MediAvataar's News Desk
8 years ago, Chumbak began its journey as a souvenir brand. Today it is a multi-category lifestyle brand with stores in over 15 cities and a very strong online presence. The brand’s first campaign aims to introduce the multi-faceted Chumbak and what it stands for to the consumers.
The brand campaign comprising of a digital film & outdoor campaign has been conceptualized by Ogilvy Bangalore.
Today’s youth does not want to be just another piece in an increasingly anonymous society. They want to express themselves and stand out in a good way.
Chumbak is all about a little splash of colour or a pop of quirk that it adds to your home or ensemble. Here, we’re telling the stories of many women, who might seem ordinary at first glance but carry with them a little, unique quirk. Chumbak’s brand philosophy and product offering complements and completes this special quirk.
The film, released on YouTube, Facebook, Digital Media, OOH and cinemas across the country, has already garnered lakhs of views and positive responses.
Mahesh Gharat, Chief Creative Officer, Ogilvy South: Chumbak is a brand that offers a range of colourful and unique products for young women. These products make women stand out and be unique in their own way. This led us to the insight that there’s something unique about every woman – a little quirk or a special charm in their character. It’s these small acts of impulse or free-spiritedness that we celebrate in the brand film.
Vivek Prabhakar, CEO, Chumbak: The brand film is a culmination of us creating a defined story for our community and new consumers waking up to us. From narrating our brand ethos to our product story, the idea was to create something fresh and full of energy which is what the brand is today. We believe the film will surely get the ball rolling on the growth story around the brand with us expanding our online presence and taking up our store count to over 75 stores in the next year.
There’s always been fascination with the tricks and tweaks that media moguls use to build and entrench their big kids’ brands and properties.
In the 1980s, US cable channel TBS scheduled its shows to start at :05 and :35 past the hour so they’d stand out in the TV Guide. Disney has long shown an incredible ability to build a ‘universe’ around its properties. More recently, Netflix has perfected the enticement to binge view, thereby dominating the viewer’s life, and the game Fortnite has managed to schedule its audience without ever needing a schedule.
Right now, in the middle of a transitional period for how audiences receive content, you have to wonder what the future of kids’ TV will look like and how current networks and brands can prepare for it.
Historically, the way to get ahead was to create, curate and schedule highly-appropriate content. Would Ted Turner’s 5-minute-shift hack work now? Probably not; in fact, there may no longer be hacks. Now, it’s all about spend (Netflix) and scale (YouTube).
The traditional media firms that used to be the glue holding generations together are now under threat from more generalist platforms, and even games like Minecraft and Fortnite.
Kids media, just like that for grown ups, has been going through a period of maturation, as it readies itself.
Globally more time is spent using a television than other screens
It’s often said that television is in decline. Indeed, there are aspects for which that’s true (to be covered in subsequent slides), but TV still accounts for nearly as much time as tablet and smartphone combined, every week. Kids’ time spent on tablets and smartphones is dominated by playing app games and watching video. As they get older, smartphone use shifts increasingly to social and messaging. On average, 8-10 year olds spend an average of 2 hours 8 minutes, and 11-15 year olds spend 4 hours 46 minutes, with social networks and messaging services.
The decline of kids’ linear TV…
Globally, since the Spring 2016 Trends survey, linear television’s share of time has fallen by a fifth. The biggest decline in linear viewing is among 2- 4 year olds, an audience that goes largely unmeasured by television ratings services. Audience measurement begins at different ages in different countries - in the UK it starts at age 4. Amongst these pre-schoolers there has been a 25% drop in the time spent watching linear TV. Given that these young consumers of content are not developing linear viewing habits, the question is, will they ever? In our latest data, 8-10 year olds are the biggest consumers of linear television, but with a move away from dedicated children’s channels in favour of more generalist channels.
…but total video is growing
Despite a 20% decline in linear viewing, kids are actually watching more video in total. This has been driven by the rapidly accelerating growth of streaming across screens. Because kids have more access points for video than ever before (i.e. smart TVs, streaming devices, games consoles, etc.), they can get the content they want, when they want it, on whatever screen they choose - but they prefer the television. In Spring 2016, kids spent on average 10 hours 49 minutes per week streaming video. Two years later that has increased to an average of 14 hours and 8 minutes per week (up 31%).37% of time spent streaming video is on a television. This means the average time spent watching video in total has increased by 29 minutes per week since Spring 2016 to 22 hours and 21 minutes – that’s over the 3 hours per day on average.
Kids are on all devices across the week
Across ages, globally, watching television is still very much a daily habit whilst use of other devices is more sporadic during the week. However, as smartphones age-down they are becoming more of a daily habit. Smartphone activities differ from what children do on tablets. Much smartphone time goes to playing app games and watching videos, followed by use of messaging services like WhatsApp and social Networks like Snapchat and Instagram. Content makers need to consider how video will be seen; growing smartphone viewing requires repurposing content for the best small-screen experience. In use across the week, the television is still the ‘king of devices’ (just about), but many kids are as likely to be using a tablet or smartphone for entertainment, or even a games console.
YouTube is everywhere, but Netflix dominates SVoD
Netflix has commissioned and acquired a large library of kids content. In English speaking markets it is the dominant SVoD player, generally ranking second in terms of weekly use behind YouTube. In non-English speaking areas, it’s somewhat less used by kids. Often, this is due to a lack of locally-commissioned content. Dubbing something from English into a local language is no substitute to something that originates in a country with strong social and cultural values.
Media owners are fighting back
Netflix and YouTube are now so far ahead of legacy media brands and channels; with their massive content libraries and, in the case of Netflix, budgets. They have become the dominant players for video on tablet and smartphone. Netflix announced just recently plans to borrow another $2bn to fund original content. It’s going to be hard for broadcasters to lure kids from Netflix to their own platforms.
Despite having access to massive amounts of content everywhere and anytime, children still complain they can’t readily find new things they love. They (and their parents) want content curators, and this is where broadcasters have an advantage. They are skilled at curating and promoting scheduled. If Netflix showcased its children’s content in a free and curated unique app for under-13s, it would be a huge concern for broadcasters. With fewer TVs in households, children are coviewing shows with parents. This has the effect of ‘aging down’ generalist channels. Broadcasters need a new content strategy to keep kids in the driving seat on the big screen.
Humour is the genre most kids like
Across all ages, “funny” ranks as the most liked genre. Action/adventure is second most popular (driven by 8-15 year olds). Kids of all ages love animals and wildlife – at the younger end this is likely to be can be YouTube videos of kittens playing, while older kids watch content like Shark Week on Discovery. Music covers a host of content types, from nursery rhymes and sing-a-longs at a young age to music videos and concerts for teens. Amongst pre-teens and teens, sci-fi/fantasy and sport come to the fore, and teens move into mystery/thriller and scary/creepy stuff. As kids get older, they develop personal passions and interests, and this is reflected in their preferred entertainment genres, which begin to diversify.
Factors influencing kids content consumption
While we often talk about “quality content,” it appears that today’s young audiences don’t interpret quality the same way industry does. Kids focus less on production values and more on whether they relate to the content. A broadcaster will spend a number of years creating a new show. It will be developed with a strong narrative, defined characters and have brand consistencies. In contrast a YouTuber is sitting in a ‘cupboard’ producing, launching and getting feedback on a video within 24 hours. So every 24 hours they are learning more and more about their audience. One effect of this learning is that they iterate it back into their content. So in the one year that a kids’ channel brand takes to produce a series a YouTuber has produced 365 pieces of content and had 365 ‘conversations’ with their audience base. In contrast kids channels don’t have a single real data point. Ratings don’t help a broadcaster, as they aren’t received until several dozen episodes are in the can. Like a race between the tortoise and the hare. However, there is only 1 tortoise but millions of never resting hares.
The importance of accessible peers
Now that YouTube has overtaken TV for teens (and is heading that way for younger kids), it can be hard to understand why YouTubers have such a powerful hold over kids. An individual with a webcam and internet connection doesn't have the same editorial guidelines and production constraints as TV companies. They can comment instantly on news or pop culture; they can even take their fans on holiday with them. Parents may not see the appeal, but for kids it’s all about being in the moment. Many offer some type of expertise that kids are interested in, such as style tips or video game strategy – knowledge that provides social currency with friends or on the playground.
Parent and children use videos to discover arts and crafts ideas, leading to quality time together, inspired by the screen. If a kid can pick up a tip from a YouTuber on how to complete a level in a game before a school-friend, then it was time well spent.
1. Kids don’t flick through the channels
There was a time when kids would flick through the channels with a remote control, looking for something they wanted to watch and pausing when they saw something familiar or interesting. This was how they often found new shows/series. Now, with so many access points to video content they want to watch, they less often come across new shows or casual interests. It means new shows need more signposting at the times they are watching and on other media.
2. Generalist content aging down
Fewer televisions in households means families are coming together more often to watch a show. Often it’s reality TV or ‘shiny floor shows’ but not always. Natural history series like Planet Earth II are great examples of other generalist successes. Lifestyle series like the BBC’s Top Gear have successfully facilitated ‘dad and lad’ time. More recently we have kid extensions of reality series, e.g. The Voice Kids and Junior Bake-off. Thus, kids are spending more time with generalist shows on generalist channels. If these kid extensions were found on kids channels, perhaps families would come together to watch them there.
3. The importance of breadth and depth
One criticism of streaming services is they’re all ‘cartoons’ with no texture. Curated channels have the advantage not only to time content to the available audience, but also to blend genres and formats. They mix animation and live-action so as to ensure one format doesn’t dominate. Recently, linear channels have been behaving like SVoD services, with marathons and take-overs, but the result is that the channel no longer demonstrates the breadth and depth of content that kids love.
4. The importance of heritage
Not all the content kids engage with is new. A new property only proves its success if it can sustain for over time. Brands that have been around 10, 20, even 50 years are as loved by today’s kids as they were by their grandparents. In the past, heritage brands nearly always started in film, toy or TV. But as digital brands like Angry Birds mature, increasingly heritage brands will have a digital origin. Heritage brands are important because they have the ability to facilitate occasions when parent and child come together.
5. There’s much to learn from video games
Game franchises have the power to captivate audiences. Fortnite, like Pokemon Go and Minecraft before it, fast became a cultural phenomenon. There’s a lot legacy media can learn from this game that satisfies kids’ needs so readily. It’s ‘snackable’ (there’s another game starting in moments), it’s social (you can interact with friends), it’s familiar (it borrows the best elements of other games) and it balances scarcity and ubiquity (like streaming, you’re never more than moments from what you want).
Authored by Adam Woodgate,Senior Research Manager at Dubit Limited.
On the back of a multi-agency pitch Kérastase, L’Oréal Group has appointed VMLY&R India as their Social Agency of Record for a period of two years.
Part of the L’Oréal group, Kérastase represents the finest in luxury hair-care. Kérastase understands that every woman wants exceptional hair, but the solution is not the same for every woman. Kérastase creates innovative products and bespoke rituals for flawless results. Since 1964 L'Oréal Advanced Research has selected its most advanced technology for the Kérastase Collection. Its products are unique, avant-garde formulas with innovative ingredients. Women aspire to Kérastase for the ultimate in hair care and the ultimate in beautiful hair.
Kérastase is focusing on key communication to relevant audiences, contextualising the brand for the Indian market and at the same time maintaining its global equity and standards. Creating awareness of the luxe brand and increasing salon footfall is also crucial on their agenda. Brought on board as their Social Agency of Record, VMLY&R India will manage the digital strategy and communication for the entire Kérastase’s portfolio across their Facebook, Twitter and Youtube channels. While the agency will dive head first into all the creative communication on social, it will also shepherd the brand through its overall digital strategy.
Commenting on the partnership Rachit Mathur, GM Kérastase India “We are excited to start this journey with VMLY&R India. The strength that they have shown to own content driven social for their partners is indeed impressive. We look forward to this partnership with them and Kérastase.”
The third annual list celebrates the 25 must-know LinkedIn India contributors including government dignitaries Kiran Bedi and Ravi Shankar Prasad, and women leaders Debjani Ghosh, Pooja Kapur, Ester Martinez, and Sairee Chahal
LinkedIn, the world’s largest professional network, announced India’s top 25 most-influential voices, who have shared quality, timely, and industry-relevant content on LinkedIn, and sparked engaging discussions on the platform. The annual list celebrates and spotlights these contributors, who have shaped industry opinion, analysed key trends, and inspired other professionals to join the conversation and share their voice on the platform.
Meet LinkedIn India’s 2018 Top Voices:
Swati Agarwal, General Manager, Social Venture Partners
Tamal Bandyopadhyay, Consulting Editor, Business Standard
Kiran Bedi, Lt Governor, Puducherry, Government of Puducherry
Sairee Chahal, Founder, CEO Sheroes
Subhash Chandra, Founder, CrowdWisdom360
Annesha Dutta, Consultant & Corporate Trainer- Communications & Branding
Debjani Ghosh, President, NASSCOM
Raja Jamalamadaka, Leadership coach, Advisor to startups
Pooja Kapur, Ambassador of India to Bulgaria and Macedonia
Vartika Kashyap, Marketing Manager, ProofHub
Ester Martinez, CEO & Editor-in-Chief at People Matters
Hansi Mehrotra, Founder, The Money Hans
Purnima Menon, CMO, Microland Limited
Procyon Mukherjee, Chief Procurement Officer, LafargeHolcim
Siddharth Pai, Founder and General Partner, Siana Capital
Jayashree Patnaik, Chief Strategy Officer, CFA Technologies
Ravi Shankar Prasad, Minister for Law & Justice & Electronics & IT of India
Pooja Sareen, Editor in Chief & Co-founder at Inc 42
Lima Sehgal, Senior HR Advisor & job market specialist
Kunal Shah, Advisor to the Board, Bennett Coleman and Co. Ltd.
Ritesh Kumar Singh, Founder and Chief Economist, Indonomics Consulting
Tapan Singhel, Managing Director and CEO, Bajaj Allianz General Insurance Co.Ltd.
Amit Somani, Managing Partner, Prime Venture Partners
Hari T. N, Head HR, BigBasket
Ankur Warikoo, Cofounder & CEO, nearbuy.com
“This year’s India list sees new entrants such as government dignitaries Kiran Bedi and Ravi Shankar Prasad, and inspiring industry leaders such as Sairee Chahal, Kunal Shah, and Ankur Warikoo, who have used the platform in innovative ways to share articles, updates and videos that spark discussions on a host of topics. These discussions have led to lasting industry dialogue across topics and helped our members get ahead in their professional lives,” says Adith Charlie, India Managing Editor, LinkedIn.
The third edition of Top Voices comprises professionals from diverse industries such as financial services, startups, HR, social impact, and IT Services, who are industry leaders writing about a range of topics from HR policies and work culture to data privacy, women issues, entrepreneurship, and technology. First-time entrants to the Top Voices list include government dignitaries Kiran Bedi, Lt. Governor of Puducherry and Ravi Shankar Prasad, Minister for Law & Justice & Electronics & IT of India, who have used LinkedIn to share updates on the work they are doing, the progress they are making regarding pressing civic issues, on the latest on government campaigns such as the Digital India campaign, and commentary and opinion on issues of national importance such as misuse of social media and propagation of fake news.
Other new entrants to the list include Debjani Ghosh, President at NASSCOM, Ankur Warikoo, Cofounder & CEO, nearbuy.com, Sairee Chahal, Founder, CEO Sheroes, Pooja Kapur, Ambassador of India to Bulgaria and Macedonia, and Kunal Shah, Advisor to the Board, Bennett Coleman and Co. Ltd. These Top Voices have written engaging posts and articles, created LinkedIn-first video series, and forecasted trends on topics such as entrepreneurship, women in leadership roles, developments in technology, and the startup ecosystem that have kickstarted engaging industry discussions.
The third edition continues to see popular names Vartika Kashyap, Marketing Manager at Proofhub, Hari T. N, Head of Human Resources at BigBasket, Tamal Bandyopadhyay, Consulting Editor at Business Standard, Annesha Dutta, Consultant and Corporate Trainer, and Ester Martinez, CEO & Editor-in-Chief at People Matters, who are renowned industry leaders and opinion-makers on LinkedIn.
What the numbers say
According to LinkedIn data, Top Voices in India are 3x more likely to respond to comments or reply to another member’s post. And compared to all members sharing in 2018, the Top Voices received an average 11x more comments, 34x more likes and 7x more shares on their posts, articles and videos.
The engagement numbers on some of the articles authored by the Top Voices honorees are a clear indication of the influence and reach these Top Voices maintain on LinkedIn. For example, Vartika Kashyap's article on ‘Morning Habits That Keep My Productivity Levels Sky High’ garnered nearly 4,000 social signals; Founder and General Partner of Siana Capital, Siddharth Pai’s article, ‘Limbic thought and artificial intelligence’ has received more than 7,000 social signals; and with a follower base of approximately 5,00,000 on LinkedIn, Ankur Warikoo’s inspiring and motivational video series #WarikooWednesdays is a major crowd-puller with more than 44,000 video views and more than 1,000 social signals.
To compile the list, LinkedIn editors partnered with the LinkedIn Flagship Relevance team to uncover today’s most engaged — and engaging — members around the world in key segments. LinkedIn used a combination of data and editorial signals designed to capture the voices making a mark in their industries/region/country. This includes engagement (including likes, comments and shares across each member’s articles, posts, videos and comments) as well as the ability to grow his or her following. LinkedIn also emphasizes diversity of topics and voices with a heavy emphasis on generating quality, active conversations. The list reflects publishing activity over a 12-month period, from September 2017 to September 2018 and as with all LinkedIn Lists, LinkedIn has excluded LinkedIn and Microsoft employees from consideration.
Brands are increasingly challenged to find growth in uncomfortable places. Now more than ever, marketers have to be ready to lead disruption of their particular competitive landscape.
Therefore, the role of consumer insight is to inspire and shape disruptive ideas to ensure resonance with the target audience.
When marketers are pushed to think of brands that have successfully disrupted, they tend to jump to the usual examples of Uber or Airbnb, followed often by Amazon and maybe even Apple. These brands may well be the textbook exemplars, but there are so many other less famous - and more local – cases that are worth sharing and learning from.
What can we learn from brands that have managed to grow in spite of market pressures?
Disruption is About Being Different
In order to change a market significantly, a brand should strive to be different in some relevant way to stand apart from the competition in the minds of consumers. Sometimes this can relate to tangible aspects of the product, perhaps driven by technology, but often it stems from dominating specific important moments in the consumer journey.
Brands that best leverage their distinctive assets to drive their power in the minds of consumers will differentiate themselves at moments that matter to maximize their chances of growth.
Flipping the Script
Disruptors tend to change the way things are done. They challenge the status quo and are not afraid to set the category debate, in many instances transferring knowledge from other unrelated categories. Capitec Bank epitomized this idea attacking traditional banking head-on with opening on Sundays and simplified offers. Following the success of grabbing attention, they backed up the excitement with competitive fees and an unparalleled branch experience.
Discounting is not the Same as Disrupting
On occasion, Takealot and other online retailers offer deep discounts, presumably in the hopes that they can help build more of a culture of online purchasing for consumers that have been traditionally wary of buying an item without the ability to hold it in their hands first. In reality, they’re training consumers to only buy items on special. Taken to the extreme, price sensitive e-shoppers can access huge discounts under significant time pressure on sites like OneDayOnly.co.za. A strategy that focuses on discounting alone will find it difficult to sustain any growth it achieves.
Tapping into Technology Trends
If we think about how life recently has been affected by technology, we can look to the tremendous uptake and usage of WhatsApp, which has disrupted messaging by turning the traditional texting category into something a bit more social. It can be argued that this application satisfies needs and blurs the boundaries between many different categories by catering for group and video chat.
Standard Bank’s SnapScan app has changed the payment landscape particularly in situations where merchants may not have access to bulky card machines. And Absa managed a world-first with its ChatBanking, which allowed customers to make banking transactions through their social media accounts. Another interesting app that’s finding some momentum is SweepSouth, which gives customers access to a large number of vetted cleaners on-demand.
With fibre-optic internet finding its way into more and more homes, brands like Showmax and Netflix are appearing on more television screens and computer monitors across the country. In addition, music on-demand from Apple Music or Google Play brings anything you want to listen to right to your fingertips. Services like these that allow customers to stream and/ or download content are putting enormous pressure on the old broadcasting model.
These brands have used technology to rethink old categories, and to reframe them in ways that may have been unexpected. Of course, relying heavily on technology can be a risky move, as the pace of change reaches unprecedented heights. Successful brands will do their homework to make sure they’re-tapping into a trend, not a fad, and will keep innovating to stay ahead of the competition.
Agile Marketing is Increasingly Important
Changes to the way people choose, and the set of brands they select from will lead to substantial changes to the way they feel and behave. This means that disruption has a significant impact on the strength of relationship for all brands in the market. To cope, marketers need to behave as if they are in perpetual beta which means fast feedback is essential in quickly identifying opportunities to course correct and counter strong competitive moves. Apart from inoculating against the impact of disruptors, this agility can be used as a way to keep other brands on the defensive.
True disruption is rare, but bringing significant change to your category is certainly possible. Ensuring you lead the change will be important if your brand is to grow faster than others.
Written by Adhil Patel, Global Director, Brand Kantar