marketing interactive

As artificial intelligence continues to reshape business, marketers are asking a critical question: how can design and customer experience (CX) stay human in a world increasingly dominated by algorithms? Deloitte Singapore believes the answer lies in measuring, and investing in design maturity. Deloitte Singapore’s newly launched Design Experience Index (DXI), launched in partnership with Singapore Design Week, aims to provide a framework for organisations, particularly in Southeast Asia, to assess the impact of design on their business. “Design has always been intangible. The DXI gives business leaders a way to grasp and link the intangible with the tangible, and make design decisions that drive growth,” explained Dorothy Peng, partner, customer strategy and design, Deloitte Singapore. Don’t miss: Agentic AI and the CX reset: The tech changing how brands serve and retain customers Built on analysis of over 250 companies across six sectors and six countries, the DXI evaluates organisations across six design domains. It highlights where design is driving real business outcomes, and where it isn’t. According to Deloitte’s research, Singapore leads the region in design sophistication, with Thailand close behind. Surprisingly, digital design scored lowest, reflecting inconsistencies in quality and execution despite widespread adoption. It also found that 81% of customers are willing to pay more for a better experience, with customers today demanding more seamless, intuitive and personalised experiences, without any downtime or switching costs—be it in-app, in-store, on websites, or for services. Meanwhile, bad CX could also cost businesses more than USD 3.7 trillion annually, with 57% consumers likely to abandon a brand after just one poor experience, making it a silent killer of all businesses worldwide.  Deloitte shared, that according to existing studies, design-led organisations win with faster growth, greater loyalty and higher returns. For every SG$1 invested in experience design, will result in a return of SG$100 as a strategic multiplier moving beyond just aesthetics. On a country-level view, Deloitte found that although SEA organisations value design, they are slower to integrate forward-looking capabilities.  Zeroing in on Singapore, digital experiences are held to stricter benchmarks and design outlook is more mature. According to Deloitte’s DXI, Singapore’s design-led organisations set rigorous benchmarks, often aligning with global standards. With structured processes, repeatable methodologies, and deep customer understanding, they use design as a competitive differentiator: from DBS’s award-winning digital transformation to Carousell’s frictionless marketplace. Speed and scalability are hallmarks, but digital design innovation still lags, with stricter measurement needed to gauge returns on design investment. The DXI report also highlights that risk-averse corporate cultures can slow big bets, and gaps remain in inclusivity. By embedding accessibility as a default and leveraging sector-specific digital sandboxes, Singaporean organisations can scale innovation, pioneer digital design, and set the regional standard for human-centered, equitable experiences. Beyond the benchmarks The insights go beyond benchmarks. “Good CX design means putting the customer first. For a long time, companies have been designing against what they need, but now, we’re seeing a big shift to placing emphasis on what the customer needs instead, and it works,” Peng told MARKETING-INTERACTIVE. “A strong design culture correlates with better outcomes across all domains. But too often, companies prioritise technology over understanding what consumers need,” she added. “A lot of times it’s not a technology problem. It’s always a human, or a person, or a CX problem. Solve that first, and the right solution will come in.” Meanwhile, effective CX is almost invisible, argued Ignatius Ong, director, customer strategy and design, Deloitte Singapore. “In almost any experience around the world, the moment you find that something annoys you, or something is troublesome, that is bad design.” He added that: “Good design is actually invisible, because it’s so natural to you that you don’t see it.”  Ong also said that good design puts the customer first. He referenced examples such as Apple’s devices, saying, “When you turn on your iPhone, for example. It just works, and nothing goes wrong. You get everything done and everything just magically happens.” Peng concurred, adding that: “It’s seamless, frictionless, personalised, delightful, like all the keywords we discussed earlier, but simple. When it’s done well, it actually falls into the background.” The DXI also sheds light on the intersection of design and AI. “AI is prevalent, but it’s a tool, not an answer in itself. The why needs to be answered first,” said Peng. “With AI, you need to humanize it. How can you make it more accessible to people of all groups, generations, or cultures?” She highlighted the shift from hyper-personalisation to personification: “How do you personify the brand? How is the brand perceived by the customer? That is more important than just giving a personalised message. The way it’s delivered, the brand tone, the experience you design for me as a customer—that’s what matters.” Related articles:How brands can innovate customer experience through design-led thinking2025: When creativity meets CX orchestration What’s a ‘peak-end rule’? Neil Patel explains the secret recipe to enhancing CX source

Converse and Coca-Cola have joined forces for a limited-edition sneaker and apparel collection, bringing together two of the world’s most recognisable cultural icons. The collaboration celebrates creativity, individuality and joyful connection, offering fans a way to express themselves while paying tribute to the legacies of both brands. Rooted in over a century of cultural influence, Coca-Cola and Converse have inspired generations in their own ways. Coca-Cola stands for happiness, optimism, and shared moments, while Converse champions individuality and self-expression through style. By merging these legacies, the brands aim to provide fans, particularly in ASEAN and the South Pacific where sneaker culture thrives among Gen Z and Millennials, with something wearable, customisable and personal. When MARKETING-INTERACTIVE reached out, Coca-Cola said, “Everyone’s a Chuck and every story is worth sharing, whether told through a favourite pair of sneakers or a shared bottle of ice-cold Coke.” “We’re thrilled to be partnering with Converse to bring this collaboration to life, creating something that reflects the timeless qualities of both brands. Coca-Cola has always been about bringing people together, sharing moments of joy, and celebrating creativity and this collection brings all of that to life in a fresh, wearable way. We can’t wait to see fans across the region making these pieces their own and sharing their stories, just like we’ve always celebrated through our brand,” said Tin Le Trung, Coca-Cola trademark lead for ASEAN and South Pacific.  Don’t miss: Coca-Cola seems to have learnt its lesson from the 2024 Christmas ad, but why are audiences divided?  The partnership emerged naturally from shared values. Both brands balance timeless appeal with contemporary relevance and Converse, with its generational significance and strong influence on youth culture in the region, proved to be the perfect partner to translate Coca-Cola’s spirit into fashion. Coca-Cola added that the global partnership allows the brand to translate the Coca-Cola feeling beyond its glass bottles into a wearable form that speaks directly to youth culture. The collection draws inspiration from Coca-Cola’s signature design elements, including the iconic ribbon, red-and-white colour palette, green glass bottle highlights, and classic graphics. At the centre is a limited-edition Chuck 70 in Coca-Cola red, crafted with premium materials and refined design details that reflect the brand’s distinctive identity. Alongside the Chuck 70, the collection features a wider range of Chuck Taylor All Star styles in four colourways inspired by Coca-Cola flavours: Classic (Original Taste), bright white, silver (Coca-Cola Light) and black (Coca-Cola Zero Sugar). These designs are made for everyday wear, giving fans the opportunity to select a style that best reflects their personality. Customisation is a key feature, with laces, sockliners, left license plates, and ankle patches allowing each pair to be uniquely personalised. Apparel offerings include a graphic fleece hoodie, jersey tee, tote bag and cozy pom-pom beanie, all incorporating elements of both brands’ heritage. The collection merges utility, style and storytelling in wearable form, giving fans multiple ways to celebrate the partnership. The global campaign, titled “Everyone’s a Chuck,” features a film directed by Bradley K. Calder, starring rapper Vince Staples as Chuck, the personification of the Chuck Taylor. Stills by Sam Balaban highlight individuality and self-expression, reinforcing the idea that everyone has a story worth sharing. In Singapore, the campaign is being brought to life through Instagram collaborations between Coca-Cola SG and Converse SG, while additional market-specific activations, including influencer-led styling content, are planned across ASEAN and the South Pacific. The creative direction was a joint effort, led by Converse’s global design team in close collaboration with Coca-Cola’s brand and licensing teams. Together, they ensured the visual language of both icons was authentically represented, blending Converse’s timeless silhouettes with Coca-Cola’s iconic palette, ribbon and heritage details to create a collection that feels both classic and fresh. While the collaboration is global, the collection will be available in key markets including the US, Australia, Chile, Mexico, Spain, and South Africa. In ASEAN and the South Pacific, it will be sold in Singapore, the Philippines, Indonesia, Australia, New Zealand and Vietnam, with each market bringing its own cultural energy to the launch. Despite regional differences, the core spirit of the collection, celebrating connection, creativity and self-expression, remains consistent. This collaboration follows a similar strategy Coca-Cola pursued last year with snack brand OREO, where the two brands teamed up to launch limited-edition products and a unique digital experience for fans. The OREO Coca-Cola sandwich cookie and Coca-Cola OREO zero sugar drink combined playful design with interactive elements, including a Spotify-powered “Bestie mode” platform that allowed fans to sync music tastes with friends, blending physical products with a digital experience. Similar to the OREO partnership, the Converse x Coca-Cola collection continues Coca-Cola’s focus on creativity, connection, and cultural relevance. By bringing its brand to fashion through a globally recognised partner, Coca-Cola is once again offering fans a tangible and personalised way to engage with the brand, building on the success of past collaborations that merge iconic products with immersive, shareable experiences. Related articles:   Exit interview: Coca-Cola’s regional director of marketing, emerging brands bids farewell  Local pulse, global idea: Coca-Cola’s recipe to resonating with young consumers Friend or foe? How OREO and Coca-Cola perfected the art of brand collaboration  source

Physical retail has come a long way. No longer just a place to display products, modern stores aim to create immersive journeys where design, technology, and interactivity converge. In Singapore, brands are increasingly embracing experiential retail to stand out in a market that’s both digitally savvy and culturally rich. From JUNGSAEMMOOL’s beauty concept store to Prada Caffè and THE ONITSUKA flagship, the city-state has become a testing ground for innovation. Joining this wave, German footwear brand BIRKENSTOCK opened its latest experiential concept at WEAVE, Resorts World Sentosa, offering an interactive and sensory-first retail experience that reflects the brand’s philosophy: “Walking as nature intended.” Designed to be warm, inviting, and harmonious with its surroundings, the WEAVE store encourages visitors to slow down and truly engage with the brand. The interiors, crafted predominantly from natural materials, evoke a sense of serenity and echo the island setting of Sentosa. “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.  Don’t miss: 7-Eleven Singapore revamps stores with lifestyle-led experiences Beyond footwear, the WEAVE outlet emphasises wellness and comfort through interactive touchpoints. Visitors can navigate a foot reflexology corner, experience a state-of-the-art digital foot scanner to determine their ideal fit, or indulge in a dedicated foot massage. These elements transform a typical shopping trip into a holistic, multi-sensory journey. As Chua explains, “Each of these elements is intended as meaningful extensions to engage with customers, turning a shopping trip into an immersive journey that showcases BIRKENSTOCK’s commitment to quality, comfort and care.” Unlike the House of BIRKENSTOCK at Duxton, which focuses on storytelling and discovery, WEAVE was designed to be open, light, and sensorial, catering to visitors in a relaxed, lifestyle-oriented environment. Highlighting the strategic intent behind the experiential approach, Chua said:  WEAVE fills the gap by tailoring the retail experience to its environment: it’s less about being a flagship and more about being an inviting destination. Merging local culture with global heritage The store also introduces BIRKENSTOCK’s first collaboration with a local artist. A Kids’ mural, created in partnership with Geraldine Toh, brings playful interactivity to the space, delighting families and children. “Collaborating with a local artist allowed us to celebrate creativity within the region and give the space a sense of place that resonates with visitors in Southeast Asia,” Chua said. Local inspiration extends to reflexology paths reminiscent of pebbled walks in parks and housing estates, designed for barefoot walking to stimulate pressure points. The WEAVE store also features a care essentials corner, showcasing foot and body care products formulated from natural ingredients. This complements BIRKENSTOCK’s iconic cork footbeds and reinforces the brand’s philosophy of holistic wellbeing. Through these carefully curated elements, the store merges global brand DNA with local storytelling, creating an authentic and immersive experience. Chua explains that WEAVE is not just a standalone initiative but part of BIRKENSTOCK’s wider strategy to strengthen its presence in Southeast Asia. “Physical retail gives us the opportunity to create moments of trust and memory that strengthen long-term loyalty, ensuring that even in a digital-first world, the emotional bond with the brand remains deeply human,” she said. The store also functions as a community hub, with the brand’s recent “Cork Oasis Villa” pop-up offering workshops, parent-child yoga, and sensory play for children, underscoring BIRKENSTOCK’s commitment to wellness and education. “Through movement and play, we bring our philosophy closer to families and communities,” Chua said, noting that these activations help translate the brand’s heritage into tangible experiences. Looking ahead: The future of experiential retail Chua sees experiential retail evolving beyond mere points of sale. Future stores, she says, will blend design, personalisation, technology, and storytelling to create spaces that inspire and foster connection. Experiential retail will be defined by spaces that go beyond points of sale: focusing on connection, inspiration, and community. WEAVE, she adds, is an early embodiment of this vision, merging architecture, sustainability, art, and interactivity while remaining grounded in BIRKENSTOCK’s philosophy of walking naturally. As the brand continues to expand across Southeast Asia, WEAVE represents a blueprint for integrating heritage, craftsmanship, and lifestyle into retail spaces that are as much about engagement as they are about commerce. “BIRKENSTOCK WEAVE is an early embodiment of this vision — grounded yet relevant, ever evolving to reach the modern audience while staying true to our philosophy of walking as nature intended,” Chua concluded.  Related articles:   Buttonscarves makes landmark entry into SG with Jewel Changi Airport store, Vogue debut Porsche Puts pedal to lifestyle with new Jewel Changi brand experience store  Carousell Group to open first luxury resale store at The Centrepoint  source

ZUS Coffee Singapore brought music, lifestyle, and caffeine together last weekend with its first-ever coffee rave, “Drip & drop”, at Marina Bay Link Mall on 8 November. The event combined the brand’s signature drinks with a live DJ set, early access to upcoming beverages, and exclusive giveaways for fans. In teasers leading up to the activation, ZUS Coffee described “Drip & drop” as a “party in the morning,” promising unreleased ZUS buddy plushies and the ZUS Frozee cold cup for the first 100 customers. Visitors also got early access to new drinks ahead of their official launch. Adding to the buzz, Korean content creator Sean Solo, popularly known as “Hongdae Guy”, attended for an exclusive meet-and-greet. The first 40 fans who completed event activities received a photo opportunity and a signed ZUS cup sleeve from the influencer. Don’t miss: ZUS Coffee brews big Southeast Asia push, but can it stand out? The rave coincided with a broader celebration for ZUS Coffee: six years after opening its first kiosk in Kuala Lumpur in 2019, the homegrown brand has reached its 1,000th store across Southeast Asia. To mark the milestone, ZUS launched the “Taste the world” regional drink series, featuring multicultural flavours inspired by the communities where it operates, including Malaysia’s ZUS gula melaka, the Philippines’ iced ube latte, Singapore’s Iced kopitiam double espresso, and Thailand’s Thai milk tea. Featuring local DJ Highness, “Drip & drop” reflected ZUS’s ethos of curiosity and boldness, rethinking how coffee experiences can evolve. Although the event was scheduled for 11am, ZUS Coffee noted that enthusiastic fans began queuing as early as 6am to meet Sean Solo. The brand said the event will travel to other countries where it operates, continuing its push to combine coffee, culture, and community across Southeast Asia. The “Drip & drop” activation marks ZUS Coffee’s latest attempt to blend lifestyle and culture into its brand experiences, turning its outlets into social spaces for fans rather than just caffeine stops. The concept also mirrors a broader regional trend of coffee brands embracing music-led experiential marketing. In August, Marriott Bonvoy rolled out a travelling coffee rave across Malaysia titled “Brew with benefits”, blending café culture with music, storytelling, and national pride. The campaign transformed hotel cafés and lounges into lively social spaces featuring limited-edition coffee creations and cultural experiences designed to connect guests through a shared love of coffee. That same trend continued into October, when Wonda Coffee hosted its first daytime coffee rave in conjunction with Malaysia Day. The event combined music, culture, and ready-to-drink coffee in a high-energy, alcohol-free setting — a reflection of the growing demand among younger consumers for immersive yet health-conscious experiences. Related articles: ZUS Coffee’s ‘We’re closing’ prank brews massive love from Malaysians   Secret Recipe and ZUS Coffee whip up dessert collab   ZUS Coffee Philippines weaves heritage into first Filipino-inspired drinks series source

Isetan has shuttered its Tampines branch after three decades of operations, marking the end of an era for one of Singapore’s most recognisable Japanese department stores. The closure took effect on 9 November 2025, following the expiry of the store’s lease. In a post on 10 November, Isetan thanked customers and stakeholders for their support over the years, and encouraged shoppers to continue visiting its remaining outlets at Scotts and Serangoon Central. A video circulating on TikTok shows an Isetan representative thanking shoppers for their years of support and expressing pleasure in serving them, before wishing them well and inviting them to continue visiting the remaining stores. Shoppers responded with cheers and applause as the store’s shutters closed one last time. Don’t miss: Nostalgia is not enough: How brands can get the rising trend right  Isetan, headquartered in Tokyo, has a history spanning more than four decades in the fashion retail industry. Its Singapore branch was its first overseas expansion, followed by stores in Kuala Lumpur, Bangkok, Tianjin, Chengdu, and Shanghai. The brand has been widely recognised for its customer service, curated product selection, and commitment to quality, and has maintained a loyal following across Asia. Despite the Tampines closure, Isetan remains present in Singapore through its Scotts and Serangoon Central stores, continuing its mission of providing quality Japanese retail experiences. MARKETING-INTERACTIVE has reached out for more information.  The closure of Isetan Tampines adds to a growing list of iconic Singapore spaces that have recently shut their doors. In August, independent cinema and arts venue The Projector unveiled it would enter voluntary liquidation after more than a decade of showcasing alternative films and community-focused programming. Rising operational costs, shifting audience habits, and a global decline in cinema attendance forced the closure, with founder Karen Tan describing the decision as heartbreaking and expressing gratitude to patrons and collaborators who had helped build the venue. The following month, Cathay Cineplexes, one of Singapore’s longest-standing cinema operators, revealed it would enter creditors’ voluntary liquidation after failing to reach restructuring agreements with multiple landlords and creditors. Attempts to negotiate proved unsuccessful, with the board citing the company’s financial position and the absence of viable restructuring outcomes. Related articles: Twelve Cupcakes SG criticised for ‘irresponsible’ closure and lack of due process     Singapore private club 1880 abruptly shuts down as financial troubles mount    Prive Group shuts all outlets amid rising costs source

Audi has unveiled its new Formula 1 identity through the “Audi R26 Concept”, positioning the global motorsport platform as the launchpad for a sweeping brand transformation set to define the company from 2026 onwards. Revealed at the Audi Brand Experience Center in Munich, the “R26 Concept” offers the first look at the brand’s refreshed visual identity and design philosophy. The move marks Audi’s attempt to leverage Formula 1’s global reach — and its rapidly growing younger fanbase — as a catalyst for brand renewal. According to Audi CEO Gernot Döllner, entering Formula 1 is “the next chapter in the company’s renewal,” signalling more than just participation in the sport. He described the programme as a strategic driver for changing how Audi thinks, operates and presents itself globally, noting that the F1 project is intended to make the brand “leaner, faster and more innovative.” Don’t miss: From courts to feeds: How APAC fans are shaping the future of sport  Central to this transformation is Audi’s new design language, which the “R26 Concept” embodies in full. The concept showcases minimalist graphic surfaces and precise geometric cuts that align with four core principles: clear, technical, intelligent and emotional. It also introduces a new colour direction featuring titanium, carbon black and Audi red, alongside a notable design shift in which the brand will deploy red Audi rings exclusively for its Formula 1 presence. Chief creative officer Massimo Frascella said the F1 programme acts as the pioneer for the brand’s wider identity overhaul. “We are implementing a unifying design language that draws together every aspect of our organisation,” he said, adding that the Formula 1 project offers a globally visible testing ground for the refreshed aesthetic.  Beyond design, Audi is using its F1 entry as a strategic marketing platform. Formula 1’s reach, with more than 820 million fans and significant year-on-year growth among younger demographics, provides Audi with a high-impact stage to engage new customer segments. Jürgen Rittersberger, CFO of AUDI AG, said the sport’s popularity offers “the opportunity to attract new customers for our brand, especially in the younger target group.” The commercial ecosystem surrounding the team is also taking shape. Audi has already secured three major partners — adidas, bp and Revolut, the latter joining as future title partner — underscoring strong sponsorship confidence ahead of the 2026 debut. The acquisition of the Sauber Group earlier this year further strengthened the team’s structure and opened the door for investment from Qatar’s sovereign wealth fund. Internally, Audi is positioning the F1 programme as a blueprint for organisational change. The company aims to apply the fast-paced, efficiency-driven development cycles of Formula 1 to its broader operations, signaling a cultural shift intended to influence future product strategy and brand execution. Audi’s full Formula 1 team will make its public debut in January 2026, followed by testing in February and the brand’s first race appearance in March in Melbourne. Audi’s move comes at a time when sport has become one of the last true forms of appointment viewing, cutting through an increasingly fragmented media landscape. According to a recent report by We Are Social, live sport continues to attract massive, real-time audiences across Asia Pacific, fuelling billions of online conversations shaped by memes, TikTok-led discovery, creator commentary and the increasingly porous boundaries between sport, fashion, music and entertainment. Against this backdrop, Audi’s entry into Formula 1 positions the brand to tap into a fast-evolving, culture-driven fandom — using sport as a powerful platform for storytelling, relevance and long-term brand expression. This year alone, the Singapore Grand Prix generated more than 431,000 posts and reposts, reaching over two billion users worldwide. Brands such as DHL, Aramco and Singapore Airlines emerged as standout conversation drivers. Related articles:    Perplexity taps Lewis Hamilton and Eric André to bring AI to life in comedy short  Sports and concerts drive APAC travel as fans prioritise experiences  Beyond the track: How brands took pole position online at 2025 Formula 1 Singapore GP  source

Apple has partnered with Japanese fashion house ISSEY MIYAKE to launch a new accessory dubbed “iPhone Pocket”, a 3D-knitted, pleated case that blends fashion and function. Inspired by ISSEY MIYAKE’s design philosophy of “a piece of cloth”, the iPhone Pocket reimagines how users carry their devices, combining Apple’s sleek minimalism with the brand’s textile craftsmanship. The special-edition accessory will be available from 14 November at select Apple Stores and on the apple website. Crafted in Japan, the iPhone Pocket features a ribbed open-knit design that adapts to fit any iPhone and small daily items. Its semi-transparent texture subtly reveals what’s inside, while allowing users to glimpse their screen without removing the phone. Don’t miss: From long queues to AI debates: Singaporeans react to Apple’s iPhone 17 launch The accessory can be handheld, tied to a bag, or worn across the body, with two strap styles, short and long, and a vibrant palette of up to eight colours. The short strap version comes in lemon, mandarin, purple, pink, peacock, sapphire, cinnamon, and black, while the long strap is available in sapphire, cinnamon, and black. The launch marks a deeper creative exchange between ISSEY MIYAKE’s research-driven design process and Apple’s product design ethos. The Apple Design Studio reportedly collaborated closely on both development and production. The iPhone Pocket retails at SG$219 for the short strap and SG$329 for the long strap, and will be available in markets including France, Greater China, Italy, Japan, Singapore, South Korea, the UK, and the US, just in time for the holiday season. Singapore shoppers can find it at Apple Orchard Road, while other flagship locations include Apple Ginza in Tokyo, Apple SoHo in New York City, and Apple Regent Street in London. “Apple and ISSEY MIYAKE share a design approach that celebrates craftsmanship, simplicity, and delight. This clever extra pocket exemplifies those ideas and is a natural accompaniment to our products,” said Molly Anderson, vice president of industrial design at Apple. She added, “The colour palette of iPhone Pocket was intentionally designed to mix and match with all our iPhone models and colours — allowing users to create their own personalised combination. Its recognisable silhouette offers a beautiful new way to carry your iPhone, AirPods, and favourite everyday items.” In tandem, Yoshiyuki Miyamae, design director of MIYAKE DESIGN STUDIO said, “The design of iPhone Pocket speaks to the bond between iPhone and its user, while keeping in mind that an Apple product is designed to be universal in aesthetic and versatile in use. iPhone Pocket explores the concept of ‘the joy of wearing iPhone in your own way.’ The simplicity of its design echoes what we practice at ISSEY MIYAKE — the idea of leaving things less defined to allow for possibilities and personal interpretation.” The launch comes as brands continue experimenting with creative crossovers that fuse design, storytelling, and nostalgia. In October, Malaysian footwear brand Christy Ng teamed up with Mamee Monster for a collection of bags inspired by the beloved blue mascot, transforming childhood memories into modern, wearable pieces that celebrate local culture and emotional connection. Meanwhile, Toblerone turned the runway into a “Diamond heist” at the Ayala Museum during Philippine Fashion Week, where designers Jaggy Glarino, Ram Silva, and Jerome Salaya Ang unveiled couture pieces inspired by the brand’s new Toblerone Truffles. Both campaigns highlight how brands are turning creative partnerships into cultural moments, connecting with audiences through emotion, craft, and a touch of whimsy. Related articles: AI is reshaping beauty, but can fashion keep its soul? Pos Malaysia steps into fashion with limited edition sneaker release      adidas and BAPE blur the lines between football and fashion source

Recently, Meta has unveiled plans to enhance personalised user experiences by incorporating interactions with its generative AI (GenAI) features. Beginning 16 December this year, conversations with Meta AI—via text or voice—will influence the content and advertisements users encounter across platforms such as Facebook and Instagram. According to Meta, the goal is to deliver more relevant recommendations by better understanding individual interests and behaviours. “Soon, interactions with AIs will be another signal we use to improve people’s experience,” the company shared in a blog post. This push for personalisation aligns with modern consumer expectations. A McKinsey report highlights that 71% of consumers now expect companies to deliver tailored interactions, and 76% become frustrated when this doesn’t happen. Don’t miss: Meta to use AI chats to personalise ads and content across platforms A new channel to understand consumer intent With the upcoming shift toward AI interactions, new ways to understand consumer interests are being introduced, providing additional signals that help advertisers recognise intent more accurately, according to Kenzo Selby, managing director, Japan, GumGum. AI can help marketers interpret what topics, products, and ideas capture people’s attention at scale, giving brands a clearer sense of real-time intent without compromising privacy, he said. However, AI interactions should not be viewed as a replacement for first-party data, which is collected and managed directly by brands through their own channels with user consent, allowing for long-term accumulation and leverage, he added.  First-party data includes transactional and demographic information, as well as web analytics, behavioural data, and implied interests, but AI interactions are simply another data source that falls under behavioral data and implied interests, according to Jessica Liu, principal analyst at Forrester. “Marketers will continue to identify consumer intent using whichever of the aforementioned data categories are available to them.” Is Meta’s exclusion of sensitive topics enough for ethical targeting? While Meta has clarified that sensitive topics—such as religion, health, and sexual orientation—will not be used for ad targeting, experts are skeptical about the effectiveness of this safeguard. Stephanie Liu, senior analyst, Forrester pointed to Meta’s track record, citing multiple accusations of allowing illegal ad targeting based on age, gender, and race. She warned that simply excluding obvious keywords is a minimal approach, as advertisers could easily use proxy variables to target the same groups, whether intentionally or not. “Meta has faced multiple accusations of letting advertisers target ads illegally — things such as targeting job ads based on age or gender, or financial services ads based on race.” Back in July, a California jury has ruled against Meta in a privacy lawsuit concerning the alleged collection of sensitive user data from Flo, a period-tracking app. Flo Health assured users that their sensitive reproductive health data and responses to survey questions would remain private. However, that personal information was ultimately shared with companies such as Meta and Google through their respective advertising tools. Excluding sensitive topics is a responsible starting point; however, ethical targeting requires a deeper understanding of the audience’s mindset and environment, according to GumGum’s Selby. He cited the death of US political activist Charlie Kirk on 10 September as an example, noting that GumGum’s data reveals that attention on ads appearing on related pages dropped sharply to just 1.5 to two seconds, even as page views surged.  This shows that ads placed beside polarising stories not only risk brand safety but also lose effectiveness, despite increased traffic. Echoing his perspective, Stella Leung, SVP of Greater China and Korea at The Trade Desk, emphasised that AI interaction data is typically generated within large, closed platform ecosystems, making it inaccessible for brands to directly own or analyse. This creates a “black box” situation, complicating ethical considerations. Moving forward, the crucial challenge for brands will be to responsibly integrate signals from these closed platforms with their own first-party data, as well as third-party and retail media data within the open internet ecosystem, all while respecting user privacy, according to Leung.  How to balance AI-driven personalisation with consumer demands for privacy? Consumers today value personalisation but expect it to be handled with care and respect for privacy. According to GumGum Japan’s Digital Advertising Pulse Check, 81% of Japanese consumers find it important to protect their personal data while receiving ads, and 37% pay more attention to ads relevant to their interests.  However, many feel uneasy when ads appear overly personal; when confronted with ads that seem to know too much about their private lives, 31.9% become more determined to protect their data, while 17.9% question how brands obtained that information, according to the report.  To meet these expectations, brands must establish a personalisation vision grounded in customer needs and mutual value exchange to inform product updates, such as those implemented by Meta, according to Forrester’s Jessica Liu.  A significant technical hurdle, according to The Trade Desk’s Leung, is that AI interaction data is often locked within “closed platform ecosystems,” creating a “black box” for advertisers. She argued that the future challenge will be responsibly integrating signals from these closed platforms with a brand’s own first-party data in the open internet, all while respecting user privacy. Leung believes solutions such as Unified ID 2.0 demonstrate that personalized advertising can coexist with user control. The same principle, she said, must apply to AI: users should understand how their interaction data is used and have the ability to opt out. To balance AI-driven personalisation with privacy expectations, advertisers must understand the right mindset and connect at the right moment. AI can facilitate this by combining insights about audience mindset and attention, enabling brands to deliver meaningful experiences that respect privacy while maintaining impact, said GumGum’s Kenzo Selby.  When advertising aligns with what a person is actively thinking about, it becomes relevant without relying on personal or behavioural data. 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Accenture’s latest Pulse of Change survey has revealed APAC business leaders’ strong confidence in AI – and a widening gap in workforce readiness. According to the report, 86% of APAC C-suite executives plan to increase AI investment, undeterred by economic uncertainty. Yet, over half admit that the pace at which AI is advancing is making it difficult to keep up, as fewer than half (41%) are prioritising employee upskilling and reskilling. The findings, based on responses from 700 C-suite leaders and 713 employees across the region, suggest that while executives are bullish on AI’s potential, employees are being left to bridge the skills gap on their own. Don’t miss: Marketers to slash display spend by 30% as AI and CTV redefine engagement: Forrester AI becomes a teammate, not just a tool Both leaders and employees agree that AI is no longer just a productivity tool – it is fast becoming a collaborator in daily work. More than half of employees (55%) say they turn to AI first for support with tasks, particularly in data analysis (51%), learning and development, and research. However, this enthusiasm for AI adoption is tempered by concerns about preparedness. Nearly three-quarters (73%) of employees say AI is evolving faster than their organisation’s ability to train them. Still, optimism remains strong. Among the surveyed employees, 82% trust their organisation to help them stay relevant in an AI-driven future, even if only 48% report having a moderate understanding of how generative AI creates value. Across the region, executives are confident that their businesses are ready to harness AI. Some 58% report productivity gains in IT and tech functions, followed by operations (43%) and R&D (41%). But fewer are translating that progress into people strategies.  “Southeast Asia is operating in a time of continuous disruption, where change is now the only constant. Across the region, we’re seeing strong momentum behind AI investments, but enthusiasm alone doesn’t drive impact. Many leaders are still underinvesting in workforce training, creating a readiness gap that limits AI’s true potential. When employees show a willingness to adapt, it’s not just a signal – it’s an opportunity to build the skills needed to fully harness AI,” said Anoop Sagoo, CEO, Southeast Asia, Accenture. Agentic AI gains ground The next frontier of adoption, agentic AI – systems that act, decide, and collaborate with minimal human input – is already being piloted across APAC. Some 83% of C-suite leaders believe their technology landscape is ready for AI agents, while 63% are actively investing in this technology and 57% have begun deployment. Among employees, uptake remains lower, with 45% regularly using AI agents. Yet, receptiveness is strikingly high: 83% are comfortable delegating routine tasks to AI agents, and 82% believe these tools can free them to focus on more creative or strategic work. Indonesia’s turning point Jayant Bhargava, country managing director, Indonesia at Accenture, said the findings mirror the transformation underway in Indonesia’s economy.  “The Pulse of Change findings reflect what we’re seeing in Indonesia – the pace of reinvention is accelerating, driven by AI, automation, and digital transformation. Too often, organisations focus on deploying technology without fully enabling people. True transformation happens when human capability and intelligent technology advance together – when culture, skills, and processes evolve alongside innovation,” Bhargava said. He added that Indonesia is now entering a pivotal phase of AI adoption. “With its dynamic digital economy, thriving startup ecosystem, and strong government commitment through initiatives like the National AI Strategy, the country is building the foundation for responsible and scalable AI growth. By leveraging its young talent base and expanding digital infrastructure, Indonesia is well-positioned to drive transformation across industries.” The report highlights a clear mismatch between ambition and enablement. Employees are embracing AI tools and even pursuing self-learning through online courses (57%) and social media (52%), while many organisations still lag in offering structured training. Accenture’s findings signal that for the region to fully capitalise on AI’s promise, leaders must invest not only in systems but in skills – ensuring that human capability evolves alongside technological advancement. Related articles:Getty Images suffers partial defeat in UK copyright lawsuit against Stability AICoca-Cola’s 2025 AI-driven holiday ad draws mixed reactionsReport: Sovereign AI could add US$140b to Indonesia’s GDP by 2030 source

OpenAI is pushing back against a US court order requiring it to hand over 20 million anonymised ChatGPT conversations to The New York Times and other publishers as part of an ongoing copyright infringement lawsuit. In a filing on Wednesday (13 November), the company reportedly asked a federal judge in New York to reverse the order, arguing that producing the chat logs would expose confidential user information. OpenAI claimed that “99.99%” of the transcripts have no connection to the copyright claims raised in the case. OpenAI warned in its filing that the order could mean any ChatGPT user from the past three years might see their personal conversations handed over to The New York Times for review as part of the case, according to Reuters.  Don’t miss: OpenAI’s APAC comms head on leveraging ChatGPT as a strategic partner The New York Times and other outlets reportedly maintain that the data is crucial to determine whether ChatGPT reproduced their copyrighted material and to challenge OpenAI’s accusation that they “hacked” the chatbot’s responses to create evidence. The lawsuit alleges OpenAI unlawfully used the publishers’ articles to train its large language models. Magistrate Judge Ona Wang, who previously ruled in favour of disclosure, reportedly said the chat data would undergo “exhaustive de-identification” and other safeguards to protect user privacy. OpenAI faces a Friday deadline to comply with the order. In a blog post, Dane Stuckey, chief information security officer at OpenAI, condemned the court order, describing it as “an invasion of user privacy”. “The New York Times is demanding that we turn over 20 million of your private ChatGPT conversations,” he said. “This demand disregards long-standing privacy protections, breaks with common-sense security practices, and would force us to turn over tens of millions of highly personal conversations from people who have no connection to The Times’ baseless lawsuit.” Stuckey said the company had previously resisted broader demands from The New York Times to access 1.4 billion chat logs and to restrict users’ ability to delete private conversations. He added that OpenAI had proposed “privacy-preserving alternatives”, such as targeted searches for chats containing NYT text, but those were rejected by the publisher. The company also reiterated that its enterprise, education, business, and API customers are not affected by the court order, which applies only to a random sample of consumer ChatGPT conversations from December 2022 to November 2024. According to Reuters, a New York Times spokesperson countered that OpenAI’s post misrepresented the situation, noting that user privacy would remain protected since the court had only ordered the release of anonymised chat samples under a legal protective order. MARKETING-INTERACTIVE has reached out for more information.  The OpenAI lawsuit is part of a growing wave of legal challenges testing how generative AI companies source data to train their systems, and where copyright boundaries lie. Earlier this month, the long-running legal clash between Getty Images and Stability AI became one of the first major test cases for copyright in the generative AI era. According to reports, Getty largely lost its London lawsuit accusing Stability AI of unlawfully using its copyrighted photos to train the image generator Stable Diffusion. Judge Joanna Smith ruled that Getty succeeded only “in part” on trademark infringement, specifically in relation to Getty watermarks reproduced by users of Stable Diffusion, while dismissing broader copyright claims. The case underscored how courts are still grappling with whether training AI models on copyrighted works constitutes infringement, an issue now central to OpenAI’s own legal fight with The New York Times. Related articles:  How brands can stay relevant as ChatGPT Atlas redefines discovery     Salesforce deepens ties with OpenAI, brings enterprise data to ChatGPT    OpenAI turns ChatGPT into a personal shopping assistant    source