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The National Arts Council (NAC) has appointed digital agency Alsoknownas and PR agency Tate Anzur, as it looks to strengthen its integrated marketing communications across owned and earned channels. According to tender documents seen on GeBIZ, both appointments are structured around a 12-month contract cycle running from April to March, with options for additional project-based work. The remit is designed to support NAC’s broader strategic thrusts, with a focus on audience engagement, brand perception and industry visibility. Under the digital marketing communications tender, Alsoknownas will oversee NAC’s corporate website, eDMs and social media channels, including Facebook, Instagram, LinkedIn and YouTube. Don’t miss: National Arts Council spotlights creativity as a catalyst for confidence and curiosity The scope centres on developing a comprehensive digital marketing communications strategy, including a multi-year workplan aligned with NAC’s priorities. This will be supported by ongoing strategic counsel, including crisis communications in collaboration with the appointed PR agency. Content production forms a significant portion of the remit, with the agency tasked to deliver 360 creative content units annually. These include articles, short-form videos, ad banners and social assets, alongside the development of an editorial style guide to ensure consistency across platforms. Alsoknownas will also manage NAC’s social channels end-to-end, from content calendars to publishing, as well as daily community management. This includes monitoring, responding to audience interactions and curating user-generated content within defined brand guidelines. In addition, the agency will provide monthly and quarterly performance reports, alongside competitive analysis and market intelligence, aimed at refining strategy and identifying emerging trends. Meanwhile, Tate Anzur will handle NAC’s PR duties, spanning media relations, monitoring and campaign support. The agency is required to provide ongoing account management and PR counsel, including participation in twice-monthly work-in-progress meetings. It will also maintain NAC’s media lists across traditional, online and social platforms. A key component of the remit is media monitoring and social listening. Tate Anzur will deliver daily news alerts covering local and international media, alongside tracking sentiment and identifying potential issues. This includes monitoring coverage of NAC-supported arts groups across major publications. The agency will also produce monthly, quarterly and annual evaluation reports, analysing coverage quality, industry trends and the effectiveness of PR efforts against NAC’s strategic objectives. Beyond retainer work, the PR scope includes support for tiered campaigns. This ranges from large-scale initiatives such as Singapore Art Week, which may run for up to five months, to smaller announcements and awards programmes with shorter timelines. Deliverables include communications planning, media outreach, press materials, spokesperson briefing and post-campaign evaluation. The agency may also support media familiarisation trips and overseas networking events to promote Singapore’s arts scene internationally. Both agencies are expected to work in tandem to ensure message consistency and deliver integrated campaign outcomes across digital and traditional channels. MARKETING-INTERACTIVE has reached out for more information.  NAC has also been ramping up efforts to grow the global visibility of Singapore’s arts scene. In a recent move, it entered a three-year partnership with Changi Airport Group to showcase local arts and culture to international audiences passing through Changi Airport. The collaboration will roll out curated art displays, live performances and activations across the airport’s terminals, tapping its annual passenger traffic of about 70 million to expand the reach of Singapore’s creative talents. Related articles: Sentosa names PR agency   Changi Airport Group picks creative and digital partners  MDDI picks firm to audit WOG media buying framework source

Rohan Mathur (pictured) has stepped down from his role as marketing director, India and emerging Asia at The LEGO Group, marking the end of an 18-year corporate career spanning the toymaker and Procter & Gamble. Mathur announced his departure in a LinkedIn post, where he said he has “stepped out to build something of my own”. He has yet to name the venture but outlined plans to focus on keynote speaking, AI training and fractional leadership. He said he intends to position himself as a “crossroads navigator”, working with leaders and organisations navigating growth challenges, brand rejuvenation and AI adoption. Don’t miss: Nespresso SG marketing head steps down after seven years Mathur joined LEGO in 2016 and most recently served as marketing director for India and emerging Asia from 2024 to 2026. In the role, he led marketing across 10 markets including India, Indonesia, Thailand, the Philippines and Vietnam. During his tenure, he drove a twofold increase in topline growth across the region over three years. He also led the development of LEGO’s “Playground” campaign, which was later exported globally, and oversaw culturally relevant campaigns tied to occasions such as Diwali and Ramadan. Prior to this, Mathur was marketing director for Southeast Asia from 2019 to 2024. He also held roles across sales and marketing within LEGO, including senior regional sales manager for South Asia and senior marketing manager, where he worked on stabilising the Singapore business and expanding retail and partnership efforts. Before joining LEGO, Mathur spent close to eight years at Procter & Gamble, holding roles across brand management and eCommerce in APAC markets. In his LinkedIn post, Mathur reflected on his decade at LEGO, citing business expansion across APAC and the establishment of an on-ground presence in emerging Asia markets, including offices in India and Indonesia and a factory in Vietnam. MARKETING-INTERACTIVE has reached out for more information.  The move comes as LEGO continues to strengthen its regional marketing capabilities. In December last year, the LEGO Group appointed Fiona Huang, former managing director of dentsu Creative Singapore, as business partner director at Our LEGO Agency APAC. Our LEGO Agency APAC serves as the brand’s in-house creative and marketing hub for the region. In her role, Huang works alongside APAC head of creative Primus Nair to steer and develop campaigns and marketing initiatives, reporting to Annie Boo, head of LEGO Agency APAC and China. Related articles: OpenAI eyes deeper APAC growth with new marketing head  foodpanda Malaysia’s marketing director departs    Sun Life’s regional director of marketing performance for Asia departs source

DBS is doubling down on long-form content, this time with its top executive taking the lead. The bank has launched a new podcast series, “Two in a pod”, hosted by group chief executive officer Tan Su Shan, as it looks to deepen engagement through leadership-driven storytelling in a fragmented media landscape. The series features candid, behind-the-scenes conversations with global business leaders, unpacking how critical decisions are made in moments of volatility and how trust is built when stakes are high. The first episode sees Tan in conversation with Jane Sun, chief executive officer of Trip.com Group, touching on shifting travel behaviour, the role of AI in reshaping customer propositions, and maintaining trust amid disruption. Don’t miss: GE2025: Are podcasts the new political battleground?  According to a DBS spokesperson when MARKETING-INTERACTIVE reached out, the move builds on the bank’s existing investment in podcasts and vodcasts as a channel for deeper engagement. “DBS is not new to the podcast space. Over the past years, DBS has leveraged podcasts and vodcasts to deep-dive into different themes from economics to sport, history and scam prevention to offer deeper, more candid conversations that go beyond traditional communications,” the spokesperson said. These include “Kopi time”, hosted by chief economist Taimur Baig, which focuses on global economic and market insights; “Game on! with Max Maeder”, which blends sport storytelling with leadership lessons; and “Singapore’s firsts”, spotlighting DBS pioneers who helped shape the nation. The spokesperson added that “Two in a pod” reflects the bank’s belief that leadership and decision-making matter more in periods of uncertainty, positioning the series as a platform to explore how leaders navigate disruption, adopt new technologies and make high-stakes judgement calls away from the public eye. “’Two in a pod’ reflects our belief that in times of heightened uncertainty, leadership and decision-making matter more than ever. It carries candid, long form conversations that unpack how leaders think, decide and build trust when the stakes are high,” the spokesperson said. The series is available on DBS’ YouTube channel, as well as audio platforms such as Spotify and Apple Music. Full episodes can also be accessed via the bank’s website, with distribution across both video and audio formats aimed at reaching audiences who prefer either visual or on-the-go consumption. With the launch, DBS joins a growing number of brands leaning into long-form, executive-led content as a way to build trust and authority, shifting from campaign-led messaging towards sustained, conversation-driven engagement. This reflects a broader trend in how organisations are rethinking content strategies, particularly in sectors where credibility, clarity and depth are critical. In financial services and other B2B industries, podcasts have increasingly been used as a way to translate complex topics into more accessible, conversational content for clients and stakeholders. In this context, the format is being positioned less as a marketing add-on and more as a core communication channel. Rather than short-form or campaign-led messaging, brands are turning to longer-form, narrative-driven dialogue to unpack technical, market or leadership themes in a more sustained way. Industry practitioners MARKETING-INTERACTIVE previously spoke with note that the effectiveness of podcasts lies heavily in tone and structure, with the most successful formats designed to feel natural and conversational rather than overly produced. Panel-style discussions, thematic episodes and recurring series are often used to build familiarity and deepen engagement over time. However, execution remains critical. Clear editorial direction, consistent publishing cadence and a defined audience strategy are seen as essential, particularly given the resources required to build and maintain an audience in the early stages. For many organisations, podcasts therefore sit within a broader mix of content formats rather than replacing existing communications channels. Related articles:   Gen Z Perspectives: Sameer Gupta exits DBS, Claude Design & Content360 SG  DBS marketing chief seeks creative agency to cement brand as “beacon of trust” Study: 49% of marketers expect to increase ad spend on podcasts  source

Social media agency ACTSTITUDE has secured a wave of new brand partnerships across F&B and retail, as it deepens its presence in Singapore. Its latest additions include four culinary brands under Iron Chef F&B including COLLIN’S, Common Grill by COLLIN’S, Haruyama Udon and Elfuego, alongside spirits brands Clumzy Plumzy. ACTSTITUDE has also been appointed as the agency partner for two upcoming Japanese dining concepts set to open in Singapore: yakitori chain Torikizoku and Tokyo-based charcoal-grilled hamburger brand Hikiniku to Come. Both brands are scheduled to launch their first Singapore outlets at VivoCity in May, as they look to establish a stronger foothold in the local F&B scene. Don’t miss: Maybank Singapore calls for social media pitch  Beyond F&B, the agency is also supporting Grantral Mall MacPherson and Grantral Mall Clementi, where it has been tasked with building their digital identity from the ground up and growing their social media presence. ACTSTITUDE said the recent momentum reflects a key growth phase for its Singapore operations. “The intensity of this pitching period tested our capabilities, and the results speak to the quality of our team’s eff orts,” said Alvin Kok, managing director and co-founder of ACTSTITUDE. “The influx of new brand partnerships has brought renewed excitement to the team, opening up opportunities to develop innovative campaigns and drive stronger online engagement,” he added. Across the border in Malaysia, ACTSTITUDE has also bagged clients in the beauty, and FMCG and F&B space including Bioré, Dato Siti Nurhaliza’s cosmetics brand SimplySiti, Kraft Heinz and more.  The agency added that it continues to retain key clients in Singapore while actively seeking new collaborations in the F&B and retail space. The slew of wins builds on the agency’s recent partnership with Fei Siong Group brands including Nam Kee Pau, Encik Tan, Malaysia Boleh and SG Hawker, as well as US fast-food chain Popeyes. Related articles: Changi Airport Group picks creative and digital partners  URA names new social media agency  PUB taps new social media agency  source

Social media has been abuzz over the past week after AirAsia posted a series of TikTok videos showing its staff speaking Mandarin. The first video, posted on 23 April, showed staff using Mandarin to deliver standard travel reminders such as arrival times for international and domestic flights. The second video, released a day later, leaned further into humour. Captioned: “Any working adults keen to learn Mandarin online? We’re thinking of learning too,” it featured a pilot and crew members playfully demonstrating Mandarin phrases, including “check-in”, the airline’s achievements, and its route network scale, before ending with an invitation for viewers to vote on whose Mandarin was the most fluent. So what prompted AirAsia to make this move? The airline appears to have been building on the momentum of a viral video that surfaced on 22 April, depicting a passenger incident aboard an AirAsia flight to Chongqing, China. Don’t miss: PR has mastered getting seen, but is it any closer to being understood? The incident began after a woman was allegedly unhappy at being told to lower her voice while speaking on the phone before take-off. When cabin crew intervened, she demanded to be addressed in Mandarin instead of English and criticised the staff for not being able to speak Mandarin on an international flight. The confrontation resulted in a short delay of around 30 minutes but quickly escalated online as videos of the exchange circulated widely across social platforms, triggering intense public debate. According to sentiment tracking by Dataxet Malaysia, overall sentiment towards the incident was largely mixed, with positive sentiment at 50%, negative at 40%, and neutral at 10%. While opinions were divided, much of the online conversation centred on AirAsia’s response rather than the incident itself. Many comments applauded the airline for its witty videos featuring ground staff, pilots and cabin crew speaking in Mandarin. Netizens called it a “power response” and “correct attitude”, believing that AirAsia successfully turned a potential crisis into days of free positive advertising. Industry professionals that A+M spoke to, said the response had largely reframed the conversation. “It’s definitely a win. The execution was smart. They responded quickly and used the right channel with the right tone,” said Julia Taslim, co-founder of Commas PR. She added that AirAsia successfully turned passive viewers into active participants by inviting audiences to engage directly with the content. However, she noted a missed opportunity: “I wish they’d been more explicit in showing support for the crew member at the centre of this.” There was a real opportunity to clearly say: we’ve got our people’s backs. For others, the move was deeply aligned with brand identity. Diyana Anuar, marketing director at UNITAR Education Group, described the response as emotionally intelligent. “AirAsia has always been slightly cheeky and unafraid to play in moments where most brands would avoid. Instead of going quiet, they showed up in culture. And people got it. It felt human and reinforced the empathy already there for the crew,” said Diyana. “Some will say this does not solve the issue, but that kind of misses the point. AirAsia wasn’t trying to win the argument. They were winning the moment,” she added. She also pointed to a broader lesson for marketers: We don’t always need to control the narrative. Sometimes we just need to participate in it. Echoing a similar view, Eugenie Chan, managing director at Access Comms Malaysia and co-founder of Suppagood, said the airline’s approach demonstrated modern crisis communication in action. She added that the brand “moved at the speed of culture, not corporate”, reframing conflict into capability through content rather than formal commentary. Silence is no longer neutral. In a networked environment, if you don’t shape the narrative, someone else will. Chan added, “What they did well was to engage without inflaming. They didn’t argue, they demonstrated.” She explained that AirAsia had injected just the right amount of lightness to diffuse tension, and that’s a difficult balance to strike.  “In this case, it didn’t just manage sentiment, it actively converted attention into brand visibility and affinity, showing how modern PR moments are won in the feed, spilling out seamlessly into the newsroom,” she said. Taslim echoed Chan’s thoughts about silence not being an option, especially after something hits a million views. “There’s a big difference between responding and reacting. In this case, AirAsia responded. But not every brand can pull this off. It only works when the tone fits who you are.” Dataxet’s breakdown supports this shift in perception, with the dominant theme in conversation being AirAsia’s “clever response” (45%), followed by criticism of the passenger involved (25%) and debate around language expectations onboard (20%). Only a small minority (10%) viewed the airline’s response as opportunistic. Taken together, the incident highlighted how rapidly crisis moments can be reframed in a social-first environment, where response speed, tone and cultural fluency can determine whether brands lose control of the narrative or reshape it entirely. Be part of #Content360 Malaysia, 13 May 2026, where creativity and community collide. Explore how AI-powered imagination, culturally resonant storytelling, and platform-savvy strategies are shaping the future of content. Gain practical insights, discover new tactics, and learn how the region’s top creators and brands are crafting campaigns that truly resonate. Related articles: Cheers and criticism: Angie Cheong’s Perak ambassadorship has netizens split When real-world mechanics meet real-world pain in OATSIDE’s ‘CMO’ campaign Why marketers might be missing out banking only on big festive moments  source

Singapore’s Ministry of Digital Development and Information (MDDI) has appointed MediaSense as the independent contractor to review the performance of its media buying agency under the Whole of Government (WOG) media buying framework. The appointment follows a tender issued by the National Marketing Office (NMO), which sits within MDDI’s public communications division, and which closed on 2 February 2026. MediaSense was awarded the account this month, MARKETING-INTERACTIVE understands.  The review will provide a comprehensive evaluation of the media buying agency’s compliance, financial accuracy and media delivery under the WOG Media Buying Services Period Contract and Framework Agreement. According to tender documents seen by MARKETING-INTERACTIVE, the objective is to conduct a “thorough and independent” assessment of the agency’s performance against its contractual obligations to ensure transparency, accountability and value in the management of government paid media investments. Don’t miss: URA names new social media agency The exercise will cover government campaigns executed in Singapore over a period of up to two years, from 1 January 2023 to 31 December 2024. The review aims to ensure transparency, accountability and value in the management of government paid media investments. As the appointed contractor, MediaSense is required to examine purchase orders raised under the framework and assess the media buying agency’s adherence to contractual obligations, financial controls and delivery commitments. The firm is expected to complete the exercise in approximately 14 weeks from award, subject to timely access to documentation, systems and stakeholders, and may conduct interviews with the agency’s staff and relevant stakeholders to obtain clarifications and supporting information. Tender documents had specified that the contractor should have relevant experience in media buy management review or similar scopes of work. The proposed project team of up to five key personnel was required to include a business lead and members with experience in marketing governance and media compliance services, with a preference for over 15 years of experience in such projects. NMO coordinates marketing and communications efforts across government agencies. Its role includes establishing governance mechanisms to improve campaign effectiveness and cost efficiencies, including aggregating demand for paid media buying across WOG through the media buying framework. While the review will be conducted primarily on-site at the media buy agency’s offices or where systems and documents are housed locally, remote reviews may be permitted provided data security, confidentiality and review integrity are maintained.  The news comes as several other government bodies and agencies wrap up their own marketing and communications pitches. Earlier in February, Singapore’s Ministry of National Development (MND) appointed Formul8 as its agency to provide creative, marketing and social media management services for its Municipal Services Office (MSO). Additionally, the National Day Parade (NDP) 2026 organising committee has named DSTNCT as its creative agency to lead the nationwide branding and publicity campaign for NDP 2026. DSTNCT will oversee strategic development, creative execution and publicity management under a contract that runs until 31 August 2026, MARKETING-INTERACTIVE understands. Related articles:    PUB taps new social media agency GovTech picks social media agency   Mandai Wildlife Group picks new global media agency  source

DSTNCT and Starcom emerged as the standout winners at the MARKies Awards, each taking home top honours on the night. DSTNCT was awarded the Overall Creative Ideas MARKie after a dominant performance that delivered four Gold, one Silver and two Bronze wins. Starcom followed with the Overall Media Usage MARKie, powered by a strong slate of independently led campaigns that earned one Gold, two Silver and one Bronze. The agency also added to its tally through multiple collaborative wins with partner agencies, cementing its position at the top of the media rankings. DSTNCT’s winning work included “Project citizens: The first million” for National Heritage Board, “National Day Parade 2025”, “DIS changes everything” for MINDEF, “SEA Games and ASEAN Para Games” for Sport Singapore, and “#ThisisSG” for Ministry of Digital Development and Information. The campaigns were recognised across categories including ‘Most Creative – Immersive Brand Activation’, ‘Most Creative – Interactive Storytelling’, ‘Most Creative – Out-of-Home’ and ‘Most Creative – Content Marketing’. Starcom’s standout wins included “LEGO ONE PIECE” and “LEGO F1 Singapore” for LEGO, alongside “Meet death like an old friend” for National Environment Agency. The work picked up recognition across ‘Most Effective Use – Contextual Advertising’, ‘Most Effective Use – Government Sector / Non-Profit Marketing’ and ‘Most Effective Use – Launch / Re-Launch’. Other notable campaigns included “Don’t toy with your life”, created with TBWA for Health Promotion Board, and “CNB uninfluenced campaign: The trip to Larspura”, developed with Ogilvy for the Central Narcotics Bureau. Publicis secured second place for the Overall Creative Ideas MARKie, with four Gold, two Silver and three Bronze wins delivered through collaborations with partner agencies. Key work included “Subway and Singapore, fresh at 60”, “Triple cheese, yes please!” and “Subway signatures: A feast for your senses”, created with Zenith and Also Known As. The campaigns performed strongly across categories such as ‘Most Creative – Gamification Campaign’, ‘Most Creative – Hyperlocal Marketing’ and ‘Most Creative – Integrated Media’. Distilleri and Leo Singapore shared third place. Distilleri secured three Gold and one Silver, while Leo Singapore matched the tally with four Gold and one Silver through collaborative work with partner agencies. Performics took second place for the Overall Media Usage MARKie, winning three Gold, one Silver and one Bronze. Its winning entries included “Live iconic with DBS jello” and “An act of care: Building money habits that last with POSB” for DBS Bank. The campaigns performed strongly across ‘Most Effective Use – Digital’, ‘Most Effective Use – Specific Audience’ and ‘Most Effective Use – Video’. Dentsu followed closely with three Gold, three Silver and one Bronze, driven by campaigns developed with partners including :Teeth, AKA Asia, Very Crafty Films, Quantcast, Accenture Song, MiQ Digital Singapore and Ogury. Other agencies also earned recognition for their work, including VML Singapore, Resolute Communications, GERMS, Construct Digital and OMD Singapore. This year’s entries reflected a sharper edge of creativity and effectiveness, with marketers leaning into fresher ideas, smarter execution and more purposeful storytelling. The calibre of work underscored an industry continuing to evolve with confidence and intent. The winners were decided by a 21-member judging panel comprising senior marketers from brands including Arts House Group, Charles & Keith, CIMB Bank, COMO Hotels, Duolingo, Finmo, FWD Group, Health Promotion Board, HSBC, IHH Healthcare, James Cook University, Kimberly-Clark, Kinderland International Education, Little Farms, National Gallery Singapore, OUE Restaurants, Philips APAC, Procter & Gamble, RISIS, Singsaver and Standard Chartered Bank. The MARKies Awards ceremony was held on 29 April at Shangri-La Singapore, bringing the industry together for an evening of celebration and recognition. MARKETING-INTERACTIVE extends its appreciation to the judges for their time, rigour and insight in evaluating each submission, ensuring a robust and credible process. Special thanks also go to official beer partners Heineken Silver, Tiger Crystal and Bernini for keeping the celebration flowing. MARKETING-INTERACTIVE congratulates all winners for their achievements across this year’s categories. To view the complete list of winners, click here. source

The National Arts Council (NAC) and Changi Airport Group (CAG) have entered a three-year partnership to showcase Singapore’s arts and culture to international audiences passing through Changi Airport. The collaboration will see a series of curated art displays, live performances and activations rolled out across the airport’s terminals, targeting both local and international passengers. Changi Airport handles about 70 million passengers annually, offering a high-traffic platform to expand the global reach of Singapore’s creative talents. The partnership was launched at Changi Airport Terminal 4 on 27 April, with senior minister of state Low Yen Ling in attendance as guest of honour. Representatives from NAC and CAG were joined by local artists, who marked the occasion with live poetry and music performances. Don’t miss: National Arts Council spotlights creativity as a catalyst for confidence and curiosity Over the next three years, the initiative will feature multidisciplinary programming spanning literary, visual and performing arts. This includes Singapore Literature (SingLit) poetry presented through live engagements, alongside music performances that extend NAC’s existing “I play SG Mmusic” initiative into the airport environment. During major arts festivals, Changi Airport may also serve as a platform for visual art showcases, aimed at boosting the international visibility of Singapore-based artists. The partnership builds on NAC’s broader push to bring the arts into everyday public spaces beyond traditional venues. Guided by its Our SG Arts Plan (2023–2027), the council has been expanding the presence of local art across Singapore through initiatives such as commissioned works in MRT stations, themed trains, and large-scale installations in community spaces. It has also integrated local poetry and music into the public transport network and lifestyle destinations such as Marina Bay Sands, as part of efforts to position Singapore as a distinctive city where art is embedded into daily life. “Changi Airport is more than a gateway to the world – it is often travellers’ first and last impression of Singapore. The airport offers an opportunity to reflect Singapore’s cultural vibrance through the creative works of our homegrown artists as part of the passenger experience,” said Yam Kum Weng, CEO, CAG.  He added, “Through this partnership, we can explore ways to further enliven our airport spaces, create moments of positive discovery for passengers, and reinforce Changi Airport’s identity as a worldclass gateway that reflects the spirit and creativity of Singapore.” In tandem, Elaine Ng, CEO, NAC said, “NAC’s partnership with CAG turns one of the world’s busiest hubs into a creative stage for Singapore artists, providing them with access to global travellers.”  This push into new formats and spaces also extends into the digital realm. Earlier this year, NAC launched “AfterForms“, a hybrid metaverse exhibition developed in collaboration with TBWASingapore under its Project Arts Metaverse (PAM) initiative. The project explores themes such as climate grief, memory and digital responsibility through four immersive virtual environments, alongside a physical showcase at The Arts House. Positioned as a digital arts incubator, “AfterForms” examines how digital worlds inherit what physical ones erase, framing the metaverse as a space where consequence and responsibility continue to accumulate rather than a form of escapism. Related articles: Changi Airport Group picks creative and digital partners   Changi Airport turns five-day stopover into social media stunt with Aussie TikToker   Have you seen these themed MRT trains by the National Arts Council yet? source

WPP has secured the consolidated global creative and production mandate for Henkel Consumer Brands, expanding its remit to cover iconic brands including Persil, Schwarzkopf and Syoss. The win builds on WPP’s existing consolidated media mandate for Henkel across Europe, awarded last year, further strengthening its role as a global partner across the consumer brands portfolio. The latest appointment follows a competitive global pitch spanning more than 12 months, during which Henkel looked for a partner capable of delivering end-to-end marketing solutions spanning creative, production and marketing technology to drive growth across its brand portfolio. Don’t miss: IBM picks new global media agency  At the centre of the partnership is WPP Open, the company’s agentic marketing platform, which will act as the strategic backbone for Henkel’s marketing model by unifying teams, accelerating global solutions and enabling a more integrated approach across markets. Cindy Rose, chief executive officer of WPP, said “I’m thrilled to expand our partnership with Henkel Consumer Brands, now including consolidated creative and production. This win is a powerful proof point that our Elevate28 strategy is working.” “Building on the success of our European media partnership, we’re ready to accelerate Henkel’s growth by connecting creative, production and media in one seamless engine. This is the blueprint for how WPP delivers trusted growth for the world’s leading brands,” Rose added.  The Henkel appointment comes as WPP Media continues to deepen its footprint with major QSR brands in the region, following its latest win with KFC Singapore and Pizza Hut Singapore. The integrated media mandate covers end-to-end media strategy, planning and buying for both brands. It also strengthens WPP Media’s existing global partnerships with KFC and Pizza Hut, extending a proven track record of driving growth and innovation across the UK, Europe, MENA, APAC and South Africa.  Related articles: Volkswagen picks agency to lead global social media strategy Coach and Kate Spade conclude global media pitch  Dyson concludes global media pitch  source

Birkenstock is stepping beyond sandals and into beauty with the launch of a vegan, plant-based nail polish collection under its “Care essentials” range. The collection, launched in April this year, marks the brand’s latest move to extend its “walking as nature intended” philosophy beyond footwear, bringing a decorative element into its growing foot care portfolio. The range features five shades, “Eggshell”, “Light rose”, “Crocus”, “Surf green” and “Red”, designed to complement Birkenstock’s open-toe sandals. The brand positions the polishes as a “finishing touch” that pairs with its footwear, whether through tonal matching or contrast styling. Don’t miss: The LEGO Group and Crocs unite to celebrate creativity and self-expression Alongside the polishes, the collection includes a top and base coat, as well as a nail polish remover infused with sweet almond oil. According to Birkenstock, the formulas are “23-free”, vegan and plant-based, with ingredients derived where possible from natural sources such as sugar beets and cane. The products are manufactured in Europe and packaged in recyclable glass bottles, aligning with the brand’s broader sustainability positioning. The move signals a continued expansion of Birkenstock’s “Care essentials” line, as the company builds out a more holistic ecosystem around foot care and lifestyle. MARKETING-INTERACTIVE has reached out for more information.  The expansion comes as Birkenstock continues to invest in more immersive brand experiences beyond product. In Singapore, the brand opened an experiential concept store at WEAVE, Resorts World Sentosa, designed to reflect its “walking as nature intended” philosophy. The space features natural materials and interactive touchpoints, including a digital foot scanner, reflexology corner and in-store foot massage services, aimed at turning retail into a more sensory, wellness-led experience. “The store was designed to be a space where people feel comfortable to explore, linger and connect with the brand in a deeper way,” said Evelyn Chua, managing director, Southeast Asia and Down Under, in an interview with MARKETING-INTERACTIVE at the time. Related articles: Drink it, wear it: Tealive drops a line of bubble-tea inspired sling bags    adidas and BAPE blur the lines between football and fashion  NYX turns up the volume on female artists in makeup-inspired mixtape source