marketing interactive

The Singapore Tourism Board (STB) has teamed up with Chinese artist XIN LIU for her latest single, Passion, filmed across four of the city’s iconic locations: the Asian Civilisations Museum, Jurong Lake Gardens, Clarke Quay, and Haji Lane. The video explores different dimensions of passion. The neoclassical architecture of the Asian Civilisations Museum sets a reflective tone, while Clarke Quay and Haji Lane showcase urban energy and spontaneity. Jurong Lake Gardens provides a natural setting for raw, unfiltered emotion. The project supports STB’s branded entertainment efforts and its latest campaign targeting Gen Z and millennial travellers seeking unique experiences. Don’t miss: How STB is grabbing attention in the age of endless scrolling    Directed by first-time Singapore visitor Yuann, the video highlights the city’s mix of colonial architecture and lush greenery. Choreography was led by Singapore-based dance collective Jam Republic, with creative direction from Kirsten Dodgen. Five local dancers bring XIN’s emotional vision to life, turning “passion” into movement across the cityscape. Passion is now streaming on all major platforms. Through the language of dance and place, XIN LIU invites audiences into a cross-cultural journey where emotion, artistry, and city life become inseparable. “I’ve been exploring the concept of my world tour, ‘XANADU’, for a long time, and when I arrived in Singapore, I was struck by how inspiring the city is. In Singapore’s unique tapestry of culture, nature and urban vibrancy, I’ve discovered my creative journey – one where timeless heritage embraces modernity,” said XIN LIU. She added, “To me, Singapore is a canvas of artistic possibilities. It is a place where the surrounding beauty invites you to reflect on your inner self.” MARKETING-INTERACTIVE has reached out for more information. In May, the board partnered with BIGHIT MUSIC on BTS Jin’s official music video for Don’t Say You Love Me, from his second solo album Echo. Set against Singapore’s distinctive cityscape, the video blended music, visual storytelling, and travel experiences to showcase the nation’s diverse charms to a global audience. Filmed across multiple destinations — including the National Gallery Singapore, the Singapore Flyer, Gardens by the Bay, and Anderson Bridge — alongside neighbourhood gems such as Keng Eng Kee Seafood and Goldhill Plaza, the production positioned Singapore as both a dynamic travel destination and a meaningful backdrop for Jin’s emotional narrative. That collaboration was followed in August by a partnership with K-pop star JISOO for Your Love, a track from her mini album AMORTAGE. Set against the lush Mandai Wildlife Reserve, the video highlighted Singapore’s natural wonders and wildlife attractions while deepening the emotional resonance of JISOO’s music. The project aimed to promote Singapore’s culture and landscapes to Korean and international audiences, reinforcing STB’s ongoing strategy to position the city-state as a dynamic destination for Gen Z and millennial travellers. Related articles: STB strikes content marketing gold again featuring Singapore in Coldplay video STB seeks creative production team for digital content pushSTB and Mafengwo redefine Chinese travel with AI-powered personalised journeys       source

Move over, Gen Z. A new player has entered the arena, and they’ve never known a world without TikTok, iPads, or Minecraft. Gen Alpha, made up of those born from 2010 onwards, is the most connected, tech-native generation to date. By 2029, they’re projected to be over two billion strong globally, and according to McCrindle Research, they’ll become the largest generation in history, with a combined spending power (via their parents) estimated at US$5.46 trillion annually by 2030. And they’re not just passively watching content. They’re building worlds in Roblox, attending concerts in Fortnite, and co-creating avatars with brands before they can spell “advertising”. Gaming, in particular, has emerged as more than just a digital playground, it’s a gateway to identity, community, and culture. Don’t miss: APAC leads in mobile gaming growth: What marketers need to know Brands are already making moves. In April, McDonald’s teamed up with Minecraft to launch limited-time meals and collectibles tied to The Minecraft Movie, bringing pixelated fantasies to life with real-world food, characters, and play. Closer to home, Singapore Repertory Theatre (SRT) brought Shakespeare to the metaverse with an immersive Macbeth experience on Roblox, targeting a new generation of theatregoers. Even giants such as IKEA, adidas, and Fenty Beauty have entered the game, quite literally. But as the race to engage Gen Alpha accelerates, one thing is clear: Marketers can’t simply port old playbooks into new worlds. This generation doesn’t want to be sold to, they want to play, build, and belong. So how can brands get it right without becoming the cringe NPC (non-player character) no one invited? Catch ’em early  Gen Alpha isn’t just the “next generation”, they’re already a force brands can’t afford to ignore. As Kaveri Khullar, SVP, consumer marketing and sponsorships, Asia Pacific at Mastercard points out, Gen Alpha questions norms, values simplicity, and won’t settle for one-size-fits-all marketing. They’re not spending their own cash yet, but they hold serious sway over family purchasing decisions, making early engagement a smart bet. “While they navigate the digital world with ease, they also actively seek out in-person experiences to find balance and genuine human connection, a desire that brands must foster,” she added.  For Shivendra Dikshit, senior strategy director at Ogilvy Singapore, who was previously at VaynerMedia, marketing early allows brands to earn a place in their evolving identities, not just their feeds. Gen Alpha is growing up in a world where the lines between content, community, and commerce are blurred. They don’t just watch content, they shape it, remix it, and live inside it. This means marketers need to stop broadcasting at them and start inviting them into brand stories that feel native to their digital playgrounds. With screens deeply woven into their lives, from virtual classrooms to social video platforms, interactive content is the name of the game. Game on: The marketing power of play If you want to reach Gen Alpha, you’ll have to meet them where they play, inside the worlds of video games. Platforms such as Roblox and Minecraft aren’t just games anymore, they’ve become sprawling digital playgrounds where identity, creativity, and community collide. Khullar describes them as “vibrant social ecosystems,” offering more than just entertainment, they’re spaces for self-expression, exploration, and even learning. Mastercard picked up on this shift with its “Mastercard gamer exchange,” a platform built on the insight that traditional loyalty programs don’t cut it for today’s digital-first, gaming-savvy consumers. Instead of the usual air miles and vouchers, the exchange lets players convert loyalty points into in-game credits across popular titles. At the same time, it opens the door for Mastercard’s partner brands to enter the gaming arena, a market that’s booming but often overlooked by conventional rewards programs. Dikshit agrees that the real power of gaming lies in its immersive, community-driven nature. “These spaces are more than entertainment — they’re cultural hubs where self-expression and community collide,” he said. That’s why brands need to blend in, not barge in. Instead of dropping in with disruptive ads, he added, marketers should co-create experiences that feel native to the game, think branded skins, custom missions, or entire worlds that enhance the gameplay rather than hijack it. But first, don’t be cringe Here’s the cold splash of water: Gaming audiences smell inauthenticity from a mile away. Token ad placements or forced brand insertions not only flop, they spark backlash. Dikshit warns against treating gamers like a monolith. “This generation is hyper-individualised, with unique interests and subcultures that thrive within each game, platform, and fandom. Brands often misstep by coming in too broad or too forced, which alienates rather than engages,” he said. Khullar echoed this, stating the brands that succeed in gaming truly get the culture and show up with real value, whether that’s hooking players up with real-life experiences, game credits, virtual gear, or investing in the gamer and creator community through skill-building platforms. Regulatory hurdles also loom large, especially for sensitive segments such as underage audiences or alcohol brands navigating age restrictions. While Gen Alpha may still be years away from legal drinking age, Shaun Lim, commercial development manager at Heineken APAC, noted that one of the key challenges brands face when entering the gaming space is navigating the sheer volume and variety of titles and platforms available. “Identifying the right game or platform, one that aligns with the brand’s values and resonates authentically with the intended audience is crucial for relevance and long-term impact,” he added.  Show me the XP: The future of gaming and marketing Forget clicks and impressions alone, ROI in gaming demands a more nuanced lens. Lim urges brands to blend hard metrics such as engagement, time spent, and branded asset interactions with softer indicators such as community sentiment and cultural relevance. Similarly, Dikshit argues that traditional metrics such as impressions and reach only scratch the surface when measuring gaming ROI. He also noted the importance of cultural impact, pointing out that when a brand becomes part of memes, user-generated content, and online conversations, it shows meaningful influence beyond simple

After more than five decades of operating exclusively offline, Mustafa Centre has launched its eCommerce website, offering over 3,000 products to meet growing customer demand for online shopping. According to The Straits Times (ST), the move follows years of requests from customers who wanted the convenience of shopping from home. Mustafa Centre co-founder and managing director Mustaq Ahmad told ST that while the retailer was entering the online space later than competitors, the focus was on ensuring the service remained financially sustainable. Mustaq reportedly said the company’s approach to eCommerce would prioritise profitability from the outset, with prices set to reflect actual operating costs to ensure the business remains financially sustainable. Don’t miss: Study: 81% of APAC shoppers want AI-powered shopping tools The retailer’s online platform, launched on 28 October, currently offers only a fraction of its total 500,000 products available in-store. There are plans to reportedly add about 1,000 new products each month. Average order values currently stand at around SG$200, said Ronnie Faizal Tan, head of overseas projects at Mustafa, in conversation with ST. Mustafa’s eCommerce offering includes groceries, household items, perfumes, chocolates and specialty products such as those from Indian dairy brand Amul. Delivery fees are set at SG$10 for orders below SG$150 and free for those above. Same-day delivery will reportedly not be offered yet as the company calibrates manpower and logistics. For now, the retailer is reportedly using its six-storey complex as a warehouse, with about 10 staff – mainly former cashiers retrained as pickers and packers – fulfilling online orders. Tan told ST that the company may consider automated packing and a dedicated delivery fleet in future if demand increases. Mustafa Centre, which draws about 15,000 shoppers daily, reportedly hopes the new online channel will serve both its loyal base and new customers who have yet to visit the physical store. Mustaq reportedly said the decision to launch the online platform was driven by long-standing customer demand for greater convenience, as many regulars still preferred shopping at Mustafa but wanted the flexibility to do so from home. Tan reportedly added that entering the eCommerce space at a later stage allowed the company to learn from the challenges faced by earlier players and refine its logistics and operations strategy, as the industry has since matured significantly. MARKETING-INTERACTIVE has reached out to Mustafa Centre for more information.  Mustafa’s move online comes amid broader trends of legacy retailers embracing digital channels. In October, FairPrice Group (FPG) launched ‘FPG ADvantage‘, Singapore’s largest omnichannel retail media network, connecting brands with consumers across shopping, dining, and digital touchpoints. The platform leverages over 570 locations, including FairPrice supermarkets, Cheers outlets, Unity pharmacies, and Kopitiam food courts, and combines physical and digital assets, from more than 1,000 digital screens and in-store radio across 150 supermarkets to AI-enabled smart carts, over 6,000 Kopitiam tabletop decals, and in-app placements, engaging 1.7 million app users and two million Link Rewards members daily. FPG ADvantage also allows advertisers to link digital ad performance directly to verified sales within the ecosystem, enabling real-time optimisation and measurable return on spend. Related articles: Study: 73% of SEA shoppers say yes to AI but still want human support  YouTube Shopping lands in SG amid demand for content-driven experiences    FairPrice gets futuristic with smart carts, palm pay and AI-powered store ops source

Unilever has appointed Publicis as its media agency of record for its newly formed independent ice-cream business.. The global remit covers media planning, buying and strategy in key global markets, including China, India and Indonesia. The incumbent on the account is WPP Media’s Mindshare, which handled Unilever globally.  The appointment follows news in September that The Magnum Ice Cream Company would become a standalone, publicly listed entity following its planned demerger from Unilever. The separation, expected to complete by mid-November, will see the business listed in Amsterdam, London and New York. Don’t miss: The Magnum Ice Cream Company plans split from Unilever, eyes global listing The brand has operated as a standalone unit within Unilever since July this year and will continue to receive backing from the parent company. Unilever will retain a stake of less than 20% for up to five years before gradually divesting to manage separation costs and maintain capital flexibility. Unilever also owns several other global ice cream brands including Ben & Jerry’s, Cornetto and Heartbrand. Last year, Unilever appointed several agencies across major markets, beginning with the reappointment of WPP’s Mindshare to handle media in the US, UK and China. It also added partners including Publicis, Dentsu and Interpublic. Publicis Media secured five Southeast Asian markets such as Thailand, the Philippines and Vietnam, which were previously managed by WPP. At the time, Unilever said its expanded agency roster aligned with the company’s Unilever growth action plan, aimed at sharpening media effectiveness, accelerating marketing performance and improving flexibility across global markets. While TMICC prepares to operate independently, tensions around Unilever’s other ice cream brands, particularly Ben & Jerry’s, highlight the complexities of managing iconic labels under a global parent company. In March, founders Ben Cohen and Jerry Greenfield reportedly explored reclaiming the brand from Unilever, which acquired it in 2000, potentially in partnership with investors aligned with the company’s social values, according to Bloomberg at the time. Unilever, however, stressed to Bloomberg that Ben & Jerry’s is not for sale, noting it remains part of its broader strategy to improve performance and reduce costs.  Related articles:Unilever splits global media duties with six agencies Unilever tops Indonesia’s ad market as service sectors surge, Nielsen finds Unilever reinvents product shoots with AI digital twin source

The lead‑up to Miss Universe 2025 has been overshadowed by an unexpected flash‑point during a pre‑pageant “sashing” event in Bangkok. The Tuesday (4 Nov) ceremony, designed to showcase contestants ahead of the 21 November, instead became a focal point of controversy around respect, power, and the host‑country spotlight. At the centre of the incident was Fátima Bosch of Mexico, who was publicly chastised by Nawat Itsaragrisil, chairman of the Thai host‑committee and a high‑profile executive in the pageant world. In a video seen by MARKETING-INTERACTIVE, Itsaragrisil called Bosch out for allegedly failing to participate in a social‑media‑sponsored shoot tied to the host country’s promotional agenda. During the exchange, he reportedly addressed her with the phrase: “If you follow the order from your national director, you’re a dumb head.” In response, Bosch stood up and left the room, claiming that Itsaragrisil does not “respect me as woman.” In the wake of the confrontation, fellow contestants, including reigning Victoria Kjær Theilvig of Denmark, exited the room in protest. Don’t miss: Miss Universe SG revises physical musts: Inclusive or just a PR stunt? The organising body, Miss Universe Organisation (MUO), swiftly intervened. President Raúl Rocha Cantú publicly condemned the behaviour as unacceptable and confirmed that Itsaragrisil’s role in the 2025 staging would be very limited or altogether null. “I will not allow the values of respect and dignity of women to be violated,” said the president.  An official MUO statement was also published on social media, detailing its commitment to respect, safety and collaboration.  “The Miss Universe Organisation (MUO) reaffirms its commitment to working closely with the host community, the Miss Grand International Organization (MGI), and all local partners to ensure the continued success of the 74th Miss Universe competition. Together, we are dedicated to upholding the highest standards of respect, safety, and integrity for all participants, staff, and stakeholders,” said the statement.  “A high-level delegation, led by the chief executive officer, Mr. Mario Búcaro, is traveling to Thailand to strengthen collaboration with the host country, MGI, and relevant authorities. This mission aims to coordinate efforts, ensure a secure and professional environment for all delegates, and reaffirm MUO’s commitment to transparency, respect, and unity,” it added.  The statement also said that all scheduled events and activities will continue as planned, in full cooperation with the host country and MGI. The Miss Universe Organisation remains steadfast in its mission to promote collaboration, respect, and opportunity for women around the world, working hand in hand with all partners to ensure a safe, inspiring, and memorable experience for every delegate. Itsaragrisil also issued a brief apology, acknowledging his “limit of patience” and the discomfort caused. In a video posted by CNA, Itsaragrisil is seen on stage speaking to an audience and later turning around to bow to some of the Miss Universe contestants standing behind him. It is unclear if Bosch was present as only Miss Italy and Miss Panama were prominently seen in the video.  The chairman also encouraged viewers to fact-check circulating reports, claiming some accounts of what he said were inaccurate.  The incident serves as a reminder of the influence Miss Universe wields as a platform for women. Over the years, many crowned winners and popular contestants have leveraged their visibility to become key opinion leaders for organisations and brands, amplifying campaigns and driving cultural conversations. A recent example comes from the financial sector. To mark the relaunch of its mobile app, My CBC, Chinabank leaned into pop culture with a campaign starring two beauty queens from different generations. In the video campaign, Miss Universe Philippines 2023 Michelle Dee tries to teach her real-life mother, Miss International 1979 Melanie Marquez, how to use the app. Chaos ensues, creating a lighthearted, shareable moment that resonates with audiences while subtly reinforcing the brand.  Related articles:  Chinabank leans on Miss Universe Philippines for a funnier, friendlier rebrand   Miss Universe organiser pulls MY edition of contest following harassment claims  Analysis: PR professionals label former Miss Universe Malaysia apologies insincere  source

Reuters has rolled out a new brand campaign titled “Pure news, straight from the source”, aiming to reaffirm the importance of accurate and agenda-free journalism amid a surge of misinformation online. The campaign uses water as a metaphor to illustrate how information can become distorted as it moves further from its original source. It highlights Reuters’ role in delivering independent reporting through its network of more than 2,600 journalists across 200 locations worldwide. At the heart of the campaign is a short film that depicts an alternate world where the water everyone consumes is murky, a visual metaphor for today’s information ecosystem. Combining cinematic storytelling, original Reuters footage and generative AI, the spot demonstrates how the same technology used to create false visuals can also underscore the need for credible reporting. Don’t miss: CNA transforms global headlines to Bahasa Indonesia in OOH campaign  A key moment in the film transitions from AI-generated scenes to authentic Reuters footage, underscoring the brand’s Thomson Reuters Trust Principles and its editorial stance against using generative AI to create or alter news imagery. The campaign’s launch comes as public concern over misinformation continues to rise. According to the “2025 Reuters institute digital news report”, over half of global respondents expressed worry about the authenticity of online news, with that figure climbing to 73% in the US. The campaign was developed by Gravity Road, with BAFTA-nominated director Ivan Bird helming the film. Strawberry Frog handled media planning and buying. “In an era of information overload and growing skepticism about media, Reuters stands as a beacon. Our mission has never been more critical – to deliver facts and rigorous analysis and to shed light on the truth without fear or favor,” said Paul Bascobert, president of Reuters. He added, “This campaign reinforces our position as one of the most trusted sources of information for nearly 175 years, assuring readers they are getting unbiased and accurate news when they subscribe to Reuters.com.” In tandem, Josh London, head of Reuters Professional said, “In a world craving certainty, we offer consumers access to facts, reported independently and accurately. For our subscribers, this isn’t just a news service; it’s a commitment to receiving unvarnished truth, empowering them with the trusted insights only Reuters can provide.” Mark Eaves, co-founder and CEO of Gravity Road, noted that the campaign draws parallels between how consumers increasingly seek transparency and purity in what they eat and drink, and how they should apply the same scrutiny to the news they consume. He added that as misinformation becomes more sophisticated through AI, the campaign reinforces Reuters’ position as a trusted and essential source in a healthy media ecosystem. The move follows a wider trend of media brands leaning on bold creative to reassert the value of credible journalism. Earlier in June, The Economist rolled out a series of provocative out-of-home placements under bridges and at intersections, featuring statements such as “Make AI worried you’re going to take its job” and “Do you have an unprompted opinion?” to remind audiences that copywriting, and human insight, remain very much alive. Related articles: SPH Media taps TSL Media Group’s X10 to boost influencer-led performance marketing   StarHub and Mediacorp join forces to create stronger content and ad opportunities   CNA rolls out paid media release service  source

Happy Friday, MARKETING-INTERACTIVE readers and welcome back to Gen Z Perspectives, your go-to feature where we unpack the week’s top stories and trending topics through the eyes of Gen Z. From the biggest industry moves to viral moments and marketing controversies worth dissecting, we’re bringing the heat with authenticity, awareness and probably a few unfiltered takes. This week, Mustafa Centre went digital after five decades, Coca-Cola’s new Christmas ad stirred up chatter, and Mariah Carey teamed up with Sephora for a festive collab that absolutely sleigh-ed. You know what time it is.  Don’t miss: Gen Z perspectives: Publicis Groupe snaps up HEPMIL, CHAGEE in Chinatown & PepsiCo’s new look 1. Mustafa Centre reportedly opens digital platform to meet growing online demand   After more than five decades of operating exclusively offline, Mustafa Centre has launched its eCommerce website, offering over 3,000 products to meet growing customer demand for online shopping. According to The Straits Times (ST), the move follows years of requests from customers who wanted the convenience of shopping from home. Mustafa Centre co-founder and managing director Mustaq Ahmad told ST that while the retailer was entering the online space later than competitors, the focus was on ensuring the service remained financially sustainable. Read more here.  2. Coca-Cola’s 2025 AI-driven holiday ad draws mixed reactions Public reaction to Coca‑Cola’s 2025 AI-driven holiday ads has been mixed, as the brand experiments with generative AI to refresh its iconic seasonal storytelling. Since the campaign’s launch, 10.2% of conversations were positive and 32% negative, compared with 23.8% positive and 31.4% negative prior to the ad, according to media intelligence firm CARMA. Despite the divided response, Coca‑Cola is pressing ahead with its 2025 global holiday campaign, “Refresh your holidays”, which celebrates those working behind the scenes to bring seasonal magic to life. The campaign features three new films, including “A holiday memory” and two AI-driven reimaginings of the 1995 classic, “The holidays are coming”. Read more here. 3. ‘It’s Time!’ Sephora brings holiday magic to life with Mariah Carey Mariah Carey is kicking off the festive season in true diva style, partnering with Sephora for a glimmering holiday campaign that blends her signature sparkle with the beauty retailer’s year-end promotions. The campaign centres on Carey’s much-anticipated annual “It’s time!” video, the unofficial signal that the holiday season has begun, this year reimagined with Sephora to deliver a mix of festive glam and brand storytelling. Read more here.  Related articles: Can Publicis’ HEPMIL acquisition unlock new opportunities for boutique influencer agencies?    LTA seeks social media agency source

Kimberly-Clark Corporation, the parent company behind Kleenex and Huggies, has unveiled plans to acquire consumer health firm Kenvue in a cash-and-stock deal valued at about US$48.7 billion. The deal, approved by both companies’ boards, is expected to close in the second half of 2026, subject to shareholder and regulatory approvals. The deal brings together a portfolio of household names across both companies, creating what they describe as a “global health and wellness leader” spanning 10 billion-dollar brands and reaching nearly half the world’s population. Kimberly-Clark chairman and CEO Mike Hsu, who will lead the combined company, said the merger will “harness both companies’ strengths in science, innovation, and brand building to meet evolving consumer needs.” The headquarters will remain in Irving, Texas, with continued presence at Kenvue’s key locations. Don’t miss: Kenvue names new APAC group president Upon completion, Kimberly-Clark shareholders will own about 54% of the combined company, while Kenvue shareholders will hold around 46%. The transaction will create a combined entity with estimated annual revenue of US$32 billion and adjusted EBITDA of about US$7 billion in 2025. Kimberly-Clark expects the acquisition to deliver cost synergies of approximately US$1.9 billion and an additional US$500 million in profit from revenue synergies within the first four years post-close, offset by around US$300 million in reinvestment. “We are excited to bring together two iconic companies to create a global health and wellness leader,” said Hsu. “Kenvue is uniquely positioned at the intersection of CPG and healthcare, with exceptional talent and a differentiated brand offering. With our shared commitment to science and technology, we will serve billions of consumers across every stage of life.” Hsu added that the deal marks a major step in Kimberly-Clark’s ongoing business transformation. “Over the last several years, we’ve pivoted our portfolio to higher-growth, higher-margin businesses and rewired our organisation to work smarter and faster. This transaction is a powerful next step, and we’re confident it will drive significant value for shareholders.” Larry Merlo, chair of Kenvue’s board, said the agreement “delivers significant upfront value for shareholders and substantial upside potential through ownership in the combined company”. He added that the merger “creates a uniquely positioned global leader in consumer health with a broader range of growth opportunities ahead.” Kenvue CEO Kirk Perry echoed the sentiment, noting that the merger unites “two highly complementary portfolios filled with iconic, trusted brands”. He said, “Together, our combined strengths, expanded capabilities and broader reach will empower us to innovate faster, strengthen category leadership, and deliver greater value to shareholders, employees and consumers.” The move to acquire Kenvue builds on Kimberly-Clark’s continued push to expand its global footprint in emerging markets. In 2020, the company acquired Softex Indonesia, a manufacturer and distributor of baby, adult, and feminine care products, for about US$1.2 billion from a group of shareholders including CVC Capital Partners Asia Pacific IV. At the time, Hsu said the acquisition “represents a compelling strategic fit and demonstrates our commitment to accelerate growth in developing and emerging markets.” The deal strengthened Kimberly-Clark’s presence in Indonesia, Southeast Asia’s largest economy, giving it strong market share in key personal care categories and enhancing its growth prospects in the region. Related articles: Kenvue promotes Venaig Solinhac to VP global brand lead, baby  Johnson & Johnson names new Vision Care marketing lead for 4 regions  Kimberly-Clark Professional appoints The Idea Shed to lead sustainability comms source

VML has announced that Mel Edwards, its global president, will retire in late spring 2026, concluding a career spanning more than 30 years in advertising and marketing. Edwards’ tenure included 13 years of leadership across WPP, Wunderman, Wunderman Thompson, and VML, during which she played a central role in shaping the agency’s growth, culture, and service offerings. Most recently, Edwards oversaw the integration of Wunderman Thompson and VMLY&R to form the current VML network, driving a connected culture and building strong client relationships. Under her guidance, the agency has become recognized for both award-winning creative work and robust technological expertise. Jon Cook, global CEO of VML, praised her leadership, saying, “Mel has been a phenomenal leader, partner, and friend, helping to shape VML’s global network over the last two years. Her strategic vision, energy, and authentic leadership have touched so many people around the world.” Don’t miss: WPP launches Open Pro to put AI marketing power directly in clients’ hands Reflecting on her retirement, Edwards said, “My decision to retire next year has given me time to reflect on the incredible journey I’ve had. One filled with inspiring colleagues, clients, and friends from every corner of the world. I am proud of the connected culture and expansive offerings that Jon and I have recently built together at VML. Personally, I’m looking forward to travelling with my family and enjoying more hours of free time.” A noted advocate for inclusion in the advertising industry, Edwards has been repeatedly recognised on the Heroes Executives Role Model list and has championed programs including the Magpie mentoring initiative, WISE empowerment program, and the LÍDERAS leadership program across Latin America. Cindy Rose, CEO of WPP, added, “On behalf of WPP, I want to thank Mel for her leadership, loyalty, and passion over the last 13 years. Her influence and impact have shaped how we partner with our clients every day, and her legacy will be felt well into the future. We wish her an amazing next chapter when it begins in 2026.” Edwards’ retirement comes amid significant changes at WPP this year, including CEO Mark Read stepping down and handing the reins to Cindy Rose. The network also rebranded GroupM as WPP Media, a fully integrated, AI-powered media company designed for the next wave of marketing. In May, WPP shifted creative agency Grey under Ogilvy, moving it from the AKQA group to strengthen collaboration and unlock growth across the network. WPP Media also restructured its organisation in the Asia Pacific, Middle East, and Africa (APMEA) region, dividing operations into six sub-regions: Australia and New Zealand led by Aimee Buchanan; China by Rupert McPetrie; India and Sri Lanka by Prasanth Kumar; MENA by Amer El Hajj; Northeast Asia (Japan, Korea, Hong Kong) by Michael Beecroft; and SEAPAT (Southeast Asia, Pakistan, South Africa, Taiwan) by Helen McRae. Not long after, WPP announced that COO Andrew Scott would retire and step down from the board at the end of 2025, concluding nearly three decades with the network. Two months ago, Rose appointed Devika Bulchandani, who has led Ogilvy since 2021, as WPP’s new COO, alongside Laurent Ezekiel, formerly head of WPP Open X for The Coca-Cola Company, as global CEO of Ogilvy Group. Related articles: Cindy Rose reshapes WPP leadership, Ogilvy handed to Ezekiel in global revampWPP CEO Mark Read to step down after 7 yearsWPP moves Grey under Ogilvy in creative agency shakeup source

Coca-Cola is taking another shot at AI-generated holiday ads after last year’s campaign was criticised for its poor execution and for stoking fears about AI replacing creative jobs.  As compared to the 2024 Christmas ad, this year’s ad focuses more on 3D animation, emotional storytelling, addressing the “uncanny valley” issue by replacing the glossy, vacant human models of 2024 with a lively ensemble of animated animal characters. Furthermore, the wheels of the iconic red trucks now turn with convincing realism, correcting the awkward gliding effect that drew criticism in last year’s ad. To further showcase the technical artistry behind the campaign, the brand also released a behind-the-scenes video, highlighting a hyper-realistic animation of a panda peering into the distance through a snowy bamboo forest. The close-up night shot captures intricate fur textures, soft lighting, and atmospheric detail—demonstrating the brand’s commitment to both visual beauty and emotional resonance. The changes come as the brand continues to experiment with its AI usage. Earlier this year, as reported by MARKETING-INTERACTIVE, James Quincey, chairman and CEO of The Coca‑Cola Company, said despite the advancements in AI, the technology has its limitations, especially when it comes to recreating realistic human resolution in advertising. Speaking at the opening keynote of the Adobe Summit in Las Vegas, Quincey acknowledged the rapid advancements in AI but said it still falls short when rendering realistic human faces that audiences can connect with. Quincey explained that while ads using generative AI are cheaper and quicker to make, the technology struggles with human resolution. “You can make a video with music and voice, and you can customise it endlessly, but it is not yet at the stage where it can make all our ads. Humans are incredibly effective at noticing AI that is not actually a human,” he said. Don’t miss: Coca-Cola’s 2025 AI-driven holiday ad draws mixed reactions Despite these upgrades and adjustments to the use of AI, public reaction remains divided. According to media intelligence firm CARMA, online sentiment since the campaign’s launch has been 10.2% positive and 32% negative—a decline from the 23.8% positive and 31.4% negative sentiment prior to the ad. Netizens have criticised the ads for a perceived lack of the creativity and nostalgia inherent in past campaigns, arguing that the classic Coca-Cola “magic” is diminished by an over-reliance on AI. Many expressed frustration that cost-cutting and production speed appear to be prioritised over artistic quality. Why the ad is stirring up conversations  Coca-Cola is not alone in facing backlash for using Gen AI in festive marketing. Last year, Toys “R” Us saw its public sentiment plummet after releasing an ad created entirely by OpenAI’s Sora, which viewers called “soulless” and “cynical.” According to Jacopo Pesavento, CEO of Branding Records, this trend is driven by curiosity. “Brands and creatives are testing the limits of what machines can do. It has become the new frontier and everyone wants to touch the edge.”  He noted that Coca-Cola is no stranger to digital storytelling, with its Pixar-level holiday films of the past, but the difference now is visibility. “Technology is no longer hidden behind artistry. It has become the story itself. And that is why it feels so different,” he said.  Virginia Ngai, associate partner at Prophet, described this year’s ad as “technically polished but emotionally flat.” She argued the issue is that the “story feels hollow.” For a brand built on “real happiness” and “human connection,” an AI-driven ad that feels cold creates a palpable disconnect for the audience. Ngai added that the issue is creative intent. “When AI becomes the idea rather than the enabler, the story loses meaning. Consumers don’t want to be impressed by algorithms; they want to be moved by ideas.” “As technology evolves, we should embrace it. The question is how. Pixar, for instance, uses CGI to evoke real emotion. You forget it is all generated because the storytelling feels deeply human. That is the benchmark for creativity in the age of AI,” she added. Coca-Cola has been one of the most high profile adopters of Gen AI, said Ambrish Chaudhry, head of strategy, Asia, MSQ & Elmwood. “Being somewhat of a flagship for the technology, opens it up to many brickbats and bouquets. In some ways you could attribute the backlash to our feelings about AI as a whole. Any new technology initially feels magical and then doubts start to surface.” In the caravans execution, Coke’s primary focus has been on consistency. “They are relying on their well-earned status as the harbinger of the holiday season. However, in the quest for consistency they lose out on the surprise factor that creates anticipation. It’s worked well so far but may be a tactic with an expiry date,” he added. On the creative front, John Koay, executive creative director, Edelman Hong Kong, said many are seeing AI as merely an effective way for large brands to get around cost and efficiency. “Perhaps they feel the ‘realness’ is absent in its execution and delivery. I think AI can still deliver the human centric element, but it really comes down to the story and why AI was used.” The path forward: AI as a stagehand, not the star The opportunity for Coca-Cola, and others, is to reframe AI’s role. As Ngai suggested, AI should act as a “stagehand that amplifies human imagination,” not as the storyteller. “When technology and emotion move in rhythm, brands do more than keep up with change. They set the tone for it.” Nonetheless, Pesavento believes Coca-Cola has “earned the right to experiment” given its century of crafting cultural moments. However, he proposes a bolder alternative: “I would have used the moment to surprise everyone, not with another machine-made spectacle, but with something radically human. No actors, no green screens, just real people, real stories, real magic. That would have been the boldest move of all.”  Because when everyone is chasing the future, sometimes the most revolutionary thing you can do is remind people what being human feels like.  AI is merely an amplification tool for creativity, said Koay. “Used in the right ways and