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McCann Singapore has promoted Gonzalo Olivera (pictured left) to chief executive officer as part of a planned leadership transition that also sees Paul Soon (pictured right) step down from his role and relocate to the US for personal reasons. Olivera was previously president at McCann Singapore, having helped oversee the integration of McCann and MullenLowe Singapore into a single operating structure following Omnicom’s US$13.3 billion acquisition of Interpublic Group. In his new role, Olivera is tasked with steering McCann Singapore towards its ambition of becoming a “more valuable growth partner” to clients. The agency said it will lean on a challenger mindset, underpinned by its “Truth well told” philosophy, to build a more integrated operating model focused on demand creation, cultural relevance, trust and measurable growth. Don’t miss: Agency agenda: Tony Harradine outlines Omnicom Media APAC’s post-deal plan Olivera has been with McCann Worldgroup since 2013, when he relocated to Singapore to manage global Unilever accounts. He went on to spend nearly 13 years across MullenLowe Singapore, including as managing partner, before moving into leadership roles within the merged McCann structure following the McCann–MullenLowe integration. The agency said Soon’s departure forms part of a structured six-month succession plan designed to ensure continuity for clients and teams. It described the transition as one that allowed leadership to be firmly embedded ahead of the change. At McCann, Soon led the combined Singapore business following the McCann–MullenLowe integration and played a key role in strengthening its digital and government client portfolio, as well as advancing its AI capabilities. Prior to McCann, Soon was CEO of MullenLowe Singapore and China from 2020 to 2025, after first taking on the Singapore CEO role in 2018. He previously led POSSIBLE Singapore between 2015 and 2018, and Mirum Agency from 2011 to 2015. Earlier in his career, he held senior roles at JWT, XM Asia Pacific, Arc Worldwide, Saatchi & Saatchi and AKQA. “We wish Soon well in his next season of life. Under his leadership, McCann Singapore has sharpened its point of view, deepened client relationships, and demonstrated that creativity with commercial rigour is one of the most powerful things an agency can offer,” said Sean Donovan, president, Asia, Omnicom Advertising. He added, “Soon is leaving behind an agency that knows who it is, and under Olivera’s leadership and direction, is positioned to grow in its next phase. On a personal note, I want to thank Soon for his partnership and leadership over the past six months as we re-imagined McCann Singapore.” In tandem, Olivera thanked Soon for his contribution in building McCann Singapore into the agency it is today, noting its creative ambition, clear philosophy and commercial credibility. “This industry may be measured in dollars, but it is built on relationships. Having had the chance to work with someone I can count as a friend has been a real privilege. The culture of this agency has been built on ethics, honesty, transparency and camaraderie, and even with Paul on the other side of the world, that spirit will remain very much alive here,” he added.  Commenting on his departure, Soon said, “First, I am deeply grateful for the 20 odd years I have had the privilege to be part of Singapore’s creative industry, working alongside some of the finest talents and competing against each other, while maintaining compassion and respect for one another’s craft and perspectives.” “Second, to my colleagues, new and old, at McCann Singapore, ‘Truth well told’ should never sound easy, should never hide behind more slides, and most importantly, it should be embodied with meaning in everything you do, your work and in your life. The truth will always set anything free. I look forward to more amazing work ahead.,” he added.  Soon also expressed appreciation to Donovan and Olivera for their support and partnership during the transition period, noting the strong relationships built over his tenure and thanking them for their collaboration. The leadership change comes as Omnicom continues to reshape its regional operations following its acquisition of IPG. Last month, Omnicom Advertising Asia unveiled a new regional leadership team aimed at accelerating growth and helping brands navigate an increasingly fragmented market. Reporting to Donovan, the team includes Peter Khoury as chief creative officer, Melissa Daniels as chief innovation officer and Emmanuel Sabbagh as chief strategy officer, alongside expanded regional roles for Andreas Krasser, Ellie Brocklehurst and S. Subramanyeswar. Working across TBWA, McCann and BBDO, the regional group has been tasked with driving creative, strategic and technological integration across the network. Related articles: TBWAGroup Singapore elevates Mandy Wong to CEO  Omnicom’s first results post-IPG show merger costs bite, underlying performance holds  Omnicom PR reportedly restructures agency portfolio source

FOX Sports, FOX One and Indeed are turning football fandom into a paid gig with the launch of a nationwide search for a “FOX One chief World Cup watcher hired through Indeed.” The role, created for the FIFA World Cup 2026, offers a US$50,000 salary and tasks one selected candidate with watching all 104 matches of the tournament live across 39 days, streamed in 4K on FOX One. The hired fan will do so from a custom-built viewing office in New York City’s Times Square, designed as a public-facing “dream watch space” surrounded by thousands of daily commuters and tourists. FOX Sports said the role is designed to elevate fandom into a cultural performance, turning solo viewing into a continuous 104-match public watch party. Don’t miss: Monks Film takes World Cup storytelling global with Disney+ documentary A launch video starring actor Keyla Monterroso Mejia and produced by Shadow Lion supports the campaign, positioning the role as part job listing, part cultural experiment, and part fandom theatre. According to a statement, the “Chief World Cup watcher” role goes beyond passive viewing. The selected candidate will be expected to create and share social content throughout the tournament, capturing live reactions, emotional moments and match-day energy in real time. FOX Sports said the aim is to find someone who can embody the highs and lows of global football fandom, while documenting it as an always-on creator narrative. Indeed’s hiring technology will be used to identify candidates, with applicants required to update their profiles and signal their interest directly on the platform. To be considered, fans must set their profiles to “open to opportunities,” highlight relevant content creation or storytelling experience, and submit a short video on social media explaining why they are the right fit, using the hashtag #ChiefWorldCupWatcher. FOX Sports said the match-making process is designed to surface not just traditional talent, but cultural superfans who can translate live sport into digital storytelling at scale. The chosen candidate will be revealed live on June 6 during FOX’s broadcast of the Boston Red Sox and New York Yankees game, ahead of the tournament kickoff. Their tenure will begin a week before the World Cup starts and continue until 26 July, extending slightly beyond the final match to capture post-tournament reflection and wrap-up content. “This FIFA World Cup will be a historic tournament that calls for an equally historic hire,” said Robert Gottlieb, president, marketing, FOX Sports. “One engaged applicant will get the job of a lifetime to experience and celebrate every story, every nation and every exhilarating moment that defines the beautiful game.”  James Whitemore, chief marketing officer at Indeed added, “As a leading global hiring platform, matching candidates and employers is at the core of what we do. It’s how we help people find jobs faster and how employers hire more efficiently. This partnership with FOX Sports is a great example of our mission to help people get jobs.” FOX One’s CMO Brian Borkowski said the initiative is designed to match the scale and energy of a landmark sporting event, giving a dedicated fan the chance to channel their passion into a bespoke role that spotlights the excitement of the FIFA World Cup. “We look forward to sharing the thrill of every moment on the pitch through the lens of a devoted World Cup watcher and highly engaging streaming experience,” he added. The football season has also seen brands increasingly place fans at the centre of the narrative. Most recently, Pepsi rolled out its global platform “Pepsi football nation”, bringing together a roster of football stars to spotlight fan culture beyond matchday. Positioned as a multi-year initiative, the platform aims to embed football into everyday life, leaning into the conversations, rituals and rivalries that extend well beyond the 90 minutes on the pitch. Coca-Cola has also stepped into the conversation with “Uncanned emotions”, its second global brand film for the FIFA World Cup. The spot, part of a three-film series, follows “Bubbling up” and continues the brand’s focus on emotionally charged storytelling around football fandom. While the first instalment centred on anticipation and energy, this chapter zooms in on the raw highs and lows fans experience during live matches. Related articles: LEGO builds its own World Cup lineup of football heavyweights adidas Trefoil logo makes a World Cup comeback after 36 years    TikTok named FIFA’s ‘preferred platform’ for World Cup source

Klook is doubling down on China as travel appetite from Southeast Asia surges, launching its first Southeast Asia edition of its creator summit “KREATORVERSE SEA” amid a sharp rise in bookings to Mainland China. The experiences platform revealed that travel demand to Mainland China from Southeast Asia has grown 134% year-on-year in early 2026, with Singapore outpacing the regional average at 136% growth. KREATORVERSE SEA brought together over 100 creators and influencers from Singapore, Indonesia, Malaysia, Thailand and Vietnam for an eight-day, multi-city trip across Beijing and Shanghai, designed to translate social-first inspiration into bookable travel moments. Don’t miss: Travel creators cash in as Agoda launches new ambassador programme The initiative reflected how creator-led content is increasingly shaping travel decisions, with Klook citing its Travel Pulse 2026 report showing that four in five travellers now book experiences influenced by social media platforms including TikTok, Instagram, Facebook and Xiaohongshu. Beyond traditional sightseeing hotspots such as Beijing and Shanghai, Southeast Asian travellers are increasingly branching out to cities including Chengdu, Chongqing, Hangzhou, Suzhou, Xi’an, Shenzhen and Guangzhou, signalling demand for more immersive, culturally driven itineraries. Klook said emerging travel behaviours are being driven by what it calls “aesthetic travel” and “vibe-based itineraries”, with demand rising for scenic night views, curated “citywalks”, café hopping in cities such as Guiyang and niche food tours in Chongqing. Experiences previously driven by viral content are also moving into bookings, including Chongqing motorbike tours, traditional Chinese costume shoots, and themed attractions such as Shanghai Disneyland and Universal Studios Beijing. According to Klook, the initiative is designed to convert social media inspiration into bookable travel experiences, linking creator-led discovery more directly with in-app bookings. Creator participants documented a mix of landmark and niche experiences, including the Great Wall at Mutianyu, the Forbidden City, the Beijing–Shanghai high-speed rail, and curated day trips to Suzhou. Klook is also expanding its Muslim-friendly travel offerings across Mainland China, targeting destinations including Xi’an, Beijing, Shanghai and Xinjiang. The platform said it is strengthening partnerships with local merchants to improve access to halal dining and prayer facilities. The initiative builds on its 2025 partnership with CrescentRating and HalalTrip, which introduced verified Muslim-friendly ratings to help travellers identify suitable experiences, including halal dining availability and prayer access. As social commerce continues to influence travel planning, Klook said it is focused on linking inspiration directly to bookings, positioning creator-led discovery as a key driver of travel demand across the region. “Being on the ground in Beijing and Shanghai for KREATORVERSE SEA, we are seeing first-hand how social inspiration translates into immediate travel decisions. A single moment captured by a creator can quickly influence where and how people choose to explore,” said Sarah Wan, general manager, Singapore, Indonesia, Malaysia, and Thailand, Klook. She added, “At Klook, we aim to spark joy in travel discovery by bridging creator-led inspiration with authentic experiences, making it easier for travellers to turn what they see online into memorable journeys they can book with just a few taps.”  Klook has also been expanding its focus on Muslim-friendly travel across key destinations in the region. In August last year, the Hong Kong Tourism Board (HKTB) partnered with the platform on a multi-market campaign to enhance the Muslim travel experience in the city. This came after Muslim leisure travellers were observed to have faith-based needs when exploring new cultures, including access to halal-friendly food, prayer facilities and privacy considerations. Targeting millennial and Gen Z Muslim travellers in Singapore, Malaysia and Indonesia, Klook is offering a curated range of Muslim-friendly activities and accommodations, alongside prayer-friendly day trips to family attractions and cultural sites. Related articles: Klook seeks for chief spring officer to navigate cherry blossom season   Klook, SOSD give Singapore’s street dogs a walk in the spotlight    Klook and PlayStation refine experiential travel with exclusive Hokkaido tour   source

For years, the social media playbook was simple: post, optimise, repeat. The more visible the content, the better it performs. That logic is now being challenged. For starters, Instagram is reportedly testing a new standalone app, “Instants”, designed around sharing unfiltered photos and videos that disappear after being viewed once within a 24-hour window. Alongside this, legacy platform Friendster has also made a comeback in a new form focused on private, friend-to-friend connections, signalling a broader nostalgia-driven shift toward smaller, more intentional digital spaces. Together with platforms such as Snapchat and Locket, these developments point to a growing preference for low-pressure, intimate sharing over mass broadcasting. As social behaviour moves behind closed doors, marketers must rethink not just where they show up, but how they stay relevant when visibility is no longer guaranteed. Don’t miss: Is messy content the new route to authenticity? For Shermaine Wong, founder and CEO of Cult Creative, the shift is far from fleeting. “This move isn’t a trend. It’s a quiet revolt,” she said, pointing to growing fatigue with performative, algorithm-driven social media. Wong added that the resurgence of more intimate platforms taps into a deeper desire for smaller, more meaningful digital interactions, particularly in Southeast Asia where early social experiences were rooted in closer-knit networks. She said: When two completely different generations arrive at the same conclusion — I want a smaller, more honest digital life — that’s not a phase. That’s a shift. Wei Sian Soh, marketing lead at Kobe, echoed this sentiment, framing the rise not as a platform trend, but a behavioural one. “In many ways, this feels like a correction in social behaviour,” Soh said, adding that users are gravitating toward sharing with close friends rather than wider audiences. Less performance, more presence Meanwhile, for industry professionals, what sets these platforms apart is not just functionality, but the emotional experience they offer. These platforms have removed pressure points that traditional platforms often incite. By contrast, apps such as Instants and Locket lower the barrier to sharing by limiting editing and narrowing audiences. Soh explained that these platforms feel “more like communication than publishing”, with less emphasis on visibility and more focus on authentic, everyday moments. Judy Byun, head of talent at Gushcloud for the US and Korea, pointed to “radical low friction” as a key differentiator. She explained that removing the effort required to produce polished content strips away the performance layer that has come to define mainstream platforms. “You’re no longer sharing a moment — you’re producing a version of yourself,” she said, adding that newer platforms are reversing that dynamic to create a more natural sense of connection. A new kind of opportunity For marketers, however, these spaces don’t present opportunity in the traditional sense. “Traditional advertising doesn’t belong here,” Wong said bluntly, warning that brands approaching these platforms with conventional paid strategies risk immediate rejection. Instead, she pointed to creator-led recommendations built on genuine trust as the real lever for impact. Soh similarly cautioned against viewing these environments as ad inventory. “The bigger opportunity is not ad inventory, but intimacy and relevance,” he said, highlighting formats such as creator-led drops, referral mechanics and shareable content designed for private circulation. He added that this shift also requires marketers to rethink how success is measured. In more private and ephemeral environments, traditional metrics such as reach and impressions carry less weight. Instead, brands should focus on signals such as private shares, replies and referrals, which better reflect whether content is driving meaningful interaction. Byun echoed this sentiment, noting that the most effective brand presence will be organic — embedded within real-life moments rather than inserted between them. “The aspiration for brands should be to become a natural part of someone’s day, not an interruption to it,” she said. She added that engagement depth may become more valuable than scale. In environments where content disappears and views are intentional, “a user actively choosing to open brand content carries far more signal than a passive scroll,” she said. This shift toward deeper, more intentional engagement also raises a broader question for brands: what happens when visibility is no longer guaranteed? The reality check As social platforms become more “friends-first”, the risk for brands is not just reduced visibility, but exposure. Soh noted that brands can quickly become irrelevant if they continue to rely on presence alone, rather than value. Instead, he said brands need to create content that people would genuinely want to share with friends, rather than simply pushing for visibility. “The role of the brand shifts from trying to be the centre of attention to creating value that people choose to bring into their private conversations. That is what keeps a brand welcome rather than intrusive,” he added.  Byun added that these spaces are also where cultural signals are forming earliest, particularly among younger audiences. Brands that invest in understanding and participating authentically now will be better positioned as these platforms scale, she said. For Wong, however, the shift is even more telling. “The risk isn’t that brands become less relevant,” she said. “It’s that these spaces will expose which brands were never genuinely relevant… they were just good at buying visibility.” Brands that survive this shift will not do so through smarter targeting alone, she said. Instead, they will need to have already earned a meaningful place in people’s lives before entering these more private spaces. “The question I’d ask any brand is simple: would a real person share this with someone they love? Not a follower, but someone they love,” she said. “If the answer is no, no platform is going to fix that.” Related articles: How Instagram’s skinny cinematic reels are stealing the scroll  From chatter to change: Why comments are your most underrated focus group      How brands can put the ‘social’ back into social media     source

JIHO Samgyetang SBCD is gearing up for its Singapore debut on 5 May 2026, appointing 8traordinary as its creative and marketing agency to build its brand presence and storytelling locally. Under the mandate, 8traordinary will oversee creative conceptualisation, campaign development, content marketing, social media management, as well as media and KOL engagement. The remit is focused on shaping a cohesive narrative and driving engagement across channels. The Korean brand brings with it what it describes as 35 years of heritage and is positioned as Korea’s largest samgyetang (ginseng chicken soup) franchise. Known for its herbal ginseng chicken soup, JIHO Samgyetang SBCD is anchored in a dining philosophy centred on balance, quality and care. The brand is entering Singapore as global interest in wellness-led dining continues to grow. Don’t miss: Fei Siong Group taps social media agency for Encik Tan, Popeyes and more In Singapore, the brand is brought in by SBCD F&B Group, the team behind the soontofu concept established locally since 2016. The group shared the expansion reflects an extension of its broader kitchen philosophy focused on Korean comfort cuisine. The partnership with 8traordinary aims to sharpen that positioning for a local audience, with a focus on bringing heritage and nourishment into modern dining conversations. As wellness continues to shape consumer dining choices, the brand’s Singapore launch sets up a new chapter for Korean cuisine in the market, anchored in tradition but tuned for contemporary relevance. “At SBCD F&B Group, we thrive on the philosophy of serving uplifting and complete meals. This philosophy has guided us over 10 years in Singapore and we look forward to applying it to our next chapter as we launch JIHO Samgyetang SBCD – a brand that echoes the belief that food is the best medicine,” said Brandon Chu, head of corporate strategy at SBCD F&B Group. He added, “We needed an agency that could communicate this deep-rooted value with ingenuity and speed. 8traordinary stood out for their agility and unique ability to create meaningful connections between brands and consumers.”  Chu explained further, that the brand was excited to embark on this journey with a partner that shares their passion to redefine the integrity and value of Korean cuisine. In tandem, Jeffrey Lim, managing director of 8traordinary said, “I believe that food is more than mere sustenance. It’s a powerful, multisensory experience that connects people with cultural identity and heritage. Every dish tells a story.” Lim added, “We are extremely honoured to partner with the SBCD F&B Group and look forward to embarking on this culinary storytelling and marketing journey, as we introduce diners to the depth and quality of JIHO Samgyetang SBCD’s menu.” A separate mandate also saw 8traordinary deepen its footprint in the branding space last month, after it was appointed by Singapore-based City Serviced Offices (CSO) as its branding and design partner. Under the remit, the agency is tasked with developing a new visual identity, leading the marketing rollout, and revamping CSO’s website. It is also building a refreshed messaging framework aligned with the company’s updated brand proposition. Related articles: Changi Airport Group picks creative and digital partners     National Day Parade 2026 wraps creative pitch   National Space Agency of Singapore picks creative partner to shape brand strategy  source

French luxury giant LVMH is reportedly considering selling some of its fashion, beauty, and spirits brands, including Marc Jacobs and Fenty Beauty. This would mark one of the biggest downsizing moves in the group’s nearly 40-year history.  LVMH owns more than 75 brands across fashion, beauty, wines and spirits, hospitality, and media. But as the luxury industry faces a difficult downturn, a potential sale of some of these brands, according to the Financial Times, would be one of the largest and most significant portfolio changes in the company’s history, allowing it to focus more on its core businesses. According to the report, Moët Hennessy, LVMH’s worst-performing division, is in talks with potential buyers about selling assets such as the Eminente rum brand and the Joseph Phelps vineyard in California. LVMH is also considering selling the beauty brands Make Up For Ever and Fresh, as well as its 50% stake in Fenty Beauty, which JPMorgan estimates is worth between US$1.7 billion and US$2.7 billion. These moves would help the group focus more on Dior Beauty and Guerlain. According to the report, LVMH held detailed talks with Authentic Brands Group about selling the designer brand Marc Jacobs for around US$1.1 billion, but the deal ultimately fell through. These potential sales could bring LVMH a total of several billion US dollars, which could then be reinvested into its core businesses. The sale of French daily newspaper Le Parisien is also being considered, but the Arnault family is divided, according to the report. Two of LVMH chairman and CEO Bernard Arnault’s sons proposed selling the newspaper to conservative billionaire Vincent Bolloré, while his eldest daughter and son warned that doing so just before the French election could cause political controversy. MARKETING-INTERACTIVE has reached out to LVMH for a statement. Don’t miss: LVMH sells DFS HK and Macau business to China’s CTG Duty-Free In fact, over the past 18 months, LVMH has sold several assets, including the streetwear brand Off-White, about 49% of its stake in Stella McCartney, and its DFS duty-free business in Hong Kong, Macau, and greater China, along with related intangible assets to Beijing based CTG Duty-Free. Through this transaction, CTG Duty-Free will acquire the DFS retail stores in Hong Kong and Macau as well as intangible assets encompassing a series of DFS brands and intellectual properties for exclusive use in Greater China.  Meanwhile, the group has made over 200 acquisitions since 2000, including the purchase of Tiffany & Co. for about US$16 billion in 2020 and the acquisition of jewelry brand Bvlgari for around US$4 billion in 2011. Mark your calendars for 24 June! #Content360 Hong Kong returns with a dynamic, one-day event dedicated to pivotal trends—from the silver economies to breakthrough IP collaborations, sports, and beyond. Let’s dive into the art of curating content with creativity, critical thinking and confidence! Related articles: LVMH sells DFS HK and Macau business to China’s CTG Duty-FreeLVMH to launch major stores in BeijingLVMH’s brand sentiments spike following sponsorship of the Olympics source

The Intellectual Property Office of Singapore (IPOS) has appointed IPG DXTRA as its new public relations (PR) agency, following a tender process on GeBIZ. MARKETING-INTERACTIVE understands the incumbent on the account was Ruder Finn Asia. Under the contract, IPG DXTRA will provide PR consultancy and media monitoring services on a retainer basis for one year, with an option to extend for a further year subject to performance and at IPOS’ discretion The engagement is slated to commence in May 2026. According to tender documents, the appointment aims to support IPOS as both a strategic and implementation partner, with a focus on amplifying its key messages and safeguarding the organisation’s reputation. The scope of work spans strategic advisory, campaign execution, media engagement and monitoring. Don’t miss: Sentosa names PR agency    As part of its remit, IPG DXTRA will conduct a review of IPOS’ existing communications landscape, including its messaging, channels and media performance, before developing an integrated PR and communications strategy. This includes identifying priority themes and recommending a mix of channels to strengthen outreach. On the execution front, the agency will be tasked with delivering PR campaigns across IPOS’ initiatives and flagship programmes. This includes developing a message house, maintaining a live story bank, preparing media materials and facilitating interviews and events. The contract also outlines deliverables tied to media outcomes, including securing a mix of local and international coverage across mainstream and trade publications, as well as producing a minimum of 12 in-depth feature placements. In addition, IPG DXTRA will support regional outreach efforts for the IP for Growth Awards, targeting media coverage in ASEAN markets such as Indonesia and Vietnam over a four-month campaign. Beyond campaign work, the agency will handle ongoing media engagement, including regular briefings and relationship management with local and international journalists, as well as emerging digital news platforms such as podcasts and social media channels. The remit also includes daily media monitoring across local and international print, digital and broadcast channels, alongside social media and online forums. This will cover IP-related developments, innovation trends and sentiment analysis, with post-incident evaluation support when required. Separately, the contract includes an optional component for media spokesperson training, comprising two full-day sessions focused on interview preparedness and core media skills. As part of the engagement timeline, IPG DXTRA is expected to deliver an initial PR strategy and campaign plans within one month of the contract start, followed by ongoing campaign management and a final evaluation report at the end of the contract period. MARKETING-INTERACTIVE has reached out for more information.  The appointment comes amid a series of recent PR tenders across Singapore’s public sector. Most recently, Science Centre Board (SCB) appointed Alsoknownas (AKA) as its PR agency on a one-year contract running from 1 April 2026 to 31 March 2027, with an option to extend. The remit covers communications across SCB’s portfolio, including Science Centre Singapore, KidsSTOP, Omni-Theatre, Snow City, and Singapore Science Centre Global. Related articles: Tools For Humanity Singapore picks new PR agency   Meta appoints new PR agency and comms lead for SG  OATSIDE picks PR agency for SG expansion source

This post is sponsored by World Table Tennis. When Singapore Smash debuted in 2022 as the first Grand Smash in the World Table Tennis (WTT) Series, the question was not “how do we sell more inventory?” – it was whether a rights-holder, a destination, and the public sector could design a single experience that worked for a broadcast, for a live audience, and for a host city. Five editions in, the clearest lesson is that partnerships lose value the moment they are treated like add-ons. The real work is in co-producing the journey. The traditional model – logo exposure, perimeter signage, hospitality quotas – struggles to keep pace with how audiences behave. A major event now lives across fragmented touchpoints: trip planning, accommodation, wayfinding, venue moments, short-form highlights, and the days after, when people decide whether to stay engaged or move on. If a partnership does not influence those touchpoints, its value is cosmetic. The brand is visible, but the experience belongs to someone else. Singapore Smash’s answer has been to treat the event as a designed product rather than a schedule of sessions. The one-table arena, the pace of play, the camera language, and the beats around the competition are built to feel coherent for a viewer on a phone and a fan in the arena. That coherence is where the partners plug in. In 2026, that philosophy took a clearer shape with Resorts World Sentosa (RWS) as a presenting partner and official integrated resort partner. The point was not a bigger logo; it was a better journey. The draw reveal was staged at RWS, creating a focal moment before the main draw. Hotel packages reduced friction for travelling fans by linking accommodation and event access in a single plan. Athlete services were mapped with recovery and logistics in mind. None of this was decorative. It was service design applied to sport. A destination partner looks at the same brief through a traveller’s lens: what tips intent into action, how the gaps between sessions are lived, and which moments people choose to share. The most productive collaboration starts with those user journeys, not inventory. As Lee Shi Ruh, CEO of Resorts World Sentosa, put it, RWS is built to “create experiences where world-class hospitality meets the thrill of global entertainment”. In practice, that meant extending the narrative beyond the arena – anchoring the draw reveal at the resort and creating fan-facing touchpoints that made the event feel connected across the city rather than confined to a single venue. Public agencies acting as co-producers make that approach more durable. In 2025, WTT and Sport Singapore set a five-year framework through to 2029 that connects three levers – sporting excellence, applied technology, and participation – so the season opens in Singapore, new tools are trialled with purpose, and event weeks convert interest into ongoing play. The city is no longer a backdrop, but a partner in product design. That approach was visible during Singapore Smash 2026. Fans could follow the draw reveal on Sentosa and engage with table tennis through activities across the resort. These were not isolated promotions; they were extensions of the event itself. For visiting supporters especially, the experience unfolded across the city and the resort, showing how a destination partner can shape the narrative of an event week. Data also matters because it shows whether the model is working. Following Singapore Smash 2026, our audience study showed that 53.7% of respondents were Singapore residents, while the largest overseas segment came from Malaysia at 25.1%, followed by China at 9.6%. Among all respondents, 63% said Singapore Smash was the main reason for their visit to Singapore, with a further 12% saying it was one of the reasons. Of those who stayed in hotels, 66% stayed in four or five-star properties. Among the respondents who did not live in Singapore, 37% stayed for five nights or more, while 25% stayed for four nights. Close to 40% spent SG$100 or more per person per day outside the event, and among those travelling into Singapore, more than half spent SG$200 or more on return travel. These are diagnostics. The question is not whether the event travels, but how the trip can be shaped more intentionally: whether fans spend more meaningful time across the city, whether the partner ecosystem captures more of that journey, and whether the event becomes a stronger reason not just to attend, but to stay longer and engage more deeply. Experience quality is better read through behaviour and memory than through a single score. Encouragingly, 85% of respondents said attending Singapore Smash 2026 motivated them to play table tennis, while 88% said it motivated them to participate in sport or a physical activity more broadly. The lesson for organisers and partners is not to add more touchpoints for the sake of it, but to make each one feel like a meaningful extension of the event rather than a separate add-on. Progress from 2022 to 2026 has not been linear so much as negotiated through trade-offs. WTT’s one-table Infinity ∞ Arena creates a distinctive stage and clear visual language, but it also concentrates supply, forcing greater precision in ticketing, session design, and broadcast pacing. Turning the draw reveal into a showpiece adds narrative value, yet raises operational pressure because the timing must work for both fans and production. Co-creating with a destination partner expands what the event can become, but also raises the bar on measurement, accountability, and shared ownership. That is the real shift five years in. Partners are no longer just buying exposure; increasingly, they are stepping in to co-own outcomes. That is good news for fans and for brands as well, but it demands more from everyone involved. Singapore Smash 2026 showed that this co-produced model can scale without losing coherence: destination experiences felt integrated rather than bolted on, innovation supported the sport rather than distracting from it, and the event worked not just as a spectacle, but as a bridge to sustained engagement. For

Science Centre Board (SCB) has appointed Alsoknownas (AKA) as its new public relations agency. According to tender documents seen on GeBIZ, the appointment runs from 1 April 2026 to 31 March 2027, with an option to extend for an additional year. The remit is structured as a PR retainer, with AKA serving as the lead for communications across the SCB’s full portfolio of attractions. This includes Science Centre Singapore, KidsSTOP, Omni-Theatre, Snow City, and Singapore Science Centre Global. In a statement to MARKETING-INTERACTIVE, Jonathan Ye, senior director, engagement, Science Centre Singapore said, “Science is most powerful when it moves beyond the classroom and becomes part of how people see, question and experience the world around them. At Science Centre Singapore, our ambition is to create moments that spark curiosity, shift perspectives and stay with people long after their visit. “As we build towards the new Science Centre, our communications need to do more than promote programmes. We need to help more people understand the role science plays in everyday life, in society and in Singapore’s future. Working with AKA Asia strengthens our ability to tell these stories with greater clarity, reach and impact,” he added.  According to the documents, the agency is tasked with developing an integrated, data-driven communications strategy aimed at strengthening brand equity, increasing awareness, and driving both first-time and repeat visits. Don’t miss: Sentosa names PR agency    The brief comes as SCB looks to sharpen its positioning in an increasingly competitive attractions landscape, while building momentum towards the launch of the new Science Centre in 2027. Under the scope, AKA is expected to lead an “always-on” campaign lifecycle, combining strategic planning with ongoing execution across media engagement, content creation and campaign activations. The agency will be responsible for aligning PR efforts with broader marketing, social and media strategies, while leveraging data insights to optimise campaigns and respond to evolving audience trends. Objectives of the tender include enhancing the organisation’s brand image, raising awareness for exhibitions and programmes, and driving footfall and ticket sales across its attractions. At the same time, the agency is expected to develop multi-channel engagement strategies to position the Science Centre as a destination for families, students and leisure visitors, while driving meaningful audience interaction across platforms. The tender also places strong emphasis on earned media performance and impactful storytelling, with the agency tasked to generate consistent coverage across channels and maintain a steady pipeline of newsworthy ideas. Beyond media relations, the scope includes managing influencer and KOL engagement, developing LinkedIn content, supporting annual report messaging, and maintaining a comprehensive media and stakeholder database. AKA will also support overseas media engagement, including press dissemination and familiarisation trips, particularly targeting Southeast Asia and China to grow regional visibility. Measurement and reporting form a core part of the remit, with requirements spanning real-time media monitoring, monthly analytics reports, and share-of-voice tracking against competitors. The agency is also expected to provide strategic counsel on brand perception, identify emerging issues, and manage crisis communications where required. The appointment is non-exclusive, with the SCB retaining the option to engage other agencies for separate projects. MARKETING-INTERACTIVE has reached out for more information.  The appointment builds on the SCB’s broader efforts to refresh its brand and communications strategy. Last year, it appointed Anak as its branding and design agency for the new Science Centre, as previously reported by MARKETING-INTERACTIVE. Under the remit, Anak was tasked with developing a comprehensive corporate identity and brand expression, including a new logo, colour palette, iconography and typography, alongside a style guide to ensure consistency across all communications. Related articles: Tools For Humanity Singapore picks new PR agency   Meta appoints new PR agency and comms lead for SG  OATSIDE picks PR agency for SG expansion source

Generative AI (Gen AI) has promised a new era of productivity and innovation for marketers in APAC. But despite this, confidence seems remarkably low. Only 8% of APAC marketers label their strategies as “exceptional,” compared with 12% in Europe and 16% in America. APAC also lags other regions when it comes to confidence in audience engagement. This could reflect the more self-effacing nature of the marketing community in this region. On the flipside, it could also suggest something deeper: a growing concern that our AI-driven campaigns aren’t moving audiences to act. Audiences aren’t feeling the connection Consumers in Asia are adopting Gen AI at a faster pace than in Western markets, but they are also uniquely concerned about losing human connection with brands. In Singapore, 57% of consumers find some aspect of AI worrisome, and 75% worry that AI might replace human contact. Both of these data points are the highest globally in a recent study. AI has supercharged our ability to produce content at scale. However, the actual number of humans we’re trying to reach hasn’t grown in kind. Nor has their mental bandwidth. This creates an ever-growing ‘marketing black hole’ where time, energy, and budget are disappearing without driving the tangible outcomes we want. Creativity isn’t the problem, action is This isn’t due to a shortage of creativity or effort. It isn’t necessarily reflected in reach and engagement metrics. It’s because inspiring human action is harder than it’s ever been before. We call this the inaction gap. Encapsulated by that singular moment where your audience sees your content, maybe even likes it and finds it useful, but then they scroll on. They forget. So why is action so tough to achieve, even when reach and engagement can be high? The answer lies in how humans actually make decisions. Here, behavioural science offers a powerful lens. Too often, campaigns miss the mark by failing to understand the cognitive processes that our audiences rely on. The psychology of why we scroll past Every message we send competes for attention inside a mind that’s busy, distracted, and juggling 365 buttons. Audiences don’t evaluate campaigns like marketers do. They react instinctively first, and rationally later. That’s where the dual-system model from behavioural science is critical. System 1 is fast, intuitive and emotional. It’s the part of the brain that decides in a split second whether something matters. System 2 is slower, deliberate, and rational. It kicks in to justify a decision, compare options, or weigh consequences, if it’s sufficiently engaged. Effective marketing demands a sophisticated interplay of both: emotional resonance to capture attention, bolstered by rational reinforcement to motivate action. However, too often, marketers over-index on one or the other. Some campaigns lead with logic but lack emotional momentum that makes someone stop, care or act. Others are emotionally rich but lack the clarity to make audiences move beyond the like button. Closing the gap starts with a change in perspective. Rather than asking whether a message has landed, we should be asking whether it has moved someone — emotionally, cognitively, or behaviourally. That requires designing with our audience’s lived reality in mind: their uncertainty, their risk aversion, their need for reassurance or clarity. When we create work that respects how people actually decide, action is no longer a happy byproduct of our work, it becomes intentional. Reclaiming confidence through audience connection Perhaps the most powerful effect of closing this inaction gap isn’t just stronger outcomes, it’s renewed confidence. When we focus on human connection and design for real action, we give our work a sense of clarity and momentum. That, more than any metric or KPI, is what restores marketers’ belief that our work matters, and that it’s working. The future of marketing is not simply about using the latest AI model for greater efficiency. It’s about using technology to make our audience connections more, not less, human. Ultimately, marketing that doesn’t move people simply slips into the void. By focusing on genuine alignment with audience psychology, APAC marketers can bridge the inaction gap, transforming likes into sustained, meaningful, and confident action. This article was written by Owen Waters, deputy managing director, Archetype Singapore.  source