marketing interactive

With 180 years under its belt, The Straits Times has its work cut out for the brand when it comes to reinvention of how news is told. ST’s audiences today have come across a myriad of new formats from podcasts to reels, as that the national newspaper embraces new ways of reaching audiences. Editor Jaime Ho shares that this comes as the national daily reframes how one might think of journalism today. In his note on LinkedIn, Ho shared that “journalism can and must bring communities together”. “It’s a fundamental addition to the heavy responsibilities that we already bear as journalists. But we have no choice,” he said. Don’t miss: The Straits Times marks 180 with digital revamp and shift in news reporting Much of the bringing communities together also lies in the ability to reach a wide demographic of audiences based on their user behaviour, and experimenting in new formats of storytelling – some of which might feel unfamiliar to those growing up with the brand. This unfamiliarity, explains Ho, is something the team “grapples with every single day” but isn’t necessarily bad. “ST is 180 years old. It is three times the age of Singapore. Newsroom cultures, newsroom sensibilities, our audience and our country’s perceptions of us, I fully accept, are deeply entrenched, and that’s a good thing,” he said. He added, “We want to keep that perception of us intact and sound, but at the same time, our brands now exist in very separate and sometimes distinct audiences and ecosystems.” Further elaborating on the point, Ho added that audience behaviour on web, app, print, podcast, Instagram, messenger channels are all distinctly different and that requires the brand to “unleash a little bit of creativity and a bit of accessibility and relatability”. While there will always be a certain degree of baseline, the team will continue to test the sensibilities of different audiences, he added. “And yes, this might mean that some content fails to meet the mark but that’s just how experimentation goes.” If you’re just doing the same thing over and over, then I think that’s the worst outcome that we can get to. While experimentation of content is one crucial aspect to finding success in new mediums, the second is probably being able to commercialise it. Ho acknowledges the balancing act required between engagement and commercialisation, but his eye remains on the overall impact to the community. “I’ll be honest the most important bottom line for us, for me, at least for the long term and the big picture, is truly the sense of public service that we have. That’s the thing that is, you know, in an unfortunate way, unmeasurable. But we know what it is, and I think our audiences know what it is,” he added. Netizen journalism existing with evolving newsrooms Addressing the audience’s questions at PR Asia on speed versus accuracy, Ho shares that accuracy will always come first because journalism is in the business of credibility. “When it comes to stories that originate from UGC, I’ll admit it quite readily that the Straits Times may be half a step slower than others because we have that extra one or two steps of verification,’ he said. Misinformation, he adds is often a result of the need for speed. Ho added that over time, as overall media literacy in population rises, audiences will come to appreciate a slightly longer wait for a fuller picture. When asked if the content created by ST today also competes with those in content creation and netizen journalism, Ho says the two can coexist. “I’m a firm believer that this is a free marketplace of ideas, and competition only makes us all better – whether or not we’re competing directly. I think the only thing we are all competing against is time, and who is best able to make the value proposition for you out there to spend a little bit of time with us when you need it,” he said. Related articles:  SPH Media taps TSL Media Group’s X10 to boost influencer-led performance marketing  PR Newswire partners SPH Media to expand SG reach     SPH Media spends SG$3m in subsidies to support newspaper delivery  source

Global communications agency Redhill has unveiled PressOffice.ai, an AI agent designed to overhaul how brands and agencies handle press releases. By combining the speed of artificial intelligence with Redhill’s international media network, the tool allows users to draft, refine, and distribute press releases in minutes, a task that traditionally takes hours or even days. Leveraging a curated database of over 5,200 journalists across more than 20 countries, PressOffice.ai offers precise targeting and reach for organisations of all sizes. Users can select specific sectors and markets to target, with global distribution tracked in real time through a live campaign dashboard. Don’t miss: Study: 81% of APAC shoppers want AI-powered shopping tools In addition, the platform supports the complete PR workflow. Users can input their story and instantly generate a well-structured draft, while the AI refines grammar and tone, suggests style variations, and prepares the release for distribution. Redhill says the tool is particularly suited for SMEs, startups, in-house teams, and PR agencies handling multiple accounts. From lean startups seeking to amplify their brand story to established agencies looking to scale output, PressOffice.ai aims to streamline the news distribution process, offering a faster and more efficient way to get announcements out. The platform is now available worldwide, giving organisations the ability to craft and disseminate an unlimited number of press releases. “At Redhill, we believe that the future of public relations lies in combining human creativity with technological innovation. PressOffice.ai gives communicators the tools to move faster, think more strategically, and focus on what really matters, creating impact,” said Manisha Seewal, group president at Redhill. Speaking on the new tool, Delbert Ty, ex-CMO of Coffee Meets Bagel said, “PressOffice.ai is the tool I always wished I had during my time at Circles and Coffee Meets Bagel. As someone deeply committed to metrics and target setting, I’ve often been frustrated by the ambiguity of the PR process—it felt so arbitrary. Today, that all changes.”  AI-driven tools have been gaining momentum across marketing and communications. Most recently, Reddit launched Reddit Community Intelligence at Cannes Lions, tapping into over 22 billion posts and comments to provide structured insights for brands, helping them plan campaigns, validate ideas, and connect with high-intent communities. Meanwhile, Meta has expanded its AI-powered ad tools to give marketers more control over campaign optimisation. The update emphasises value-based optimisation, enabling advertisers to specify the conversions that matter most to their business—whether it’s boosting profit, reducing churn, or acquiring high-value subscribers. Meta says the goal is to guide its ad systems to prioritise outcomes aligned with advertisers’ key performance indicators across channels. Accelerate your brand’s growth with AI-first strategies, emerging tech and data-driven experiences. Join 500+ marketing leaders at Digital Marketing Asia 2025 Singapore on 24–25 September to uncover transformative trends, real-world wins and powerful ideas for 2025 and beyond.  Related articles: Maybank inks partnership with Microsoft to supercharge digital and AI transformation  Can an ‘AI generated’ label really build trust, or will it slow the industry down? SIA taps Qualtrics to sharpen AI-driven customer insights source

MARKETING-INTERACTIVE is proud to unveil the finalists for the 14th Annual Marketing Excellence Awards Singapore, spotlighting campaigns and marketers that have raised the bar in creativity, innovation, and resilience. Reflecting the shifts in Singapore’s marketing landscape, two new categories were introduced this year – ‘Excellence in Customer Data Privacy Assurance’ and ‘Excellence in Live-Streaming Marketing’. This brings the total to 48 categories, where brands and agencies will compete for gold, silver, and bronze across disciplines, with the coveted ‘Marketer of the Year’ title awarded to the best-performing contender overall. A panel of 20 senior client-side marketers served as judges, evaluating entries through a rigorous and independent process. Shukai Koh, deputy CEO of Children’s Cancer Foundation, observed that this year’s submissions stood out for being both bold and strategic, with agencies “raising the bar by balancing innovation with impact, and storytelling with measurable results.” He added that the calibre of work reflects the industry’s evolving excellence. For Tracy Lui, senior assistant director of marketing communications & retail at Mount Faber Leisure Group, the entries demonstrated how marketers are navigating a landscape shaped by AI disruption, tightening privacy regulations, and fleeting consumer attention. “In this landscape, every marketing dollar must work harder. The Marketing Excellence Awards 2025 celebrates those who have not only adapted but excelled, with entries that were bold, authentic, and transformative. What impressed me most was how many campaigns turned challenges into their greatest competitive advantage,” she added.  In tandem, Jackson Sim, cluster director of marketing, Hyatt Hotels in Singapore said “The ambition, insight, and purpose behind the campaigns were clear, with work that was creatively sharp while solving real business problems.” “The calibre of thinking, craft, and execution demonstrated the industry’s relentless drive to push boundaries,” stated Sim. The winners will be announced at a gala night on 19 September at The Ritz-Carlton, Millenia Singapore. Want to know which campaigns wowed our judges? Click here to view the full list of finalists. For table bookings and award packages, please contact our project managers: Reggie OlaSenior Regional Project ManagerMobile: +639 955458533Tel: +65 6692 9031 Ext 813Email: [email protected] Mohanesh Kumar Senior Regional Project Manager Tel: +65 6423 0329 Ext 230 Mobile: +65 9895 3365 Email: [email protected] Advertising & Sponsorship Opportunities Email: [email protected] source

Great Eastern Group has appointed marketer Kwek-Perroy Li Choo as managing director, group integrated propositions and platforms. Her role is effective 15 September 2025. In this newly created role, Kwek-Perroy will lead teams responsible for customer segments and experience, product development, digital platforms, brand, marketing and communications in the Great Eastern Group. Reporting directly to the group chief executive officer, she will be responsible for driving a unified, customer-centric strategy that delivers innovative propositions, integrated solutions and personalised customer experiences. Kwek-Perroy is a seasoned insurance leader with extensive experience in driving customer-centric transformation. She held senior leadership positions at AXA Group, Manulife and Zurich Insurance Group in APAC and Europe. Don’t miss: Prudential SG nabs AIA’s Toni Fung as chief customer and marketing officer  According to an announcement from GE, she is known for her strategic vision and ability to lead cross-functional teams around a shared customer vision. “I am delighted to welcome Li Choo to the leadership team. This appointment underscores our commitment to putting customers at the heart of everything we do,” said Greg Hingston, Group CEO of Great Eastern. “Great Eastern has the opportunity to create powerful synergy by leveraging our wide-ranging capabilities across life insurance, general insurance, asset management and banking – all within the OCBC Group ecosystem. With her leadership, I am confident in our ability to build a deeper understanding of our customers and design integrated propositions that address their evolving needs, enabled by seamless digital and service platforms.” The Group Integrated Propositions and Platforms function was established as part Great Eastern’s strategic transformation to strengthen customer engagement and enhance how customers access products, services and support across their life, health and wealth journeys. “It is an extraordinary privilege and a personal milestone for me to return to Great Eastern – this is where my professional journey began. I am humbled, grateful and highly energized to be entrusted with this responsibility,” said Kwek-Perroy. “Together with our remarkable teams who have been serving our customers for so many years, I look forward to building on Great Eastern’s legacy and transforming insurance solutions and experiences for customers across Asia.” Kwek-Perroy’s appointment signals GE’s intent to evolve beyond traditional insurance, leveraging technology, data, and integrated platforms to meet changing needs of customers across Asia. It also comes at a pivotal moment as GE rolls out new customer-focused solutions such as GREAT Life Multiplier and GREAT Index Income, designed to meet evolving protection and wealth needs.  Meanwhile, in July this year, Prudential Assurance Company Singapore appointed Toni Fung as its new chief customer and marketing officer. Prior to joining Prudential, Fung had spent nearly 13 years at AIA Group.  Fung brings more than 24 years of experience in insurance marketing, covering customer propositions strategy, product development, segmentation, data analytics and strategic planning. She has worked across local and regional markets, delivering strategies for both traditional and digital distribution channels.  Related articles:  Prudential HK names new chief strategy and transformation officer  Prudential chief customer officer Theng Kiat Goh steps down after 7 years  Zurich Malaysia Insurance names new CEO to focus on customer centricity  source

Chinese media group COL has appointed Timothy Oh (pictured) as general manager for Southeast Asia and head of its international press center, coinciding with the launch of what it claims is the world’s largest distribution hub for microdramas. Oh will oversee COL’s Southeast Asia operations and global press outreach, bringing more than 17 years of experience across marketing, business strategy, and commercial leadership. He previously served as global director of growth and marketing, general manager of Microgaming in Taiwan, where he led a 50-member team and delivered regional growth. He built his reputation in the entertainment industry as a celebrity publicist at FLY Entertainment, working with international names such as Girls’ Generation, Super Junior, and Henry Golding. Don’t miss: China’s micro-drama industry booms: How brands can script their own success At Sony Pictures Television Networks Asia, he led award-winning campaigns for “Running man” and “Death note”, before expanding into app marketing, gaming, and content distribution. Most recently, he was APAC regional director at LiveScore Group, where he was tasked with driving growth for sports media brands in the region. According to his LinkedIn, Oh has also built and led B2B and B2C go-to-market strategies, managing global partnerships with top advertising brands. His focus has included market localisation, customer experience, and turning millions of users into loyal, high-value fans. COL’s new distribution arm will offer more than 1,000 microdrama titles in English and Chinese to broadcasters, streamers, telcos, and digital platforms globally, tapping into the growing demand for short-form serialized storytelling. The company’s IP portfolio also includes “The legend of hei 2″, produced by animation studio Hanmu Chunhua (HMCH), in which COL acquired a majority stake in 2023. Beyond distribution, COL said it is investing in AI-powered production workflows, including AI-generated anime series, aimed at cutting production timelines and scaling content globally. With Oh at the helm in Southeast Asia, these initiatives will be tailored to regional audiences while supporting COL’s broader growth strategy. “It’s an incredibly exciting time. Microdramas are booming globally, and in Southeast Asia, the wave is just beginning. COL is already the leader in this space, and with our unmatched combination of IP ownership, platform operations, and global distribution, we have the opportunity to shape what entertainment will look like for the next generation,” said Oh.  He added, “This role brings together my entire career, from my roots in production and marketing to my experience in app marketing, gaming, and people management, and allows me to apply it in a way that can drive both regional creativity and global impact.” “I’m looking forward to leading the rollout of our distribution arm, expanding our IP portfolio, and accelerating AI-powered production in Southeast Asia so that stories from our region can truly resonate worldwide,” said Oh. The appointment comes as microdramas continue to gain traction among global audiences, a trend that brands are also tapping into for their marketing campaigns. Most recently, Kiehl’s Malaysia launched a microdrama series on TikTok titled “Cahaya Raya” (“Raya’s light”). The series highlights Hari Raya as a time of forgiveness, joy and love, and for creating cherished memories with family and friends. It follows Raya, a “nepo baby” who discovers self-worth and the ability to love herself after a painful breakup and an unexpected encounter with a former schoolmate. Separately, Beiersdorf Malaysia also experimented with micro-dramas through two festive campaigns: “NIVEA shed the old, start anew” for Chinese New Year (CNY) and “NIVEA antara cinta & cemburu” (‘Between love and jealousy’) for Raya. Beiersdorf ensured its content strategy was multi-pronged, incorporating storytelling, ecommerce integration, and key opinion leader (KOL) amplification, for both virality and amplification. Accelerate your brand’s growth with AI-first strategies, emerging tech and data-driven experiences. Join 500+ marketing leaders at Digital Marketing Asia 2025 Singapore on 24–25 September to uncover transformative trends, real-world wins and powerful ideas for 2025 and beyond.  Related articles: i-CABLE forays into micro-drama market with Saros TV partnership    Hang Seng Bank promotes financial inclusion with micro-drama series      Viddsee partners Risingjoy to bring Chinese micro drama content to SEA viewers    source

Singapore’s independent cinema and arts venue, The Projector, will enter voluntary liquidation, ending over a decade of showcasing alternative films and community-focused programming. The Projector will cease operations on 19 August 2025.  The closure comes amid rising operational costs, changing audience habits, and a global decline in cinema attendance. Don’t miss: Nostalgia is not enough: How brands can get the rising trend right  “It breaks our hearts to make this decision,” said Karen Tan, founder of The Projector.  “We’ve fought to keep The Projector alive through every challenge — from breathing new life into a disused cinema at Golden Mile Tower, to weathering the pandemic, to expanding to new spaces. But the combination of rising costs, changing audience habits, and the worst consumer market conditions in a decade has left us with no viable path forward,” she added.  Since the company will be placed under liquidation, the theatre said it will not be able to issue refunds directly. “Instead, you may file a claim with the nominated liquidator,” it explained.  In addition, The Projector said it is deeply grateful to its patrons, members, partners, collaborators and friends who have supported it.  “This hasn’t been the work of a single person or team, The Projector was also built and shaped in all its forms by our fans and collaborators, and we are incredibly proud of what we’ve created together – a home for the creatives, misfits and dreamers. The home of the alternative voice. The Projector may be closing, but we hope its spirit will live on in the conversations, ideas, and communities we’ve nurtured,” Tan said.  Since its launch in 2014, The Projector hosted award-winning independent films, festivals including the Singapore International Film Festival, European Film Festival, and Pink Screen, as well as events such as poetry slams, vintage markets, and charity fundraisers. The closure comes less than a month after it announced plans to resume screenings at Golden Mile Tower in August. At the time, the independent cinema said that it will “return to the place it all began” as the Golden Mile en bloc processed concluded without a transaction.  Related articles:  Singapore private club 1880 abruptly shuts down as financial troubles mount  Jetstar Asia’s shutdown: Does marketing even matter with price conscious customers? Brand spotlight: How local movie house The Projector aims to push on   source

Singapore will see its first lie-down wellness concert later this year, as Shangri-La Singapore and The TENG Company present “五行 Wuxing, the five elements”. The 45-minute sessions features The TENG Ensemble, a local group known for blending Eastern and Western musical styles. In an octagonal Ba Gua (eight trigrams) setup, musicians will surround participants, creating a full-body listening experience. Traditional instruments including the guzheng (Chinese plucked zither), pipa, and dizi (Chinese transverse flute) are combined with monaural beats aimed at promoting relaxation and stress relief. Don’t miss: Shangri-La promotes family ‘we-time’ with new campaign Registered music therapist Evelyn Lee of Prospect Music Therapy will guide the experience, combining original compositions with breathwork prompts, nature-inspired visualisations, and a narrative arc inspired by the five elements, earth, wood, fire, water, and metal. Each segment is designed to ease tension and guide audiences toward stillness. The concert is the first in Singapore to combine therapeutic soundscapes with immersive staging. Shangri-La said the event also aligns with its efforts to support local talent and offer cultural experiences. “At Shangri-La Singapore, we believe that wellness is a journey that encompasses the body, mind, and soul. We are delighted to collaborate with The TENG Company on a unique experience that beautifully bridges Singapore’s rich cultural heritage with innovative approaches to wellbeing,” said Stephan Kapek, vice president operations and general manager, Shangri-la Singapore.  In tandem, Samuel Wong, co-founder and creative director of The TENG Company said, “We are honoured to partner with Shangri-La on a transformative wellness experience that fuses ancient Chinese music therapy with the science of monaural beats. This is not just a performance, it’s a sound healing encounter designed to restore balance, deepen mindfulness, and awaken the senses.”  The concert comes as Shangri-La Singapore recently appointed Koo Sok Hoon as director of marketing, a move aimed at strengthening the hotel’s brand positioning and extending its reach to local and international audiences. In her new role, Koo will oversee the hotel’s marketing and communications strategy, including integrated campaigns, digital and social media partnerships, PR, guest engagement, and efforts to boost both brand equity and commercial performance. Accelerate your brand’s growth with AI-first strategies, emerging tech and data-driven experiences. Join 500+ marketing leaders at Digital Marketing Asia 2025 Singapore on 24–25 September to uncover transformative trends, real-world wins and powerful ideas for 2025 and beyond.  Related articles: Team Lewis wins Shangri-La Australia PR and influencer brief    KFC SG serves up exclusive concert experiences with Live Nation partnership   MR D.I.Y. celebrates 20 years with star-studded concert for loyal fans  source

Swiss watchmaker Swatch has dominated headlines recently after it apologised for publishing an ad featuring a model making a “slant eye” gesture.  The promotional images, which are now taken down, feature a male model making “slant eye” posts, while promoting the brand’s Camo Flash model. Don’t miss: Swatch apologises for featuring ‘slant eye’ pose in promotional ad The incident has garnered over 1.9k mentions globally over the past few days, with many netizens commenting on the problematic use of stereotypical imagery, accusations of racism and cultural appropriation, and the swift reactions to such controversial incidents, according to media intelligence firm CARMA.  In response, the watchmaker said on its social platforms, Instagram and Weibo, that it has taken note of the recent concerns regarding the portrayal of a model in images for the Swatch ESSENTIALS collection.    “We treat this matter with the utmost importance and have immediately removed all related materials worldwide. We sincerely apologise for any distress or misunderstanding this may have caused,” added the statement.  However, the statement did not seem to calm the netizens’ fire. A check by MARKETING-INTERACTIVE saw that its statement on Instagram drew negative sentiments, with many condemning the brand for discriminating against Asians in its product posters.    Industry reactions  Commenting on the incident, David Ko, managing director, RFI Asia, said Swatch’s apology falls short for a variety of reasons. “They named “concerns,” not the harm. Say the word: it was a racist stereotype, so they should own it, then fix it.”  He also criticised the use of vague language such as “distress” or “misunderstanding,” calling them “corporate weasel words”. “Audiences want accountability, not euphemisms. They also shouldn’t apologise to ‘everyone’. They should apologise to Chinese communities specifically and explain why the gesture is offensive,” he added.  Meanwhile, Charu Srivastava, co-founder and chief strategy officer at TriOn & Co, said Swatch’s apology was largely ineffective as seen by the negative response online. “The use of misunderstanding in the context of the apology comes off as a sad attempt to shun any responsibility and shift the blame to the viewer of the ad. That it was their misunderstanding of the ad rather than an actual racist act.”   The sad apology is the first missed opportunity, and the subsequent silence is the other, she added. “There is no ambiguity about how the apology missed the mark and Swatch should certainly take responsibility for its actions, communicate tangible next-steps and issue an actual sincere apology.”  In fact, the execution of the ad misses the mark in terms of creativity and cultural sensitivity, according to Kate Kwan, managing director, Greater China region, TEAM LEWIS. “There is a fine line between being creative and edgy. In this instance, the use of the ‘slant eye’ is not only offensive to the Chinese community but also towards a wider audience as it represents a distorted interpretation of aesthetics.”  Any creative work involving physical appearance should be approached with care.   What more can be done?  In fact, Swatch is not the only brand that has faced backlash over the use of offensive imagery. For years, brands have come under fire for incorporating variations of the “slant eyes” gesture in their advertising and marketing. For instance, in 2023, luxury brand Dior sparked outrage after featuring an Asian model pulling up the corner of her eye in a campaign.  Similarly, in 2018, the founders of Dolce & Gabbana issued an apology following criticism of an ad that depicted a Chinese woman struggling to eat spaghetti and pizza with chopsticks.  Srivastava noted that many of these brands still fail to grasp why such actions are deeply insulting and insensitive. “It raises the question: do these brands even care to understand their consumers — their cultures, values, and nuances?” she said.  Personally, it boils down to having diverse perspectives and having representation of the target consumer demographics, she added. “Are these consumers being represented during campaign brainstorms? If so, are their voices being heard and their concerns being registered? Are the final campaigns being vetted and tested by different consumer demographics?”  In Swatch’s case, it is surprising that the concept was approved when fashion brands in the past failed to look into cultural sensitivities, said TEAM LEWIS’ Kwan. “Given the brand’s target audience, such missteps could have significant long-term repercussions.”  In today’s climate, conducting due diligence and sensitivity checks on creative campaigns – especially those involving multiple markets – is a fundamental expectation, she said. “Moreover, the subsequent apology doesn’t sound sincere as it lacked a clear explanation or justification for the creative direction and what it had intended to convey. There are standard review processes of both International and local marketing teams to ensure creative outputs align with cultural and diversity standards.”  When executing campaigns of a cross-cultural nature, or which involve cultures which are non-native to the centre of the ideation, it is vital to have the idea validated by a diverse team of individuals, said Jose Raymond, managing director, SW Strategies.  On the other hand, RFI Asia’s Ko said the brand should commit to DEI training for creative, marketing, and leadership teams. “They need to review how this content passed so many gates by setting up a diverse review panel to review each gate and establish a cultural risk checklist before sign‑off. Global creative should be stress‑tested with regional pre‑flight reviews before publishing.”  It’s not about having a team of DEI specialists, but to have a marketing team that is culturally diverse in the first place, said Edwin Yeo, general manager, SPRG Singapore. “This not only helps with ensuring potential customers are not offended, it actually makes marketing sense that campaigns can be tailored to each geography’s culture and be more effective.” It is also important to note that when missteps happen, one should genuinely reflect on how it happened, and be honest about it, he added. “Was it a lack of understanding of cultural sensitivities? If so, apologise and state publicly what you would do to improve your understanding. Was it a real misunderstanding of the intention of the ad? and if

Gap has launched its Fall 2025 campaign, “Better in denim,” spotlighting the return of its iconic low-rise styles and the early-2000s ‘long & lean’ jean. Fronted by global girl group KATSEYE, the campaign builds on the brand’s legacy of music, movement, and self-expression. Set to Kelis’ 2003 hit Milkshake, the campaign was choreographed by Robbie Blue and directed by Bethany Vargas, with photography by Bjorn Iooss. Don’t miss: Levi’s partners Beyoncé to empower women through denim It features KATSEYE performing a genre-blending routine styled in denim, including a reimagined ‘long & lean’ jean updated with a modern fit, reengineered waistband, and 10 new washes. The campaign also marks a limited-edition KATSEYE logo hoodie featuring the group’s name in Gap’s iconic arch, available for pre-order from 22 August. Each piece is designed in colours selected by the group, inspired by their latest album Beautiful Chaos. The “Better in Denim” campaign will run globally across Gap’s owned and earned media channels, including digital, social, in-store, influencer collaborations, and a Times Square billboard takeover. “Gap continues to build on its legacy of bridging generations by spotlighting global talent and celebrating self-expression through music, dance, and denim. Partnering with KATSEYE was a natural fit, we share a bold, expressive and inclusive point of view,” said Mark Breitbard, president and CEO of Gap.  In a joint statement, KATSEYE added: “Gap didn’t ask us to fit in — they invited us to show up as we are. The denim moved with us, and every look felt like our own.” The return of low-rise denim with KATSEYE follows Gap’s broader trend of using fashion, music, and dance to inspire self-expression. Last year, the brand debuted its Fall 2024 campaign, “Get loose” starring GRAMMY-nominated pop star Troye Sivan and dance group CDK Company. Directed and choreographed by Sergio Reis and shot by Dan Martensen, the campaign featured original choreography set to Thundercat’s viral hit Funny Thing with dancers showcasing baggy and loose-fit denim as a canvas for creativity and personal style. Related articles:  Denim, reimagined: How Levi’s buttons down the sale through tailored retail experiences  Coca-Cola teams up NewJeans to refresh denim in pop-up laundromat experience  Singapore to be showcased in BTS Jin’s next music video source

The Republic of Singapore Air Force (RSAF) is recruiting Gen Z through “Find your squad. Find your #AboveAll,” a recruitment campaign that pushes the boundaries of traditional marketing with an immersive, collaborative film experience. Designed to resonate with Gen Z, the campaign moves beyond conventional ads, offering a mission-based, mobile-first journey that highlights teamwork and community at the heart of the RSAF. Historically, public perception has focused on pilots, overlooking other critical roles. With today’s youth valuing collaboration, belonging, and collective achievement, the campaign reframes the narrative to emphasise the importance of every role in the force. Don’t miss: DIS answers the call to cyber warfare in high-stakes campaign  Developed with BLKJ Havas and UNIT9, the initiative pioneers a new form of social entertainment. Using mobile technology, friends can sync their phones to create a shared adventure, actively influencing the story together in real time. Each mission’s success depends on collective cooperation, mirroring the Air Force’s emphasis on teamwork. The campaign also runs on TikTok, where users participate in missions, make decisions, and tag friends to complete tasks, turning the experience into a truly social, collaborative journey. “This is a big shift in how we tell stories,” said Guilherme Machado, executive creative director at BLKJ Havas. “We wanted to create an experience that goes beyond passive viewing. By making the viewer an active participant, we highlight the importance of every single role within the RSAF, emphasising that collaboration and community are key to mission success. It’s about making connections, not just watching,” added Machado.  In a world where technology and human interaction increasingly intersect, “Find your squad. Find your #AboveAll” positions the RSAF not just as a career, but as a community where collaboration is central to success. The campaign follows its “Find your #AboveAll” campaign in 2022 where it celebrated the female fighter pilots in the force and took viewers from an animated environment into the real world.  Similarly, the idea was rooted in the Gen Z insight of living one’s best life and wanted to shift “Above all” from being an official creed of the RSAF to being a personal mantra for each and every servicewoman and man.  Related articles:PepsiCo’s play for Gen Z: Social-first, creator-led and culturally fluentRSAF jets off with timely adrenaline-pumping Top Gun-like ad RSAF takes to the skies with new creative agency  source