.

Audience Origin is available in 12 African markets. These include South Africa, Nigeria, Kenya, Ghana, Cameroon, Ivory Coast, Ethiopia, Tanzania, Uganda, Morocco, Egypt, and Tunisia.


One Club Is The First Industry Awards Show To Mint NFTs For Special Awards Winners

One Club To Mint NFTs For Special Awards Winners

In addition to offering its iconic physical One Show 2022 Pencils to this year’s winners, The One Club for Creativity will be the first industry awards show to also mint non-fungible tokens (NFTs) exclusively for Special Awards winners in this year’s competition.

One NFT will be minted for each winner of a One Show Special Award, including Best of Show, Best of Disciplines, CMO Pencil, Green Pencil, Fusion Pencil, SDG Pencil and global ‘of the Year’ winners.

The assets are utility NFTs, which qualify the holder to a series of perks and special offers, including nominations for future One Show juries, complimentary tickets to One Club events, opportunities to speak at club events, exclusive access to One Club content and Board members, and more.

‘As a nonprofit organisation whose mission is to support the global creative community, we are constantly looking for ways to elevate and give back to the industry,’ said Kevin Swanepoel, CEO, The One Club. ‘Minting utility Pencil NFTs is more than just an exciting new way to celebrate the Special Awards winners. It’s also a creative new vehicle to engage the community, and a way to offer exclusive perks to creatives around the world.’

The One Club will mint the utility NFTs on the VAST platform, which is powered by Polygon, an eco-friendly Proof-of-Stake (PoS) protocol and a framework for building and connecting Ethereum-compatible blockchain networks using smart contracts.

NFTs minted on VAST are automatically ‘mirrored’ to the wallet holder’s account on OpenSea, meaning One Show Pencil NFTs can be openly traded on the secondary market via VAST or OpenSea with the same eco-friendly smart contract.

‘VAST isn’t a technology platform built for creatives, it’s a creative platform built with technology,’ said Michael Jurkovac, VAST CEO and cofounder. ‘As an FCB and TBWA\Chiat Day alum, I’ve always considered The One Show to be one of the awards I valued most, so I’m thrilled to work with The One Club on this project. The One Show Pencil is also one of the most beautifully designed awards, period.’


FCB Joburg And Toyota South Africa Collaborate On Latest Starlet Campaign

FCB Joburg And Toyota South Africa Collaborate On Latest Starlet Campaign

Building on from the launch of the first-generation Toyota Starlet in 2020, the new Toyota Starlet is not only big on space, but on fun too. When FCB Joburg first started to investigate the mindset of their target audience for the Toyota Starlet, they soon realised that millennials, who are the target market for the car, want a car that is not only affordable, spacious, practical and good value-for-money, but a car that inspires a sense of youthfulness and fun in the day-to-day grind. And of course, the car needs to look good with any outfit.

‘We have created a fun Small Car Universe within the Toyota stable, so continuing the fun in the new Toyota Starlet campaign was a no-brainer,’ said Tian van den Heever, executive creative director of FCB Joburg.

Armed with the ‘adulting’ insight, the car and the success of the previous 2020 launch, FCB Joburg got to work to evolve the Make Space For Fun campaign. ‘The success of the 2020 launch meant we wanted to keep some of the key elements from the initial campaign, namely our characters and that inner sense of fun,’ said Van Den Heever.

Starting with the TV commercial (TVC), the original characters haven’t let the last two years of growing up put a dampener on their day-to-day fun. From the way they dress, the way they communicate and the fun they get up to, the Small Car Universe characters have just amped up the fun with a game of ‘Tag’, made all the more interesting with the help of their Toyota Starlets.

‘This ad allowed us to show off all the tech, features and colour options of the cars, while showing our audience that being an adult doesn’t have to be boring, especially when you’re in a Toyota Starlet,’ added Van Den Heever.

The TVC has one extra bit of fun up its sleeve, in the form of a classic song: ‘U Can’t Touch This’ by M.C. Hammer. This toe-tapping track directly relates to the concept of the TV commercial and ties the ad together in the most fun way possible (TVC).


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