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Marketing Leader In Garment Industry Shares Insight

Marketing Leader In Garment Industry Shares Insight
Yumna Parker Davids, Imagemakers.

As the Head of Marketing and Systems at Imagemakers, and a leading woman in the local garment industry, Yumna Parker Davids’ role is a high-wire act of balancing brand strategy with technical infrastructure and modern systems thinking.

It is a journey that began with a single, unexpected phone call nearly a decade ago. ‘I actually took a while to accept the offer,’ Yumna Parker Davids recalled. ‘I remember Anton (Spaun, the owner and CEO of Imagemakers) calling me personally and convincing me to come on board, and somehow that one phone call turned into almost nine years, and an evolving role from production to marketing and systems architecture.’

Today, looking back at the trajectory of the Cape Town-based manufacturer, the longest-running family-owned corporate clothing manufacturer in the country, the transformation is palpable. ‘The Imagemakers I joined in 2017 looks very different today, and I have goosebumps saying that.’

Navigating the rollercoaster of recent years, particularly the global pandemic, solidified her belief in the company’s agility. ‘What I appreciated the most is seeing how quickly the business could adapt to change, and that for me is so powerful.’

From Production To Systems Thinking

Her path to the executive suite wasn’t a straight line through a marketing department. She joined the business as a production planner, drawing on her extensive background in the beauty and fashion retail sectors. After three years, she stepped into an Operations Management role, a move that gave her an intimate understanding of the ‘entire customer journey and consumer behaviour.’

Her current dual oversight of Marketing and Systems reflects a modern necessity: the fusion of story and data. ‘My role is quite varied, which is probably what keeps it interesting,’ she explained. ‘One minute I’m working on a marketing campaign, and the next I’m discussing systems, data, or a tech project involving software or AI.’

A Foundation Of Resilience

Her formidable work ethic was forged long before she entered a boardroom. Born and raised in Cape Town, she credits her ‘strong mother’ for her relentless drive. ‘I grew up with a strong mother, and I think a lot of my work ethic comes from watching her,’ she said. ‘She taught me the value of working hard, being resilient, and getting on with what needs to be done.’

This ‘get-on-with-it’ attitude defined her progression within Imagemakers. Parker Davids grew into a trusted leadership role by consistently stepping beyond the boundaries of her job description.

‘I asked a lot of questions, wanted to understand how different parts of the business worked, and I never really saw anything as ‘not my job.’ If something needed to be done, I would figure out how to do it.’

Rising Above The Noise

For Yumna, leadership is less about having all the answers and more about having the guts to find them. Her personal mantra is simple: ‘Courage first, confidence follows.’

‘I’ve often taken on responsibility before I felt completely ready for it, but that is where a lot of the growth happens.’

This growth hasn’t come without the typical pressures of a working mother with a high-performance career. Juggling the demands of the office with the needs of three busy children, Parker Davids is refreshingly honest about the myth of ‘balance.’

‘When I’m not at work, I’m usually on the sidelines at soccer shouting a little louder than I probably should, or at ballet practice,’ she laughed. ‘I once read that there’s no such thing as perfect balance, and I think that’s true. Some days work needs more of you, and other days your family does.’

Her hardest life lesson, however, has been learning to ‘rise above the noise’. To Parker Davids, ‘noise’ encompasses everything from setbacks and criticism to internal self-doubt. ‘I’ve learnt that not everything deserves your energy or a reaction. I try to stay focused on what I’m working towards, learn from the things that matter, and keep moving forward’.

A Vision Of Opportunity

As Imagemakers continues to set the standard for Southern African professional wear and team uniforms, her focus is turning increasingly toward the legacy she will leave behind. She currently manages a team of six and oversees numerous external suppliers, but her ultimate dream is to be a door-opener for others.

‘My dream is to create opportunities, for the people I work with, for young people coming into the workplace, and especially for women,’ she said.

Her advice to those starting out? ‘Stay curious and never think you know everything. I also believe no experience is wasted. Sometimes you learn something without knowing why it will matter, and years later that knowledge becomes incredibly useful.’

C1W Initiative

Change 1 Woman (C1W) aims to empower women in the branding, print and signage industries. As part of this initiative, Modern Marketing would like to spotlight women-focused content like this piece. If you have any trend/business articles related to the signage, branding and printing industries, please email content to: info@c1w.co.za. Follow C1W on Facebook, LinkedIn and Instagram for more updates.

IMAGEMAKERS
https://www.imagemakers.co.za

Why The Home Screen Is The New Front Page

Why The Home Screen Is The New Front Page

Adiela Dramat, Senior Client Partner at Reach Africa, writes that the home screen reaches viewers before they choose what to watch, opening a new way for brands to connect with audiences

When you switch on your TV, what do you see? The home screen, where you decide your next move. Should you stream a movie? Catch up on your series? Watch the live game? Whatever you choose, it starts right there, and that makes the home screen one of the most valuable pieces of advertising real estate on televisions today.

For decades, TV advertising has focused on programming. Advertisers could plan around a fairly predictable viewing schedule, knowing which shows audiences were likely to watch and when. Streaming has flipped the table completely, giving viewers far more choice over what they watch and where they watch it. For advertisers looking to capture attention, the home screen offers a way to reach viewers before they disappear into an app or channel. It puts brands front and centre, giving them visibility across an increasingly fragmented viewing landscape.

The Advantage Of Being First

I first realised the power of reaching people before they decide where to go next while working in a different medium. In 2013, I sold the first-ever wraparound advert on the main section of a major Sunday newspaper, making the brand the first thing readers saw.

For 70 years, television advertising has largely been built around interrupting what somebody is watching. The home screen creates an opportunity to become part of the journey before they have started watching at all.

For media planners, that creates a way to reach audiences that does not depend on knowing which programme or app they will choose.

We recently put this into practice when a prominent South African retailer wanted to connect with rugby audiences around a big match. The brand didn’t own the broadcast rights or sponsorship, so we focused on where those fans would be before and around the game: the home screen. They didn’t buy the rugby. They bought the journey to rugby. That allowed the retailer to become part of the viewing occasion without buying the content itself.

The campaign also showed why timing is so important. When viewers return to it, they are actively choosing what to watch next, which gives us a clear signal of intent. Instead of spreading spend continuously, advertisers can concentrate it around the points when their audience is most likely to be there. Behaviour, not programming, determines when a brand appears. And it’s not just for sporting events, a big entertainment release or retail event such as Black Friday can create its own high-value viewing windows, giving brands more ways to plan around audience behaviour at a particular time.

Start With The Audience

This also changes the starting point for connected TV planning. At Reach Africa, our partnerships across different TV manufacturers and operating systems such as VIDAA, TCL, LG and Whale TV allow us to look across the landscape rather than planning around the inventory of a single platform. We can start with the audience a brand wants to reach, rather than trying to find them one platform at a time. That means the media plan can follow the viewer instead of being limited by what one content owner has available.

And this is only the beginning. As the television evolves beyond a screen for broadcast, streaming and gaming into a more intelligent interface in the home, the opportunity for advertisers will evolve with it. The next phase won’t simply be about repurposing a TV ad or digital video for the home screen, but creating experiences and actions around those moments when viewers are actively engaging with the device. For brands, that means thinking less about filling an advertising slot and more about what they can do with the moment.

As more of our viewing converges on the same device, the television itself becomes the platform. And sitting at the entrance to everything is the home screen, the new ‘front page’.

REACH AFRICA
https://www.reachafrica.com

Red Ribbon Communications Wins PR Mandate For Cloudera

Red Ribbon Communications Wins PR Mandate For Cloudera
Ronelle Bester, Red Ribbon Communications .

Cape Town-based agency Red Ribbon Communications agency will run Cloudera’s media relations and thought leadership programme, with an initial focus on hybrid data management and enterprise AI adoption among South African IT leaders.

In the wake of Cloudera’s recent launch of Cloudera Anywhere Cloud™, a platform enabling organisations to scale AI applications across multi-cloud and on-premises environments with full data governanc, the tech PR agency will focus on communicating these capabilities to the local market.

‘This pitch came down to who understood the technical substance behind hybrid data and enterprise AI, not who could talk around it,’ said Ronelle Bester, founder of Red Ribbon Communications.

‘South African IT leaders have had enough of the generic versions, and what we’re building for Cloudera is the specific, deeper story, and that starts with getting the language right for people who already know the category. The hype-phase needs Cloudera’s ‘AI realist’-insights, and we’re the ones who can give that unique voice the platform it deserves.’

‘We needed a partner in South Africa who understood the detail of data and cloud architecture over and above just the terminology. As we help organisations build, deploy, and scale production-grade AI applications seamlessly across multi-cloud and on-premises environments with Cloudera Anywhere, we required a team that could articulate that technical substance,’ said Sara Lewis, Director of Communications, EMEA at Cloudera.

‘Red Ribbon’s deep understanding of this space, combined with their local media relationships, made them the clear differentiator in our pitch.’

‘South African organisations are accelerating their data and AI strategies, and how we communicate needs to keep pace,’ said Warren Olivier, Regional Vice President Africa at Cloudera. ‘Red Ribbon brings the local market depth we require to reach enterprise leaders directly, in language that matches where their thinking already is.’

Red Ribbon Communications has worked in South African technology PR for 23 years, with a client base spanning enterprise technology, cybersecurity and fintech, to name but a few.

RED RIBBON COMMUNICATIONS
https://redribboncommunications.co.za

Navigating Generational Behaviours In The Workplace

Navigating Generational Behaviours In The Workplace
Mark Baker, Mygrow.

Mark Baker, CEO at Mygrow, writes why emotional intelligence has become a leadership necessity. Today’s workplace can bring together people whose experiences of work were formed in very different environments.

Someone who began their career in a structured organisation where hierarchy carried considerable weight may now be leading employees who entered the workforce expecting flexibility and a greater say in how decisions are made.

These differences are often described as generational, but age is not always the source of the tension. In our work with organisations, we often find that the real differences concern people’s values and their expectations of what work should look like.

Baby Boomers and many Gen X employees built their careers in environments that placed considerable value on structure, discipline, commitment and respect for authority.

Millennials and Gen Z entered working life as expectations were shifting towards flexibility, self-development, inclusivity and involvement in decision-making. These are broad patterns rather than descriptions of every individual, but they help explain why people around the same table can approach a workplace issue differently.

Flexible working has brought some of these differences into view. Following the pandemic, we saw organisations where senior leaders wanted employees back in the office while younger employees resisted returning to previous ways of working. The disagreement concerned where people worked, but it reflected different ideas about commitment, autonomy and how performance should be judged.

When Communication Styles Collide

These differences become harder to manage when they influence how people communicate. A leader who has spent decades in hierarchical organisations may reasonably believe their experience should carry weight. A younger employee may have entered a working world where questioning ideas and contributing to decisions are actively encouraged.

When neither understands what is driving the other, questions can be interpreted as disrespect, while authority can be experienced as dismissiveness. We see situations where people effectively talk past one another: the leader places greater emphasis on their authority and experience while the employee continues to push for their perspective to be considered.

Feedback often exposes the same tension with younger employees often expecting to participate in conversations and wanting their views to be heard, including when they disagree with someone who holds greater organisational authority. Leaders accustomed to a different relationship between seniority and influence may find this challenging. The way feedback is given and received can determine whether the conversation remains constructive.

Technology Is Changing Who Holds The Expertise

Technology is also changing how knowledge and experience are shared within multigenerational teams. Younger generations tend to have greater familiarity with digital tools and may adopt technologies such as AI with relative ease. Experienced leaders may be adapting to technologies that bear little resemblance to the systems they used while developing their professional expertise.

Experience and knowledge no longer always follow the traditional organisational hierarchy. A younger employee may understand an emerging technology better than their manager, while the manager has years of organisational and professional experience that help determine where that technology can be applied effectively.

Leaders need to recognise the value of both because organisations lose something when experience becomes a reason to dismiss new ways of working. They also lose valuable judgement when enthusiasm for technology overlooks what can be learned from previous changes.

The Idea Of A Career Has Changed

Different generations may have very different expectations of what a successful career looks like. Many people from older generations developed expertise within a particular profession and progressed through an organisation over many years.

Younger employees are increasingly comfortable moving between roles and employers, even across industries. Technology has widened their options further by allowing someone in South Africa to work for an organisation elsewhere in the world without relocating. The relationship between an employee and an organisation has evolved alongside those opportunities.

This can create very different views of loyalty and career progression. For example, a leader who spent years building a career within one organisation may see frequent moves as a lack of commitment, while a younger employee may simply see them as a normal part of building a career in today’s workplace.

Where Emotional Intelligence Comes In

Managing these differences requires leaders to understand what people bring into an interaction beyond their job title or generational label. Emotional intelligence helps leaders understand those influences and respond appropriately.

EQ can be understood as an overall capability made up of individual competencies. Fitness offers a helpful comparison: we can talk about someone’s overall fitness while recognising that different physical capabilities contribute to it. Emotional intelligence works in a similar way.

One of the most important competencies in a multigenerational workplace is emotional self-awareness. People arrive at work carrying assumptions formed through their upbringing and previous experiences. Older employees may have developed professionally in environments where deference to authority was expected and emotions had little place in working life. Younger generations have often received greater encouragement to express their views and expect their individual perspective to be acknowledged.

Understanding these influences helps a leader recognise what may be happening during a difficult interaction. It does not require accepting every behaviour or lowering organisational standards. It allows the leader to consider why two people may respond differently to the same situation and decide how best to manage it.

Flexibility is another important EQ competency in this environment. Leaders cannot assume that the leadership approach they experienced will work equally well for everyone they manage. They need enough awareness and adaptability to adjust how they communicate while maintaining what the organisation requires.

Making Different Perspectives Useful

A multigenerational workforce gives organisations access to employees with different forms of knowledge. Someone with decades of organisational experience brings lessons gained through changing markets and previous technological shifts. A digitally native employee may recognise possibilities in AI and emerging technology that an experienced colleague has yet to encounter.

One perspective does not have to displace the other. Leaders can create working environments where employees bring both into the same conversation.

This requires enough psychological safety for employees to contribute and challenge one another without disagreement becoming damaging conflict. Leaders also need to examine their own assumptions about authority and what good work looks like.

Generational labels can help explain some of the influences people carry into the workplace, provided they do not replace an understanding of the individual. Emotional intelligence helps leaders recognise their own responses and consider what may be driving someone else’s behaviour so they can adjust their approach when needed.

A leader who can only lead people who think and work as they do is managing for conformity. Five generations in one workplace will test assumptions about authority and commitment, including whose knowledge deserves respect. Organisations that fail this test may call it a generational problem. But often, it is a leadership problem. Success lies in the self-awareness to know the difference.

MYGROW
https://www.mygrow.me/

Trust Isn’t Built By Going Viral

Trust Isn't Built By Going Viral
Mkhuseli Vangile, The Dynaste Communication Firm

Mkhuseli Vangile, Founder and CEO of The Dynaste Communication Firm, writes why a brand’s credibility is now more valuable than a ‘pretty’ website.

In the time it takes to scroll past a cat video, a consumer has already decided whether they trust your brand. We live in an era of digital abundance, where a slick Instagram grid is as easy to buy as a cup of coffee. But as any South African who has been burned by a dropshipping site with stolen photos can tell you, looking legit is not the same as being legit. The digital landscape is littered with brands that mastered the aesthetic but failed the credibility test.

We have entered the age of the ‘Trust Economy,’ and for businesses, this is the only currency that matters. According to a 2024 PwC survey, 72% of local consumers say trust is a deciding factor in their purchasing decisions. Yet, despite this, many companies remain obsessed with chasing likes rather than building reputations.

People are exhausted by the constant barrage of adverts. They are skeptical. As branding expert Mkhuseli Vangile puts it, ‘People are not only looking at what a brand sells anymore. They are looking at how the brand presents itself, how it communicates and whether it feels genuine.’

This requires a fundamental shift in how we approach online communication. It is no longer enough to broadcast. Brands need to converse.

The first step is moving away from the ‘corporate robot’ tone. Digital natives can smell a scripted response from a mile away. They want to see the faces behind the business; the real people packing the boxes or answering the DMs. In a country as diverse and vibrant as ours, hiding behind a logo is a missed opportunity. Authentic storytelling sharing the journey of a small business owner in Cape Town or the craftsmanship behind a local product creates a connection that no amount of paid advertising can replicate.

Furthermore, we need to accept that our customers are our most effective marketing team. A study by BrightLocal found that 91% of 18-to-34-year-olds trust online reviews as much as personal recommendations. We are a nation of word-of-mouth purists, and that is amplified tenfold online.

Are you leveraging your positive customer experiences? Are you responding to criticism with grace and a promise to do better? South Africans are forgiving, but they are not forgetful. Deleting a negative comment isn’t hiding the problem; it’s creating a conspiracy theory. As one local business owner recently noted, ‘Customers don’t expect perfection; they expect honesty when things go wrong.’

Ultimately, credibility is about the gap between what you promise and what you deliver. If your website says ‘Contact us within 24 hours,’ you better have a human being on the other end of that line.

Trust isn’t built in a day, and it certainly isn’t built by going viral. It’s built in the monotonous moments the follow-up emails, the clear pricing, the on-time deliveries. So, ask yourself this: If a stranger landed on your site today, would they hand over their hard-earned rands? If the answer is no, it’s time to stop performing and start proving.

DYNASTE COMMUNICATIONS FIRM
+27 11 038 9705
info@thedcf.co.za
https://thedcf.co.za/

Absa Announces South Africa’s First Bank-Led Micro-Drama

Absa Announces South Africa’s First Bank-Led Micro-Drama

Absa has launched For Better Or For Whatever, South Africa’s first bank-led micro-drama series and a new expression of its entertainment-led approach to financial wellness communication.

Starring veteran South African actor, producer and director Jet Novuka alongside a multi-generational local cast, the comedy-drama uses a wedding, two very different families and a series of escalating misunderstandings to make conversations about money feel culturally relevant, accessible and worth watching.

For brand and marketing leaders, the strategic shift is as important as the storyline. Rather than interrupting audiences with a traditional financial-education message, Absa has created an episodic entertainment property designed for the platforms, screens and viewing moments where people already spend their time.

From Brand Message To Entertainment Property

Financial wellness can be difficult to communicate. The subject is personal, often emotionally charged and easily reduced to instruction or technical advice. For Better Or For Whatever approaches the challenge through character and consequence instead.

At the centre of the story are Sizwe Scott, played by Siyamthanda Banda, and Lindiwe Nkosi, played by Zimi Mphefu. Their journey towards marriage brings their families, and their different expectations about money, culture and responsibility, into the same room. Wedding costs, unexpected expenses, family obligations, trust and financial protection are not inserted as campaign talking points; they emerge naturally from the choices the characters make.

This allows the brand’s financial-wellness message to function as part of the entertainment rather than a break from it. Viewers can follow the comedy and family conflict first, while the wider series creates space to reflect on budgeting, preparedness, scams and the need to protect personal information. The opening episode demonstrates the model in under two minutes. It introduces Sizwe’s adoptive family, Lindiwe’s proud traditional father and a comic collision between a planned proposal and what appears to be a surprise birthday celebration. It is fast, visual and structured around a cliffhanger, a complete entertainment beat that also establishes the wedding and money pressures still to come.

A Format-Native Response To The Attention Economy

Micro-dramas are scripted, serialised stories told through bite-sized episodes made for mobile viewing. They use the emotional hooks, recurring characters and cliffhangers of television drama, but are designed specifically for vertical platforms such as YouTube Shorts and TikTok.

The format has developed from a niche mobile trend into a significant global entertainment category.

Deloitte describes micro-series as mobile-first scripted episodes lasting only a few minutes and predicted that worldwide in-app micro-series revenue would more than double to US$7.8 billion in 2026.

For marketers, their rise signals more than a change in episode length. It reflects a broader change in how audiences discover, sample, follow and share stories. Short-form platforms are not simply distribution channels for cut-down television commercials; they are entertainment environments with their own pacing, visual language and audience expectations.

For Better Or For Whatever responds by starting with the behaviour and building the format around it. Its vertical episodes can be watched quickly and shared easily, while the continuing wedding storyline gives audiences a reason to return. Instead of depending on a single campaign exposure, the episodic structure creates a sequence of character moments and conversation opportunities across the life of the series.

Four Brand Choices Behind The Series:

The series brings together four principles increasingly important to modern brand building:

Entertainment before instruction: the financial-wellness message is carried by comedy, conflict and character rather than presented as a lecture.

Format before adaptation: the series is designed for vertical, mobile-first viewing instead of being repurposed from a conventional television commercial.

Cultural relevance before generic messaging: a South African wedding and multi-generational family dynamics make the financial choices recognisable and locally grounded.

Utility within the story: practical themes, budgeting, unexpected expenses, scams and personal-information protection, are embedded in situations audiences may face in their own lives.

Together, these choices give Absa a way to connect its brand platform, Your story matters, with the everyday stories people tell about relationships, family and money.

‘Stories have always helped us learn, connect and see ourselves. Today many of those stories are watched on mobile phones in short, engaging formats. That is what makes this series so exciting. It allows us to meet people where they already are, with stories that entertain, spark conversation and help audiences feel more confident about the financial decisions they make. That is what Your story matters means to us,’ said Candice Thurston, Managing Executive: Brand and Marketing, Absa Group.

Local Talent Gives The Brand Story Credibility

Jet Novuka plays Zakhele, bringing the authority and familiarity of a seasoned screen performer to the intergenerational story. He is widely recognised for roles in South African productions including Yizo Yizo, Jacob’s Cross, Home Affairs, Isidingo, Igazi, Uzalo and The River.

The ensemble also includes Antony Coleman as Gavin Scott, Jailoshini Naidoo as Dr Nerisha Scott, Elliot Makhubu as Malume, Estelle Oberholzer as Elzaan, Gcebile Dlamini as Sis Nono, Tina Chetty as Aunty Saras and Jemika Moodler as Stacie Scott.

The casting gives the series recognisable entertainment credentials while allowing different generations, families and cultural perspectives to meet inside the same narrative world. For the brand, this creates a broader and more human frame for financial wellness than a conventional advice-led campaign could provide.

Building A Connected Entertainment-Led Financial-Wellness Platform

For Better Or For Whatever extends Absa’s growing portfolio of entertainment-led financial education. It follows I Grew It: Finance 101, hosted by Tumi Morake, and The I Grew It Show with Absa, hosted by entrepreneur Alphi Sipho Mkhwanazi.

Together, the properties reflect a consistent strategic direction: translating financial literacy and financial protection into formats that feel relevant to the audience rather than simply useful to the brand.

With its first bank-led micro-drama, Absa is making a clear marketing bet. In an attention economy, the most effective place for a brand message may not be next to the story. It may be inside a story people choose to watch.

For Better Or For Whatever, brought to you by Absa, is streaming on Absa South Africa’s YouTube Shorts (@AbsaBankLtd) and Absa Group’s TikTok (@absa_group).

Watch Episode 1.

ABSA
absa.co.za

Slightly Dangerous Co. Launches Dedicated Sports And Culture Agency

Slightly Dangerous Co. Launches Dedicated Sports And Culture Agency
Kieren Jacobsen, Jess Porter and Kganya Zungu, Southpaw.

Southpaw has officially launched as the newest specialist agency within the independent group Slightly Dangerous Co., bringing a dedicated sports and culture offering to the collective. Already in operation, the public launch comes off the back of significant early client wins that include Betway, LIV Golf, Icons Series, Auto & General and NTT DATA among others.

Co-founded by Kieren Jacobsen and Jess Porter, with Kganya Zungu completing the leadership team as Managing Partner, the trio have spent their careers inside the marketing industry, building deep networks and a strong portfolio of work that spans blue-chip brands, rights holders and media owners in South African sport and entertainment.

For Jacobsen, this experience and their early wins have shaped a very deliberate approach to Southpaw’s model. ‘It’s proven there’s room for something fresh, independent and a little unorthodox. Our partnership with Slightly Dangerous Co. is central to that. We share the same values and a philosophy that places value in craft over volume and depth over scale.’

That sentiment is mutual. Slightly Dangerous Co. Founding Partner Warren Moss sees a clear opening in the market. ‘This is something that has been in the works for a while and I believe the category is wide open for an agency like Southpaw. Given the calibre of this founding team, we are extremely excited to play.’

Porter added that the group philosophy naturally extends into Southpaw’s growth ambitions. ‘We have no ambition to build headcount for the sake of it. Rather, we aim to build around the best senior talent in the industry and attract the clients and partners who want to play different. That isn’t just a positioning for us, it’s a genuine mindset.’

According to Zungu, that mantra becomes particularly important to the work, as cultural categories continue to blend into one consumer experience. ‘Sport, fashion and music move seamlessly through communities, with audiences deciding for themselves where they spend their time, attention and money. Our job is to understand what moves those communities and then find the right way for brands to earn a place in them.’

‘You can’t manufacture emotion,’ Porter added. ‘Today’s consumer can tell the difference between a brand genuinely adding value to their experience and one that’s just trying to buy their attention.’

The partners share a clear view of the business they want to build. Locally, Southpaw wants to help shape what marketing looks like in the modern era of sport and culture. Internationally, the South African-built agency is already working with global clients and sees the opportunity to grow into new markets alongside them, without needing to become the biggest shop in the room.

Jacobsen concludes by highlighting the importance of embracing the journey. ‘Frankly, we’re not saving lives in the work that we do and it’s critical to remember that. We’re a low-ego, high-accountability environment and we’re going to have a great time doing it. I’ve watched Jess and Kganya emerge as real forces in the industry over the last few years and I consider myself very fortunate to now count them as partners.’

SLIGHTLY DANGEROUS
www.slightlydangerous.co

Understanding Advertising’s AI Dilemma

Understanding Advertising’s AI Dilemma
Musa Kalenga, Brave.

Musa Kalenga, CEO, the Brave Group explores how AI is reshaping the advertising industry, challenging traditional agency business models and shifting the focus from billable hours to operational efficiency, measurable outcomes and commercial value. He also outlines the role of emerging markets, including Africa, in driving this transformation.

For a decade, enterprise marketing has been hooked on a quiet, expensive lie: that software purchase orders equal operational progress. Chief marketing officers assembled towering martech stacks to tame an explosion of digital channels, only to create an unmanageable performance tax. Gartner’s latest data confirms the fallout: martech stack utilisation has collapsed to 49%.

More than half of the software enterprise boards paid for sits idle, generating recurring subscription debt while army-sized agency teams waste thousands of hours manually stitching together incompatible data feeds. Now, the advertising industry is repeating the exact same error with artificial intelligence.

The Legacy Drag

Over the past two years, legacy agency networks have treated generative AI as little more than a turbocharged copy-pasting tool. They have bolted standalone prompt interfaces onto fundamentally broken, multi-layered workflows, mistaking isolated task speed for structural transformation. McKinsey rightly calls it the ‘pilot trap’. Deploying fragmented applications atop brittle data foundations that fail to move the commercial needle by a single basis point.

This failure is not a technology problem; it is a business model conflict. The advertising industry’s legacy holding companies are trapped in a classic innovator’s dilemma. Their business model remains stubbornly anchored to the billable hour. Selling human time creates a perverse economic incentive: the more friction, delay, and manual iteration built into campaign execution, the higher the fee.

Toxic Efficiency

If an autonomous agentic network can generate, test, optimise, and deploy a global campaign in three minutes rather than three weeks, a time-billing agency suffers a 90% drop in top-line revenue. Efficiency is toxic to their P&L.

As a result, major agency networks promise ‘AI transformation’ while quietly engineering ways to keep their headcount-heavy billing engines running. They offer clients automated efficiency while charging them for the hours it takes humans to oversee the automation. The market will not tolerate this friction much longer.

AI Stuckness

True enterprise resilience requires moving past superficial prompt engineering and embracing full agentic orchestration. The operational divide is already widening. According to Boston Consulting Group’s 2026 enterprise survey, while 96% of CMOs say they’re running AI initiatives, 42% remain stuck using AI as a basic administrative assistant.

Meanwhile, the top tier of market leaders has stopped experimenting. They are deploying autonomous, agentic systems directly into core commercial workflows, shifting from human-driven assembly lines to integrated intelligence layers.

This shift dismantles the traditional four-stage agency lifecycle:

– Strategy stops being a static quarterly presentation in a glossy deck. It becomes a live, predictive simulation continuously modelling consumer sentiment, pricing sensitivity, and competitive movement in real time.

– Creative production and activation merge. Instead of weeks of sequential asset adaptation and manual localisation, autonomous agentic systems dynamically construct, translate, and format creative assets within strict brand safety guardrails the moment a market opportunity emerges.

– Media optimisation moves from a post-campaign autopsy to live execution. Agencies have spent decades charging clients to analyse wasted ad spend after a campaign ends. Autonomous networks now reallocate capital across platforms and creative iterations mid-flight, long before media budgets burn out.

– Measurement finally abandons vanity proxy metrics. Powered by clean-room architecture and verified first-party data, performance is tied directly to bottom-line velocity, pricing power, and customer acquisition cost.

When campaign timelines collapse from months to seconds, hourly billing loses all commercial credibility. The dominant agency models of the next decade will be structured around performance equity, outcome-based risk sharing, and commercial growth arbitrage.

Critically, this restructuring will not be led by legacy holding company hubs in London or New York. High overheads, multi-year office leases, and public-market margin pressure make radical self-disruption nearly impossible for incumbents.

Instead, as I argued in The Brave Code, the most aggressive operational innovation is occurring across emerging markets. Unburdened by century-old billing habits, bloated middle-management structures, or heavy legacy infrastructure, agile agencies across Africa, Latin America, and Southeast Asia are leapfrogging the holding company era entirely.

They are building natively as intelligence engines, operating with lean, high-conviction strategic teams that govern autonomous operational networks.

The mandate for brand leaders and investors is stark. The era of building enterprise value through billable headcount and bloated software procurement is finished. The agencies that survive will not be those selling time to manage software, but those that can turn real-time market signals into commercial value at the speed of modern culture.

BRAVE GROUP
www.bravegroup.co.za

The Essence Of Sustainable Packaging

The Essence Of Sustainable Packaging

According to Traderbag, a company that locally sources its materials and manufactures bags using Forest Stewardship Council (FSC)-certified material, paper packaging can play an important role in a circular economy while supporting local manufacturing, economic growth and job creation.

Traderbag began supplying paper shopping bags to major clothing brands in 2025 and currently supplied millions of bags a year to the fashion sector alone.

The company locally sources its materials and manufactures bags using Forest Stewardship Council (FSC)-certified paper, water-based inks and locally produced paper.

Responsible Paper Starts With Responsible Sourcing

Traderbag managing director Daniel Cherry says the idea that using paper automatically means damaging forests is outdated.

‘The key question is where the paper comes from. Responsible paper producers use managed commercial forests where trees are grown as a renewable crop. The message shouldn’t be ‘don’t use paper because you’re killing trees’. It should be: use responsibly sourced paper efficiently, reuse it where possible and recycle it when you’re finished.’

Traderbag works closely with local paper producers, Sappi, recognising that the sustainability and performance of a paper bag start with the quality and provenance of its raw material.

The company’s directors recently visited Sappi’s Ngodwana operations, including Ngodwana Energy, in which Sappi has a 30% stake. The facility uses biomass recovered from surrounding plantations and screened waste from the mill to generate electricity, with surplus power exported to the national grid.

Water management is another important part of the sustainability equation.

‘Paper production does use water, but the important question is how that water is sourced, managed, reused and returned,’ said Cherry. ‘Sappi mills can recycle and reuse water multiple times and have made significant reductions in water withdrawal.’

Sustainability Must Work Commercially

Cherry said sustainability is about more than the material used to make a bag.

‘A sustainable bag is no good to a retailer if they run out of stock or it doesn’t perform. That is why we combine the paper product with forecasting, stockholding, custom sizing and direct-to-store distribution. Sustainability has to work commercially as well as environmentally.’

FSC certification also provides retailers with a credible way to substantiate their sustainability claims.

‘For us, it is about chain of custody. FSC provides a traceable link from the responsibly managed forest through the paper producer and converter to the finished product.’

Paper And The Fashion Sector

Traderbag sees fashion as a natural market for paper bags. The products being carried are generally dry and relatively lightweight, while the bag itself becomes part of the customer experience and continues to display the retailer’s brand after the purchase.

But Cherry stresses that choosing the right paper bag is not simply a matter of selecting the heaviest or thickest paper.

‘The bag’s purpose is the starting point. Size, construction, handles and reinforcement all need to be considered. The goal is to find the most efficient combination that delivers the required strength, appearance and performance without unnecessary material or cost.’

For Traderbag, that is the essence of sustainable packaging: responsibly sourced materials, efficient manufacturing and a product that works for both the environment and the business.

TRADERBAG
https://www.traderbag.co.za

Heinz Celebrates The Story Of SA On Heritage Day

Heinz Celebrates The Story Of SA On Heritage Day

On National Braai Day, Heinz marked its arrival in South African braai culture with a Heritage Day celebration in Johannesburg, bringing people together around the fire for a proudly South African day of food, music, art and togetherness.

From the ground, 125 braais became 125 places for South Africans to gather, cook, eat and connect. From the sky, they formed the Heinz label, one enormous symbol of Heinz finding its place in Mzansi.

Rather than telling South Africans how to braai, Heinz, a food brand with over 150 years of heritage, came to bring its own taste to the table and let South Africans decide for themselves, and Mzansi answered.

Heritage Meets Heritage

As part of the celebration, Heinz partnered with South African artist, Ricollin to paint a tribute to South African heritage in Heinz Tomato Ketchup. Working live, Ricollin brought together symbols of South Africa, its people, its food and its culture, around the Heinz bottle, as guests watched two heritages meet on a single canvas. It was bold. It was proudly South African. And it could only have been Heinz.

‘Heritage Day is about honouring where we come from. Heinz has spent over 150 years joining family tables around the world and seeing that heritage meet South Africa’s around 125 fires was deeply moving. We didn’t come to tell South Africans how to braai. We came to earn our place at the table, and today Mzansi made room for us,’ said Passant El-Ghannam, CMO Middle East & Africa, Kraft Heinz. Call it ketchup. Call it tomato sauce. Just taste what your braai has been missing.

With Heinz on the table around every fire, perhaps the name matters less than the taste. And that taste is something Heinz never compromises on. Heinz is obsessed with quality: every bottle of Heinz Tomato Ketchup starts with tomatoes grown from Heinz’s own seeds, so it has the same balanced taste, right colour and rich texture anywhere in the world.

Heinz arrived with a story of its own. On Heritage Day, it celebrated the story of the country it now wants to call home.

125 braais became one Heinz Keystone label. Ketchup became paint. More than 2,000 strangers became one Heritage Day celebration. For one big day in Johannesburg, Heinz didn’t simply put its sauce on the braai. Heinz became part of the braai.

RETROVIRAL
https://retroviral.co.za/