adobo Exclusive

adobo Exclusive, Design, Featured

SoFa Design Institute Rockwell: A campus designed by students, for students

Written by celina.guinoo

MANILA, PHILIPPINES — SoFa Design Institute, a leading fashion school in the Philippines, has unveiled its newest campus at Proscenium Rockwell. This new space marks a significant chapter in the institution’s history, with the students taking on a more proactive role in the project alongside SoFa staff, from its conception to the building’s final design.

Architect Dana Manimbo, a SoFa faculty member, revealed that the campus’ design emerged organically from a regular student workshop; the exercise was not initially intended to be a blueprint for the new campus.

“We started by generating concepts and planned to pass them on to the board of directors,” Dana explained. “However, the board encouraged us to develop the ideas further. The philosophy behind the campus became clear: it should be designed by students, for students, with our guidance.”

Architect Kenneth Baltazar, another SoFa faculty member, also shared that the 12 students’ ideas were seamlessly integrated because they listened. He explained, “We try to democratize their opinions by involving them throughout the project’s progress. We established open communication with them, including the leaders and deputy leaders.”

Hinging on deeper narratives

The design process used for this project is called the “SoFa Method,” which centers on narratives and the essence of being.

17 years since its inception, SoFa emphasizes the importance of authentic narratives. The school’s design method encourages students to generate original ideas rather than relying solely on visual references like Pinterest.

“Every design project at SoFa is grounded in a personal or meaningful narrative,” Dana explained. “We believe that design is a problem-solving tool with a story to tell.

By tracing SoFa’s roots in fashion, the students and mentors played around with the idea of fabric and eventually arrived at the concept of a blank canvas — a metaphor for every student’s creative journey.

Ivy Bondoc, a student on the project’s conceptual team, explained how they were guided by the SoFa method. “We begin by generating an idea through a mood sculpture. From there, we experiment with forms, shapes, and other elements that capture the essence of the initial concept. Next, we plan the overall design, including floor plans and layout. Finally, we develop detailed drawings and proceed with construction.”

“The SoFa method is essentially a process of introspection,” Kenneth emphasized. “By engaging in self-reflection, we seek to uncover the most fundamental ideas. From these core concepts, we strive to translate abstract thoughts into tangible realities.”

For those who have been doing creative practices, the SoFa method may already be reflected in their work, even if they aren’t consciously aware of it. As Cha Barreto, a student and core team member, explained, “The SoFa method helps us craft a narrative for our designs. This approach prevents us from simply copying and pasting existing designs. Instead, it enables us to create unique designs tailored to the specific client or project.”

“Every design becomes a story, with a distinct background and context,” Cha continued. “It’s not just about selecting a particular color, theme, or style; it’s about developing a highly specialized design that has a compelling narrative.”

SoFa’s adaptable spaces

SoFa prides itself on a boutique approach to education, and the new campus reflects this philosophy. The space is designed to adapt to the changing needs of students.

“We visualized the campus as a journey, starting with a sharp turn and gradually curving into a smooth loop, like a runway,” Dana described.

“Classrooms can be transformed into larger workshops or smaller spaces to accommodate various student activities,” she furthered. “The campus’ elements are highly adaptable, with folding doors that allow classrooms to be combined or separated as needed.”

The design studios are dedicated to lectures and classes, while the interior design lab focuses on technical skills like drafting. The fashion lab, equipped with sewing machines and pattern-making tables, is tailored to specific fashion-related activities.

The campus also features a “Collab Space” made for hosting student activities, events, and photoshoots.

A Campus Designed by Students INS 12 1 — **Amina Aranaz-Alunan**

SoFa Co-founder and President, Amina Aranaz-Alunan, envisions the campus as a design hub that extends beyond the student body.

“We want to open the campus to the community for events, exhibitions, and even photoshoots,” Amina said. “With the upcoming performing arts theater, Proscenium will become a cultural center, and we are excited to be a part of that vibrant environment.”

Amina added that putting up the campus in Rockwell Center was a strategic move: “Rockwell has a strong history of supporting design and creativity, making it an ideal fit for SoFa.”

“We live design”

SoFa’s philosophy has profoundly shaped each of the students for this whole experience. Aubrey Madridejos shared, “It’s ingrained in our belief that design is a constant journey of creation, growth, and knowledge sharing,” reflecting the school’s commitment to making design a fundamental part of their lives and careers”’

A Campus Designed by Students INS 13 — **Loralee Baron-Soong**

SoFa Design Institute’s credo, “We Live Design,” encapsulates its mission to elevate the Philippine fashion industry to global standards. As Amina put it, “We wanted to create a space where Filipino designers and creatives could thrive and compete globally. Our goal is to contribute to the nation’s economy and identity through design.”

Ivy shared her vision for the latest campus: “We envision students entering the school and developing into future creatives wherein they can start their creative journeys”

The need for creative spaces

Creativity is a spark ignited in the minds of individuals and nurtured within communities.

As former DepEd Secretary Sarah Duterte’s order to remove classroom decorations was highlighted earlier this year, the need to cultivate and protect spaces where creativity can flourish is paramount.

In contrast, the recognition of historical buildings like the 96-year-old First United Building at the recent Good Design Award Philippines as a vibrant hub for creative communities underscores the enduring value of preserving such spaces.

SoFa Design Institute’s new campus demonstrates that creative spaces are essential for nurturing talent, fostering innovation, and driving economic growth. These spaces are a guide, calling for a society that prioritizes creativity and imagination, where individuals are empowered to express themselves freely and contribute meaningfully to the world around them.

SoFa Design Institute would like to extend their gratitude to the dedicated students who contributed to the design and development of the campus: Bernadette Raralio, Aubrey Madridejos, Pax Carpio, Ivy Bondoc, Toni Constantino, Aki Anicoche, Ritz Beltran, Cindy Choi, Carmel Azimi, Charms Mercado, Cha Barretto, Krice Samson, and Mica Ferrer of SEED (Society for Empowerment in Education and Design).

August 30, 2024
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adobo Exclusive, Brand & Business, Featured

Kapwa Studioworks: A proudly Filipino-founded studio in Australia that boasts heart, culture, and humanity

Written by Pauline Nacar

NEW SOUTH WALES, AUSTRALIA — Just weeks before the 2024 Paris Olympics, where American gymnast Simone Biles added four more medals to her name, The Washington Post published an infographic detailing her remarkable contributions to the sport. The post, featuring animated illustrations of Simone executing her signature moves, quickly went viral — not only for the story itself but also for the stunning graphics that showcased the fluidity and precision of her performances. After much clamor in the comments to identify the creatives behind the work, The Washington Post credited Kapwa Studioworks — an Oscar-nominated studio based in Australia that is proudly Filipino-founded.

In this story, adobo Magazine puts the spotlight on Kapwa Studioworks and its commitment to people, culture, and craft. Through an exclusive interview with Founder and Creative Director Robertino Zambrano, along with Producer and Development Executive Dulce Aguilar, the studio leaders opened up about how the Simone Biles project came to be, the humanity behind Kapwa’s striking works, and championing Asian heritage and culture through animation.

On culture: Kapwa as a beacon of Filipino-Australian identity

Robertino Zambrano, who was born in Quezon City, Philippines but migrated to Australia as a baby, set up Kapwa Studioworks back in 2013. For anyone familiar with the Filipino language, the studio’s name offers a glimpse into the identity of its creators. In Tagalog, kapwa embodies “connection,” a concept uniquely and intricately linked to national identity. Translated to English as “fellow” — whether it be fellow countrymen, fellow Filipinos, or fellow Asian immigrants — the term underlines a shared history and collective experience. This concept resonates particularly with those who, while influenced by the evolution of the Filipino diaspora, remain enriched by their deep ties to their homeland.

KAPWA Founder Robertino 2024 Insert Photo

“For years as a young creative growing up in Australia, we were conditioned to try and blend in as much as possible. The prevailing identity of design was always European or Western-centric during my formative years,” Robertino recalled.

“Being an Asian creative — let alone a Filipino creative — didn’t feel sexy. At one point, I remember even brainstorming an early design studio with some colleagues (we were all Asian), and the elder of us pointed out sadly: ‘We need to get a white guy on the team — no one will take a bunch of Asians seriously here.’ This thought stuck with me. So when I started my studio and named it Kapwa, my hope was to flip that script, and adorn what I hoped would be a successful, world-renowned studio with a word from a tiny island nation in Southeast Asia — my home country.”

“At Kapwa, we currently have four full-time employees who are Filipino. And on all our projects, we have retained a continuing crew headcount of at least 50% Asians on our crews. Our latest series project in development, Fish Boi, focuses on local Filipino stories, and it is our intent to crew as much of the production as possible with people from the Filipino community,” he furthered.

As for Dulce Aguilar, who was born and raised in Sydney, her ties to the Philippines stem from cultural traditions embedded in family gatherings — the rosary prayers, the sound of mahjong tiles, paying respects to elders with a respectful mano, traditional tinikling dances, and of course, the food. Now with kids of her own, she shared that it’s been a major driving force to build a deeper connection with her ancestors and culture to pass on traditions to her own family.

“It’s a major reason why teaming up with Kapwa was the next natural progression for me. Our plans to build, encourage, and shine a light on stories from the Filipino diaspora and share them on a local and worldwide platform is our way of giving back and contributing to the culture that has defined our identity and hopefully encourage the next generation to find their community,” she explained.

They also shared that this year, Kapwa is intentionally putting more focus into its culture, having been accepted into Screen Australia’s Enterprise Business Program. This will support the firm to set up a dedicated Film & Episodic Division aimed at developing a diverse slate focused on creating culturally-focused content, for and by the Filipino-Australian community.

On craft: Keeping “The Creative” at its core

A quick look at Kapwa’s portfolio and it’s apparent that it is a studio that values high-level craft and storytelling. Each work may tick off the basic boxes of creativity — visually enticing enough to capture one’s attention, moving enough to inspire action, and effective enough to tell the story behind it — but there’s also a profound sense of heart in its projects that hint at the depth behind each piece. There’s something distinctly emotional about them; as if the lines, colors, and movements allude to a whole other story beyond the one it’s telling upfront.

For example, its work for Community America tells the story of collective ambition and the spirit of community, but its sketch-like illustration also seemingly showcases a dream that is a work in progress, or a goal that is so vigorously pursued, its actions are too quick in motion to commit to permanence.

“Fluidity and movement is at the soul of our craft — animation. A stylized, heavily reduced, hand-drawn raw sketchy style has the power of evoking a more emotive reception of the moving moment to the audience,” Robertino noted on the studio’s love for hand-drawn illustrations. “The physical wet and dry media elements induce an organic feeling of expressiveness that is intimately familiar to all people watching or playing sports. Like the expressive sketches, they remain as blurry, fleeting elements, or heavily focused elements — when we see these things moving past us, at speed, we never completely capture these memories as crisp, 20-megapixel images in our minds.”

“By reducing the fidelity and resolution of these designs, it leaves more room for the theater of the mind to fill in the gaps, making the viewer a greater participant in the animation.”

Another notable piece is American singer Billie Eilish’s Happier Than Ever preview, which illustrates the artist’s notions of body image, gender representation, and objectification. Aside from representing the direct message the accompanying audio is telling, the two colors used — red and black — effectively bring to mind blood and emptiness as it presents an image of a woman constantly splitting herself in half to cater to the world’s demands. The overall effect creates a hollow and almost haunting sense of soullessness, which takes the story a step further from its primary message.

Robertino explained, “I’ve always liked playing with silhouettes and minimal suggestive lighting. There’s a certain playfulness you can have with suggesting objects, people, or forms with as little information as possible. Black is a powerful emotive color — it evokes darkness, and conversely, it evokes light in its absence. As a word in a vocabulary of color, black evokes power.”

Unknowingly, in talking about the studio’s creative values, its leaders touched on this author’s unspoken question: How could emotions be so present and rich in Kapwa’s diverse portfolio? Both Dulce and Robertino underlined humanity.

“That at the core of every project is The Creative,” Dulce started. “That every project is inspired by something personal and authentic making it unique; That it’s always about fun and loving what you’re doing; That you’re either always learning something, or sharing your knowledge.”

“But I think what’s common in all our values is that it’s about the People and Heart,” she stressed.

“On a human level, we aspire for our projects to evoke a sense of humanity, soulfulness, and cultural authenticity,” Robertino added. “On a craft level, we seek to elevate traditional and new crafts and search for a challenging blend of authentic, courageous, and surprising design. We always seek to celebrate traditional, human-driven craftsmanship, and to embrace new technologies, and then bend them to make things that we, as humans, need and want.”

Culture, craft, people — It all goes back to people

Bringing it back to one of our very first icebreaker questions for Robertino and Dulce, both creatives’ ways to replenish their creative juices include very mundane, everyday human activities. For Robertino, it’s music, nature, museums, and art galleries (in that order). Music, he described as an incredible catalyst for the theater of the mind. “It can deliver so much feeling, mood, story, character, and journey. There’s a reason why the moving image and music are so intertwined.”

He added, “Secondly I always reach out to nature and the surrounding world as inspiration — stepping away from the screens and my work zone is essential to putting the mind in a relaxed state where the most optimum creative thinking thrives. I also find that the forms, shapes, and movements in nature offer a timeless creative prompt from which we can elicit inspiration.”

Dulce, on the other hand, turns to other forms of storytelling. “I like to make sure that I’m watching as many current TV shows and Films as possible. I’m always looking for a great recommendation to get stuck into. The latest shows being The Bear, and (I know I’m late to the party) Beef.”

“But I also like to step away from the screen,” she noted. “I listen to podcasts, watch a theater show, do some yoga, or take a drive to somewhere I’ve never been before. I find giving myself time away and letting your mind remove itself from the daily grind, allows for the creative ideas and solutions to flow in and out and around.”

Both Robertino and Dulce also emphasized collaboration as a key ingredient in their creative processes, reiterating their core value of “people” as an asset to creativity.

Robertino shared, “My favorite part of the collaborative creative process is throwing a design test or motion test to someone, and then seeing what they come back with. When you have a good team that you trust, this unpredictable process becomes a beautiful and surprising process. Nothing can beat that feeling of seeing something and thinking ‘Wow, I never imagined that in my mind, but it looks 10 times better than what I had imagined.’”

“As a Creative Producer, my goal is always to find the right team to bring together to the table,” Dulce remarked. “It’s about finding that right blend of people with a particular skill and knowing their values and what they want to bring into this world, add a dash of their flavor and style, and then bringing them all together to make a beautiful and meaningful piece of work. And for the case of the [Simone Biles project], it was to celebrate an amazing athlete.”

Speaking on the Simone Biles illustration for The Washington Post, they shared that an Art Director from the Washington Post, Beth Broadwater, reached out to Kapwa out of the blue via email asking if they would be interested in doing animations to celebrate the legendary gymnast’s legacy for the Olympics. “It was a no-brainer for us. Simone Biles is an unmatched force in her sport. We had to say yes!” Robertino enthused.

Dulce and Robertino led the project as Producer and Creative Director, but they handed the directing reins to fresh new talents Aki Clayton and Alyssa Mullen, with the support of animators Jin Hien Lau and Theo Sakurai Dahlstrom.

“The team worked closely with Beth and Brian Monroe at the Post to get the animation working well with the digital article, and ensuring our depiction of Simone Biles and her moves felt as accurate as possible. The Post gave the team a lot of creative freedom to pursue the animation in a unique direction developed by Aki and Alyssa. We’re all really proud of this project. It’s amazing how the effect of having a great client partner can result in an enjoyable creative process and a beautiful final result,” Dulce recalled.

What’s next?

For Kapwa Studioworks, the way forward toward the dream is to build a production company that elevates Filipino stories and creatives. “We have several other Filipino-focused animated and live-action projects on our development slate, and are very excited to share them with the world,” Robertino teased.

“Ultimately, the aim is to produce, support, and encourage the creation of other Filipino-Australian cultural stories and content. Stories told by Filipino people, for the Filipino people, to share with the world,” Dulce reiterated, noting the studio’s first animated TV project Fish Boi, set in the ’90s about the Filipino diaspora in Western Sydney. “Right now, this feels like a dream project coming to fruition.”

Finally, when asked about some practical advice for aspiring animators and illustrators, this is what the creative leaders had to say. “The one skill I would recommend is persistence,” Robertino stressed. “I would recommend exploring as many techniques and styles as possible until you find something that makes you excited enough to stick at it long enough to define your own creative voice. If you’re like me, it might be a journey through many different art forms. Consume lots of art, visit museums, or just observe the world around you.”

“There are a lot of courses now available online, like Domestika, Schoolism, School of Motion, Animation Mentor, Ben Marriott’s YouTube channel, and many more,” he added. “And get your hands on Photoshop, or Procreate Dreams, TV Paint, Adobe Animate or After Effects. Get your hands dirty and try make some things!”

Dulce advised, “I’m always of the [mindset] of not limiting yourself. Push past the fear, challenge yourself to try new things, and always be open to learning. This industry is always changing and growing, so change and grow with it. And if it’s not growing and moving with you, don’t be afraid to be the pioneer!”

Connect with Kapwa Studioworks’ story of Asian creative excellence here.

August 30, 2024
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adobo Exclusive, Featured, Insight

Why empathy, curiosity, and play are the key components for creativity, according to Landor’s Teemu Suviala

Written by Salleh

CANNES, FRANCE — In June 2024, the Milan Symphony Orchestra debuted “Growing Uptempo,” a rebrand inspired by the company’s musical core and brought to life through synesthesia. As a percussionist strikes her drums, the orchestra’s logo reverberates along with the beat. A conductor brings his music to a soft swelling, and the logo obliges in perfect harmony. A trumpeter plays a rousing tune, and the screen fills with the song’s dynamics.

“Growing Uptempo” was the fruit of painstaking work by brand consultancy Landor, which created not only the video series that launched the rebrand but also the custom fonts and overall design identity that allowed audiences to “see” the sound of the Milan Symphony Orchestra.

CL 2024 Hero Teemu Suviala of LANDOR Interview Ins 1

CL 2024 Hero Teemu Suviala of LANDOR Interview Ins 2

In an exclusive interview at the 2024 Cannes Lions International Festival of Creativity, adobo Magazine caught up with Landor Global Chief Creative Officer Teemu Suviala and picked his brain on how he and his team manage to come up with such creative ideas — especially for brands.

“[Your] brand is not one thing,” he explained. “Your brand launch is not the brand. Your brand is years of work to create moments of interaction with your audience. In the end, it’s the summary of all those moments and events that formulate the brand in the consumer’s head.”

From this perspective, the Orchestra’s rebrand built its foundation; by creating meaningful moments of interaction — both through the design itself and through the flexibility of its application — Teemu and his team were able to build multiple touchpoints in the audience’s mind.

However, building these touchpoints alone isn’t enough. To truly resonate with the audience, the message needs to have what Teemu identifies as three crucial components of creativity: empathy, curiosity, and play.

“You need to be empathetic. You need to be able to jump into other people’s shoes and understand them,” he said. “This applies to the audiences you are doing the work for, but also your collaborators, your partners, your vendors, and so on. You have to be highly empathetic.”

“The second is you need to be ultimately curious,” Teemu continued. “You have to be curious about everything. And when you’re in your audience’s shoes and if you’re curious, you can see beyond the horizon. You can see where the future could be going and be constantly asking, ‘What if?,’ and be optimistic about those what-ifs and where they can take you.”

“The last piece that is needed is playfulness, that sense of play in everything we do. Play is creativity at its best. It’s no rules, everything is allowed. You’re testing, you’re prototyping, seeing where things go. You’re making mistakes. You just have to watch kids play and take inspiration from there.”

CL 2024 Hero Teemu Suviala of LANDOR Interview Ins 4

CL 2024 Hero Teemu Suviala of LANDOR Interview Ins 3

That deep understanding of what makes creativity resonate is exactly what makes efforts like “Growing Uptempo” work. In a marketing landscape where branding needs to be more multisensorial than ever, it’s this trifecta of empathy, curiosity, and play that will help brands continue to surprise and delight audiences.

Or, as Teemu put it: “Good ideas either make you uncomfortable, or they make you smile. And great ideas do both.”

August 30, 2024
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adobo Exclusive, Events, Featured

BBDO Guerrero’s Andi Olbés & Nikki Sunga get creative on staying creative

Written by Nikki Sunga Andi Olbes

MANILA, PHILIPPINES — Advertising remains a tireless industry – ever-churning, ever-changing, ever-challenging. As the ones behind the campaigns get older, the target market never ages. And when it’s undecided whether the latest tech is innovating the job or coming for it, all creatives can do to simply keep up.

In an industry this unrelenting, creative burnout is inevitable. But according to BBDO Guerrero’s Andi Olbés & Nikki Sunga, Co-creative Directors whose partnership spans over eleven years, there are a few tricks to keep that spark alive. “It’s all about keeping things exciting,” they quipped while jokingly referring to their pairing as “somewhat of a creative marriage” after so long.

bbdo guerreros andi olbes amp nikki sunga get creative on staying creative — BBDO Guerrero’s Andi Olbés & Nikki Sunga, Co-creative Directors.

bbdo guerreros nikki sunga get creative on staying creative — Nikki Sunga

bbdo guerreros andi olbes get creative on staying creative — Nikki Sunga

Proceeding to deliver candid advice on how exactly they’ve evaded getting into creative ruts as a team, the two boiled it down to three unorthodox tips.

Don’t be a dinosaur

“Don’t get salty, get current,” the pair soothed, as the 4As General Members Meeting room understandably recoiled at the thought of ever being referred to as a “DINOSAUR.” Andi explained how in the creative world, it’s not that we don’t age, but rather that we can’t — and it’s our duty to keep ourselves updated.

“Get on the latest apps. Spend time scouring AI, TikTok, IG, Behance, Pinterest, YouTube, OnlyFans? (if that’s your thing!) What are content creators doing? What memes are making waves? What’s on the news? Who’s winning in Cannes? Which ad got a Pencil and who worked on it? Keep up with the trends to have the freshest ideas.”

They shared a collection of seemingly everyday content that could inspire the styles, treatments, and storytelling devices adapted into creative materials.

“Anything but” advertising

“Distraction equals inspiration,” Nikki began, underlining the importance of knowing how to regularly distract yourself to remain curious and avoid burning out.

“Whether it’s going on trips, taking pottery lessons, hosting a horror film fest, reading a book, burning dinner (because you’ve just taken up cooking), or simply changing your desktop image from time to time. Make sure you’re not looking at the same thing day in day out.”

Craft outside comfort

The duo acknowledged the hard-learned lesson of knowing when to challenge yourself to improve your craft, even if this requires maintaining a level of “discomfort in what you’re doing” or “working under pressure.”

“The only way to get good is to get uncomfortable. Be self-aware and know when there’s no more challenge in what you’re doing,” Andi cautioned, while suggesting to actively seek out challenges and be open to unavoidable failure to hone your skills. “Even if it affects how you approach something, what you work on, or where you work,” she concluded.

And while the creative pair admittedly couldn’t have all the answers, “Of course… It’s different for everyone,” they stated. Their unfiltered take on how to bulldoze through those slumps and spark creativity gave us some kindling — including their final fail-safe tip: “take a lot of vacations!”

https://www.instagram.com/p/C-4xBrxzsyu

August 20, 2024
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adobo Exclusive, Featured, Insight

GrabAds’ Regional Managing Director Ken Mandel on Retail Media Networks and the rising advertising power of superapps

Written by Ken Mandel

SINGAPORE — The future lies in Retail Media Networks, and Ken Mandel, Regional Managing Director for GrabAds & Brand Insights, explained why in this exclusive piece that’s all about this transformative shift in digital advertising. In this story, Ken zoomed into a trend that is redefining the trajectory of digital advertising investments, and highlighted how RMNs, leveraging rich first-party data, offer highly targeted and personalized advertising experiences that resonate with audiences at critical moments.

Regional Managing Director Ken Mandel on Retail Media Networks insert — Ken Mandel, Regional Managing Director for
GrabAds & Brand Insights

Ken also shared key findings from a recent study conducted by GrabAds and Kantar, which reveals that Southeast Asia ad spend on RMN is forecast to be consistent with or higher than the global RMN spend.

Digital advertising is a rapidly evolving landscape. Throughout my career, I have witnessed multiple times how technological innovations significantly altered our industry. Now, traditional pillars like Search and Social are increasingly giving way to a new wave of innovation, Retail Media Networks (RMNs). While the term “retail” might be somewhat confusing, the truth is you don’t need to be a retailer to have a RMN platform.

This transformative RMN shift is more than a trend. It’s a strategic response to evolving consumer expectations and industry challenges.

RMNs are already redefining the trajectory of digital advertising investments. Global ad spend on RMNs is forecasted to grow at an impressive rate of 73% over the next seven years. Particularly, Southeast Asia ad spend on RMN is forecast to be consistent with or higher than the global RMN spend. In contrast, global ad spend on Social is projected to grow at 45%, and Search at 47%. These were some of the key findings of a recent study conducted by GrabAds and Kantar.

Brands throughout the world, and in Southeast Asia, are presented with a unique opportunity to embrace RMNs and improve the effectiveness of their advertising investments while offering consumers seamless transactions.

First, let’s understand how RMNs differ from other forms of digital advertising.

Ads in the right context, at the right time

Fundamentally, RMNs are digital advertising platforms operated by retailers or service providers. A large ecommerce platform like Amazon or Alibaba can be an RMN. Superapps like Grab, which offer multiple products and services from transportation, food deliveries and financial services, can also be RMNs. Both types of platforms offer brands targeted advertising opportunities based on real-time consumer data and purchase behaviors within their retail ecosystem.

That’s different to Search or Social advertising, where ads are shown to consumers in the context of researching information, or interacting with friends.

Think of it this way: When you come to an ecommerce site or an on-demand platform, you have the intent to search for something you might want to buy. You are likely to complete the purchase on the same platform.

In other digital contexts, you might research something you want to buy, or get inspiration for something you want — but eventually complete the purchase elsewhere. Brands need to employ complex measurement strategies to understand their customer’s journey across various sites and channels. This requires the exchange of customer data by multiple stakeholders. In today’s data privacy-conscious landscape, the limitations of traditional digital advertising channels like Search and Social are becoming increasingly apparent.

In contrast, RMNs offer a paradigm shift by leveraging rich first-party data obtained directly from user interactions within the platform ecosystem. This invaluable data allows RMNs to deliver highly targeted and personalized advertising experiences that resonate with audiences at critical moments.

There is something more truly magical at work here. Advertising, which has conventionally been a creative field, is becoming more scientific and data-driven. And yet, even creativity in advertising is touching newer heights. Advertisers not only get to have surgical precision to target the right audience, just at the right time; but also be infinitely creative as they engage with consumers throughout their daily lives – from commute, to mealtime, to shopping. Advertisers, and rightly so, are experimenting with ads, across newer formats, that are less intrusive, more personalized, relevant and interactive, and highly contextual.

Measurable Return on Advertising Spend

RMNs offer brands opportunities to reach their customers in the right context, at the right time. But there’s another key advantage over the other forms of digital advertising: the capability to measure the precise impact of an ad campaign.

RMNs give advertisers the superpower to “close the loop,” which is to say they can observe the entire customer journey from viewing the ad, to a potential sales conversion.

If a brand advertises its new product on an ecommerce site or on-demand platform, it sees how many product sales this ad generated, and thus can measure its precise Return on Advertising Spend (ROAS).

This is a massive step up from other forms of advertising. Ads on social networks, alongside search queries, or influencer campaigns, inevitably come with inaccuracies when measuring ROAS, because they occur in different contexts and across different platforms.

This closed-loop attribution, often known as “bottom-funnel,” represents a golden and generational shift in the advertising world. But this is not all. RMNs are equally effective in driving awareness and consideration, offering a “full-funnel” solution. In fact, a McKinsey survey from a couple of years ago revealed that brands were anticipating allocating close to 1/3rd of their RMN budget towards brand-building efforts. One can rightly assume that coming into 2024, this remains as true, if not more, and is a major reason why the popularity of RMNs is rising among advertisers globally as a full-funnel opportunity.

The age of superapps

Southeast Asia, our diverse market of nearly 700 million consumers, is truly unique in the way digital behaviors have evolved alongside superapps. GrabAds’ research with Kantar highlighted that 2 out of 3 Southeast Asians surveyed prioritize on-demand access to products and services. This suggests that Southeast Asian consumers prefer seamless, convenient transactions that fulfill their needs promptly. This means that, unlike other parts of the world, advertisers in Southeast Asia must also tap into the power of RMNs with superapps.

The Kantar study revealed that RMNs have already gained significant traction among brands in Southeast Asia, with 62% incorporating RMNs into their advertising plans. An overwhelming 99% of brands in Southeast Asia are planning to increase their investments in RMNs. And RMN ad spend in the region is projected to surge to US$4.7 billion by 2030.

The rise of RMNs marks a transformative shift towards precision, relevance, effectiveness, and consumer-centric strategies in digital advertising. And this is why they deserve our immediate attention.

August 19, 2024
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adobo Exclusive, Featured, Technology

David & Golyat’s James Bernardo joins Game On: Team-Ups with a piece on adventures that go beyond age

Written by Atelier Bubble Tea

MANILA, PHILIPPINES — “Team-Ups” is an exclusive Game On segment where I invite guest contributors, fellow authentic and hardcore gamers in the advertising industry who are fellow advocates of the Gaming X Marketing narrative.

And what an addition to the Team-Ups team: introducing, Mr. James Bernardo, David & Golyat / Giant Killer Creative Lead! James is the very definition of OG, having won the country’s first-ever Cannes Lions Chimera in 2014, as one of only eight awardees out of more than 900 entries from 79 countries – and more importantly, with a solution that used video games and gamification techniques! That’s nine full years before Cannes Lions even introduced a dedicated Gaming category.

Welcome to Game On, James!

“An Adventurer with Many Faces” by James Bernardo

In the strange and wonderful world of video gaming, age has proven to be no obstacle to immersive virtual adventures, like in my case. I’m James, a 56-year-old “kid,” and I’ve discovered a profound love for RPG games that defy the stereotypes often associated with age and gaming preferences. I started my gaming journey when the very first arcade version of Pong was installed in a local pizza parlor. Yes, I’m that ancient. That fascination grew when hole-in-the-wall arcades started popping up around the city where I lived. Games like Contra, Donkey Kong, Galaxian, and many other titles opened the floodgates of my desire even more. And, when console gaming exploded in the ’80s, I was a hopeless dependent craving for my next dopamine hit.

After many years, I finally got married and thought my gaming days were over. That was the farthest from the truth. When PC-based games like The Sims and StarCraft became popular, I was riding that bandwagon like there was no tomorrow. My wife even jokingly called herself a Sims widow for a time. Role-playing video games took hold of me when I started playing Brigandine for the PlayStation, Legend of Dragoon, Wild Arms, Final Fantasy XII for the PS2, and Dragon Quest. But the one game that pushed me over the edge into the misty, enigmatic, and insomnia-inducing universe of open-world RPGs was Shadow of the Colossus.

For me, the allure of open-world RPGs lies in their expansive and detailed universes, where every corner is filled with hidden gems and surprises. Unlike the linear narratives of traditional games, these games grant players the freedom to explore, create their own stories, and influence the outcome of their virtual adventures.

As a long-time fan of classic RPGs, the revival of the Baldur’s Gate series brings me immense joy. Developed by Larian Studios, Baldur’s Gate 3 seamlessly blends the nostalgia of the original games with modern graphics and gameplay mechanics. I appreciate the strategic depth, intricate character development, and the vast, interconnected world that keeps me engaged for hours on end. I never expected to clock in more than 10 replays just to see the multitude of outcomes based on the choices the characters make.

Likewise, the vast landscapes of the American Wild West in Red Dead Redemption offer me a breathtaking escape from reality. Rockstar Games‘ attention to detail in recreating a bygone era, coupled with a gripping narrative, immerses me in an experience that transcends mere gaming. The realistic open-world setting allows me to relive the glory days of the frontier while forging my path as an outlaw or a law-abiding citizen. The intricacies of the story just keeps pushing further down the rabbit hole.

Ghost of Tsushima, developed by Sucker Punch Productions, has become one of my favorites due to its stunning portrayal of feudal Japan. As a samurai in the game, I am able to navigate a beautifully crafted world, engaging in epic sword duels and exploring the rich cultural landscape. The game’s commitment to authenticity, from the art style to the ambient sounds, resonates with my appreciation for history and diverse cultures. Its exceptional take on the classic samurai revenge trope and tragically-flawed characters keeps me on the edge of my seat every time.

Venturing into the bustling streets of Tokyo’s fictional Kamurocho district, Yakuza has captured my attention with its blend of action, drama, and quirky side quests. As a member of the yakuza, I navigate the criminal underworld, embracing the juxtaposition of serious narrative elements and absurd, humorous moments. Yakuza‘s enthralling design allows me to delve into the heart of Japanese urban life, providing a unique and entertaining experience.

My story challenges preconceived notions about age-appropriate content for gamers. Open-world RPGs have become a bridge connecting generations, fostering a sense of camaraderie among players who appreciate the depth, complexity, and sheer joy these games bring, regardless of age. Through this journey, I walk in different shoes, living countless virtual lives. Playing these games keeps my mind open and helps me understand the magic that draws younger players into these epic adventures.

My journey into the expansive realms of open-world RPGs stands as a testament to the ever-evolving landscape of gaming and the diverse audience it continues to attract. As the gaming industry pushes boundaries, stories like mine highlight the universality of the gaming experience and the profound impact it can have on individuals, transcending age, background, and expectations. With my virtual adventures showing no signs of slowing down, my story encourages others to embrace the magic of open-world RPGs, regardless of where they are on their life journey.

James is a lifelong gamer, a writer, music lover, comics creator, husband, and father.

ABOUT GAME ON

Rey Tiempo is a Creative Gaming Brand Specialist. A hardcore gamer since childhood, Rey is the most awarded creative gaming marketer in Asia, with accolades from the world’s biggest creative industry award shows. A veteran creative head with over 25 years’ experience, Rey leads the Gaming and Marketing conversation in the Philippines and Asia, as Founder of Game On, the first and only ad industry column and portal on Gaming X Marketing, and as Founder and Chief Creative of Co-Op Play, a team of Brand Gamification Specialists. Currently playing: Street Fighter 6, Kunitsu-Gami

Dennis Nierra is a Creative Director at BBDO Guerrero.

August 1, 2024
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adobo Exclusive, People, Remarkable Marketers

Cebu Pacific’s Candice Iyog: ‘Embrace vulnerability and curiosity to grow’

Written by Atelier Bubble Tea

MANILA, PHILIPPINES — As the latest recipient of the coveted Chief Marketing Officer of the Year award at the Asia Pacific Tambuli Awards 2024, Cebu Pacific’s Chief Marketing & Customer Experience Officer Candice Iyog deeply felt that she and her team — whom she referred to as her ‘village’ — have worked hard to uphold everything that encompasses Cebu Pacific to the inclusive and proudly Filipino airline it is today.

From being a homebody indifferent to the idea of travel, becoming a marketing leader of a leading local airline earned Candice a lot of experience, reaping meaningful achievements as a result. “I am honored to have been conferred the 2024 Chief Marketing Officer of the Year Tambuli Award. I honestly still feel that I don’t deserve this because there is still so much we need to do but at the same time, I am elated to have been recognized because I know how hard the people behind Cebu Pacific have worked to give Filipinos a brand that they can be proud of, one that can stand among global low-cost carrier brands, providing safe, reliable, accessible flights, flying to where the Filipinos are and improving the lives of the people in the communities we serve.”

447667799 847943947366624 2898119666889142121 n — Tambuli Awards 2024 Chief Marketing Officer of the Year, Candice Iyog, Chief Marketing & Consumer Experience Officer Cebu Pacific Air.

447849789 848083374019348 4343240287899134953 n — Tambuli Awards 2024 Chief Marketing Officer of the Year, Candice Iyog, Chief Marketing & Consumer Experience Officer Cebu Pacific Air.

“So – this is as much their award as it is mine because it really takes a village and I am so privileged to be in this one because it affords me the opportunity to do meaningful work.”

With open-mindedness, persistence, and resilience at the core of her work, adobo Magazine, the Word on Creativity, sat down with Candice to learn more about her insights on injecting a more human-centric approach to marketing.

Leadership comes with its fair share of challenges. What are some challenges you’ve encountered as Cebu Pacific’s Chief Marketing Officer?

“On a normal day, there is already a lot to do and we are motivated to contribute to nation-building, we take it seriously,” Candice answered, citing that one of the significant challenges they face to this day was the need to adapt to change fast enough, while also looking after the individual needs of the teams and managing towards their desired business outcomes.

“The pandemic was one of the most challenging things we’ve had to face in recent times,” Candice added. “Our people and culture have been one of our secret weapons, one that has helped us weather and overcome many challenging times in our history.”

Can you tell us one of your key ingredients to becoming an excellent marketer?

Discussing her leadership style, Candice mentioned that she heavily resonated with the principles of improv. She believes its core principles — like active listening and building on ideas — can be valuable tools for leaders and marketers.

“Improv is quite vulnerable; you’re not set on what you want, you’re actually playing with each other,” she shared. “It’s not one person’s idea pitted against the other person, but the principle is you accept — hence it’s a ‘yes, and.'”

“The principles apply not just in improv but in leadership, in group dynamics, and working in teams. You’re not looking to be right, you’re looking for what is the best outcome, which means you build off of each other’s ideas.”

Could you share your observations on today’s consumer and digital landscape? How will this affect your marketing framework, objectives, and strategies?

“Customers are becoming more demanding and impatient – that’s why we believe it’s important to make the customer journey more digital over time,” Candice answered. “All these efficiencies then help us focus on the moments that matter and in those moments, we need to ensure we meaningfully connect with our customers – with each other.”

She also mentioned that with the emergence of AI significantly impacting human productivity, it is important for leaders to pay attention to the learning agility of their teams and employees. “As tech and processes evolve, we have to become more critical thinkers, more curious, and part of this is becoming more comfortable with change and vulnerability – it is, after all, the birthplace of creativity.”

“Ultimately, these innovations should be focused on helping people, whether they are our employees or our customers,” Candice concluded.

What developments do you aspire to achieve for your company and your industry as a whole?

“We want to make travel accessible,” Candice emphasized. “There is a direct correlation between travel and our country’s growth; job creation, tourism, and trade are only some of the many sectors that reap several benefits from it.”

It’s a well-known fact among Filipinos that one of Cebu Pacific’s trademarks is affordable fares, enabling them to travel without breaking the bank. At the core of this is the airline’s promise and mission to connect the numerous islands in the Philippines domestically and internationally, further solidifying Filipino communities and inviting more tourists to discover what the country has to offer. “As stakeholders of the Philippine tourism industry, it’s very important for companies like Cebu Pacific to actually take part in building and encouraging sustainable tourism,” she commented.

“Another thing we want to pursue and achieve is to help make travel as easy as possible through digital innovations,” Candice added. “We want to make the Filipino traveler a digital-savvy world traveler.”

Low Fare Effect: Siargao, Philippines

What advice do you wish to impart to marketers, new and tenured?

“Remain curious and don’t avoid conflict, especially difficulties that lead to collective progress. This is hard because it’s not natural to human behavior to go towards doing what is difficult but if we approach this with a learning and solutions mindset, it pushes us to the edge of our capabilities, and in the long run – growth,” she answered. “And of course, remember to have fun and enjoy the process.”

At the Asia Pacific Tambuli Awards, Candice shared how travel expanded her horizons significantly. “The more I traveled, the more I learned; and the more I learned, I realized the more I don’t know. This is when I started to loosen up, chill a little bit, and that’s when I started to become a student of life and experiences.”

From being a homebody to a marketing leader at the helm of a leading local airline promoting sustainable and accessible travel, Candice’s story is a testament to opening one’s mind for lifelong learning, and how curiosity can not only benefit an individual but a whole community.

Tambuli Awards’ introduction to Candice Iyog, Chief Marketing & Consumer Experience Officer Cebu Pacific Air.

adobo Magazine presents Meet the Remarkable Marketers: A CMO Series, where we feature some of the most fearless, agile, and creative brand leaders across Asia. They share inspiration, insights, and key learnings that have shaped their business, from surpassing industry benchmarks and launching effective campaigns to initiating best practices as they navigate through uncertain times.

July 22, 2024
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adobo Exclusive, Featured, Insight

Joji Jacob on judging for this year’s Innovation category at Cannes Lions: ‘We’re on the cusp of something bigger’

Written by Atelier Bubble Tea

Cannes Lions 2024 Innovation Lions Jury Insights INS 2 — **Joji Jacob**

CANNES, FRANCE — At the Cannes Lions Festival of Creativity, the Innovation Lions is a highly anticipated category “where ground-breaking innovations, technology and problem-solving idea that turn imagination into impactful reality solutions” are showcased. Adobo Magazine sat down with Joji Jacob, Regional Chief Creative Officer of Havas South East Asia and North Asia, and Creative Partner and Cofounder of BLKJ Havas Singapore, to get his insights on the work and judging at this year’s Innovation Lions.

The entries in innovation covered a broad spectrum – brand-led innovations, product innovations, environmental innovations, societal innovations, fin tech, and technology, primarily entered by ad agencies, technology companies, and across brands. “There were massive projects from Google, a big campaign from Amazon, and there were small, cute, beautiful little campaigns from different parts of the world,” Joji mused.

In the Innovation Lions category where there is temptation to fall in love with tech and get sucked by technology, Joji resolved that in the jury, “We looked for ideas that is solving a problem, in the easiest way possible, that can scale, is affordable and not expensive, and has maximum impact.” He also reiterated that accessibility was important: “The selection of winners is based scalability, the simplicity of use, massive impact that even the poor can have access like in countries like Brazil and India.”

“We looked for ideas that changed the world and did some good. We were of the consensus that it was important to look for work that had impact with minimum means and with maximum impact.”

“I felt judging innovations was so much more rewarding than just watching the same film again, and again, and again, like a lot of other categories,” he shared. “When people are presenting, you get the get a feel for it, and then they test the products, and you get to touch and feel the product, which is all great.”

“Contrails: Making Flying More Sustainable with Google AI”

Cannes Lions 2024 Innovation Lions Jury Insights INS 1 1

The case study for this campaign reads: Google has conducted research, in partnership with Breakthrough Energy and American Airlines, on one of the lowest-cost climate solutions to aviation emissions, powered by AI. This research is a significant proof point that commercial airlines can verifiably avoid contrails and thereby reduce their climate impact.

Using AI-based image recognition technology and satellite imagery, Google identified contrail forming regions and made slight adjustments to traditional flight paths that would avoid those areas.

Joji remarked the campaign as something mind blowing: “The results are phenomenal. Google, with their data, said they can reduce [the] carbon footprint [of air travel] by 32.3%. [Controlling an] airplane’s flight at a certain altitude when they fly into moisture creates [a] massive [contribution to] global warming. Google crunched all that data and discovered that it is better if a plane just lowers its altitude by, I think, 3,040 feet, and it does [not] create contrails anymore.”

“[Google] worked with American Airlines to do that. Yes, there is an increase [by] 2% [in] fuel consumption, but the carbon footprint offset is massive. They are now rolling it out and you can see the scale of the project. That’s beautiful.”

He added, “The company could have just said, ‘We can have all the bonuses based on this, let’s make money.’ But then what they did with this is completely altruistic. And that’s Google. I found out that Google employees can spend 20% of their time on [these] best projects.”

“Amazon Vanishing Emails“

Joji also noted Amazon‘s “Vanishing Emails” initiative which garnered a lot of attention from the Innovation jury members. “It is a beautiful campaign where you don’t have to get all the emails that offer deals and promotions, [and they] just sit in the inbox forever. That’s annoying and [carries a] massive carbon load as well. So they came up with this idea where your promotion emails just vanish after the promotional date is over.”

Created by VML for Amazon Web Services, the campaign tackled the environmental impact of increased CO2 emissions caused by email storage, effectively aiding the environment without adding extra steps for users.

“The team did an amazing job presenting. The client from Amazon was very passionate. […] You felt he was present and live, that he was talking to you. [You could] feel [it] in this body language, and he had the right tone inflection,” he mused.

“Voice 2 Diabetes”

The case study for “Voice 2 Diabetes” reads: India is home to the second-largest number of diabetes patients in the world. Despite the staggering number of diabetes cases, more than half remain undiagnosed due to various factors including distance, cost, and lack of resources. [To address this], KVI Brave Fund and creative agency Klick Health, Toronto launched the “Voice 2 Diabetes” tool, using vocal biomarker data to diagnose Type 2 diabetes based on the analysis of a person’s voice. This innovation harnesses AI and machine learning techniques to detect subtle vocal changes that are imperceptible to the human ear. By incorporating features like pitch and intensity changes, the tool successfully distinguishes between individuals with and without Type 2 diabetes.

Joji noted the campaign’s simplicity as a vital part of its effectiveness: “It was very simple in terms of usage, the simplicity to the user — especially for [countries] like India or Brazil because even the poor can use it. Everyone has a mobile phone. You don’t have to speak English; [you can] speak in your own language. We all just gravitated towards it.”

“With the Voice To Diabetes campaign, the Mayo Clinic said they piloted [it] in India, although it was developed in Canada,” he furthered. “We (the jury) saw the potential of it really being applied immediately. You can see the potential for impact and scale.”

“And the guys who presented it did an amazing, amazing job. They got someone from Klick Health whom you could tell was so passionate. The clinical trial was conducted by him.”

“Three Words”

According to its case study page, “Three Words” is a life-saving clause in AXA’s home insurance contracts, providing urgent re-housing for women in danger. An insurance innovation based on a contract that all French citizens must already have by law: their home insurance. It aligns with the Innovation Lions’ ethos of turning imagination into real-world solutions, offering a scalable model for industry-wide adoption.

Joji explained it as such: “In France, when you buy a house or become a homeowner, it’s compulsory to buy insurance against fire and floods. And what AXA did is it acts as the service where — for example, if somebody’s house is on fire — they provide you alternative accommodation, transportation, et cetera; similarly in floods. So what AXA did very cleverly was they just added three words in the clause to cover domestic violence.”

“The impact of it can be massive. For example, [if] Jane is being abused, all l she needs to do is call AXA, and she’s automatically covered. As they are already experts in [relocations], they can move the victim of domestic violence out, provide counseling [and] transportation.”

“It is excellent! A beautiful campaign,” Joji expressed. “This campaign is on its soft launch and we know that for it to have mass adoption, for this to be implemented, it will take a few more steps. If the brand is willing to actually move that needle, it is generally very hard because you need a lot of buy-ins.”

“But because they already had this fire and flood expertise, it seemed a natural progression for them to touch [on] the issue of domestic violence. In this case, with minimum means, [they can achieve] maximum impact.”

Joji on the Innovation Lions category

“You get a feel of the sincerity of the project, which is why in Innovation, entrants in all categories must be in a position to fully demonstrate any technology entered. Concepts alone [are] not permitted. And the guys who presented did an amazing job. You could tell [that] they were really passionate about the work,” Joji shared.

He went on to enumerate a few more observations from this year’s entries: “Some clients, we observed, were more interested in the project than the award. It was amazing to see that brands — especially tech brands, — [used] facts and statistics, while ad agencies used objectives.”

“There was a lot of use of AI, obviously, at least when we were first starting to judge. Pretty much every second case used AI, and [it] is a reflection on how entrenched AI is in today’s world,” he added.

Ultimately, Joji put the spotlight on brands and their role in supporting creative ideas and purposeful campaigns. “I came out feeling that the onus is on brands to make many of these ideas come alive. Agencies have done their bit. They’ve come up with the idea. They made a case for it. But it can’t scale without a brand,” he underlined.

“[But] We’ve seen so many cases where [there] are amazing ideas and I came out feeling really hopeful about our industry. I think we’re on the cusp of something bigger.”

July 17, 2024
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adobo Exclusive, Awards News, Featured, Insight

Stories from inside the Cannes Lions Film jury room through the eyes of BBDO Guerrero’s David Guerrero

Written by Atelier Bubble Tea

CANNES, FRANCE — BBDO Guerrero Creative Chairman David Guerrero took part in the Film category jury board at this year’s Cannes Lions International Festival of Creativity, looking through hundreds of entries from across the globe for the industry’s biggest show. In this exclusive piece, David recalled the rigorous process of narrowing down the finalists and metal winners, and what went down inside the jury room.

So here’s how the Film Lions go. People from all over the world – who think their work stands a chance – enter it in the world’s biggest award show. The organizers then arrange for a jury of proven experience and diverse perspectives to judge the work. There were 1,887 entries this year. So we were divided up into mini-juries with additional help from an extremely qualified set of shortlisting judges, and watched all of our allocated entries all the way through. We ranked each. Then the scores were then aggregated and used to form a shortlist – well, a long shortlist at first of about 250 films. Then the jury come together in one place. That place is a windowless room in the Cannes Palais de Festivals (who cares what time of day it is) and view this long-shortlist together.

This is when a strange alchemy begins to take place. The 10 people, who, for the most part, have never met before, need to exchange points of view about the work and discuss what they do or don’t like about something in a safe atmosphere that allows for some to like one thing and others not to. Above all, the jury is a place for people who are not afraid to speak their minds. Because a lot of the work is exactly what we do all year round, form opinions based on our convictions and then pitch our ideas to a room full of very smart people. Here it’s the same, without job titles, or office polities, or accounts being at stake. Except what we’re dealing with is more precious than money – it’s the currency of acknowledgement, acceptance, approval, and admiration. We think of the people – just like us – who have their hopes riding on our good judgement. It doesn’t make things easier. But it makes our deliberations seem more meaningful.

Our jury president was Tor Myrhen, the VP of Marketing Communications for Apple Inc. Tor encouraged us with a quote from Helmut Krone (creator of the landmark VW and Avis campaigns at DDB) which encouraged us to recognize and encourage the new. Under Tor’s leadership, Apple has won 105 Lions since 2016. He was also responsible for one of last year’s two Grand Prix winners.

And if you’re wondering who did the other Grand Prix, well the person responsible – Ant Nelson from adam&eveDDB – was on the jury too. The rest of the lineup consisted (as I looked around the room) of: Estelle Blemond-Zaïre, EMEA Diversity and Inclusion Strategist from Netflix; Camille Venegas Gomez from M&C Saatchi UAE; Franki Goodwin, CCO of Saatchi & Saatchi London; Gumpon Laksanajinda, CCO of Ogilvy Thailand (with his translator Supparat Thepparat (aka Menn)); Mary Njoku founder of ROK Studio (A Canal Plus company) in Nigeria; Paul Nagy, the Regional CCO of VML APAC; and Rodrigo Jatene, CCO of Wieden+Kennedy LATAM. Everyone brought something valuable to the discussion and every perspective was treated with respect.

Our first task was shortening the long-list. The organizers don’t allow anything to be downgraded once it’s been awarded so this is a process of lifting something from the long-list to the shortlist. But it seems more like knocking out anything that we collectively feel doesn’t fit. We got a brief visit from the “See it Be it” group during the day and we felt like they saw us as a very negative bunch. In any case by the end of the first day – we have watched nearly all of the shortlist again – and refined it from 258 to 190. That final number is what we take to the following day where the job of selecting the metal from that begins.

The Bronze Lion listing begins by us understanding that we can give around 55 metals of any kind. This starts by us collectively agreeing the likely Silver and Golds. That’s the easy bit. After that the methodical process of filling in the rest of the list begins. Brand relevance is a key discussion point – especially in the longer films. And while nothing exists in isolation, originality is vital. Finally, craft comes into it – sometimes in a big way. But we kept saying: we are not the craft jury; Craft counts, but only to the extent it elevates (or holds back) the idea. Campaign entries – which are allowed in some categories – are quite honestly a double-edged sword. Yes you can get more work in the show for one entry fee. But more often than not people like one execution over another.

So by the end of the second day we had a list of metal. And how hard could it be, we thought, to get the Silvers and Gold from this list. Tricky, as it turned out.

Again, we agreed on our must-haves, and these comprised about half the required number. The debates now centered on finer points of which piece of excellent work was more excellent than another. Or alternatively which piece of work was slightly less excellent than another piece. Here’s where we had the most passionate debates – between Bronze and Silver and, in particular, between Silver and Gold. By the time the dust had settled we had two Grand Prix – one from the traditional tv and cinema categories and one from the online categories.

Some observations. There was little outright innovation with the medium itself. As the organizers pointed out, Film is the oldest category in the festival and still one of the most difficult to get right. The two letters most uttered this year “AI” did not get much airtime here, as Tor pointed out in the press conference. We can speculate that the oldest category will be the most resilient to technological change. There were constant reminders throughout the judging of the hundreds of choices and decisions involved in the making of a film: the overall structure and length, the casting, the dialogue, the link to the brand, the link to the heritage of the brand, the quality of the typography, the cinematography, the editing (Don’t linger too long on a joke), the music. But as we kept reminding ourselves – we are not the Film Craft jury. It’s not just about craft. If it’s about one thing, it’s the story. Resist the comfort of the familiar. People know where you are going – so surprise them.

One of our top prizes, Orange: WoMen’s Football, was debated for its craft but the power of the idea, the clarity of the message, and the proven impact of the piece did more than enough to carry it through. On the other hand, our other Grand Prix, for the Sydney Opera House, was celebrated for taking an anniversary film brief and creating an anthem for creativity with its ironic call to “Play it Safe.” This second piece reminds us that film is often driven by an individual vision.

I’d like to believe that our Golds reflected the variety of the work was entered in the show. Long-form comedy: Sammakorn with Not Sampakorn; Short-form comedy: Krungsri with What the Fast; Quirky big brand stuff: Lynx with Robbery; work that celebrates community: Channel 4: idents, Contemporary CSR in Movistar’s Not a game; Classic comedy sketches: Uber with Trains, now on Uber; artful product demonstration: Apple with Tractor, and redemptive emotional storytelling in Apple’s Fuzzy Feelings, and fact-based irony in: Reporters without Borders with The First Speech.

This was a good category for work from Southeast Asia. Apart from the two Thai gold winners Sammakorn and What the Fast, The Philippines grabbed a Silver for Grab’s No Sweat Summer. Judges appreciated the way Grab’s benefits were dramatized in the story. It also helped to point out we are at record levels of heat this year! Singapore picked up a bronze for Prism‘s Concert, considered the best of the three films entered for the brand. Finally, Thailand got two more bronze lions: one for Delight‘s Not very sweet, which was entered as a campaign; and for the only non-comedic winner from the region, Colgate’s The Boxer.

All in all it points to a huge opportunity for us in this region to use the continuing power of video as the core element in our campaigns and to work with clients on bringing the medium to life with learnings from the world on best practice to get the most out of it. After all, no one except judges of advertising HAS to watch any piece of brand-sponsored content. So we constantly have to be thinking of how to make it attractive for other people to do so. Even Elon Musk had a point of view about advertising. It should be something that “doesn’t make you regret the time you spent watching” it. So here’s to less regret – and more remembering of that fact – in the year ahead.

July 3, 2024
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adobo Exclusive, Featured, Insight

As an initial skeptic, here’s what DDB Philippines’ Anna Chua-Norbert now thinks of Cannes Lions 2024

Written by Atelier Bubble Tea

CANNES, FRANCE — Attending the Cannes Lions Festival of Creativity is a unique experience for everyone. As the most prestigious advertising festival in the world, it can be inspiring, overwhelming, and transformative. This year, Anna Chua-Norbert experienced the magic of Cannes Lions firsthand.

Anna exemplifies inclusive and progressive leadership within DDB Group Philippines. As Group Chief Culture Officer and Managing Director of DDB Philippines and Bent & Buzz, she fosters a culture of joy and respect in the workplace. Her pioneering efforts elevate the experience of Filipino employees, rooted in the Harvard Business School’s Service Profit Chain model.

Balancing her professional achievements, Anna is a devoted mother of three and an enthusiastic learner pursuing a Master’s Degree at AIM. She also volunteers as the Vice-Chairperson of the Governing Council of The Philippine Business Coalition For Women Empowerment and serves as a Board of Trustee for the 4As.

Here, Anna shares exclusive insights on the 71st Cannes Lions Festival of Creativity, which took place from June 17 to 21. From initial skepticism to genuine appreciation of the five-day festival, she recounts her experience to adobo Magazine.

Stepping into the 71st Cannes Lions Creative Festival, I anticipated an experience filled with lavish luxury and exclusivity. Stories from people who have been there since the 90s talk about beautiful people, access to wealth, celebrities, the daily yacht parties, VIP lounges, and an endless flow of rosé. All of those I thought were cringy, considering what was happening in the world today. It all seemed inappropriate.

Media companies certainly pulled out all the stops. Spotify had Ludacris performing, and there were 10 yacht parties daily. Meta launched its AR raybands, and Microsoft celebrated human creativity by telling us what AI can’t do — but wait, here’s our latest AI.

After all the sales pitches, I discovered something far more profound — a celebration of human creativity, vulnerability, and genuine connection beyond the extravagance. The festival’s true essence became clear: the power of ideas.

Here, creativity wasn’t just about impressive displays but concepts that evoke emotions, inspire actions, and create a lasting legacy. It was about meaningful impact.

The “creative gods” I imagined with big, massive egos turned out to be real, relatable people. They weren’t merely crafting campaigns; they were sharing their souls. The festival showcased community, empathy, and the human experiences that connect us all. Every piece of work was a testament to the power of communication from a fresh perspective.

My initial skepticism melted away, replaced by a newfound appreciation. Walking through the hallway of “the works,” which showed the best ideas for the year, I realized that the festival was about making a real difference through creativity.

And guess what? Our low-budget radio work received its first shortlist—a proud moment for this first-timer!

In many ways, [the festival] can do away with the unnecessary glitz, glamor, and flamboyant parties that could have easily built a hospital or a school for an impoverished country, but that’s not their job to fix. It took more than half a million pesos for us to get there and in their minds, they’re trying to make it worth our time, money, and effort.

Regardless, what needs to be said is a big thank you to the juries, judges who worked locked in rooms reviewing the work from sun up to sun down, while I got to hear the talks and walk about enjoying my time. And to the organizers who made this festival what it is, I know you’re trying to make it more sustainable and inclusive, but not boring like UN.

You’ve made this first-timer journey unforgettable. Cheers to the Cannes Lions for continuing to celebrate the human spirit through creativity and for keeping hope alive that we all can leave a positive mark on the world through our ideas. The world can use more creativeness than skepticism.

Cannes Lions 2024 isn’t just an event; it’s a reminder of our shared capacity to create, connect, and inspire. Explore more about the Grand Prix winners and their groundbreaking ideas.

PH wraps up Cannes Lions 2024 Haul with 3 Lions from 3 different categories, and 5 shortlists

July 3, 2024
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