Adweekの September 24, 2018 の目次

CHERYL KAPLAN, PRESIDENT, M. GEMI Adweek: What does it take to create an impactful luxury brand in a fast-fashion world? Kaplan: Today’s consumer is extremely savvy, so shopping has become so much more than a transaction. Creating beautiful product is a given, but consumers are also looking for a great experience from end to end, which is why we have made shopping for M. Gemi such a simple and enjoyable process every step of the way. We built brand loyalty from the ground up by exceeding our clients’ expectations in everything we do, pairing luxury product with concierge customer service and the constant newness of our Monday drop model. All three of these priorities—product, service and concept—need to be in harmony to succeed in the market today. What’s your greatest…

Tapping Kevin Hart for a brand deal means tapping into an audience that’s paying attention—a really, really big audience. The savvy comedian has masterfully cultivated a massive following on social media by giving fans an inside look at his world—from family life and his workout routines to candid behind-the-scenes shots with fellow celebs—while simultaneously using the platforms to promote his films, comedy tour and, of course, his brand deals. Just last week, Hart climbed for the first time to the No. 1 spot on The Hollywood Reporter’s social-media ranking of actors, ahead of Dwayne Johnson and Will Smith. It was just the latest crossover milestone for Hart, who had led the social-media rankings for comedians every week since June 2017. Below, some of the numbers that make him so influential…

Turning down a six-figure gig with Apple in the early stages of her career was a gutsy move, but Jessica Walsh—now partner, art director and designer at Sagmeister & Walsh—has no regrets. Her goal was to run a studio, and the decision paid off in the end. “It was always very clear to me that if I went down that route, I would be doing one type of design for one client that already had an established look and feel,” she said of Apple. After doing some design work with design agency Pentagram, she joined bimonthly magazine Print as an art director during the recession in 2008. Walsh said her year and a half at Print “could have been depressing, but I took it as an opportunity,” adding that she…

Brandweek used to be just a magazine. Adweek too, and Mediaweek. The latter of the three is where I first encountered the new digital marketing and media economy as a reporter, covering the rise of the cable business and the nascent stirrings of next-gen content, marketing, distribution and monetization. A lot has happened in that 20-year span—yes, it’s been that long. The rise of the internet, omnichannel audiences, ad tech, smartphone ubiquity and data-led marketing science. Almost none of it, however, has really considered the consumer beyond a squishy demo, the faintest statistically acceptable rating or empty calorie click or view—phantom proxies for traditional media’s long-held but now rapidly waxing reign. This has all led up to a key inflection point where marketers in the traditional sense are really not…

INDEPENDENT PRODUCTION COMPANIES responsible for providing directors and other filmmaking talent to help turn agency scripts and concepts into campaigns. POSTPRODUCTION STUDIOS take on the editing, effects and audio work that adds a final polish to the product. HYBRIDS like MediaMonks and Tool look to work more directly with clients on projects driven by tech and creative. AGENCY PRODUCTION DIVISIONS handle under-the-radar production work specific to the clients of certain agencies. HOLDING GROUP FACILITIES such as eg+ and Hogarth were created to manage more cross-agency assignments and pitch for new business. NEW SPINOFFS Hecho Studios, Steelhead and others started within agencies but became their own businesses operating under parent company umbrellas.…

Inefficiency sucks. Every client knows this. And there’s nothing more cumbersome than having to deal with seven or eight or nine different agencies to manage your digital, traditional, above-the-line, below-the-line, social, outdoor, TV and product advertising. But that’s the nature of an industry evolving faster in its media than in its makeup. As connectivity and digitization further permeate the marketing bedrock, the pressure on specialty shops to provide “added efficiency” can become oppressive, leaving them with a scary choice: try to find your place in a bigger group or expand what you offer across a wider spectrum of the advert-scape. This is how you get PR firms serving up brand strategy, websites, social media management and so on. Not that there’s anything wrong with branching out; it’s evolution, and it’s…

In Esurance’s latest marketing campaign, actor Dennis Quaid nonchalantly opens the spot by telling viewers that he, star of The Parent Trap and A Dog’s Purpose, is now appearing in an insurance campaign because he is “highly likeable.” He points out the overly dramatic music kicking in, and the kitchen he enters has prop apples, not real ones. It’s all part of a meta-marketing trend that is resurfacing, where a brand and its spokesperson clue the consumer in that they’re watching an ad. Think Anna Kendrick in Newcastle’s 2014 faux Super Bowl ad where the actress addresses the camera head on to discuss the fact that she was almost in a big-budget ad campaign before the brand realized the ad buy was too expensive. This time around, meta marketing’s return…

When the comedian partners with a brand, he brings more than just a name. Kevin Hart is hands on, providing input on everything from design to content strategy. The results of his savvy approach are no laughing matter. Tommy John, Lyft and Old Spice have all enjoyed a huge bump on social thanks to the Kevin Hart Effect. LYFT The comedian goes undercover for Lyft, pretending to be an older gentleman named Donald Mac, in a branded content series he created for the ride-sharing brand through his multiplatform Laugh Out Loud network. The first season, which aired in 2017, scored over 50 million views across the network and nabbed 1.4 million social engagements as well as a 33 percent increase in fan growth on social for Lyft during the series.…

THE FIGURE The “eight” in Eight Hour comes from the time it took (or so company legend has it) for the cream to heal the skinned knee of the son of Arden’s neighbor. THE STUFF Formulated in 1930, its recipe still unchanged, the cream is a blend of petrolatum, beta hydroxy and vitamin E, among other ingredients. THE DOOR Unnoticed by many customers, this tiny red doorway is a reference to the front door of Arden’s first beauty salon on Fifth Avenue in New York. The skins of famous people are really no different from the skins of the rest of us, but that fact has done nothing to diminish Americans’ implacable desire to learn the beauty tips of the stars. So here’s one of them—a product that can be…

Who Stephen Goldblatt, founder; Lee Einhorn, partner What Creative syndicate Where San Francisco 1 Partners in Crime’s first major campaign, for True Key, was a musical ode to what makes people unique—a nod to the client’s facial recognition tool. 2 For My/Mo Mochi Ice Cream, the shop’s summer campaign revolved around taking a moment for yourself—with My/Mo, “the snack that gets you.” 3 “Mob the Rainbow” was the tagline Partners in Crime created for Skittles’ social media campaign.…

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