marketing interactive

Bill Bernbach once said creativity was the most powerful force in business. As Omnicom and Interpublic Group move closer to finalising their US$13.5 billion merger, market forces may yet prove him wrong. Rumours have intensified this week that Omnicom will retire the DDB network as part of its global integration plan with IPG, effectively dissolving one of the most influential agency brands in modern advertising. Founded in 1949 by Bernbach, James Doyle and Maxwell Dane, DDB helped define the creative revolution through campaigns like Volkswagen’s iconic Think Small. DDB is one of Omnicom’s three main creative agency networks alongside BBDO and TBWA. Following the merger, Omnicom will also inherit several overlapping IPG networks, including McCann Worldgroup, FCB and MullenLowe, making consolidation almost inevitable.  SEE MORE: Omnicom to close IPG deal by November The US Federal Trade Commission approved the merger in late September under an integration framework that consolidates the combined group’s creative operations around three core global networks – BBDO Worldwide, McCann (dropping “Worldgroup”) and TBWAWorldwide.  MARKETING-INTERACTIVE has reached out to Omnicom for comment but had not received a response at press time. In a statement to Adweek, an Omnicom spokesperson said the company is “undertaking a rigorous and considered process to ensure we have the very best solutions for the future for us and for our clients,” adding that Omnicom and IPG remain independent entities until the acquisition is finalised.  If confirmed, the retirement of DDB would mark the end of a 75-year legacy synonymous with creative excellence and brand storytelling. The move follows a series of structural shifts within the network. In Canada, DDB was merged under the Omnicom Advertising Group banner last year, while in New York, Adam&Eve merged with DDB Worldwide to form Adam&EveDDB – a decision that signalled the beginning of deeper brand integration.  In markets across Asia, DDB remains a significant creative force with clients including Coles, Volkswagen and DoorDash in Australia, McDonald’s Hong Kong, Google in key APAC markets such as Indonesia, plus Audi in Singapore. This year, though, it has lost several major accounts including McDonald’s and Westpac in Australia. In 2023, long-time DDB leader David Tang stepped down as CEO of DDB Asia, marking the end of a 25-year career with the network. Tang, who previously led DDB Singapore for two decades before handing the reins to Jeff Cheong, was instrumental in building the agency’s creative reputation across the region. His departure underscored a period of wider leadership transition across DDB’s Asia operations. Omnicom Group chairman and CEO John Wren previously hinted that brand consolidation would be part of the integration process, telling analysts the company would make “appropriate decisions based upon what’s going to lead to greater growth and greater career opportunities for our best and most talented people.”  Wren said the merger will create “the industry’s most talented team and a powerful platform designed to accelerate growth through strategic advantages in data, media, creativity, production and technology.”  The combined group will become the world’s largest advertising holding company, with estimated annual revenue exceeding US$25 billion and more than 100,000 staff globally – overtaking both Publicis Groupe and WPP.  However, the washout across regional markets, including Australia, remains unclear. Staff from Omnicom and IPG’s local agencies have reportedly been instructed not to discuss the merger until its completion, expected in the fourth quarter of 2025. Globally, Omnicom’s severance costs more than doubled this year to US$127 million, a possible sign of network rationalisation already underway. As Bernbach himself might have said, great advertising builds brands; but great business decisions build empires. source

Skincare labels, shelves and ads have long promised the impossible: poreless skin, cellulite elimination, wrinkle-free faces. The Ordinary says it’s time for a reality check. The brand has launched a new campaign, “The periodic fable”, which exposes what it calls the myths behind common beauty claims. At its core is a “scientific table with zero science” featuring 49 terms engineered to overhype products. According to the brand, it’s designed to help consumers separate fact from fiction—and science from story. The campaign is anchored by a 60-second film that opens in a stark, classroom-like setting. Students dressed in white recite terms such as “poreless” and “wrinkle erasing,” gently patting their faces or performing literal interpretations of exaggerated claims, such as rubbing ice on the skin for “fat freezing”. Don’t miss: Dove celebrates courage by empowering Filipino women to #FreeThePits   As the pace quickens, the students rise and the lights cut out, leaving a screen with the message: “We’ve been taught beauty wrong. It’s time we all learnt the truth”. The film closes with the campaign name, “The periodic fable”. The Ordinary said the initiative is part of its wider effort to promote transparency in the skincare industry, challenging exaggerated claims and the perception of “miracle” ingredients. “The truth should be Ordinary,” the brand stated. The campaign follows a growing trend of skincare brands challenging conventional beauty narratives. Earlier this year, Kiehl’s drew attention with its January campaign, “Pubic display type”, which created a font from actual human pubic hair in a statement against censorship and in celebration of self-care for all skin, including intimate areas. The launch coincided with the debut of Kiehl’s intimate care category, featuring products such as ingrown hair and tone corrective drops, and cream-to-powder deodorants designed for all skin types and tones. The campaign also included authentic imagery of models with visible pubic hair, some of which were censored in select store windows and on social media. That same month, Dove launched #NewYearsUnresolution, encouraging women to ditch unrealistic beauty standards when setting New Year’s resolutions. Participants were invited to write resolutions on sticky notes, and tear them up, or share digital versions on TikTok. British influencer Imogen Horton took part, writing “no more wrinkles” on a note before tearing it up, symbolising her commitment to rejecting societal pressures and embracing Dove’s message. Related articles: Sephora rolls out ‘Perfect Shade’ to redefine beauty across Asia   Dove, Atleta Filipina join forces to tackle body insecurity in sports    Closeup gets a beauty glow up with Gen Z rebrand source

Publicis Groupe has signed a definitive agreement to acquire parent company of SGAG HEPMIL Media Group, a leading influencer, content, and social agency in Southeast Asia. The move will combine HEPMIL’s expertise in building digital communities and managing local creators with Publicis Groupe’s data capabilities, including Lotame and Epsilon’s ID graph covering more than 800 million consumer profiles in the region. The integration aims to strengthen Publicis’ position in identity-driven influencer marketing, offering clients the region’s only creator practice capable of unifying social and audience strategy, influencer management, and data-led content creation. Don’t miss: Publicis Groupe to acquire identity and data solutions firm Lotame The partnership also enables measurement of cross-channel outcomes and delivery of brand-safe, data-driven campaigns that target high-value consumers. Publicis declined to disclose the financial terms of the acquisition. Founders Adrian Ang and Karl Mak took to Instagram to share the news, reflecting on HEPMIL’s journey and their decision to sell the company to Publicis. Mak explained that the move was about unlocking greater opportunities: “We sat down as a core team and realised this step could create so much more value, not just for the two of us, but for our creators, our brand, our client partners, and our employees. From a Southeast Asia stage, we’re now stepping onto a much bigger, global stage.” Founded in Singapore in 2015, HEPMIL manages over 450 brands and works with more than 3,000 creators through its HEPMIL Creators Network (HCN). Its network reaches over 1 billion people across six Southeast Asian markets. The agency traces its roots to next-generation media platforms SGAG, MGAG, and PGAG, which together attract more than 70 million fans in the region. HEPMIL has grown rapidly, leveraging creator-led storytelling, culturally relevant formats, and long-term relationships with talent. According to Publicis, influencer marketing in Southeast Asia is projected to grow 12%-15% over the next five years, with spend expected to exceed USD 1.4 billion by 2030. HEPMIL will continue to operate under its own brand while collaborating with Publicis Groupe teams across Southeast Asia. “After the acquisition of Influential 18 months ago and Captiv8 earlier this year, to build the world’s most powerful connected influencer platform, we’re doubling down on data-driven creator marketing in what is a highly strategic region for Publicis and our clients,” said Arthur Sadoun, chairman and CEO, Publicis Groupe. He added that through the combination of HEPMIL’s reach, content expertise and social platforms combined with the power of Publicis’ identity graph and its unique media ecosystem, “we’re building Southeast Asia’s first end-to-end influencer solution, enabling clients to unite social strategy, influencer management and cross-platform content to deliver creator solutions that drive to real, measurable business outcomes”.   In tandem, Amrita Randhawa, CEO of Publicis Groupe Singapore and Southeast Asia said, “Parts of the solution that is right for clients exist in all parts of industry. But no one has brought everything together meaningfully in Southeast Asia. We will change that.” “HEPMIL’s origins as the creators of some of Southeast Asia’s most loved consumer content has helped redefine how brands can show up natively, authentically, and with real-time cultural relevance. Now powered by the AI, data and platform prowess of Publicis Groupe we will ensure every dollar of clients’ social and influence spend is genuine, accountable and in service of growth in Southeast Asia,” she added.  Mak said the agency began as a dream he and Ang nurtured at Singapore Management University. Over the past decade, HEPMIL has grown into a team of more than 300, turning that vision into reality. He described the acquisition as the start of the agency’s next phase of growth. “This opportunity to work with the entire team in Publicis Groupe Southeast Asia and globally is going to unlock so much more value for our business, client partners, creator network and our employees,” he added.  The HEPMIL acquisition builds on Publicis Groupe’s recent moves to expand its influencer capabilities globally. In May, the group acquired influencer platform Captiv8 and paired it with its existing agency Influential, creating what it calls the world’s largest creator network. Together, Captiv8 and Influential give access to over 15 million creators globally, most with more than one million followers, and leverage AI-driven technology and Epsilon’s identity data to deliver unified creator strategies across social platforms and markets. Related articles: Publicis Groupe launches Influential in Australia after global buys    Hepmil SG and Mediacorp announce collab to enhance brand exposure   Hepmil Media Group names new CEO and commercial chief for SG ops source

Singapore-based bakery chain Twelve Cupcakes has officially ceased operations after being placed under provisional liquidation on 29 October 2025. In a statement on its website, the company said its last day of operations was on the same date. “We sincerely apologise for any inconvenience caused and would like to express our heartfelt thanks for your kind support and partnership over the years,” it said. The brand, founded in 2011, had been a popular player in Singapore’s dessert scene, known for its variety of cupcakes and baked goods. Don’t miss: Singapore private club 1880 abruptly shuts down as financial troubles mount   MARKETING-INTERACTIVE has reached out for more information. The shuttering of Twelve Cupcakes marks a turning point for a brand once seen as a local success story. Twelve Cupcakes is currently owned by Indian tea company Dhunseri Group, which bought the brand in 2016 for SG$2.5 million from its founders, local radio personalities Daniel Ong and Jamie Teo. Although the company’s 2021 conviction for underpaying employees occurred after the sale, Ong and Teo were also reported to have allowed the chain to underpay the wages of its foreign staff between 2013 and 2016. According to The Straits Times at the time, there were also instances where some workers, between 2012 and 2013, did not receive any income. In 2021, Twelve Cupcakes was fined S$119,500 for underpaying seven employees, according to multiple media reports. The company was convicted under the Employment of Foreign Manpower Act on 15 counts of underpaying its employees in 2017 and 2018. Citing court documents, reports stated that all seven employees were S-Pass holders at the time of the offence. While their monthly salaries ranged from S$2,200 to S$2,600 each, Twelve Cupcakes only paid them between S$1,400 and S$2,050. In May 2018, the company reportedly paid them their full salaries but instructed them to return a portion in cash. Twelve Cupcakes’ closure comes amid a challenging period for Singapore’s F&B landscape. Just two months earlier, Privé Group revealed the closure of all its outlets effective 1 September 2025, citing rising operational costs and difficult market conditions. In a statement released at the time, Privé called the decision “incredibly tough” and expressed gratitude to customers, staff, and partners. The company said it was seeking professional financial advice to guide its next steps. Related articles: Cathay Cineplexes enters voluntary liquidation amid creditor demands   Singapore’s indie cinema The Projector to close after a decade   Jetstar Asia’s shutdown: Does marketing even matter with price conscious customers?  source

PayPal has partnered with OpenAI to expand payments and commerce within ChatGPT, marking one of the first large-scale integrations between a major payment provider and an AI platform. Through this partnership, millions of ChatGPT users will be able to check out instantly using PayPal. The company will also power payments processing for merchants leveraging OpenAI’s new Instant Checkout feature, which allows users to discover and buy products directly within ChatGPT. The move integrates PayPal’s digital wallet, including bank, card, and balance options, alongside its buyer and seller protections, post-purchase tracking, and dispute resolution services. Don’t miss: OpenAI turns ChatGPT into a personal shopping assistant PayPal will also support OpenAI’s Instant Checkout through its delegated payments API, handling payment processing for card transactions. From 2026, PayPal plans to connect its global merchant network to OpenAI through the agentic commerce protocol (ACP). The rollout will make millions of products from small businesses and global brands across categories such as fashion, beauty, home, and electronics discoverable and purchasable through ChatGPT. The integration will be powered by PayPal’s ACP server, a scalable and compliant system that removes the need for individual merchant integrations. PayPal will manage routing, payment validation, and orchestration on the backend. Beyond commerce, PayPal said it will deepen its use of OpenAI’s technology internally. The company is scaling access to ChatGPT Enterprise for more than 24,000 employees and integrating Codex to support engineering teams. PayPal also plans to expand its use of OpenAI APIs to accelerate product development and enhance customer experiences. “Hundreds of millions of people turn to ChatGPT each week for help with everyday tasks, including finding products they love, and over 400 million use PayPal to shop,” said Alex Chriss, president and CEO of PayPal. He added, “By partnering with OpenAI and adopting the ACP, PayPal will power payments and commerce experiences that help people go from chat to checkout in just a few taps for our joint customer bases.” The move builds on OpenAI’s broader push to turn ChatGPT into a full-service digital assistant, following last week’s launch of ChatGPT Atlas, a new web browser built with the chatbot at its core. Atlas aims to reimagine how users interact with the web by bringing the chatbot directly into their browsing experience. With Atlas, ChatGPT can understand what users are viewing and assist with tasks such as research, planning, or booking, without switching tabs or copying information between windows. Its built-in memory allows ChatGPT to recall past browsing context, while an agent mode enables automated actions such as summarising data or managing appointments. Related articles: OpenAI shows how ChatGPT fits into everyday life in first major campaign     Salesforce deepens ties with OpenAI, brings enterprise data to ChatGPTIs the latest ‘Ghibli’ trend a leap for OpenAI’s facial recognition capability? source

As media diets shift and on-demand streaming dominates, sport has become one of the last dependable forms of appointment viewing – a rare moment where millions gather, live, for the same purpose. Across Asia Pacific, this audience is only growing: nearly 545 million people are expected to engage with sport and 61.5 million will attend live events, according to We Are Social’s Winning Fans and Feeds report. Australia leads the region, making up 80% of audiences who engage in sport and 27% attending live matches. Singapore comes in a close second with 76% and 20% respectively, while Thailand stands at 71% and 2%. Across the region, sport has driven 10.8 billion online conversations, fuelled by a new kind of social fandom defined by memes, creators with broadcast rights and algorithm-driven discovery of athletes and sports on platforms such as TikTok. The report outlines four key cultural shifts reshaping fandom and how brands can engage in this era of social-first sports entertainment. Energy in the intersections Sport is now a shared cultural playground, sparking collaborations across fashion, music and art. Formula 1 has become a design inspiration, while basketball’s links to nightlife and street culture continue to grow. In Asia, this crossover is seen in movements like the Philippines’ Baller Room, which merges hoops with hip-hop. Don’t miss: How brands took pole at 2025 F1 Singapore  Fashion’s relationship with football has evolved from TikTok’s “blokecore” trend to high fashion runways, blending performance with aesthetics. Even golf is having a streetwear-led revival, with platforms such as Hypegolf drawing a younger, more diverse audience. Local collabs are also pushing the boundaries of fan fashion – from Guinness x Tobyato’s EPL jersey in Singapore to Indonesian band Leipzig Groop’s drop with Riverside Forest FC. These cultural intersections have created new spaces for branded activations. Indonesia’s Pestapora Festival lets fans play badminton between music sets, while Thailand’s Olympop, sponsored by Pepsi, combines sports and T-pop under one roof. Entertainment in the algorithm Sport today is as much entertainment as performance. Platforms and streaming series have redefined fandom, with Netflix’s Drive to Survive bringing 90 million new fans – many of them young and female – into Formula 1. The show exemplifies how storytelling, not just sport, drives connection. Athletes have become “main characters” in their own right, building followings beyond the field. NBA MVP Shai Gilgeous-Alexander’s fashion posts, AFL player Cam Zurhaar’s BBQ videos and Travis Kelce’s podcast show how athletes now curate their own content ecosystems. Even small gestures such as a dance or a celebration can spark viral clips that extend the life of the game and open new sponsorship touchpoints. Women in the driving seat Women are rewriting the rules of sport as fans, athletes and cultural drivers. Female fandom is booming across Asia, with 54% of women aged 16 and above following football and a third showing interest in women’s leagues. The F1 Academy, led by MD Susie Wolff and sponsored by Charlotte Tilbury, exemplifies this shift, connecting female audiences with both sport and beauty. Meanwhile, women-led fandom communities such as the WNBA’s Stud Budz are redefining representation and fan rituals, often in inclusive, LGBTQ+-friendly spaces. Even the once-derided “WAGs” (wives and girlfriends of athletes) have become legitimate influencers, shaping trends and visibility around games. As this audience grows, beauty and fashion brands are increasing their presence in sports through tunnel walks, pre-game activations and player styling moments. Identity in the divide  Fandom is splitting between luxury spectatorship and grassroots belonging. At events such as the US Open, sky-high ticket prices have turned attendance into a status symbol, with shareable “must-have” moments such as Grey Goose’s ‘Honey Deuce” cocktail or caviar-topped chicken nuggets as well as the ‘US Open’ cap turned into an “It” item to prove attendance.  At the other end, fans are reclaiming ownership of the culture. Fanatics Fest, for instance, broke attendance records without a single live match – showing how fan communities can sustain engagement even off-season. Online, creators and commentators are giving fans a bigger voice: viral moments such as “Overheard @ Wimbledon” or celebrity mic-ups from Brenda Song and Lizzo highlight the new centrality of audience perspectives in storytelling. For brands, the message is clear: fandom is no longer a passive audience. Sports audiences in APAC are vocal, culturally connected and co-creating the narrative across social and offline spaces. Marketers who meet fans where they live – in culture, in feeds and through authentic storytelling – will have the edge in this rapidly evolving landscape. Related articles:  Brands lap the city with Formula 1 activations and driver meet ups  You’ll never scroll alone: How Liverpool’s social strategy is ruling the internet  What Barilla’s Formula 1 move means for sports advertising beyond the Super Bowl  source

Tiffany & Co. has unveiled its 2025 holiday campaign, “Love is a gift”, a cinematic celebration of emotion, storytelling, and luxury that reaffirms the brand’s mastery in turning gifting into an art form. Starring global house ambassador Anya Taylor-Joy, the campaign continues Tiffany’s legacy of blending heritage with contemporary glamour, positioning love, in all its forms, as the ultimate luxury. Shot across Los Angeles, New York, London, and Tokyo, the campaign weaves a visually rich narrative directed by Jonas Lindstroem and captured in stills by Carlijn Jacobs. The creative approach marries filmic storytelling with Tiffany’s distinctive aesthetic codes, including the iconic Tiffany blue box, white satin ribbon, and timeless jewelry pieces, to build emotional resonance and visual continuity across markets. Don’t miss: Tiffany & Co. partners multidisciplinary artist to celebrate Year of Snake At its core, “Love is a gift” underscores Tiffany’s positioning as more than a jeweler, but as a curator of life’s most meaningful expressions. The campaign follows Taylor-Joy as she journeys across cities, witnessing intimate exchanges of Tiffany Blue Boxes that signify moments of affection, celebration, and connection. Whether between partners, family members, or in acts of self-love, the film communicates a universal truth that aligns with Tiffany’s enduring brand promise: love, in any form, is the most precious gift of all. Taylor-Joy is seen wearing Tiffany Icons including the HardWear, Lock, T, and Knot collections, along with new pieces from the ‘Bird on a rock’ collection, seamlessly tying heritage craftsmanship with modern appeal. The white satin ribbon, a recurring motif, guides her through each chapter of the story, symbolising the emotional thread that connects people and moments around the world. “Love is a gift” exemplifies Tiffany’s consistent mastery of emotional branding through visual storytelling. It builds a global yet intimate narrative through cinematic execution and strong creative cohesion to create timeless content. The campaign, which launched globally on October 28 across digital platforms and social media, culminates back in New York City, at the doors of The Landmark, where Taylor-Joy’s closing voice-over reinforces the campaign’s central message: “And whether shared with another or with ourselves, love, in all its facets, is the most precious gift of all.” Last year, Tiffany had also tapped Taylor-Joy for its holiday campaign directed by Jonas Lindstroem, “With love, Since 1837”, where she explores New York City in a snow-dusted winter wonderland. Draped in the house’s iconic collections, she captures the essence of each collection, highlighting the house’s birthplace as the location where every act of love is celebrated, from timeless bonds to meaningful beginnings. Related articles: Tiffany & Co. and Landmark tap into the world of digital surreal artTiffany & Co. names Malaysian actor Meerqeen as its new brand ambassador Tiffany & Co. wows fans with romantic campaign ahead of 520 shopping festival source

Marketers are set to slash display ad budgets by 30% in 2026 as consumers increasingly move away from the open web, according to Forrester’s newly released predictions for B2C marketing, media and advertising, and consumer trends. As audiences shift toward AI-driven discovery and entertainment-first platforms, the research firm warns that marketers and agencies will need to overhaul how they create, deliver, and monetise engagement. “Despite consumers’ scepticism about genAI, they will continue to turn to AI-generated summaries and chat interfaces designed to return answers,” Forrester noted. The shift will shrink addressable audiences and lower click-through rates, prompting brands to redirect spend toward connected TV (CTV), streaming audio, and social video. Offline touchpoints are also making a comeback. According to Forrester’s 2025 data, 52% of US online adults actively pursue in-person experiences, a sign that digital fatigue is setting in. “Digital experiences aren’t going away, but consumers in 2026 will more intentionally choose to disconnect online to connect offline,” the firm said. Don’t miss: Forrester: B2B marketers lead the AI revolution Meanwhile, price hikes will test brand loyalty. As companies use AI to optimise pricing amid tariff pressures and margin squeezes, Forrester predicts that up to a third of customers of transactional brands will walk away. Marketers, however, will not be left without tools. Forrester expects the debut of three AI-native B2C martech platforms in 2026 – one from a major vendor and two from startups – offering end-to-end capabilities in insight generation, campaign creation, and optimisation.  Forrester also forecasts a decline in marketers’ confidence in measurement, falling by 7% from 2025, with only 72% of B2C marketing leaders likely to feel assured about their ability to measure business impact in 2026. Agencies face structural upheaval Forrester’s Predictions 2026: Marketing agencies report paints an equally transformative picture for agencies. “Once singularly focused client partners, marketing agencies are forgoing their franchise to act as agents on behalf of clients. Instead, they will become marketing purveyors that operate across several business modes,” Forrester wrote. The analysis highlights how years of pressures – from insourcing and procurement constraints to AI-driven automation – have reshaped agency economics. Retainers have given way to low-margin, project-based work, forcing firms to diversify revenue streams through execution services, managed solutions, proprietary products, and strategic partnerships.  Among the key predictions is that a major holding company merger or acquisition will spark a wave of agency reviews. Forrester suggests that Havas may acquire dentsu’s international operations, or that WPP could be restructured for sale to private equity or Accenture. Either outcome could trigger a mass reassessment, with 85% of US B2C marketing executives planning to review their media agencies in 2026. “This marks a significant uptick from assignments governed by three-to-five-year MSAs – six major brands reviewed media assignments in 2021, and 20 did so in 2023. When the big six condense to the big three, their emphasis on technology, data, media scale, and products will further push agencies to operate as purveyors as much as providers,” Forrester said. Principal media will account for a third of total media under management. Agencies are increasingly moving from agents to principals, reselling inventory with margins and guarantees. “While critics raise concerns about transparency, supporters argue that discounts and guarantees with disclosure make principal media a viable option,” Forrester wrote. “Agencies such as Omnicom, Publicis Groupe, and WPP are already leaning into this trend, integrating AI into their media trading strategies. More importantly, agencies like dentsu, Havas Media Network, Horizon Media, and Tinuiti have recently developed principal media offerings, crossing the threshold of buyer to owner. We predict that more will follow,” it added.  Automation will drive a 15% reduction in agency jobs. Following an 8% workforce cut in 2025, agencies will further streamline operations next year. “By 2028, we’ll double profits and halve the people,” said one global holding company CEO cited in the report. Forrester predicts that agencies will pivot from selling services to selling solutions, with remuneration shifting to outcome-based and product-led models. “The result is an industry in rapid change – and by the end of 2026, marketing agencies will be materially changed,” Forrester concluded. Related articles:The six influencer marketing shifts that will define 2026 – and how CMOs can stay aheadBy 2026, can agencies rewrite the playbook fast enough to survive?What Malaysia’s SST expansion means for marketers source

PepsiCo has unveiled a new global brand identity for the first time in nearly 25 years, reflecting what the company says is its evolution into a “modern, forward-thinking” food and beverage powerhouse. The rebrand includes a refreshed logo, new colour palette, and a custom lowercase typeface designed to convey approachability and the “consumer-centric spirit” of its brands. According to PepsiCo, the redesign aims to spotlight the breadth of its portfolio, spanning more than 500 brands including Tostitos, Gatorade, Quaker, Siete and poppi, and to highlight its commitment to sustainability and innovation under its pep+ (PepsiCo Positive) agenda. It also marks a major step in unifying PepsiCo’s corporate identity with its consumer-facing brands, following research which found only 21% of consumers could name a PepsiCo brand beyond Pepsi. Don’t miss: PepsiCo says it will be ‘agentic AI-first’ by 2026 At the heart of the new logo is the letter “P”, which the company said symbolises the values guiding its future, such as consumer centricity, sustainability and great taste. The new design also incorporates a “smile” motif that ties back to its corporate mission of creating “more smiles with every sip and every bite”. PepsiCo said the brand refresh will roll out across markets and touchpoints over time, including packaging, digital platforms, and corporate environments. It will debut first across PepsiCo.com and the company’s global social media channels on LinkedIn, Instagram, YouTube and TikTok. Founded from the merger of Pepsi and Lay’s 60 years ago, PepsiCo has since grown into a global company with more than 300,000 employees and a presence in over 200 countries. “Our new identity boldly reflects who we are in 2025: a company with expansive reach, aiming for positive impact across the globe and an unmatched family of beloved food and drink brands,” said Ramon Laguarta, chairman and CEO of PepsiCo. In tandem, Jane Wakely, chief consumer and marketing officer and chief growth officer, International Foods, said, “Our refreshed corporate brand is a beautiful expression of both who we are as a company today and our aspiration for the future — reflecting our wide portfolio of beloved foods and drinks brands. By putting smiles at the heart of our visual identity, we’re signaling our obsession with consumers, and that obsession fuels our growth.” The new corporate identity also follows Lay’s unveiling of its own refreshed look earlier this month, the largest redesign in the brand’s nearly 100-year history. Created by PepsiCo’s design and innovation team, the update turns the spotlight back to the potato, celebrating its legacy of “real potatoes, real people, and real joy”. While the classic yellow sun remains, the logo now features a warmer glow and distinct “Lay’s Rays” beaming from the centre, a nod to the sunlight that nurtures the potatoes used in its chips. Related articles: PepsiCo’s play for Gen Z: Social-first, creator-led and culturally fluent  PepsiCo turbocharges global fan engagement with F1 partnership  Cheetos makes a comeback as PepsiCo invests US$200m in Indonesia source

StarHub and Mediacorp have announced a strategic partnership aimed at reshaping Singapore’s media and entertainment landscape. Under the collaboration, Mediacorp’s digital streaming service mewatch will carry StarHub TV+ content packages, giving viewers access to StarHub’s premium line-up—including global blockbusters, live sports such as the Premier League, cricket, golf, and racket sports, as well as curated Asian dramas and popular TV shows—in one place. The tie-up responds to increasingly fragmented viewing habits by creating a unified content destination. Flexible micro-packages and free subscription options are designed to make premium content more accessible to households across Singapore. Advertisers are expected to benefit from the combined scale and capabilities of both companies. The partnership enables precision-targeted live TV ad insertion, allowing brands to reach audiences more effectively and measure outcomes across integrated TV and digital platforms. Don’t miss: StarHub launches Singapore’s first real-time ad replacement for live TV “At StarHub, we are determined to make technology and media work better for people. By joining forces with Mediacorp, we are bringing audiences the widest, most exciting portfolio of content in ways that are simple, flexible, and accessible,” said Nikhil Eapen, chief executive, StarHub. “At the same time, we are unlocking new advertising solutions powered by data and precision, giving brands more impactful ways to connect,” he added.  Tham Loke Kheng, chief executive, Mediacorp, added, “This partnership is a key milestone for Singapore’s media industry. By bringing StarHub and Mediacorp’s platforms together, we are creating greater value for audiences and advertisers alike. Our combined strengths will allow us to deliver a richer entertainment experience while giving advertisers access to the most comprehensive suite of solutions across TV, digital, and data-driven platforms.” Beyond commercial gains, the partnership also reflects a commitment to strengthening Singapore’s media ecosystem, supporting local creative talent, and driving innovation in content delivery. Alongside this, the government provides about SG$380 million in annual funding to support Mediacorp’s reach to domestic audiences. Minister for Digital Development and Information Josephine Teo told parliament earlier this month that while the funding is roughly half of what Finland and Denmark spend on national broadcasters, it remains vital to “inform, educate, and connect Singaporeans” through trusted, culturally representative programming. Related articles: Raj Parekh leads Mediacorp’s new Growth & Partnership unit, Ivan Wong departs     StarHub takes full ownership of MyRepublic Broadband in Singapore    Mediacorp slashes 93 jobs amid shifting media landscape and economic pressures source