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Moving From Fear And Anxiety To Positive Action When Communicating Climate Change

Communicating Climate Change- Moving From Fear And Anxiety To Positive Action
Willem Steenkamp, Flow Communications.

Willem Steenkamp, senior writer and editor at Flow Communications writes that  for too long, the dominant narrative about climate change has been one of apocalypse: collapsing ice shelves, parched earth, species extinctions, bleached coral, catastrophic storms and even the current northern hemisphere heatwaves, conjure up fears of irreversible environmental calamity.

While climate change science justifies the urgency, we are indeed hurtling headlong towards disastrous changes to the Earth’s climate, communicating the science has brought us to a psychological tipping point. Instead of galvanising us into action, relentless alarmism triggers climate anxiety, a chronic fear of environmental doom that leads to paralysis rather than participation.

As communicators, we must recognise that fear only motivates people up to a point. In the face of a threat as enormous (and abstract) as global warming, our natural response to fear is often to freeze as a way of self-protection; to give in to our feelings of powerlessness. When the problem feels insurmountable, individual actions, such as recycling or saving water, appear trivial and pointless.

Instead, to inspire meaningful change in the greater public, we must move beyond this doom-and-gloom approach and make the connection between urgency (the need to act) and agency (the ability to act).

To be sure, we must be straightforward about the realities of climate change; there is no denying or sugar-coating it. But we must pair this honesty with practical, hopeful choices. People will not change their behaviour because they are frightened, but they most likely will if they believe their actions matter.

This requires a shift from global abstractions to local realities. For example, for a resident of Cape Town, the threat of ‘day zero’ water shortages is far more motivating to be water-wise than the melting of distant glaciers. By focusing on local solutions, such as water resilience or urban greening, we make addressing the climate crisis tangible and relevant.

In South Africa, we have powerful stories to replace the narrative of catastrophe. Community-led carbon capture and storage initiatives in the Eastern Cape, for example, are not only addressing global warming, they are creating jobs and restoring ecosystems. In the Northern Cape, dozens of solar photovoltaic and concentrated solar power installations feed green electricity into our national grid, stimulating local employment and driving clean energy uptake by industrial users such as mines and factories throughout South Africa.

When we highlight successes such as these, we demonstrate that a sustainable future is not just necessary, it is desirable and possible.

As communicators, we also have to ditch technical jargon, which creates a barrier between experts and the public. Terms such as ‘anthropogenic’, ‘carbon sequestration’ or ‘mitigation strategies’ sound smart but probably mean little to many people. Rather, we should use more accessible language that is easy to grasp and culturally relevant to the audience. Use words like ‘we’ and ‘our’, emphasising our sense of collective responsibility.

In a similar vein, we must move away from a one-size-fits-all approach to how we say things to various audiences: a small-scale farmer’s concerns about crop failure are inherently different from a business executive’s focus on ESG compliance, for instance. This is Communications 101, effective messaging always considers the audience first, and tailors the ‘ask’ to what is achievable for that audience.

Ultimately, our role is not to make the public more afraid, rather, it is to ensure that each of us feels like a protagonist in the story of environmental restoration, not a helpless witness to its collapse. Pairing credible information with local success stories and clear, actionable steps allows us to turn climate anxiety into climate action.

And when people believe that they can make a difference, they usually do.

FLOW COMMUNICATIONS
www.flowsa.com

Effie Awards South Africa 2026 Grand Jury Revealed

Effie Awards South Africa 2026 Grand Jury Revealed

The Effie Awards remain the globally recognised benchmark for marketing effectiveness. Effie Awards South Africa has announced the senior panel of industry leaders who will serve on the 2026 Grand Jury, tasked with adjudicating the programme’s highest honour, the coveted Grand Effie.

The Grand Effie recognises the campaign that best demonstrates effectiveness at its highest level, where clear strategic thinking, powerful creative work and measurable results come together. The Grand Effie is not guaranteed each year and is awarded only when a case meets the exceptional standard required.

The 2026 Grand Jury will meet in person on Thursday, 10 September 2026, to review qualifying Gold-winning cases and determine whether any campaign stands above the rest as the year’s most effective work.

‘The Grand Jury represents one of the most senior and considered moments in the Effie process,’ said Gillian Rightford, ACA Executive Director for Effie South Africa. ‘This panel is drawn from the highest levels of client and agency leadership, bringing together deep experience across marketing, strategy, creativity, media and business. Their role is to look beyond the award level already achieved and determine whether a case truly represents effectiveness at its peak. That requires judgement, rigour and a clear understanding of how marketing creates measurable value.’

The 2026 Grand Jury will be co-chaired by Refilwe Maluleke, Executive Head of Marketing at Discovery Health, and Ahmed Tilly, Creative Consultant at Number 10 | A Creative Consultancy.

The 2026 Effie South Africa Grand Jury:

– Refilwe Maluleke, Executive Head of Marketing, Discovery Health
– Ahmed Tilly, Creative Consultant, Number 10 | A Creative Consultancy
– Bridget Harpur, Head of Marketing, Volkswagen Group Africa
– Carl Willoughby, Chief Creative Officer, TBWA\Hunt Lascaris
– Gugu Mthembu, Chief Marketing Officer, Telkom
– Kagiso Musi, Chief Executive Officer, WPP Media
– Laurent Marty, Chief Strategy Officer, Joe Public
– Neo Makhele, Chief Strategy Officer, Ogilvy
– Roanna Williams, Chief Creative Officer, Boundless
– Robyn Lewis, General Manager: MTN Brand, MTN Group
– Tebogo Motsepe, Executive Head: Marketing Strategy, Nedbank
– Thabang Skwambane, Chief Executive Officer, Nahana
– Vaughan Croeser, Vice President: Marketing, South African Breweries

Winners of the 2026 Effie Awards South Africa programme, including the Grand Effie should one be awarded, will be announced at the Effie Awards South Africa Gala on Tuesday, 20 October 2026.

Effie Awards South Africa is hosted by the Association for Communication and Advertising (ACA) and sponsored by Nedbank, South African Breweries (AB InBev), Unilever, Heineken Beverages, Emeris, IAS, Eat Big Fish, Investec, Boundless and Motion Ads.

EFFIE AWARDS
www.effieawards.co.za

Nedbank IMC Announces Musical Collaboration

Nedbank IMC Announces Musical Collaboration
Siya Metane, SlikourOnLife.

Rather than simply talking about music’s role in marketing, SlikourOnLife will demonstrate it. The Nedbank IMC has announced a new collaboration with Siya Metane, widely known as Slikour, Group CEO and Founder of SlikourOnLife, for its 2026 conference taking place on Thursday, 17 September 2026 at Mosaïek Teatro in Johannesburg or online.

Throughout rehearsal day on 16 September and the conference itself on 17 September, the SlikourOnLife team will capture vox pops, soundbites and voices from speakers and delegates and use them to build an original conference track in real time.

The project is designed as a live test of a broader marketing idea that music can operate not only as entertainment, but as media, culture and a commercially meaningful platform for brands. The track will be developed from a studio space inside the main auditorium during the day, with MC Donovan Goliath introducing the experiment in his opening and checking in with Metane as it develops.

The completed song will then be revealed live as the final moment of the conference, with Metane joining Goliath on stage for The Conference Song: Revealed Live.

The collaboration reflects SlikourOnLife’s broader proposition around music, culture and commercial value. The platform has built its business around helping brands and creators connect more credibly with audiences through African music, content, distribution and cultural participation.

For the Nedbank IMC, the experiment also puts Marketing is Business® into practice, testing what happens when content born inside a major marketing platform is turned into a piece of music and distributed beyond the conference itself.

‘Siya and SlikourOnLife are not coming to tell marketers that music can create cultural and commercial value. They are going to demonstrate it, live,’ said Dale Hefer, CEO of the Nedbank IMC.

Metane has built a career across music, media and entrepreneurship. Best known initially through his work in South African hip-hop, he went on to build SlikourOnLife into a media and cultural platform connecting artists, audiences and brands.

His role at the Nedbank IMC will extend beyond the live song creation, with SlikourOnLife also creating content from the day and engaging with selected speakers, marketers and delegates.

The finished track will be shared across all major music distribution platforms, including Spotify, YouTube and Apple Music, as well as the SlikourOnLife and Nedbank IMC platforms after the conference. This will extend the experiment beyond the event itself, allowing its performance to be measured through streams, shares, saves, reach and other audience engagement.

The collaboration forms part of the Nedbank IMC 2026 theme, Shift Happens™. Are You Ready?, and its broader focus on how marketing is changing across technology, culture, creativity and business.

The Nedbank IMC 2026 takes place on Thursday, 17 September 2026 at Mosaïek Teatro in Johannesburg or online.

Tickets are available here.

Nedbank IMC
www.imcconference.com

Visit The Modern Marketing Expo For The Latest Trends In Advertising, Media, Promotional Products And More

Visit The Modern Marketing Expo For The Latest Trends In Advertising, Media, Promotional Products And More

Experience the latest trends in advertising, media, promotional products, branded apparel, AI design and content technologies, marketing technology, at the Modern Marketing Expo 2026, where brands build momentum. The event is taking place 8-10 September at the Gallagher Convention Centre, Johannesburg.

This is Africa’s focused marketing expo for marketing professionals, who can also see the latest developments and innovations in: signage, displays, visual communication, print and production technologies, digital experience and engagement, as well as retail and shopper marketing

Supercharge Your Marketing At The Modern Marketing Power Hour

Industry leaders will share their expertise and insights in the ever-evolving field of marketing at the free-to-attend Modern Marketing Power Hour, taking place in Hall 3 at Gallagher Convention Centre.

Please register online for free attendance to the Modern Marketing Expo, taking place 8-10 September, 9am-5pm at Gallagher Convention Centre. The event is co-located with: Sign Africa, FESPA Africa, Africa Print and Graphics, Print and Sign expos.

MODERN MARKETING EXPO
+27 11 568 1894
https://modernmarketingexpo.co.za

Patience And Persistence Are Key To Success

Patience And Persistence Are Key To Success
Barry Venter, Nashua

Barry Venter, CEO of Nashua discusses how to keep a legacy brand relevant in a fast-changing market. As technology, customer behaviour and market conditions change, businesses need to keep up. In some cases, that might mean making wide and deep changes to the business model to ensure that the company remains relevant. The challenge for a well-established business lies in innovating and evolving, while retaining its brand equity and customer relationships.

At Nashua, we have gone through a significant business transformation over the past decade, from office automation specialist to a major player in the ICT industry. Before that, we evolved from a specialist in the sale and service of liquid toner copiers into an office automation leader.

Here are some of the lessons that our over 50-years history offers for other businesses that are reinventing their legacy brands for the digital age:

Innovate Within Your Offering

Evolution starts with rethinking what you already provide and looking at how you can leverage existing infrastructure and customer relationships to grow. You don’t need to build something completely new or abandon existing businesses to remain relevant. Our approach was to expand into areas that were adjacent to our existing business to meet new customer requirements.

Invest In The Skills Your Industry Needs

Investing in new skills is expensive and it takes time, but it is essential. Building the right team is as important as building the right product. There is a balancing act between ensuring the continuity of the core business, while investing in the revenue streams of the future.

With our move beyond print into ICT, we had to invest in new skills, including presales, implementation, and after-sales specialists, to support our expanded solutions.

Bring Existing Partners With You On The Journey

As a business changes and evolves, the support of its existing business partners is as important as building new vendor relationships. Customers are more likely to trust you with new solutions if you build on established relationships. A strong partner ecosystem also helps smaller companies to compete more effectively by pooling knowledge, resources, and reach.

Respect Heritage Clients, But Focus On New Ones

A successful reinvention is one where you don’t leave your existing customers behind. We still support many customers that depend on legacy print solutions and who are not yet ready to invest in digital solutions. We continue to serve this market, while prioritising the next generation of SMEs with needs in connectivity, cybersecurity, and green energy. Balancing the old and the new helps maintain credibility with long-time clients, while showing newer ones that you are forward-looking and relevant to their needs.

A Solutions Mindset Pays Off

Business reinventions pay off when they are oriented towards solving your customers’ problems. Over the past 10 to 15 years, we’ve moved away from the ‘box drop”’mentality of selling equipment, towards providing turnkey solutions that help customers achieve their goals and future-proof their operations. One element of this is building industry-specific solutions for each sector, from agriculture to education and beyond.

It’s A Journey, Not A Flick Of A Switch

Perhaps the biggest lesson is that reinvention takes time. Our evolution spanned decades, not months. Patience and persistence are the key to success, especially when bringing new offerings to market. Reinvention is not about one big launch, but about steady, deliberate steps to change the business. Each improvement lays the groundwork for the next. Over time, these incremental changes build trust and position your brand as a long-term partner to its customers.

NASHUA
https://www.nashua.co.za

Rethinking Retail Spaces And Retail Marketing

Rethinking Retail Spaces And Retail Marketing
Camagu Sam, Mall Ads.

As foot traffic patterns shift and e-commerce continues to place pressure on physical retail, malls are having to reinvent their value proposition.

In this practical session, which will be held during the free-to-attend Modern Marketing Power Hour, Camagu Sam, Senior Sales Manager, Mall Ads will explore how treating physical retail space as a structured media network, rather than simply a leasing asset, is reshaping the economics of shopping centres, with implications for retail marketing, and shopper engagement.

Topic: Rethinking Retail Spaces and Retail Marketing
Wednesday 9 September 12:30-13:30

Book your free slot here.

The event is taking place at the Modern Marketing Expo. The sessions will be held on the Balcony in Hall 3 at Gallagher Convention Centre.

Please register online for free attendance to the Modern Marketing Expo, taking place 8-10 September, 9am-5pm at Gallagher Convention Centre. The event is co-located with: Sign Africa, FESPA Africa, Africa Print and Graphics, Print and Sign expos.

MODERN MARKETING EXPO
+27 11 568 1894
https://modernmarketingexpo.co.za

The Copyright Lessons Behind A Recent Celebrity Dispute

The Copyright Lessons Behind A Recent Celebrity Dispute
Amani Patel, Spoor & Fisher.

Amani Patel, with oversight by Marco van der Merwe (Partner) at Spoor & Fisher, writes that a recent copyright dispute involving media personality Ntando Rambani (née Duma) and photographic agency Pixel Kollective has highlighted a common misconception about photographs and copyright.

The dispute arose after a photograph, in respect of which Pixel Kollective owned the copyright, was allegedly used in a commercial advertising campaign without Pixel’s permission. Although Pixel was credited when the image was originally shared on social media, the subsequent commercial use of the photograph ultimately resulted in a damages award for copyright infringement.

The case raises an important question: who owns the rights to a photograph – the person depicted in it, the photographer who captured it, the person who employs the photographer or the person who commissioned the taking of the photograph? The answer is not always straightforward.

With social media making photographs instantly accessible and easy to share, it is common for individuals and businesses to assume that a photograph may be freely reused provided the photographer is acknowledged. However, while attribution may be courteous and, in some circumstances, contractually required, it does not authorise the reproduction or commercial use of a copyrighted work.

In South Africa, copyright in original photographs is governed by the Copyright Act 98 of 1978. A photograph is an artistic work for purposes of this Act, and the ‘author’ of a photograph is the person responsible for its composition. Importantly, authorship and ownership are not necessarily the same. While copyright generally vests in the author, until it is assigned, the Copyright Act provides circumstances in which ownership may initially vest in another person.

In the context of photography, the person who takes the photograph will generally be the person responsible for its composition and, therefore, its author. However, this is a question of fact. The person appearing in the photograph is not its author simply because they contributed to the scene. In the Ntando Rambani matter, the Court considered whether Rambani’s attire, appearance, make-up, hair, pose and input regarding the location made her responsible for the composition of the photograph. It concluded that these contributions did not make her the author of the photograph.

Ownership of copyright in a photograph may nevertheless vest in someone other than the author. Where the photograph is authored in the course of a contract of employment, service or apprenticeship with a newspaper, magazine or similar periodical (i.e. a media business), and is made for this purpose then the media business is the owner of the copyright in the photograph in so far as it relates to publication of the photograph in the newspaper, magazine or similar periodical, but in all other respects the author is the owner of the copyright.

Where a person commissions the taking of a photograph, pays or agrees to pay for it, and the photograph is made pursuant to that commission, the commissioning party is the owner of the copyright. Importantly, however, this statutory ownership rule applies subject to any agreement excluding its operation. The parties can therefore agree to exclude the default ownership rule.

This distinction was particularly relevant in the Rambani dispute. Pixel Kollective had been commissioned by Homecoming Events to photograph the event and was paid for its services. This arrangement would have vested ownership of the copyright in Homecoming Events. However, in this case, the evidence showed that Pixel’s standard terms provided that copyright remained with Pixel unless otherwise agreed. In other words, the parties agreed to exclude the statutory ownership rule. The Court accordingly found that Pixel had retained ownership of the copyright despite having been commissioned by Homecoming Events to take the photographs.

Importantly, the position is unaffected simply by who appears in the image. The subject of a photograph may have separate rights relating to privacy, personality or contractual arrangements, but those rights are distinct from copyright ownership. Being depicted in a photograph does not, by itself, give a person ownership of the copyright in the photograph.

This distinction has become increasingly relevant as brands, influencers and content creators regularly reuse photographs across social media platforms and marketing campaigns. A photograph may have been posted publicly, shared by the individual featured, or credited to the photographer, but none of these factors necessarily entitles a third party to reproduce or use it for commercial purposes without the copyright owner’s permission.

Before using a photograph in advertising, promotional material or sponsored content, businesses should therefore ensure that they have obtained the necessary permission from the copyright owner. Equally, influencers and public figures should be aware that their ability to use images of themselves may be subject to consent from the copyright owner, particularly where the images are used for commercial purposes rather than merely shared as part of ordinary personal social media activity.

The recent dispute serves as a timely reminder that copyright protects the original expression embodied in a photograph, including the skill, judgment and creative input involved in its composition. It also demonstrates why it is important to distinguish between the person depicted in the photo, the author of a photograph and the person who owns the copyright in it.

The lesson is a simple one: crediting the photographer may acknowledge their work, but it is not a substitute for obtaining permission to use it.

SPOOR & FISHER
www.spoor.com

Legacy Brands Have To Do The Work Of Justifying What They Continue To Charge

Legacy Brands Have To Do The Work Of Justifying What They Continue To Charge
Jenni Pennacchini, Managing Partner, KLA

Jenni Pennacchini, Managing Partner, KLA, outlines why legacy loyalty in the motoring sector is softening and value is the new deciding factor. Historically, the badge has settled the argument in the South African car market. Heritage, engineering reputation, and the implied promise of long-term reliability did the heavy lifting, and buyers accepted that a premium meant pedigree, and pedigree justified price.

In a study we recently undertook at KLA into the changes occurring with the challenger brands in the motoring sector, the results tell me that this deal is unwinding.

The headline number is well known by now. NAAMSA data referenced in the study shows challenger brand share of new vehicle sales has roughly tripled in four years, from around 3% in 2020 to 11% in 2024, in unit terms, from just over 10,000 vehicles a year to more than 52,000. What is more telling is where that share has come from. It has not come from the elite end of the market, and it has not come from buyers who were never going to buy a legacy brand in the first place. It has come from the middle, and it has come from buyers who used to be legacy customers.

The study identified four buyer mindsets shaping car choice today: Aspirational Upgraders make up 36% of the market, Cautious Considerers 27%, Smart Value Maximisers 20% and Established Loyalists 17%. The composition of these groups is where the story lives. Among current challenger brand owners, Smart Value Maximisers make up 34% of the base, against just 21% of legacy brand owners. Established Loyalists, the consumers who reduce uncertainty by sticking with what they know, represent 19% of legacy owners but only 6% of new-entrant owners.

In other words, the switch is concentrated exactly where legacy brands cannot afford to lose ground. Aspirational Upgraders, who want a premium feel at a real-world price, sit at 35% of legacy owners and 49% of new-entrant owners. The buyers most open to paying for the upgrade are the ones who have already decided the upgrade does not need to wear a German badge.

Loyalty has not disappeared, but it has softened. And the study showed me how rational that softening actually is. One respondent put it plainly, ‘Driving a BMW X3 for the look, whereas now, will rather spend money on my house.’ Another respondent, in our highest vehicle-value focus-group cohort, said, ‘It is no longer about a definition of value for money, it is now the re-definition of value for money, which is connected to me losing my ego and being sensible.’

This is not about consumers reluctantly trading down. It is consumers consciously trading sideways, or in many cases, trading up on tech, space and warranty while paying less.

The category has shifted from asking ‘can I trust this brand?’ to a much more demanding question, ‘what is this brand doing for me, right now, that justifies its cost?’ Heritage answers the first question, it does not answer the second.

For the motoring sector, the implication is uncomfortable but workable. Elite legacy brands remain the gold standard that new entrants are still emulating, they are not the casualties here. The casualty is the mid-tier. Too expensive to compete on value, and no longer prestigious enough to compete on aspiration, mid-tier legacy brands are squeezed by both ends of the market simultaneously. The cars themselves are not the problem. The value story around them is.

The brands that respond to this will not be the ones that cut prices. They will be the ones that bundle features into simpler, more inclusive packages, extend warranties to match buyer expectations, and explain, in language consumers actually use, why their cost is worth it today, in this economy, for this driver. The challenger brands have done the work of reframing what consumers think they are entitled to expect. Legacy brands have to do the work of justifying what they continue to charge.

The share is not coming back on its own. The buyers who switched did so consciously, and the buyers who are watching them switch are taking notes. The window to respond is open.

Project Crossroads is a proactive study by KLA, conducted in 2026. The research combined a quantitative panel survey of 1,082 South Africans through KLA’s YourView Consumer Panel, four focus groups in Gauteng with recent new-entrant vehicle buyers, and ethnographic interviews with five higher-LSM households in Gauteng and the Western Cape, layered over desk research and NAAMSA industry data.

KLA
https://kla.co.za/

Why Data Is As Important As Measurement When It Comes To AI

Why Data Is As Important As Measurement When It Comes To AI

In many organisations, especially in sectors like financial services and retail, AI has moved to a board-level mandate, and chief marketing officers (CMOs) are being asked to do more with their AI tools while still hitting short-term performance targets.

According to recent McKinsey insight, while 90 percent of CMOs are currently experimenting with AI use cases, less than 10 percent have either scaled it or captured value across marketing workflows. Digital marketing specialist, Incubeta, however, says CMOs are facing growing pressure to scale AI initiatives, often without the necessary strategic, data, or measurement foundations in place.

The gap between that pressure and the organisation’s readiness often shows up as operational paralysis. Leaders worry about disrupting what already works, introducing new risks and being unable to clearly prove the impact of AI-driven change.

That anxiety is amplified by how AI is often sold, with too many conversations treating it as a magical elixir.

‘The first and biggest misconception is that AI is just one thing, like it’s a single lever that you pull,’ said Courtney van Zyl, Client Solutions Partner, at Incubeta. ‘In reality, it cuts across creative generation, media bidding, forecasting, audience modelling and more, each with different risks, data requirements and pay‑offs. When brands adopt it as a category rather than asking which specific problem it’s solving for them, disappointment is almost guaranteed.’

According to Calvin van Rensburg, Client Solutions Partner at Incubeta, the correct approach is to start with the problems, not the platforms, ‘On the media side, that looks like tools that ingest performance data and use machine learning to decide when to intervene with bid or budget changes. On the creative side, it means using AI to generate and iterate assets at a speed that finally matches digital media’s always‑on cadence,’ he said.

Van Zyl says the performance gains of this approach don’t live in a single channel or a single tool, ‘The most consistent gains we’re seeing aren’t concentrated in one single channel or function. They’re showing up wherever we replace the guesswork with the better signal. That might mean smarter bidding, more context‑relevant creative, or sharper audience definitions. It’s clear that AI works best where it upgrades the signals feeding decisions and where teams have the discipline to test whether that upgrade is real,’ she explained.

That discipline is becoming more important as attribution gets messier. Privacy regulation, walled gardens and AI‑driven optimisation inside platforms have made customer journeys harder to observe end‑to‑end. Van Zyl argues that attribution is shifting from something that could be measured with some certainty, to something that now has to be modelled with confidence.

The answer is triangulation: Media mix modelling (MMM) for long‑term, cross‑channel impact; day‑to‑day analytics for operational optimisation; and structured experiments in areas like creative and predictive audiences. Van Zyl says the goal now is measurement you can trust directionally, act on, and stand behind, confidence you can defend, not certainty you can’t.

For CMOs in privacy‑heavy sectors, like financial services, data is as important as measurement when it comes to using AI. Van Rensburg explains that clients only ever share information that has been properly consented, and that his team is clear upfront about the specific data they need and whether the client has permission to provide it. These signals are securely hashed or encrypted to platform standards and anonymised beyond typical cookie levels.

However, both are clear that the bigger constraint inside large brands is rarely data volume. Financial institutions in particular often hold a lot of data that isn’t necessarily aggregated or put together in a manner that speaks between the operational silos. ‘Governance and hygiene, including connecting, cleaning and mapping datasets to defined use cases, is the real foundation,’ Van Zyl cautions.

While many teams still treat AI as a magic replacement for human work, it functions far better as an add‑on than a substitute. It still needs human judgement to shape and refine the output, and there are hard cost limits on how much can realistically be automated.

Both specialists agree that the real advantage lies in how well organisations structure their data, processes, and decision‑making around AI, and in using it selectively where it genuinely adds value rather than deploying it everywhere for the sake of appearances.

And the benefits of the correct approach could seriously move the needle for many organisations. As McKinsey points out, ‘Get it right, and our experience with multiple companies indicates that 4 to 7 percent revenue growth, two- to threefold improvements in productivity, and 60 to 70 percent savings in execution-related tasks are possible with AI.’

INCUBETA
www.incubeta.com

Toyota Campaign Celebrates South Africa And Its People

Toyota Campaign Celebrates South Africa And Its People

The Toyota Hilux has become ingrained in communities’ everyday lives and is a testament to the toughness, reliability, strength, and grit that see South Africans rise above their challenges. Inspired by everyday South Africans, Publicis Groupe Africa’s Studio One team, wanted to showcase the heart and soul of the lived experience in South Africa.

To do this, three film pieces were conceptualised to intentionally portray different cultures and experiences, while also echoing the common experiences, and toughness and grit that South Africans show every day.

Award-winning film director Amr Singh, who is known for his striking visuals and impactful storytelling, directed the three Hilux pieces produced in Afrikaans, English and isiZulu. A full cast, stirring words, and Amr’s vision perfectly encapsulates the grit and resilience that South Africans pride themselves on. From early mornings to long hours at work. From touching family moments, to helping others in need. In every instance, the New-Generation Hilux is there.

Peet Engelbrecht, Executive Creative Director at Studio One, said, ‘We wanted to create an ad that celebrates our country and people. The New-Generation Hilux campaign is first and foremost a celebration of South Africans’ toughness, before it shows the Hilux’s role in helping them when there’s tough to be done.’

The much-anticipated New-Generation Hilux, with its completely refreshed exterior and interior, is now available from Toyota dealerships nationwide. And, like the Hilux generations before, the New-Generation Hilux will also be built right here on South African soil, at Toyota South Africa Motors’ Prospecton Plant in Durban.

New-Generation Hilux drivers can enjoy a redesigned cabin, while improved ergonomics, enhanced suspension tuning and electric power steering ensure comfort, stability and control on any terrain. The seamless connectivity and Toyota Remote features available through the MyToyota App also create a premium and intuitive driving experience.

Rethabile Bopape, Advertising Senior Manager at Toyota South Africa Motors said, ‘The New-Generation Hilux remains rooted in its legacy as a workhorse that is tough enough to tackle anything South Africans can throw at it. Through this campaign, we wanted to celebrate the different ways in which South Africans from all walks of life use the Hilux, while also positioning it as an intuitive and lifestyle-oriented drive.’

You can watch the all the ads here: English, Afrikaans and IsiZulu.

The advertising campaign for the New-Generation Hilux extends across TV, Cinema, out-of-home, print, radio, and digital channels.

PUBLICIS GROUPE AFRICA
https://publicisgroupeafrica.com/

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