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As the Year of the Horse gallops in this Chinese New Year (CNY), brands are doing more than releasing decorative ang baos and festive films. Across Singapore and Malaysia, MARKETING-INTERACTIVE has observed the return of branded mahjong sets – the kind that may end up in spirited matches and friendly losses to Ah Ma (grandma) during family gatherings. Traditionally played with family and friends, mahjong is a staple at CNY celebrations, encouraging togetherness, conversation and friendly competition that reinforces family ties. Associated with luck, wealth and auspicious outcomes, the game is also believed to attract good fortune for the year ahead. Often thoughtfully designed and packaged, mahjong sets double as gifts that symbolise harmony, enjoyment and prosperity. More than just a game, brands are tapping into the ritual of connection, celebration and positive intentions for the year ahead, all while staying top of mind before players flip the red dragon tile. Don’t miss: Which 2026 Hong Kong CNY campaign gets your pick?  Below are some mahjong sets that caught our eyes this CNY:  1. 1664 1664 has teamed up with French artist Camille Walala to give mahjong a bold, colourful twist. Decked out in the artist’s signature abstract patterns and vivid hues, this set turns a classic game into a playful piece of art, perfect for collectors or anyone who loves a pop of fun on the first night of Chinese New Year. It is available exclusively as a gift-with-purchase when shoppers spend SG$128 on 1664 products at select stores and online. 2. 7-Eleven Singapore  This Lunar New Year, 7-Eleven Singapore is bringing Cinnamoroll to your mahjong table. The limited-edition mahjong set turns a classic game into a pastel-filled, kawaii affair, with tiles and accessories decked out in whimsical Cinnamoroll designs. Housed in a light blue gingham-style carry case with floral touches, it’s as cute to display as it is to play. It launches on 11 February 2026 at selected 7-Eleven stores and retails for SG$299. 3. Carlsberg Singapore Carlsberg Singapore is galloping into the year of the Horse with a stylish mini mahjong set, in hopes of bringing more luck, joy and prosperity to every celebration. The set features the logo against the brand’s iconic green and embodies the spirit of mastering one’s future, said the brand. The mini format also ensures that luck and celebrations are portable, allowing fans to bring the festivities to any reunion. The mini mahjong set can only be earned via a lucky draw.   4. Grab x POP MART  The Grab x Twinkle Twinkle mahjong set turns a classic game into a playful celebration of Lunar New Year. Decked out in rosy, starry designs from POP MART’s Twinkle Twinkle universe, the pastel-hued tiles bring a touch of optimism and child-like wonder to every hand, making game nights with family and friends feel extra festive, cheerful, and full of huat. The set is only available to users who participate in Grab’s “Huatever Challenge”, with only 400 sets up for grabs.  5. Hong Leong Bank Malaysia  Following the success of its 2025 debut, the Hong Leong Bank (HLB) and Hello Kitty mahjong solitaire Set is back, with a playful twist on a beloved festive pastime. In collaboration with Sanrio, HLB has fused tradition and contemporary pop culture, turning solitaire into a cultural centerpiece that resonates across generations. Decked out in the Bank’s signature red and blue and featuring premium details alongside whimsical Hello Kitty illustrations, the set transforms quiet game nights into cheerful, family-friendly fun. By pairing a timeless ritual with Hello Kitty’s global icon status, it’s a collectible that honours meaningful traditions while keeping them fresh, festive, and full of charm. The set perfect for avid players, Hello Kitty fans, or anyone looking to add a pop of joy to Lunar New Year celebrations. 6. Koi Malaysia Just like its bubble tea, Koi Malaysia is making their mahjong set ideal for on-the-go play. While other brands have gone big, Koi has gone small with a mini four-person mahjong set. Retailing at RM368 per set and available exclusively via pre-order, it comes with mini mahjong tiles, an aluminium case, mahjong trays, and a mahjong mat, all designed for everyday convenience and effortless play anytime, anywhere. 7. Love, Bonito  Fashion girlies can rock up to CNY visits in style with their new Love, Bonito mahjong set. While fashion and a traditional game such as mahjong may seem like an odd pairing at first, Love, Bonito’s mahjong set aims to celebrate togetherness and shared moments. In a previous interview with MARKETING-INTERACTIVE, the brand’s senior director of global marketing and eCommerce said that the set is “a natural extension of how we see fashion and lifestyle: creating pieces that bring women and their communities together beyond just what they wear.” Created in collaboration with Singapore-based artist Jodi Tan, the tiles feature the brand’s in-house ‘Vivid blooms’ print and retails for SG$328 in Singapore and RM999 in Malaysia.   8. Tiger Beer Malaysia and Singapore Tiger Beer is unleashing the huat in Singapore and in Malaysia with a limited-edition mahjong set. The beer brand in Malaysia has partnered with Malaysian caligraphy artist Jameson Yap (pictured right) whose ‘River stroke’ techniques blends heritage with modern expression to create a four-player mahjong set featuring bold calligraphic designs. A Tiger x atmos poker set also makes its debut this season, offering a street-inspired twist on a familiar festive ritual. In both Singapore and Malaysia, the mahjong set forms part of a broader nationwide rewards programme spanning supermarkets, eateries, bars, convenience stores and eCommerce platforms. Fans in Singapore will have to buy any five participating Tiger Beer cartons to obtain the set (pictured left), while fans in Malaysia will have to spend RM588 in supermarkets and hypermarkets or RM688 on Lazada or Shopee, inclusive of at least one carton of Tiger Crystal. Honourable mention: Luckin Coffee  This Lunar New Year, Luckin Coffee teamed up with local film Luck My Life, which hits cinemas on 17 February 2026, to bring a playful, culturally resonant twist to its merchandise. The “Luckin

Castlery has appointed bSIDE as its strategic communications agency. The mandate commenced in January and runs for an initial term of one year. It covers strategy and reputation management in support of Castlery’s corporate communications, as the Singapore-headquartered brand accelerates its international expansion. Under the remit, bSIDE will develop core corporate messaging led from Singapore and aligned across Castlery’s key markets. Don’t miss: Singapore Tourism Board picks PR agency Founded in 2013, Castlery has grown from a local startup into what it describes as the largest furniture retail brand to emerge from Singapore. Today, it operates across Australia, Canada, the United Kingdom and the United States. The company runs a fully integrated model spanning design, production, supply chain and omnichannel retail. It said this structure has enabled it to scale consistently across markets, while remaining focused on creating design-led furniture that addresses real-life needs. “As Castlery continues to expand internationally, it is important that we communicate our growth journey and brand in a clear and purposeful way. bSIDE demonstrated a strong understanding of who we are and what we stand for, and we look forward to working with them to shape our core corporate messaging,” said Jay Wong, head of corporate affairs, Castlery. In tandem, Charissa Guan, founder and managing partner, bSIDE, said, “We have been fans of Castlery for a long time, and we found alignment in our vision as Singaporean companies that understand the value of good design, and the business of thinking boldly.” “As we approach our fourth year in business, this appointment reflects the type of work bSIDE is focused on: delivering creative communications that solve commercial challenges, and we’re excited to partner with Castlery in ensuring their expansion and leadership story are communicated clearly and consistently to key audiences,” she added.  The appointment builds on a period of sustained expansion and investment for the brand. In 2023, Castlery marked its 10th anniversary with the opening of a new 15,000 square foot global headquarters in MacPherson, a significant step up from its original 900 square foot basement office in Ubi. The new space consolidated departments under one roof to drive greater collaboration and efficiency. Castlery also expanded its logistics footprint, establishing a network of eight distribution centres across the United States, Australia, China and Malaysia, collectively spanning 500,000 square feet. Showcase your most innovative content and gain recognition from a panel of industry leaders by entering the inaugural Content360 Awards. Submit your work today and be part of the celebration that honours the campaigns defining the future of content marketing. Related articles: Raffles Hotels & Resorts picks regional PR agency for Asia    Volt Auto picks PR agency as Dongfeng expands in SG     The Kallang seeks PR agency source

National Gallery Singapore is looking for a production partner for a documentary style video it is commissioning, centred on the revamp of the UOB Southeast Asia Gallery. The production should document the entire 21 months of the revamp, beginning from April 2026 and ending approximately December 2027. The documentary should articulate a clear narrative arc, exploring the ideas, questions, and decisions that shape how Southeast Asian art is represented today. The appointed vendor will work closely with the team in executing pre-production, production, and post-production of the project.  According to a tender document seen by MARKETING-INTERACTIVE, rather than a promotional or purely process-driven film, the documentary is intended to be a thoughtful, engaging narrative that balances storytelling with intellectual rigour. It should foreground people, ideas, and moments of decision-making, while positioning the Gallery as a leading voice in Southeast Asian art and art history. Don’t miss: How National Gallery Singapore is trying to be a museum for everyone Through this narrative approach, the documentary should also highlight the Gallery’s regional and international impact, signal its future direction, and engage audiences through access, honesty, and relevance. The documentary is intended for local, regional and international audiences. National Gallery Singapore is a leading visual arts museum which oversees the world’s largest public collection of Singapore and Southeast Asian modern and contemporary art. The vision of the Gallery is to be a progressive art museum that fosters and inspires a thoughtful, creative and inclusive society. Situated in the heart of the Civic District, the Gallery is housed in two national monuments: City Hall and former Supreme Court. Both have been beautifully restored and transformed into a 64,000 square metre venue.  Reflecting Singapore’s unique heritage and geographical location, the Gallery presents Southeast Asian art within the global context. Most recently, National Gallery Singapore took a creative approach to engage with local audiences with the launch of “The Gallery benches”, an islandwide public installation running from 9 to 18 January 2026. The initiative reimagines the Gallery’s iconic red logo as ten functional benches placed across ten public locations in Singapore, including East Coast Park, Orchard Road, Marina Bay, Lau Pa Sat and the Singapore Botanic Gardens. Designed as usable public furniture rather than artworks, the benches invite the public to sit, rest, eat, chat and interact with the Gallery through everyday moments in shared spaces.Related articles: Resorts World Genting roars ahead with Malaysia’s first full-length lion dance documentary Nongfu Spring promotes natural drinking water with documentary-style TVC Sephora unveils 37-minute documentary style film featuring employees  source

Singaporeans, the Year of the Horse is already shaping up to be one for the books. This Chinese New Year, brands across the country saddled up with campaigns that went well beyond the usual sweet treats and seasonal slogans. The Singapore Kindness Movement (SKM) spotlighted community through a cheeky short film. Yeo’s leaned hard into the horse motif with a refreshed look and a gamified social play. Sentosa dialled up the spectacle with a multi-sensory celebration, complete with a Disney collaboration. And these were just a few of the many that went all out this CNY. But if there’s one thing Singaporeans love more than a fun campaign, it’s money. And there’s no better way to give or receive it than through a beautifully crafted red packet. Here are our favourite red packet designs from this festive period. Don’t miss: Unpacking the ang bao designs that made us go ‘wow’ this CNY 1. Ascott Kicking things off is Ascott, which clearly decided that one ang bao just wouldn’t cut it this year. The hospitality group rolled out a limited-edition set of four ang baos, each inspired by a different season, spring, summer, autumn and winter. Every design comes in its own colourway and carries a seasonal blessing, touching on themes such as resilience, good health, abundance and harmony. The clever bit? Line all four up and they form one continuous artwork, with flowing gold-foil motifs linking each packet together. It’s a neat visual nod to balance and the cyclical nature of time, very on-theme for the new year. The set was created as a festive perk for select guests, including Ascott Star Rewards members, adding a little extra flair to the usual Lunar New Year exchange. 2. Cathay  Cathay Pacific is dressing up its Lunar New Year laisee in serious style. This year’s packets pay tribute to the airline’s iconic cabin crew uniforms, arranged chronologically from 1946 to today. Think of it as a fashion timeline in red, each design a nod to the era it debuted in, and the service legacy it represents. The collection also marks Cathay’s 80th anniversary, spotlighting vintage uniform looks that will be worn by around 2,000 cabin crew and ground staff throughout the year. It’s heritage, stitched neatly into a festive envelope. The limited-edition set is available via Cathay Shop, alongside other 80th anniversary merchandise, while stocks last. 3. EFG Bank  EFG Bank’s red packets lean fully into the Year of the Horse, featuring an embossed golden horse set mid-leap against a rich red backdrop, framed by plum blossoms in full bloom. The horse appears to break out of the packet itself, giving the design a strong sense of motion and confidence. Drawing from idioms such as 马到成功 (swift success) and 一马当先 (leading from the front), the visuals symbolise momentum, ambition and a head start for the year ahead. The plum blossoms add a quieter layer of meaning, representing resilience and renewal even in challenging times. With its tactile embossing and gold detailing, the angpao elevates a familiar festive staple into something more refined, balancing heritage symbolism with a modern, forward-looking finish. 4. Geneco Geneco’s red packets come with a little surprise tucked inside, literally. The limited-edition collection features four vibrant floral designs, each with an intricate pop-up motif that springs to life when the packet is opened, adding a playful, hands-on twist to a familiar tradition. But it’s not just about the visuals. Each angpao also shares bite-sized facts about the Singapore Herbarium, turning the act of giving into a small learning moment, especially for younger recipients who might be seeing red packets in a whole new way. Staying true to its sustainability ethos, the packets are printed on 100% recycled paper. It’s a thoughtful nod to Geneco’s commitment to a greener future, blending festive cheer with a gentle reminder that even age-old customs can evolve with purpose. 5. Hepmil Hepmil decided to zig where everyone else zagged. After years of angpaos that screamed for attention from across the room, the team went in the opposite direction, way, way smaller. This year’s design is intentionally tiny, the kind that makes recipients do a double take before bursting out laughing. It’s playful, unexpected, and very on-brand for a company that thrives on internet humour and surprise. These miniature red packets aren’t for sale and are reserved exclusively for partners, making them less mass-market flex and more inside joke, the kind you remember long after the cash is spent. 6. Kopitiam x Lau Pa Sat  Kopitiam and Lau Pa Sat are keeping things deliciously on-theme this Year of the Horse, with red packets that feel like a love letter to local flavours. Kopitiam is going full nostalgia with its “Carousel Horse of prosperity” ang bao. Inspired by the spin and momentum of a merry-go-round, the design leans into warm, familiar hues drawn from kopi, teh, bubur cha cha and pillowy bao. It’s playful, comforting, and very much rooted in everyday Singapore. The limited-edition packs can be redeemed with a minimum spend of SG$3.80 at selected Kopitiam Kopi Kiosks islandwide from 16 January to 28 February 2026, while stocks last. Over at Lau Pa Sat, the angpao quite literally puts a spin on tradition. Inspired by the phrase “食来运转” (good fortune turns with food), the design comes with a built-in spinner that cycles through iconic hawker dishes. Each turn symbolises abundance, shared meals and the joy of eating together, which feels very on-brand for a place where food is the main character. Available from 12 January, the red packets can be redeemed with a minimum spend of SG$10 at Food Folks @ Lau Pa Sat (up to two combined receipts) or purchased at SG$3.80 per pack, while stocks last. 7. MAAD Creatives MAAD Creatives is flipping the red packet game this Lunar New Year with the MAAD 马NEY BAO 2026 (ma-nee, a nod to the horse 马). This isn’t your average envelope, once opened, it folds into a self-balancing, three-dimensional rocking horse, complete with a tassel

Dentsu is pressing ahead with a sweeping overhaul of its international business, signalling a shift away from potential large scale divestments in favour of internal restructuring to restore profitability across its Americas, EMEA and APAC operations. In an update on the progress of its international business restructuring, the Japanese advertising group said it remains on track to hit an operating margin of 16% by FY2027, driven by cost reduction initiatives expected to deliver savings of approximately US$327 million compared to its initial FY2025 forecast. Rather than pursuing an outright sale of its international operations, Dentsu appears focused on tightening its cost base and simplifying its structure. Central to this plan is a workforce reduction of about 8%, equivalent to roughly 3,400 roles across its international markets. As of FY2025, measures affecting around 2,100 employees have already been completed, with the remaining reductions expected to be finalised within FY2026. Don’t miss: Dentsu names global CEO as Hiroshi Igarashi steps down The group also revised down its previously announced restructuring costs for FY2025. While Dentsu had initially guided for around US$176 million in costs as of August 2025, it ultimately recorded US$114 million following refinements to execution timing and accounting recognition. This adjustment reflects what the company described as steady progress across its initiatives and a more measured rollout of changes. Beyond headcount reductions, Dentsu incurred additional structural reform costs in the fourth quarter of FY2025, largely tied to real estate optimisation and other operational efficiencies within its international business. Taken together, total consolidated restructuring costs for the full year amounted to US$216 million. The update underscores Dentsu’s intention to stabilise and strengthen its international operations internally, at a time when global holding companies continue to face margin pressure and slower growth in key markets. By prioritising cost discipline and operational streamlining, the group is positioning itself to improve performance without resorting to major asset sales. The restructuring programme forms part of a broader push under the global leadership to sharpen Dentsu’s focus and rebuild profitability outside its home market of Japan. If successful, the strategy could mark a turning point for the group’s international business as it works towards its FY2027 margin target. This comes following Dentsu appointed Takeshi Sano as global CEO as part of its latest restructuring, with his new role effective on 27 March, replacing Hiroshi Igarashi.  Igarashi, who is stepping down as global CEO, departs after more than 40 years at Dentsu. He held a range of leadership roles spanning account management, group strategy, and governance before becoming global CEO in 2022.  The network said in a statement, the changes are intended to “strengthen competitiveness by accelerating transformation under the new management structure.” The appointments will be formalised at the board meeting following the 177th ordinary general meeting of shareholders. Back in August last year, Dentsu had announced it was exploring the sale of its international business. The move came as the group evaluated strategic options, with potential buyers, including industry players and private equity firms, are already being approached.Related articles:Dentsu Malaysia names new managing partner to lead data and tech What Dentsu International’s potential sale could mean for agency models Dentsu names new APAC CEO source

Netflix has hired Joy Albert as vice president of communications for the Asia Pacific region. Albert joins from Google where she worked for over 12 years, and was last the director for communications for Asia Pacific.  Prior to her time at Google, Albert also worked with FrieslandCampina, Buson-Marsteller and several other companies. In a LinkedIn post, Albert shared that she’s been a massive fan of Netflix since 2004 and seeing how the company has evolved since has been incredible. “Honestly, what a time to join as they continue to innovate to give people the best entertainment possible,” she said. She added that it is “an absolute privilege to step in and lead Asia Pacific communications at this time”. Don’t miss: Netflix tarot lets viewers peek at their 2026 streaming fate “Not only is the storytelling coming out of this region unmatched, but Netflix is also a massive contributor to local economies and doing incredible things to export Asian culture to the world,” she said. Albert will report to Netflix’s chief communications officer Dani Dudeck when she steps into the role on 9 March in Singapore. Dudeck, who joined earlier this year, reports to co-CEO Ted Sarandos. At the same time, Dudeck has named Flávia Vígio as vice president of communications for Latin America. Vígio joins Netflix from TelevisaUnivision. Commenting on the additions via LinkedIn, Dudeck said the two leaders will join “to build even more momentum alongside the incredibly talented regional teams shaping what’s next for Netflix around the world.” She added, “With Joy and Flávia on the team, we’re in an even stronger position to support creators, elevate local stories, and spark the kind of global conversation and fandom that only great storytelling can. We’re so lucky to welcome you to Netflix, Flávia and Joy.” The duo’s appointments comes at a time when Netflix is looking to acquire Warner Bros.’ studio and streaming assets. Thus far, Netflix has placed a bid of about US$82.7 billion compared to Paramount Skydance’s offer of US$108.4 billion, but has indicated that it has the financial capacity to bump up its bid.  Earlier this week, Warner Bros. had rejected Paramount’s bid, but remains open to more offers, and gave Paramount Skydance more time to come up with its best and final offer. Warner Bros shareholders will vote on the Netflix bid on March 20. Netflix has delivered a strong slate of campaigns over the past year, anchored by the launch of crowd favourites such as K-Pop Demon Hunters, Stranger Things season five, Wednesday season two and Squid Game season three. The streaming giant has also kicked off 2026 on a high note, with the releases of Bridgerton season four, Single’s Inferno season five and the Korean rom-com drama Can This Love Be Translated. Looking ahead, Netflix is building anticipation for upcoming titles including BEEF season two, Virgin River season seven and Avatar: The Last Airbender season two. Related articles: Netflix to buy Warner Bros. in US$82.7bn deal after Discovery split Netflix rewinds time with 80s-style Stranger Things cassette ahead of final season Netflix brings Wednesday’s black tears to life through eerie Grand Canal activation  source

Where is growth really coming from? It’s a question we keep hearing from CMOs, founders and marketing leaders navigating a market that feels tighter, noisier and harder to move than it did even a few years ago. For some brands, growth is coming from new channels. For others, it’s coming from sharper positioning, smarter pricing or braver creative bets. But increasingly, the most interesting answers are pointing in the same direction: Asia Pacific. Not as a distant expansion fantasy, but as a live influence already reshaping how Australians discover, evaluate and buy. From social commerce mechanics and livestreaming behaviours to the rise of super apps and creator-led retail, APAC markets are setting the pace. And those shifts are bleeding directly into Australia’s consumer landscape. That observation sits at the heart of Expand 2026, a new one-day forum the team at Marketing-Interactive has been quietly building over the past few months. Register For Expand 2026 today! Expand isn’t just another conference. It’s a project born from the same reason we launched Marketing-Interactive in Australia in the first place: to act as connective tissue between Australian brand leaders and the ideas, behaviours and growth models emerging across Asia Pacific. On July 29 in Sydney, Expand will bring together CMOs, CEOs and senior leaders across marketing, digital, strategy and technology to explore one defining theme: How brands scale intelligently across markets, cultures, creators and technologies without losing meaning or momentum. The inaugural edition will spotlight where the next wave of growth is forming and what Australian leaders need to understand now. Learn more about Expand We’re bringing together speakers who know what it actually takes to drive growth – leaders building brands, scaling businesses and navigating expansion in real time. Among the first speakers we can announce include:  • Guy Kellaway, head of marketing excellence at Nestlé Asia, Africa & Oceania• Michelle Wee, general manager of marketing Hisense ANZ• Merrill Pereyra, chief executive officer Domino’s Australia and New Zealand In the coming weeks, we’ll reveal additional speakers bringing local and regional perspectives on expansion, innovation and sustainable growth. Expand is built around the tensions and opportunities leaders are already wrestling with – from global brand versus local relevance and protecting brand DNA, to adapting across cultures, platforms and evolving consumer behaviours. The agenda also includes a tactical look at the super apps, ecosystems and commerce models redefining modern customer journeys. If you’re chasing growth (and let’s face it, who isn’t) this is an event built for you. From creator-led commerce and digital ecosystems to cultural and behavioural shifts, Expand is designed to help leaders understand where growth is emerging across APAC, navigate localisation and long-term strategy and apply this thinking locally. We know budgets are tight. That’s exactly why Expand is a curated, invitation-led forum limited to 150 senior leaders. Attendance is completely free for CMOs, CEOs and senior business, marketing, digital and technology executives. We’d love to see you there. source

Non-profit organisation JA Worldwide has appointed Vivek Kumar (pictured) as president and CEO of JA Asia Pacific. He brings over two decades of leadership experience across the private sector, public service and international NGOs. Kumar most recently served as CEO of WWF-Singapore, where he led efforts to sharpen strategic priorities, deepen partnerships and expand conservation impact, including advancing work in carbon finance. Prior to that, he held regional leadership roles at multinational corporations including Shell and within Singapore’s Labour Movement. Across business, public and civil society roles, education has remained a consistent focus in his career. Don’t miss: Former AirAsia brand co. CEO Rudy Khaw launches Lobby Hours According to the organisation, Kumar has spoken about the role education plays in expanding opportunity and improving economic mobility. He has advocated for systems that better connect young people to the realities of work and community. JA Asia Pacific operates across some of the world’s largest economies and fastest-growing communities. Through programmes focused on entrepreneurship, work readiness and financial capability, the region’s member organisations deliver hands-on learning experiences to millions of young people annually, while expanding digital and hybrid learning pathways and strengthening partnerships with industry and government. Kumar joins at a time when the region is expected to play a pivotal role in shaping the global workforce. More than 60% of the world’s young people live in Asia Pacific, positioning the region as central to JA’s mission of equipping youth with skills and confidence for the future. “JA Asia Pacific is central to our global mission. With the majority of the world’s youth living in this region, the opportunities and responsibilities for preparing young people for meaningful work and economic participation are immense. Kumar’s experience leading impact-oriented transformation across sectors, as well as his commitment to youth opportunity, make him the right leader for JA Asia Pacific,” said Asheesh Advani, CEO of JA Worldwide.  In tandem, PG Raghuraman, JA Asia Pacific board chair said, “Kumar sees a significant opportunity for JA Asia Pacific to make an impact in the region and its growing young communities. An avid reader, he brings a deeply thoughtful, values-driven approach to leadership and is focused on strengthening how innovation, partnerships, and emerging technologies can expand opportunities for youth. We are delighted to have him join us at JA.”  Kumar shared his enthusiasm for the role, pointing to his upbringing in a small town to educator parents as a key influence on his belief in the power of education to create opportunity. He said he has long admired JA’s ability to build young people’s confidence through real-world experiences and connect classroom learning to tangible career pathways. “The region’s diversity and energy are unmatched, and I’m excited to work alongside our member organizations to expand JA’s impact and support millions more young people in discovering their potential,” he added.  In other leadership moves unveiled earlier this month, the Singapore Institute of Directors (SID) appointed Emily Poon as its new chief executive officer. Poon will join as CEO-designate from 1 March 2026 and officially assume the role on 1 May 2026, succeeding Terence Quek, who is stepping down after four years at the helm. She brings more than 20 years of experience in leadership, strategy and communications, most recently serving as Asia Pacific president of Ogilvy Public Relations. At Ogilvy PR, Poon was the youngest and first female Asia Pacific president, overseeing 26 offices across the region and driving year-on-year growth, while advancing AI and digital media capabilities. Showcase your most innovative content and gain recognition from a panel of industry leaders by entering the inaugural Content360 Awards. Submit your work today and be part of the celebration that honours the campaigns defining the future of content marketing. Related articles: SQREEM Technologies appoints ex-dentsu APAC chief as group CEO       Former VML CEO Audrey Kuah joins DBS as group marketing and communications head   Why leaders can no longer keep personal affairs private source

Happy Friday, MARKETING-INTERACTIVE readers and welcome back to Gen Z Perspectives, your go-to feature where we unpack the week’s top stories and trending topics through the eyes of Gen Z. From the biggest industry moves to viral moments and marketing controversies worth dissecting, we’re bringing the heat with authenticity, awareness and probably a few unfiltered takes. Between bites of festive goodies, we rounded up our favourite Year of the Horse CNY campaigns and got into the hype around this year’s mahjong sets. Put the pineapple tarts down, it’s time to get into it. Don’t miss: Gen Z perspectives: NDP 2026, AI caricatures and do mascots still matter? 1. Australian Pork reframes CNY prosperity beyond the size of the feast Australian Pork has launched a Chinese New Year campaign in Singapore challenging traditional ideas of prosperity at the reunion table, shifting the focus from abundance to trust, quality and peace of mind. The campaign features MasterChef Singapore judge and author Audra Morrice, who positions ingredient integrity as central to modern celebrations. As part of the campaign, Morrice made surprise visits to three local food creators, Eric Youn (@esyfilms), Daren Teo (@thepantryboy) and Shuang Yu (@aflouryspace), capturing unscripted moments as they prepared festive dishes using Australian Pork. Read more here.  2. SKM serves up friendly rivalry and sweet treats in cheeky CNY film The Singapore Kindness Movement (SKM) is celebrating the importance of community with the release of its latest short film, Pineapple Tarts, the third instalment in its “Multicultural Mosaics” series. Released on 6 February, Pineapple Tarts centres on Chinese New Year and follows four neighbours as they engage in a friendly pineapple tart-making competition. Amid playful banter and spirited rivalry, the film showcases how festive traditions can transcend ethnic boundaries, highlighting universal themes of kindness, reunion, and harmony that resonate across Singapore’s diverse communities. Read more here.  3. Huat’s the deal? Brands stack the table with CNY mahjong sets As the Year of the Horse gallops in this Chinese New Year (CNY), brands are doing more than releasing decorative ang baos and festive films. Across Singapore and Malaysia, MARKETING-INTERACTIVE has observed the return of branded mahjong sets – the kind that may end up in spirited matches and friendly losses to Ah Ma (grandma) during family gatherings. More than just a game, brands are tapping into the ritual of connection, celebration and positive intentions for the year ahead, all while staying top of mind before players flip the red dragon tile. Read more here. Showcase your most innovative content and gain recognition from a panel of industry leaders by entering the inaugural Content360 Awards. Submit your work today and be part of the celebration that honours the campaigns defining the future of content marketing. Related articles: Gov.sg finds connection in the chaos of reunion dinners this CNY  Yeo’s bets on fortune horse packaging and gamified social play this CNY   Julie’s brings festive traditions to life through immersive CNY experience   source

Omnicom’s first earnings report following its acquisition of Interpublic Group delivered a split-screen result: headline losses driven by merger-related charges, but resilient underlying profitability. For the fourth quarter of 2025, Omnicom posted revenue of US$5.5 billion, up 27.9% year-on-year. The jump was largely attributed to constant currency growth and the inclusion of one month of contribution from Interpublic, whose acquisition closed on November 26. Yet the topline strength contrasted sharply with the bottom line. Omnicom reported a net loss of US$941 million and an operating loss of US$977 million. The red ink was not unexpected. Merger-related expenses weighed heavily on the quarter, including US$186.7 million in transaction costs, US$1.1 billion in repositioning charges and a US$543.4 million loss tied to planned dispositions. Omnicom also absorbed one month of IPG operating expenses. Strip those items out, however and the picture looks materially different.  SEE MORE: Omnicom seals IPG takeover, Wren unveils “next era” of growth Earnings before interest and tax climbed 28.6% to US$929 million. Margins remained stable at 16.8%, effectively flat on the prior year’s 16.7%.In other words: integration costs crushed earnings, but core operations continued to expand. For the full year, Omnicom reported revenue of US$17.3 billion. The company recorded a small net loss of US$54.5 million. The earnings release underscores the financial reality of mega-mergers in holding company land: short-term pain in exchange for promised scale efficiencies. CEO John Wren leaned heavily into that narrative, highlighting three priorities – portfolio simplification, Connected Capability alignment and an aggressive uplift in cost synergies. “Since the successful closing of the Interpublic acquisition on November 26, we made key leadership and brand announcements, refreshed our enterprise growth strategy and launched the next generation of our Omni data and technology platform,” Wren said. “We have also executed on three key priorities. First, we are simplifying and aligning our portfolio of businesses to prioritise Connected Capability delivery, growth, and profitability. “Second, we are doubling our total cost synergy target to US$1.5 billion, including US$900 million in 2026. And third, our Board has authorised a US$5.0 billion share buyback, including a US$2.5 billion Accelerated Share Repurchase. We expect these catalysts to positively transform our business performance this year and beyond.” The results also offer clues about the combined group’s shape. Media and advertising accounted for 60% of Q4 revenue, reinforcing the central role of Omnicom’s media operations at a time when scale, data and automation dominate client conversations. Precision marketing (10.3%), Public relations (9.1%), Healthcare (7.3%) and experiential (6.5%) rounded out the portfolio – categories where Omnicom and IPG historically competed head-to-head and where consolidation may unlock cross-selling opportunities. Geographically, the United States remained the engine room at 52% of revenue, followed by Europe and the UK. Asia Pacific contributed 10.7%, a region likely to attract increased attention as global clients rebalance growth expectations. source