THE VIPER PIT | Singapore's advertising watchdog

Sri Lanka’s News First asks you to decide

2010-09-06T11:15:00.001+08:00

CLIENT: News First

PRODUCT: News First

MEDIUM: Outdoors billboard/Havelock Road, Colombo

MARKET: Affluent local residents and commuters

ATTRACTION: The striking visual image, set against a clean white backdrop really does stand out, and is suitably thought provoking to capture your attention. In this case, the brown liquid splashed (or slung) onto the white canvas looks like it could have been defaced, but the clear and direct copy tells you it is intentional.

POSITIONING: This is one of a series of adverts News First have posted around Colombo, all of which provoke the reader to decide how they interpret the visual. All are strategically located on billboards located at main thoroughfares, such as the Galle Road and Fort. This, combined with the captivating aesthetic, ensures that they will be read by the widest audience possible.

Whilst the idea is similar to the HSBC advertisements that showcase “local” knowledge, we think that the aesthetic is suitably different, and interesting, to ensure that these ads are not discredited. Indeed, we think it’s a great way to advertise a news broadcaster, and complements the brand statement – “We Report. You Decide.” – well.

ANALYSIS: This ad is incredibly easy to read, and that is a main part of its appeal. The visual is clear, and the copy amounts to just two words. Moreover, the fact that it strikes at the core of what good journalism should be – unbiased – makes the ad a very relevant, and effective piece of communication.

It is only upon closer analysis that the cracks begin to show. The two words are supposed to represent two different sides to a news story, but they don’t. We would argue that “splashed” and “slung” are two interpretations that, ultimately, come from the same perspective. We would even go so far as to say that they say the same thing, as in order to splash something; you need to sling it first. Both, importantly, show a degree of intent. Whilst “slung” sounds more hostile than “splashed”, both reflect a willingness of action. This may sound like a trifling issue, but it compromises the fundamental idea upon which this ad rests – that with News First “We report. You decide” – as it does not represent two sides of a story, but one.

In order to improve, therefore, we feel that the “options” presented as one or another of the reader’s decisions could be more polarised, such as “Accident?” or “Intent?”

EVALUATION: Despite our criticism, we like this. It holds good appeal and good effectiveness, and therefore passes as a good piece of communication. We would, however, argue that a closer attention to detail is needed in order to really show how a single action can be interpreted in two completely different ways; doing so would really bring the “We Report. You Decide.” brand statement to life.

Great Eastern’s 102nd birthday: seamless metaphors tell a seamless story

2010-08-27T14:12:00.003+08:00

CLIENT: Great Eastern

PRODUCT: Branding

MEDIUM: Print/The Straits Times

MARKET: Families

ATTRACTION: The visual is strong and dominates nearly two thirds of the page, so this is likely the major draw. Having said that, the colours are relatively muted and the overall impression is underwhelming.

POSITIONING: Full page ad in the Home section of The Straits Times. The aesthetic speaks of Great Eastern being there for families through the generations, and therefore fits well with the more local/domestic concerns of the Home section. At first glance the aesthetic is fairly unremarkable, and lacks differentiation from other insurance providers. Upon closer reading, however, you realise that whilst what Great Eastern are saying is not particularly new, how they communicate is clear, sincere, and highly effective.

ANALYSIS: What we like most about this ad are the connections between header and visual, and between Great Eastern, their clients, and future generations of clients. The header reads:

“With over 100 years of putting you first,

you’re always covered.”

The first line speaks to the “grandmother” figure on the left of the visual, who is, we assume, a client of Great Eastern, and is therefore the one “put first”. The second line, “you’re always covered” also speaks to the grandmother/client, assuring her as she grows older. Yet it also provides a link to the future. In the visual, it is the grandmother who is helping her granddaughter button up her cardigan, thus “covering” her up and protecting her from the cold. It provides an important link across three generations (i.e. grandmother, mother (who is absent), and child/grandchild) that resonates strongly with Great Eastern’s celebration of 102 years of “putting you first”. Moreover, there are two sentences in the body copy (the last two) that tie the whole aesthetic together and affirm the connections between header and visual:

“Making life great for you today and generations to come. That’s our Great Eastern promise.”

The subtle interweaving of the Great Eastern branding slogan – “Life is Great” – into these sentences (i.e. “making life great”) is a nice touch that ensures the seamless integration of metaphors (i.e. Great Eastern as protectors of clients, and client as protectors of future generations) and branding cues into one cohesive aesthetic that is subtle, yet believable.

EVALUATION: Despite having somewhat muted appeal, we nonetheless find this ad to be an effective piece of branding. The assured approach to communicating a message of longevity and guardianship over generations is respectful, and sincere. Integrating the branding slogan “Life is Great” with a visual that draws attention to the relationship between grandmother/granddaughter adds an important touch of light heartedness that helps balance out the overall emphasis on the past by focussing on the present (e.g. “Life is still great at 102!”), with an eye on the future. Overall this reflects a well thought out and highly measured approach to advertising that we like a lot.

OCBC Titanium Card: A creative masterpiece

2010-07-29T17:11:00.011+08:00

CLIENT: OCBC
PRODUCT: OCBC Titanium Card
MEDIUM: Print/The Straits Times
MARKET: Individuals with "passion"

ATTRACTION: The dark hues and muted colour scheme make this ad almost antithetical to the advertising rules of attraction (read: bright colours and/or attention-grabbing visuals). It is the thoroughly unique style that draws you in.

POSITIONING: A full-page ad in the main section of The Straits Times. Whilst other credit card ads bombard you with product features, offers, statistics, and reasoning as to why you should sign up, this ad goes for style alone. And it’s a style juggernaut at that. Can you think of a credit card ad like this? We can’t.

ANALYSIS: The creative aesthetic is ethereal and, at first glance, fairly nondescript given its lack of colour and other visual cues. After a couple of seconds, however, the majestic visual of a diver photographing a manta ray takes over, drawing you into the body copy for explanation. The copy does just that; explains, illuminates, and ties everything back to the product in question. Here’s the copy in full:

The waters are very different.

The rush you feel isn’t just the currents.

The locals around seem unfamiliar.

Yet you’ve never felt so at home.

Live your passions.

The poetic quality of the first four lines all fit with the dreamlike visual, but are brought to life by the "Live your passions" statement, which brings home the fact that the ad is actually a reflection of something real – somebody's passion for underwater photography. Given that "passion" itself is so personal, this ad does a good job of creating a very niche aesthetic, and then giving it wide-ranging appeal by linking it back to the product through the assertion that the OCBC Titanium Card can help you “Live your passions”. The fact that they do so in such an unobtrusive way is also refreshing (the only reference to product features are in the footer, which goes for a relatively reserved “Use your OCBC Titanium Card overseas and enjoy 3X OCBC$”).

Finally, a note on branding. Whilst OCBC are probably best known in the marketplace for their playful, almost childish (or perhaps, accessible?) approach to advertising and branding - marked by bright colours, smiley faces, and cartoon characters - this ad reflects a more sincere understanding of customer need. It is essentially a branding piece that chooses aesthetic style over merciless product pushing. As such OCBC create a unique value proposition and carve out a distinct niche for themselves amongst other credit card issuers.

EVALUATION: If you hadn't already guessed, we are big fans of this advertisement’s aesthetic appeal, and believe that it reflects a high level of creative thought. Pragmatically speaking, we would question its effectiveness in driving product sales and spend. Singaporeans are, by and large, practical people who want savings, rewards, and flexibility from their credit card providers. Whilst downplaying the product features is, as we have argued, an important part of the overall aesthetic, its appeal may be misaligned with the wants and needs of the average Singaporean consumer. Nonetheless we think that this sets the creative standard for banks in general, and an interesting direction for OCBC in particular.

HPB cleverly tap into the National Day spirit of Singapore

2010-08-12T10:16:00.002+08:00

CLIENT: HPB
PRODUCT: Health screening
MEDIUM: Print/The Straits Times
MARKET: Adults, Singaporeans, parents

ATTRACTION: Ensconced within the hubbub of National Day pictures, “ParadeBites”, and audience/participant quotes, readers will already be scanning the page for all the visual cues available, and will likely to take a second glance at this ad. The visual is “normal” enough to fit seamlessly into the Parade montage (it’s just a photo of a girl tying her shoelace after all), yet composed enough to suggest that there is something more to it than photojournalism alone (the lighting in particular gives it away).

POSITIONING: Home section of Tuesday's Straits Times, situated right in the middle of the NDP 2010 segment. It cleverly rides on the feelings of nationhood and togetherness that NDP evokes, and that the photos and reportage attempt to re-ignite. Whilst NDP is a celebration of nationhood, this ad is a reminder of the importance of the individuals that make up the nation. The guardianship of the state in orchestrating the Parade reflects the guardianship and responsibility of the parent in looking after their health so that they can nurture future generations of Singaporeans. Whether intentional or not, the parallels drawn between HPB and the NDP are clear, and effective.

ANALYSIS: Whilst the visual is well aligned with the photos taken of the NDP celebrations, it is the header and copy that draw your attention to the fact that this is an advertisement. The note in the top right hand corner is in the uncertain handwriting of a young child, and reads:

I’m big now

I tie my own shoelaces.

And brush my teeth.

I can add and subtract.

I can spell Monday and papaya.

I know what sound a tiger makes

And I learnt it all myself.

Mum would be so proud of me.

If only she were here.

Again, the milestones that the girl has accomplished (that make her “big now”) reflect Singapore’s accomplishments since independence (the transition from “third” world to “first”). Yet whilst NDP captures the pride felt for Singapore’s achievements over the past 45 years, the pride of an absent mother (“if only she were here”) creates a juncture that expands the message, making the reader think about issues of guardianship and responsibility. The header – “If you’re not here, who else can they rely on?” – speaks immediately to the mother of the girl, but also resonates with the nation, which relies on the support of individuals to ensure continued growth and prosperity in the years ahead. It’s subtle, but it’s a message that resonates strongly with the overall NDP aesthetic of celebration, with a hint of caution at what the future may hold. NDP showcases military power to show how Singapore can defend the nation; this ad tells you to go for regular health checks to show how you can defend yourself against illness. Enjoying the continued accomplishments of the nation and of our children are the respective outcomes of being cautionary. Moreover, the fact that “us” and “our children” are part of the nation ties everything together seamlessly.

EVALUATION: This ad is all about positioning. The seamless integration and parallels with the feeling of togetherness roused by the NDP is skilfully exploited by HPB to send a meaningful message to the individuals that comprise the nation. Doing so not only creates multiple, yet complementary, layers of meaning, but it also circumvents a lot of (potential) criticisms of the ad; that it may be trite, and even emotionally blackmailing. It sends a serious message about the importance of “self” in achieving collective goals, whether it be the growth of a family, or the growth of a nation. Altogether, we feel that HPB’s deft positioning and awareness have led to the creation of an ad that is conceptually brilliant.

Standard Chartered Preferred Banking: the grey area of preferences

2010-08-23T16:18:00.012+08:00

CLIENT: Standard Chartered

PRODUCT: Preferred Banking

MEDIUM: Print/The Straits Times

MARKET: Young, affluent individuals (we assume)

ATTRACTION: Beyond the front page colonisation of blue backdrop and rhetorical questioning in white, there is little else to draw you in. There is no visual aesthetic and little more to capture your attention than the drone of the word “prefer”, which is hardly the most beguiling of verbs.

POSITIONING: Front cover and inside page of the Home section of The Straits Times. The bold positioning is necessary to attract attention, yet is simultaneously at odds with the relative blandness of the message, especially the rhetorical questioning on the front cover (see Analysis, below). Preferred Banking is, however, a unique service offering that occupies a niche in the retail banking market. Occupying such a niche can be a drawback in so far as it occupies a grey area that holds no service precedent. It provides a service for the transitional tier of the retail banking market – those that will eventually be eligible for the various entry-level wealth management services available (i.e. SCB Priority Banking, Citigold and HSBC Premier) but likely fall short of the minimum eligibility requirements. Clear communication is therefore needed to accurately position this service relative to the others available.

ANALYSIS: We find that this ad has a solid (albeit bland) message, but the lack of any visual imagery renders the overall aesthetic less convincing than it could otherwise be. The front cover in particular puzzles us. Opening with the question “Want more of what you prefer?” hardly captures the imagination. “Preferences” lack the conviction or necessity of “wants” or “needs” and reflect a grey area of ambivalence as to whether or not they are important enough to be given much consideration. As a gateway to the inside cover, the question works well, but as a hook that is meant to attract attention, it does seem a little unconvincing (especially if you do not make the immediate associations with Preferred Banking, which, given its newness to the market, we doubt many people would).

Having said that, it does link well with the headers of the inside cover. Dominated by the word “MORE”, which is repeated three times in bold, the Preferred Banking service is clearly positioned as one for people who “prefer more”. This sets Preferred Banking apart from standard retail banking services, as one that provides more rewards, convenience, and personalised service.

Whilst we like the connections, the lack of visual imagery means there is little to capture the reader’s aesthetic imagination. We know what the benefits of Preferred Banking are, and we know from the penultimate line of body copy the qualification requirements. But beyond hard numbers and facts (e.g. minimum assets or income), we are given no idea as to what sort of person Preferred Banking is really for. Our assumption is that it is for the young affluent segment that, over time, will qualify for entry-level wealth management services. Positioning the service as the first step towards more comprehensive wealth management solutions - one that recognises and celebrates the future value of this admittedly neglected market segment - provides a solid grounding upon which any visual imagery can be built. Talking about a service that is “more rewarding/convenient/personal” provides a description of what it offers, but it provides little guidance as to who this service should appeal to, and why.

EVALUATION: This is a good service that should appeal to a hitherto neglected segment of the retail banking market. But the lack of any visual imagery compromises the ability of this ad to really reach out to the people it is trying to speak to. Whilst Standard Chartered’s branding comes through clearly, the product branding is almost non-existent. Thus whilst this ad could potentially be very effective, its limited aesthetic appeal renders it almost obsolete.

HSBC Business Banking: globally impressive, locally confusing?

2010-08-17T15:01:00.001+08:00

CLIENT: HSBC

PRODUCT: HSBC Business

MEDIUM: Print/The Straits Times

MARKET: Small- and medium-sized businesses in Singapore

ATTRACTION: HSBC’s advertisements are often breath of fresh air. They are typically colourful, culturally acute, and aesthetically interesting. In this case the aesthetic clearly depicts "international trade", and will resonate with small businesses in Singapore, which has long served as a trading hub for the region and beyond.

POSITIONING: Full-page ad in the Business section of The Straits Times. Their consistent and highly entrenched brand positioning as “The world’s local bank” immediately helps position this ad as one that caters to businesses with an international outlook.

ANALYSIS: The visual dominates, showing a Chinese businessman overseeing the loading of boxes of wellies into containers for distribution to different markets around the world. The combination of three distinct elements – the Chinese businessman, the colourful wellies, and the industrial containers – makes for an interesting visual with a lot of depth. It tells us a story, but we’re not quite sure what the story is. The different colours and styles of the wellies suggests that they are intended for different people; the professional look of the Chinese businessman suggests that he is the owner of a business; and the open containers suggest that they are either being packed ready for shipment, or have just been received. To find out how these elements work together, we are drawn to the headlines for explanation:

“For the rice fields of China.

On the construction sites of Brazil.

In the fashion shows of France.”

The “For”, “On”, and “In” of the headlines refer to the wellies being packed, and provide the missing thread that ties the three elements of the visual together. The wellies, we assume, are being exported to be used by farmers in China, builders in Brazil, and models in France. The visual is local and grounded in the present; the header is global and speaks to the future; combined they represent a supply chain that HSBC Business banking can help you manage. This is a good creative aesthetic, but one that is not without its problems.

The main problem is that of integration. Without the reader making the very specific associations between visual and header, the aesthetic is meaningless. By overlooking the wellies, the visual could be (mis)interpreted as a composite of all three headlines; the Chinese businessman representing China’s rice industry, the containers representing construction in Brazil, and the wellies themselves representing a French fashion show. As it is, we would argue that the connections between visual and header could be clearer. For one, the three different sentence prefixes – “For”, “On”, and “In” – could easily suggest that HSBC are talking about three different products, or scenarios. Using “For”, followed by "Or" and "Or" at the beginning of each sentence could be clearer alternative, but runs the risk of being monotonous.

EVALUATION: We really like the creative as it tells a good story by cleverly integrating a variety of different visual and textual cues. As usual HSBC do a good job of attracting attention through their use of vivid imagery from around the world. But we also think it runs the risk of confusing those readers who do not immediately make the associations between the wellies and the different markets. Overall, we think this ad scores highly for appeal, but greater consistency between visual and header would help make it more effective.

The Trizon says a lot, but tells you little

2010-08-05T16:59:00.002+08:00

ATTRACTION: It certainly doesn’t look like a condominium ad, which is both a strength and weakness. The blown-away newsprint is interesting and the bright colours attention grabbing, but there is too much going on to make this ad particularly impactful at first glance.

POSITIONING: Back cover of the Home section of Saturday’s Straits Times. Its break from the conventional condominium mould of highly stylised artist impressions and fanciful graphics is refreshing, and reflects a good amount of creative thought. This does, however, make it difficult to place, with the lack of a strong overall aesthetic forcing the reader to work hard in order to figure out what this ad is for, and what it is trying to say. That it is positioned as a back cover rather than embedded within the newspaper will only increase the propensity for readers to overlook it.

ANALYSIS: Where do you start? The problem we have is that there is too much going on. The short snippets of copy, the colours, the different text directions, and the jumble of words around the border all amount to noise rather than coherence. They create confusion rather than clarity. The centre rectangle of text and image is the focal point, but is it meant to represent a condominium tower, a metaphor for how The Trizon has managed to create a space for itself amongst a crowded page of newsprint, or just a neat way of bringing together different snippets of information? Probably a mixture of all three, but the message is lost in the difficulty of interpretation.

Moving out to the border, the five news headlines that are supposed to inform the product features in the centre rectangle again take a lot of effort to read, not least because they are cramped, and drowned out by the jumble of copy around them. The headers provide a backdrop to the product positioning – they tell us how land scarcity has resulted in more units being crammed into smaller plots at higher prices whilst buyers want bigger bedrooms, and to “live in space” in District 10. They pit supply against demand, creating a problem that is expected to resonate with readers and be resolved by the unique features of The Trizon.

Again, it’s a good idea, but it falls short of the mark because of the weak overall aesthetic. We like the fact that the newsprint background represents District 10 and The Trizon a development that has literally carved its own space out of a page of cluttered newsprint, and we like how each of the product features addresses the problems raised by the newsprint. But, again, there is just too much going on. It requires a lot of interpretation, which places a lot of expectation on the reader to invest time and concentration in joining the dots and figuring out what it is they are trying to say.

EVALUATION: The lack of synergy compromises the ability of this ad to live up to its creative potential. Whilst the idea is there, the desired effect isn’t. The title of this post suggests that all the information you need is available (i.e. it says a lot), but the incoherence undermines the overall aesthetic (i.e. it tells you little). Instead of telling you what to think, the reader is forced to think about what the ad is trying to tell them - something that requires time, concentration, and a willingness to read on. Overall, this ad reflects a good idea that is let down by the execution.

BMW M series has the edge in Singapore

2010-08-03T18:39:00.010+08:00

ATTRACTION: With an aesthetic as bold as this, it’s hard not to be drawn in by it. Clear black lettering set against a stark white page – it’s harder to avoid than it is to read.

POSITIONING: Front page and inside front cover of the Home section of the Straits Times. This is interesting as the M series is a range of high-performance cars (as suggested by the header) that are not for the average consumer in Singapore, suggesting that this ad is more for brand positioning/differentiation than it is the product itself.

ANALYSIS: The front cover comes across as bold, confident, and unusual enough to stand out. The header – “THE CAR THAT WAS NEVER MEANT TO BE ON THE ROAD” – sets up a "forbidden fruit" kind of metaphor that attracts wide-ranging attention, not just that of car or BMW aficionado’s. Why was this car never meant to be on the road? Why is it now on the road? What is it? All you know is that you weren't meant to have it, and that's why you want it. The lack of visual and small BMW logo in the top right corner are conspicuously absent. Such an absence is necessary, as they would otherwise detract attention from what is by itself a very clear and powerful message.

Turn the page and the ad is brought to life. The header – “NOW SCORCHING THE STREETS OF SINGAPORE” – not only brings the reader’s attention back to Singapore, but also gives an indication of what sort of car this is with the word “scorching” – it’s fast, performance-driven, and obviously unique. There is a visual, but it is revealing inconspicuous. White in colour and lacking any sort of background detail, to the untrained eye the car looks little different from any other BMW. So you’re drawn into the body copy, which explains the story of the M series in detail – and answers the questions triggered by the header on the front page. Again the visual cues are minimal, leaving most of the work to the reader and their imagination. BMW’s effectiveness in doing this is partly due to the clarity of both messages – they are pithy, different, and there is an air of danger to the fact that BMW are bringing a car that was not meant to be on the road to "the streets of Singapore". In doing so, they do a fantastic job of setting BMW apart from other brands of luxury cars.

EVALUATION: What interests us most about this ad is its positioning. By colonising the front and inside covers of the Home section, BMW are going for the broadest possible coverage. They want to set BMW apart from their competitors as a brand on the edge. This is done to maximum effect by showcasing the edgiest range of cars they have, in the clearest way possible. They come across as motoring mavericks, injecting something raw and exciting into Singapore’s roads. This, we find, is very appealing, with the body copy on the inside cover effectively focussing the reader's attention on the Munich Automobiles showroom - the home of the M series in Singapore.

Omega and the YOG: product or brand, but not both

2010-07-27T09:46:00.004+08:00

ATTRACTION: With the build-up to the inaugural Youth Olympic Games (YOG) in full swing, the word “Olympians” and the YOG logo holds a sense of excitement that will attract most readers.

POSITIONING: Front page of The Straits Times – it’s hard to avoid. On the front page alone there are four separate mentions of the YOG, all indicative of the scale of preparation that Singapore is undergoing. The use of the YOG branding sets Omega apart from other luxury watch brands, and provides an important link between sport and luxury goods.

ANALYSIS: For us, what stands out is the inconsistency between visual and header. Whilst the header enforces the Omega brand through its sponsorship of the YOG by reading “OLYMPIANS OF TOMORROW”, the visual is of a typical Omega product – a watch. Reading the header and visual in conjunction with each other, are we supposed to conclude that the watch is an "Olympian of tomorrow"? This is plausible, given Omega's long history of Olympic timekeeping. But then again, a wristwatch is hardly an "Olympian", more an Olympic timekeeper, and a very outdated one at that (which is precisely the point, perhaps..?). Or are they trying to say that the watch shown will become as coveted as the "Olympians of tomorrow" (i.e. the athletes)? Or is the watch one of the prizes that medallists will be given, and is therefore the watch worn by the "Olympians of tomorrow"? We don't know.

The intended meaning, we assume, is that Omega supports and endorses the “Olympians of tomorrow” – the YOG athletes – through its sponsorship and role as “official timekeeper” of the YOG. Factually this is inaccurate, as some YOG athletes already have “real” Olympic experience (e.g. British diver Tom Daley), and are therefore “Olympians of today”. Moreover the implication that YOG athletes are not “real” Olympians can easily be interpreted as belittling. And where does a watch fit into this message of endorsement and support? The temporal parallels between YOG athletes and future Olympians, and the changes in personal and Olympic timekeeping over time are certainly interesting, yet lack the explanation needed to really enable the reader to understand what this aesthetic is trying to get at.

EVALUATION: It’s one of those adverts that talks big, but struggles to deliver. Aligning themselves with the YOG brand and Olympians is undoubtedly appealing, yet the message appears fraught for the reasons outlined above. It is the confusion between visual and header that forces you to take a closer, more questioning look at both. Doing so exposes a number of inconsistencies that undermine the message being communicated, and the overall effectiveness of the ad. We would suggest drawing a clearer line between whether or not this is a branding piece, or a product piece. If the former, the visual could easily be improved by showing an action shot of a sprinter and Omega time-board. If the latter, the headline should better reflect the product visual by suggesting that Omega watches are the watch of choice for elite athletes around the world. As it is the ad shouts to get your attention, yet the words used are rendered meaningless in the noise of confusion.

DAILY TIDBITS 02/03/10: Citibank Singapore and M1 talk about connections; Maybank look forward to “Blue Skies” ahead

2010-03-02T16:37:00.003+08:00

Introducing our new post format: bitesize chunks of easily digestible advertising updates… Delicious! We now have two posting formats; lengthy analyses of advertisements that we feel require “proper” deconstruction (read into that as you will!), and light-hearted overviews of daily highlights and lowlights that we come across. In doing so, we hope to increase our media coverage. Scanning The Straits Times and other forms of print and broadcast media, we so often pick up on things that we would love to discuss, but simply do not have the time. With our daily tidbits we will be able to include more adverts, raise more points of discussion, and hopefully, therefore, please more readers! So, here we go…

1. 1. Is Citibank Singapore positioning itself in too narrowly defined terms?

Citibank Singapore ran another full-page ad today, which again emphasises accessibility. Like the ad they ran last week (see here) we love the visual appeal of the ad. The slogan – “My bank goes wherever I go” – sits well with the message that Citibank provides a tripartite of instant connections, instant access and instant services, allowing you to do your banking “anytime, anywhere”. You can’t fault them on the comprehensiveness, and effectiveness of their coverage, but for us there is still the latent concern that Citibank may be pigeonholing themselves by over-emphasising accessibility.

We have already commented that whilst Citibank’s coverage is indeed impressive (especially for what may be popularly conceived as a “foreign” bank), their value propositions do not differentiate them enough from their local competitors. Citi Mobile, Citibank Online, 900 touchpoints islandwide; they all provide excellent options for customers in terms of accessibility but, as far as we can tell, this is very similar to what DBS, UOB and OCBC offer. Yes, Citibank may be doing an excellent job of raising awareness and distancing themselves from their "foreign" competitors (i.e. HSBC and Standard Chartered), but they are not providing readers with an extra incentive to bank with them.

Our recommendation? Keep the current focus on accessibility, but integrate it with products and services that are truly unique to Citi. Talk about local accessibility, but also talk about how this is just the tip of the iceberg, and that banking with Citi can gain you access to a global network of knowledge, support and insights. We think this would be a far more powerful offering – do you?

2. 2. M1's visual will connect with businesses, but could do more...

We love the visual M1 used today for their “Business Broadband from M1” full-page ad. It shows an internet cable being plugged into a socket on which the Singapore skyline is superimposed. A simple, yet very effective concept that suggests M1 can plug your business into the opportunities abound in the Singapore marketplace.

Yet whilst the visual is great, we feel the message could be even more powerful if complemented by a slogan. At the moment all we have is “Business Broadband from M1” at the top and “Switch to M1 Business Broadband for better value!” below. Perfunctory, to say the least. We feel that something like “Let M1 plug your business into Singapore” or even "Plug into Singapore" would convey a stronger impression of the real value of M1’s service (measured in terms of business opportunities, rather than cost savings), instead of relying on price comparisons alone. Any alternative suggestions? Let us know below!

3. 3. Maybank’s Blue Skies Structured Deposit: great positioning, great packaging

Maybank’s new “Blue Skies Structured Deposit” ad impressed us immensely, primarily due to the excellent integration of slogan, visual, product packaging, and market context into one, clearly communicated banking product. The slogan – “Discover blue skies ahead” – speaks to investors who are looking to re-invest their money in financial products and, in this case, to take advantage of the “blue skies” ahead, which represent the return of the bull market. The slogan draws parallels with the name of the product, which in turn draws parallels with the five “Blue Chip” companies in which it invests (CapitaLand, DBS, Keppel Corporation, SPH and SingTel). This suggests that these true-blue (sorry, we couldn't help it!) Singapore companies can be trusted to give you good returns, thus circumnavigating the risk that may still be associated with investing in foreign, especially Western companies and markets in the wake of the credit crunch.

Combined, we think this shows great market awareness (in terms of both financial and consumer markets) on behalf of Maybank, which is clearly communicated through a well-integrated advertisement.

As always, do let us know what you think by commenting below!

DAILY TIDBITS 31.05.10: How effective is Barclays’ “step” approach to business growth?; Are British Airways really “Keeping the Flag Flying”?

2010-05-31T09:52:00.004+08:00

Both adverts come from last Tuesday’s Daily Telegraph – the last of our instalments from the UK… For now at least!

1. How effective is Barclays’ “step” approach to business growth?

This is an interesting ad. There are absorbing ranges of elements that draw you in which, by themselves, are all very purposeful, yet when viewed as a whole we have to question how synchronised they really are. First up, the visual is great – multi-faceted yet effective in drawing common linkages between the different aspects. The main image is dominated by three (what we assume to be) architects planning a new development of buildings. Two manifestations of growth right there – the architects as catalysts of growth and regeneration, and the model of new buildings as something any business would require financing for – real estate. In addition, on the doorframe you have five markers indicating exponential growth projections over five years. Bingo – three things to think about in one visual – plenty of aesthetic food for thought!

Whilst the headline “Take a step towards business growth” is fairly generic, it does a decent job of complementing the visual. The door markers represent the first and subsequent steps to business growth, and the model another conceptual bridge between your business now, and in the future. Yet where this ad falls short is in the four blue boxes of copy under the headline. These should represent four systematic steps that any business should take in order to achieve business growth, not a number of innocuous facts about Barclays’ business banking service (as they currently do – e.g. “We approve 4 out of 5 applications for finance”). What is the step we need to take “towards business growth”? Beyond the obvious “apply for finance”, we don’t know. We therefore feel that the blue boxes – as a series of sequential steps – should take the reader through the process of starting a business banking relationship with Barclays; what is required, what the process is, and how long it will take. A recipe for success, you could say. Doing so would tie together the visual, headline and copy in a seamless, and integrated way. How effective is this ad? Fairly, but it could easily be improved.

2. Are British Airways really “Keeping the Flag Flying”?

The strikes that have been plaguing British Airways for the past couple of weeks and have disrupted flights departing from Heathrow are dealt with in a clear and direct way in this next ad. Visually depicting a departures board, the countries listed are proof of BA’s message that “We are keeping the flag flying”. Why we like this is largely due to the clever use of nationalist sentiment in defending their interests as the national carrier of the UK. By stating that they are “keeping the flag flying”, they can be seen to defend the interests of the British public by continuing to serve their travel needs, whilst simultaneously pointing to the fact that the grounding of aircraft by the trade union Unite selfishly undermines public best interest. Aligning themselves with the public will do much to strengthen BA’s position as they present themselves as both literal, and metaphorical flyers of “the flag”. Great message, great positioning, great advert.

DAILY TIDBITS 01.06.10: Do ANZ ask you to settle for second best?; What do grapes; Turkey and banking have in common?

2010-06-01T17:55:00.006+08:00

1. Do ANZ ask you to settle for second best?

In yesterday’s Straits Times, ANZ ran an ad that plays on a common complaint of many consumers; that their bank doesn’t really understand their needs. The ad is stark with white copy offset against a blue background, which reads, “In a perfect world, you’d always be perfectly understood. Often you aren’t. So talk to the bank that listens.” A “perfect world” is equated with being “perfectly understood” and, seeing as “often you aren’t”, it is therefore suggested that customers live in an imperfect world. Right?

The problem we have is that in trying to solve this problem, ANZ equate listening with understanding. Yes, they are similar, but there is a subtle difference. Listening requires a pair of ears and attention. Understanding requires listening, plus insight. So, in talking to a bank that “listens” but is not said to “understand”, how will ANZ make their customer’s lives less imperfect? What do they offer in terms of understanding? We don't know. Whats more, the ANZ slogan is “We live in your world”. On its own this is fine, but when read in conjunction with this ad, where “your world” is described as being imperfect, it can be argued that ANZ are equally imperfect. They listen, but do they understand? Will you be "perfectly understood" if you bank with ANZ? Again, we don't know. Admittedly the fine print at the bottom of the page does go into ANZ's banking heritage and their capacity to understand, but we think it's a bit of a longshot to expect the average reader to delve into this.

We are, we recognise, being incredibly picky, but we feel that the distinctions raised above are important. A critical awareness of the different elements present in this ad does, we believe, highlight its shortcomings as a piece of branding and communication. What do you think?

2. What do grapes, Turkey and South Africa have in common?

OK it’s time for us to be brutally honest with ourselves. Most people don’t give most ads a second glance, least of all those representing a bank or other financial institution. Yet in this ad, found in today's Straits Times, you know immediately it’s from HSBC as the branding is unmistakeable, but you’re left wondering what grapes, Turkey and South Africa have to do with banking. You can’t help but be drawn in by it all. To save you from our own explanation, here’s the copy in full:

“Turkey has over three times as many vineyards as South Africa. Next time you share a Chardonnay, have a peek at the label. It might surprise you. A new country is pleasing the palate of wine connoisseurs. And while it plants, nurtures, treads and tastes, it helps an industry to blossom and an economy to flourish. Little buds of potential often appear in surprising places. And having 8,000 offices in 88 countries and territories helps us spot them. We’ve found that by keeping an open mind to what the world has to offer, we can help you make the most of its opportunities. And we’ll drink to that.”

Masterful, isn’t it? They use wine to show how they have their fingers on the pulses of 88 territories around the world, and in doing so garner respect for showing an altogether more human, more “real” and thus interesting side to global banking operations. We love it. If only their products were as good as their adverts…!

DAILY TIDBITS 24/06/10: 1) How do you read Nutrilite's pairing of science and nature?; 2) The SPH Ink Awards encourage Singapore to “Embrace The next Big Idea”; 3) Word of the day: FILLIP

2010-06-24T15:28:00.008+08:00

1. How do you read Nutrilite's pairing of science and nature?

In the Life section of yesterday’s Straits Times, Nutrilite – a manufacturer of vitamin and health supplements – ran an interesting ad that juxtaposes nature with science. The question we want to ask, and you to answer, is does such a pairing evoke synergy, or tension? We are still on the fence, but leaning towards the former. Take a look at the ad below:

For the purposes of this entry the focus will be on the headline, which juxtaposes “The goodness of nature” with “The safety of science”. Nature and science; goodness and safety; what, exactly is the relationship between the two? There is evident conflict. Vitamin and health supplements are artificial substitutes that help you maintain a balanced diet, and to provide your body with the nutrients it needs. To purists, there is nothing “natural” about supplements (irrespective of how natural the ingredients that go into them are), and to suggest they contain “The goodness of nature” may be construed as fanciful at best. But what is interesting is how they don’t just talk about nature; they talk about it in tandem with “The safety of science”. They seem to harp on the fact that the supplements are natural, but they are also a product of science and technology. This is a bold move; especially given the recent food scares in China, which have catalysed public unease about what happens when science goes wrong and is therefore far from “safe”.

Yet in combining these two inherently conflictual ideas, we feel that Nutrilite may be onto something new, and potentially very interesting. Attempting to draw out the synergistic benefits of pairing something natural with something scientific is unexpectedly refreshing. It charts a new direction for brands focussing on healthy lifestyles by talking not just about how natural, organic, and eco-friendly they are (indeed it can be argued that these are becoming boorish, especially in many Western markets), but also how adept they are at harnessing science and technology for the consumers’ benefit. It’s not about paying exorbitant prices for a carton of hand-squeezed orange juice, but about paying for a product that is the twenty-first century’s answer (and an intelligent one at that) to the organic, healthy living rhetoric that is pivotal in awakening the middle-class consumers’ conscience. It is this forward-thinking approach to advertising that we appreciate, as it challenges norms and provokes some serious thought about the direction in which the health food industry is heading.

What do you think?

2. The SPH Ink Awards encourage Singapore to “Embrace The Next Big Idea”

In the main section of today’s Straits Times, SPH ran a half-page ad calling for entries for the SPH Ink Awards 2010. The SPH Ink Awards is a fantastic campaign that does a great job pushing creativity to the limit and showcasing “those big, out-of-the-box ideas”, and this ad does a good job communicating those core principles. In particular, the visual aesthetic is sublime, combining a very cleverly lit streetscape of shophouses (Ann Siang Hill? Or thereabouts…) with an oversized traffic cone and previous SPH Ink Awards Winner, Kate Ang. We really look forward to seeing the creative output of this campaign. Entries must be submitted online at www.sphinkawards.com.sg by 30^th June 2010.

As an aside, the only criticism we have is regarding the header and body copy, which is poorly positioned, engulfed by the background visual, and therefore difficult to read. Sorry, but this is The Viper Pit after all!

3) Word of the day: FILLIP

Lim Wei Chean's coverage of the opening of the Marina Bay IR on the front page of today's Straits Times piqued our attention, not because of the story, but because of her deft use of the word "fillip". Loosely defined, "fillip" means to arouse excitement, and using it adds a much appreciated element of panache to a sentence that ends "[the IR will] give the country's tourism industry a major fillip". Stylish and educational, we like!

Ad Reading pages are now up! (All of them!)

2010-07-22T17:18:00.002+08:00

Dear Readers,

Over the past few days we have been distilling some of our proprietary Ad Reading materials into a shorter, more palatable version for this blog. These can now be accessed as "pages" on the right-hand toolbar. You can also access them here:

Ad Reading 1 : Attraction
Ad Reading 2 : Positioning
Ad Reading 3 : Analysis
Ad Reading 4 : Evaluation

Enjoy! And, of course, do let us know what you think.

Lexus in the UAE: branding, semantics, and accountability

2010-07-14T10:37:00.003+08:00

In The Times (Middle East and Asia edition) last Monday, UAE-based Al-Futtaim Motors ran a full-page ad outlining Lexus’s collection of SUVs. For us, this ad raises interesting questions surrounding the handling of global brands by local distributors. Take a look at the ad below:

Whilst the visual aesthetic is, without a doubt, boring, what really creates confusion is the headline:

“Lexus market leading SUVs

Now with complementary insurance”

Grammatical errors aside (i.e. “Lexus’s” instead of “Lexus”), it is the word “complementary” that forces us to question what exactly Al-Futtaim are trying to promote. Whilst we find that the notion of complementary insurance (i.e. a bespoke insurance package that is designed to suit the specific needs of SUV drivers in the UAE – whatever they may be) is actually quite interesting, and something that could lead to some highly original co-brand partnerships between auto dealers and insurance providers, we expect that this is not the intended meaning. Rather than talking about a needs-driven approach to bringing together SUV owners and insurance providers (i.e. a complementary package), the footnote mentions “complementary insurance for first year only”, suggesting that “complimentary” was intended instead. Free insurance for a year - yes, it’s attractive – but this is not what the headline says.

Such a simple oversight goes beyond the promotion, undermining the legitimacy of the Lexus brand as well. Espousing “The Pursuit of Perfection”, the shaky language on which this ad is based renders such brand statements questionable. It also raises some relevant questions surrounding the accountability of distributors to the brands they are promoting. What is the relationship between the two? Who are the brand gatekeepers within distributor networks? And, perhaps most importantly, should distributors focus on sales and brand managers on advertising? An artificial distinction, perhaps, but one that does not seem unrealistic in light of this example.

Piyush Gupta’s communications coup for DBS

2010-07-14T16:08:00.001+08:00

The crashing of DBS’s branch, ATM, Nets and Internet banking systems last Monday (5^th July) has caused consternation amongst the public, the authorities, and public relations practitioners. All have condemned the mismanagement of the situation, in particular the fact that customers were not updated in real-time as to what was happening via the broadcast media and SMS alerts. From a communications standpoint, we support such criticisms.

But there is another side to the story that should not be overlooked, that is, CEO Piyush Gupta’s letter of apology to all DBS customers. The Straits Times today called it a “very personal apology” running to three pages long, admitting that the crisis could have been better handled, and emphasising that DBS took full responsibility for the crash. The personal tone (he signed off “Piyush”), alongside the sense of accountability, responsibility, and ownership of the situation (IBM engineers were implicated, but not indicted) all convey a message of humility and respect. In the post-financial crisis world, where banks are demonised for the smallest wrongdoing, this is exactly what consumers want to hear, with Gupta’s timely response pushing all the right buttons.

In addition, as we have learnt from the PR mismanagement of the Gulf of Mexico oil spill at the hands of BP, such incidences offer unparalleled insight into the leadership quality of the companies involved. Whilst Tony Hayward shirked his responsibility (as reflected by a number of now infamous PR gaffes), Piyush Gupta has fully accepted his. Whilst BP have done nothing more than add insult to injury through a series of communications failures, DBS have drawn a line under the situation and appeased their stakeholders by communicating with them in a sincere and direct way. Overall, therefore, Gupta’s letter of apology presents a communications coup that will force closure, rebuild trust, and pay dividends in the future.

The SLIM Brand Excellence Awards in Sri Lanka

2010-07-12T03:15:00.001+08:00

Adorning half of the front page of the Business Times section in today's Sunday Times (Sri Lanka version), we noticed this interesting ad calling for entries for the SLIM (Sri Lanka Institute of Marketing) Brand Excellence Awards 2010. What we like most is the visual. Take a look at it below:

It's a great caricature of one of the perpetual challenges facing any brand-focussed organisation: how to cut through the noise and get yourself heard. The exasperation of the man in getting himself heard is shown most obviously through his shouting (which appears to be undermined by the small size of the microphone, making us think about channels), pointing and posture. The fact that he is precariously standing on a stool represents another attempt at getting himself noticed over others. Altogether this highlights the mismatch between the amount of effort this man, and many organisations like him put into communicating with stakeholders, and their questionable efficacy in getting their message heard through the noise of competition.

What we really love, though, is the dissected speech bubble. The copy inside the bubble reads "share of voice" and is a simple yet intelligent way of showing that whatever message your organisation is trying to communicate, large parts will invariably go unheard. It highlights the importance of building a strong brand in order to increase your "share of voice"; your brand value; and your ability to speak louder, and more clearly than your competitors (hence the header - "Sick of sharing?"). This is nothing new, but it does raise a number of questions that any brand-driven organisation should be sensitive to, such as how integrated are your branding and communications strategies? Who's "voice" is drowning out yours, and why? And what are you doing to increase your "share of voice"? Although the visual doesn't provide any answers, it does raise awareness and make an impression, and for these reasons we hope you like it as much as we do.

You can find out more about the SLIM Brand Excellence Awards 2010 at www.slimbrandex.com.

DAILY TIDBITS 07.04.10: Does the NUS-MBA provide enough proof of employability?; Do NTUC Income continue to impress you with their “different” approach to branding?

2010-04-07T16:19:00.006+08:00

1. Does the NUS-MBA provide enough proof of employability?

OK – this is the third post we have written regarding the string of ads NUS have been running for their MBA programme (see the others here and here). Whilst previously we bemoaned the fact that whilst the signature was meant to suggest “employability” no mention was given of the companies that the signatories secured a job with (if, indeed, they had secured a job), this latest ad does just that (hurrah!). Showcasing the signature of Celena Yew, we are clearly informed that she is now a “Planning & Analysis Manager, Stauber Performance Ingredients, Inc, USA”, and most certainly did, therefore, get “employ-ability” out of her time as an MBA student at NUS. We think this minor detail adds a lot of credibility to the ad, do you?

On a side note, we would also like to draw attention to the signature in the shape of (what we believe to be) the Golden Gate Bridge in San Francisco. Are we right? We don’t know. In the copy there is much talk of “international experience” and “international mobility”, yet no mention of where she gained such experience. Don’t get us wrong, we still love the idea of incorporating international landmarks into the signatures of NUS’s “ambassadors”, but we don't understand why, in this instance, we are left guessing as to where Celena gained her international experience. Does this omission seem strange to you as well? Do let us know by commenting below!

2. Do NTUC Income continue to impress you with their “different” approach to branding?

For us, they most certainly do.

We have previously sung the praises of NTUC’s “Get rich slow” campaign (see here), and believe similar admiration is required for their latest offering, which leads with the slogan “Same, same… but different”. The visual provides a powerful distinction between “other” insurance providers (in grey) and NTUC Income as a healthy orchid with deep roots and bright orange flowers. Great symbolism here as the parallels between NTUC’s “different” approach to growth is shown to be more sustainable and reap greater rewards than its competitors, many of which are still struggling to (re)gain customer loyalty in the wake of the credit crunch.

The body copy is superbly integrated with the powerful visual. The first line reads “Made different. Grown different.”, providing a direct connection between the visual and the fact that NTUC have always put people before profits, meaning they are “Stronger and more resilient, weathering crises along the way”. Again, this clearly juxtaposes NTUC’s “different”, people-centric approach to insurance with its more aggressive, profit-driven competitors. In the wake of one of the biggest recessions in recent times, this ad shows a great awareness of the macrocontext in which NTUC is operating, and sensitivity towards customers that may still find it difficult to trust financial institutions. The penultimate statement is our favourite – “Made different, to make a difference. For you.” – as it neatly reinforces the fact that NTUC is “different” from it competitors with the reality that such “difference” enables them to bring lasting value for their customers.

Great work, we love it. Do you?

DAILY TIDBITS 05.04.10: Does Singapore Airlines-American Express co-brand advertising lack aesthetic appeal?; How well do DHL convey the fact that they “make importing simple”?

2010-04-05T16:10:00.003+08:00

Both ads are taken from the main section of today’s Straits Times.

1. Does Singapore Airlines-American Express co-brand advertising lack aesthetic appeal?

Let’s be straight from the outset: co-brand advertising is difficult. Trying to communicate the synergistic benefits of two brands at once by creating one, integrated aesthetic is a daunting task that rarely matches the appeal of the campaign itself. In the case of the Singapore Airlines-American Express “exclusive fares” campaign, we believe that this is the case. Take a look at the ad below.

To be honest, there is nothing that we particularly dislike about this ad, we just find it incredibly bland. Whilst the slogan (“Announcing the arrival of five exclusive fares…”) leads us to believe that the names of the five cities and the “exclusive fares” being offered could symbolise planes arriving and departing from an airport, it comes across as a somewhat lacklustre attempt to convey an aesthetic that speaks to the impermanence, and international reach of the campaign. The slogan also appears to be too wordy, and a relatively restrained attempt at telling the reader about the promotion. Furthermore, the (over?) use of blue and white does little to attract attention, or make any of the copy “pop” out at you.

For us, the immediate concept that came to mind when thinking of how to improve this ad would be to replace the runway visual with one of an arrivals/departures board in a busy airport, with the arrivals of (Singapore Airlines) flights from the five cities being listed according to the cost of the fare, rather than the time. This would add colour, dynamism, and more of a sense of urgency (i.e. you don’t want to miss your flight/you don’t want to miss this offer) than the current offering (although, as a caveat, we have a feeling this may have been done before…). Any other ideas for improvement? Do let us know by commenting below!

2. How well do DHL convey the fact that they “make importing simple”?

One visual that did catch our eye today was that used by DHL for their “We make importing simple” campaign. The knotted rope used to represent “importing” speaks to the body copy, which tells you that “regulations, middlemen, paperwork and so many other details leave you tied up in knots”. The use of rope is relevant insofar as it provides a visual cue as to being “tied up in knots”, and the fact that DHL can “untangle your imports” (also in the body copy). Whilst the stylisation may be minimal, we do feel that this is a clear, solid and uncompromising way to convey a message clearly and directly through good integration of body copy, visual, and overall aesthetic. Nicely done. What do you think?

How clear is Standard Chartered’s brand promise to be “Here for good”?

2010-04-09T18:09:00.003+08:00

Last week we caught wind of Standard Chartered’s latest round of re-branding, and today we noticed their first instalment in The Straits Times. First of all we love the moody visual – the black backdrop with the black and white photo of the Singapore skyline and soaring kite. A really powerful image that is unique to Singapore, and sets a tone of seriousness and, as well as being “here for good”, Standard Chartered also suggest that they are “here for business”. Fighting talk – we like it. We are, however, slightly puzzled by the position of the slogan. Although it’s in a light green (hang on, this whole aesthetic seems strangely familiar… Any guesses?!) it intersects one of the busiest parts of the visual and it therefore becomes “lost” in the image and logo. Three words are tolerable, but any longer and you would seriously have to strain your eyes to read what it said. In fact, if you look at the whole ad in soft focus, the slogan is almost indistinguishable from everything else. We feel that above or below would be much clearer than in the middle.

Whilst we generally like the visual aesthetic, the body copy comes across as, in a word, schizophrenic. Interestingly there is nothing particularly wrong with what is written – it is all thought provoking, inspiring, even poetic in places – all good stuff for a branding piece. Where it falls short is in the style stakes. It tries to do too much. It mixes up too many styles, asks and answers too many questions, covers too much ground, and generally makes the reader have to think about too many different things before getting to the crux of the message – that Standard Chartered is “here for good”. Whilst the final few sentences are strong, it takes a long, often tangential time to get there, leaving an overall impression of incoherence. Here it is in full:

“Can a bank really stand for something? Can it balance its ambition with its conscience? To do what it must. Not what it can. As not everything in life that counts can be counted. Can it not only look at the profit it makes but how it makes that profit? And stand beside people, not above them. Where every solution depends on each person. Simply by doing good, can a bank in fact be great? In the many places we call home, our purpose remains the same. To be here for people. Here for progress. Here for the long run. Here for good.”

We feel it would be more effective if it was cut it down to just the final part. Something like:

“In the many places we call home, our purpose remains the same. To be here for people. Here for progress. Here for good.”

In our opinion it is this last part that really hammers home the fact that Standard Chartered is “here for good”. The reference to “home” – a concept that is constructed over time – being in many places suggests that although they are a global bank, they are committed to each locality. This is well followed-up by their commitment to people (i.e. customers and staff) and progress (i.e. theirs and yours) before emphasising the fact that they are “Here for good”. This, in our opinion, is all they needed to say.

Overall, we like the direction Standard Chartered is heading towards with this latest branding exercise, but would highlight clarity as one of the biggest potential stumbling blocks.

What do you think?

Marina Bay Sands and the Inter-Pacific Bar Association conference: a case of mis-placed and mis-timed advertising?

2010-05-06T16:19:00.001+08:00

Last weekend the Inter-Pacific Bar Association (IPBA) held their annual conference at the Marina Bay Sands Integrated Resort. It was the Resort’s inaugural conference, and by many accounts it was a disaster. The headline “Uproar over Marina Bay Sands conference woes” adorned the front page of today’s Straits Times, followed up by an in-depth account of guest complaints on page A4. Following this, Marina Bay Sands ran a full-page ad on page A7, inviting readers to “Discover what’s open today” and to “Come get a glimpse of just how spectacular Marina Bay Sands is before our grand opening in June”. In our opinion the strange positioning (i.e. after the headline and article which criticise the Resort) and timing (i.e. the day the IPBA story breaks) renders the ad obsolete, even ridiculous.

Whilst the media slots were probably booked long before the IPBA conference, doesn’t commonsense dictate that timing an ad immediately after an inaugural event is a risky move? Even we were aware that the Resort was rushing to be operational in time for the conference, and could have predicted that the IPBA event would have encountered at least some hiccups. Leaving no margin for error comes across (to us at least) as foolhardy, and has resulted in wasted marketing dollars, and an impotent advertising campaign.

Whilst it can be argued that conferencing facilities are distinct from the casino, restaurants and shops that comprise the main attractions for most Singaporean consumers, the fact remains that the Marina Bay Sands brand has been weakened before it has been launched, and will take time to regain the credibility lost through this incident. Advertising campaigns that are simultaneously undermined by negative reporting will not help. We feel they should have let the dust settle before going on an all-out PR offensive, drawing a line under the embarrassment of the past and ensuring that the brand dwarfs the incident, not the other way round.

Read the full article here.

The Alfa Romeo Mito and Suzuki Swift: two interesting concepts, but what about the execution?

2010-05-18T16:28:00.001+08:00

A couple of ads from the UK have caught our eye over the past few days. On Saturday the back cover of The Times Magazine ran a full-page ad for the Alfa Romeo Mito, whilst yesterday’s Guardian carried a half-page ad for the Suzuki Swift. Both caught our attention for the originality of concept, yet questionable clarity in conveying the message to the reader. Let’s look at both in turn.

First, the headline of the Alfa Romeo ad reads: “The Alfa Mito. Yours for… Wait, that can’t be right”. Under the headline is the image of the Mito, and to the bottom left is the breakdown of the price - £13,494 in total (for all our Singapore-based readers, we know what you’re thinking…!). Whilst we like the idea that the price is so low readers will assume that the figure is incorrect (i.e. “Wait, that can’t be right”); we feel that the page elements are asynchronous, and require the reader to do a lot of work in order to comprehend the whole message. What do we mean by this? Well firstly the price breakdown is something that most readers wouldn’t pay any attention to, and even those that do have to search to find the “total amount payable” as it’s the third line from the bottom, not the last, as we would expect. It hardly jumps out at you, which is surprising given that Alfa are trying to show off how affordable the Mito is. Could they not have included the figure in the headline, i.e. “The Alfa Mito. Yours for £13,494. Wait, that can’t be right…”, thus highlighting the price, whilst challenging its credibility upfront? Secondly, the visual seems like a lazy choice and wasted opportunity. With some slight changes the visual could be far more integrated with the headline, thus strengthening the aesthetic. For example: “The Alfa Mito. Yours for… Wait, we haven’t told you yet” – followed by an image of the Mito speeding off. Doing so would take the reader beyond price, suggesting that irrespective of how much it costs, people just have to have it.

The second ad is for the Suzuki Swift, and represents a newspaper dating column. The ad is a caricature of the partner from hell, reading, “Till death us do part!! Miffed and misunderstood, 27, loves surveillance, high pitch noises and watching people sleep, hurt in the past – won’t make the same mistake twice! WLTM well-trained, obedient partner who isn’t a two-timing, back-stabbing, manipulative, pathological liar.” To the bottom right of the ad is an image of the Swift and the slogan “Time for a Swift exit?”. The main problem we have is that we’re not quite sure what the whole ad is trying to tell us. The logical explanation (we think) would be that that Swift can help you get out of potentially tricky situations. Yet it doesn’t quite gel. What does a car have to do with a neurotic singles ad? It’s a big step between reading an ad and going out on a date (for which you may need a car to assist your “Swift exit”). There is a connection, but it’s a very conceptual one, and as such leaves the ad open to interpretation, and therefore confusion. Our first thoughts were that the ad represented a Suzuki Swift looking for a partner (i.e. a driver), an idea which, we feel, would provide far greater clarity and understanding than the current offering.

Overall, these are two ads that show good promise, but fall at the first hurdle. In the case of the Alfa, the reader is expected to put in a lot of effort in order to fully understand what they are trying to say. For the Suzuki it is not clear what the ad is trying to say. This leaves the message open to interpretation and, therefore, confusion – dangerous pitfalls that all advertisers should try and avoid.

What do you think?

Volkswagen Polo’s “Unbelievable Value”: does the childish charm really work?

2010-05-23T16:27:00.002+08:00

Still in the UK, we noticed in yesterday’s main section of The Times an ad that caught our eye on the London Underground earlier this week. The question we pose in the header is purely rhetorical, as for us the childishness works perfectly, and complements, yet adds an interesting dimension to the usual Volkswagen aesthetic of clean lines, direct prose and starkly rational logic. Take a look at the ad below:

The copy reads “A Polo is £9,790… Honestly, a Polo is £9,790… It’s true, a Polo is £9,790… No really, a Polo is £9,790… Trust us, a Polo is £9,790… Look, a Polo is £9,790… No joke, a Polo is £9,790… Seriously, a Polo is £9,790.” So simple, yet everything works. The font is joyfully playful and looks like a child may have quickly scribbled the plea for attention on any of the surfaces on which this ad appears, whether it is newspaper, billboard, or tube. What we really love, however, is how the various prefixes alternate between a child begging to be heard (e.g. “honestly”, “it’s true”, “no joke”, “trust us”) and an adult saying “that’s enough, we’re serious now” (e.g. “Look”, “Seriously”). This combination of light-hearted begging and serious “cut the crap” style of communication brings to light in the clearest possible terms the call to action: buy a Polo, because it’s so much cheaper than you would expect. It is this clarity of message and communication that is a common theme that runs throughout all Volkswagen’s marketing communications, showing how the most potent of brands are built around an aesthetic that spans, even transgresses text, visual and logo.

It’s not hard to sing the praises of the Volkswagen advertising juggernaut, and this ad provides yet more evidence in support of the fact that they most certainly do set industry standards in terms of brand differentiation, and aesthetic appeal. We love it, do you?

Oliver Fricker and Lloyd Dane Alexander fail to introduce graffiti to Singapore

2010-06-08T10:15:00.002+08:00

Communications-wise, one of the most exciting stories hitting Singapore of late is the tale of Oliver Fricker and Lloyd Dane Alexander's mistaken night-time escapades. As the story has unfolded over the past few days, we cannot help but think back to the (equally mistaken) Singpost graffiti-postbox campaign (see here for our post on the issue). The circumstances surrounding these two stories may be different, but the issues are essentially the same. In this case, our position is somewhat cathartic. Whilst we appreciate graffiti as a form of art, urban culture and youthful expression, we cannot help but be swayed by the fact that the foolishness of this case undermines everything Fricker and Alexander attempted to stand for.

Why did they do what they did? Probably for the reasons why graffiti artists around the world practice their trade. To stick two fingers up to the state, and to do so in a way that improves their street credibility amongst urban youth. But Singapore is not London, New York or Berlin. Graffiti does not carry the same cache here as it does there, meaning there is likely an extra impetus behind their actions; to show that they are above the law, that they are rebellious, that they won't be contained by Singapore's stringent policies regarding the urban environment, that they are not from here, perhaps? This is all very spirited, but the fact that they got caught proves otherwise. Fricker is 32, Swiss, a professional. Our first reaction was to ask why a 32 year old "man" finds breaking into transport depots and tagging trains fun? This isn't some teenager letting off steam, but an expatriate business consultant that appears to be lacking in any form of judgement, or maturity. The ridiculousness of the situation detracts our attention from any artistic merit their work may contain, and we can't help but focus on the fact that a grown man got caught trying to show-off to people half his age. It's all a bit tragic, really.

The irony is, if they had gotten away with it, we probably would have applauded the culprits for trying to inject something fresh and new into Singapore's urban landscape. But the fact is they didn't. They failed, putting themselves in a farcical position that, we hope, will serve to humiliate them as much as they both deserve.

What do you think?

HSBC come crashing to the ground with their latest branding piece

2010-06-09T18:00:00.001+08:00

In Monday’s Straits Times, HSBC ran another branding piece that, in contrast to their previous efforts (see here) left us disappointed. We feel that the ad lacks focus, is predictable, and adds little value to the HSBC brand. Have a look at it below:

The aesthetic of travel and adventure is shown most immediately with the image of a child looking out the window of an aeroplane. The headline – “Over 500,000 people are in the air right now” – is meant to juxtapose the nonfixity of travel with the reassuring permanence of HSBC’s worldwide presence (“So wherever you land, you probably won’t be far from one of our 8,000 offices worldwide”). Yet they don’t quite pull it off. The most promising sentence of the body copy reads “We believe in having an open mind to whatever the world has to offer”, but unlike their previous ad there is little substance to help bring this assertion to life. The linkages between the global mobility of HSBC’s customers and the global network of HSBC’s branches are lazy, and pivot around the rather dull fact that 100 million customers bank with HSBC in 63 countries around the world. So what? Size and scale are poor substitutes for local insight and understanding, and present a retrograde step in developing the HSBC brand.

The last paragraph of body copy is equally dull, lazy and lifeless. We are told that “wherever you land, you probably won’t be far from one of our 8,000 offices [we assume they mean branches] worldwide. Drop in [why?]. The chances are we speak the same language. In more ways than one.” Again, the question that springs to mind is so what? HSBC is a global bank, but we already know that. They want to be our bank wherever we may be in the world, even going so far as to ask us to visit them whenever we’re overseas. Why? Well that's the key question, and is one that this ad fails to answer. From captivating readers with vivid visuals and clever hooks that combine wine making and geography, to lifeless exhortations of HSBC’s global presence, we are made to wonder what will come next.

What do you think?