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Agency group Common Interest aims to fill a gap in marketing where cultural authenticity trumps appropriation.

If that sounds surprising in an industry that touts cultural reflection, remember that hits like the marketing for the Barbie movie are rare exceptions. Indeed, marketing often flirts with culture but rarely delivers.

Harsh? Maybe, but for every Barbie, there are countless flops that miss the cultural zeitgeist entirely. Bud Light, PepsiCo, Balenciaga, Burger King, Peloton — even these revered brands with savvy marketers have had their share of tone-deaf attempts to reflect culture in recent years.

Suddenly, Common Interest’s pitch starts to make perfect sense.

Of course, every agency aims for that. Where the group’s leaders hopes to stand out is in the execution. Founder Anthony Freedman, a former Havas regional chair, knows CMOs want to steward culturally relevant brands but struggle to sell it in the boardroom. As a result, marketing often gets dragged into an efficiency-driven race to the bottom. But it doesn’t have to be.

“One key thing we’re trying to do with Common Interest is to provide CMOs with the business case they need to develop, support and then measure a strategy that’s based on building cultural relevance,” Freedman said.

To do this, they’re focusing on weaving together a network of businesses that provide CMOs with the insights to understand culture and the tools to create content that earns its own media, rather than relying solely on paid reach.

So far, this consists of three businesses: brand consultants-cum-management experts TwentyFirstCenturyBrand, acquired last year; Otherway, the creative studio acquired in April; and CultureLab, the cultural intelligence platform launched in the spring. By the end of the year, there could be a few more to add to this list.

There is already one on the horizon, with Common Interest planning to launch another creative company later this year. Over the next year or so there could be another three deals.

“At that point we could have seven to eight businesses within the group with several hundred people across the U.K. and the U.S.,” said Freedman. “There are a few deals we’re looking at now.”

He’s unsurprisingly coy on the details, not just out of caution, but because it’s difficult to pin down the type of business he wants for Common Interest. They’re not the typical targets for marketing services groups. Think beyond the usual suspects — those in brand, entertainment, tech, and modern media. Discussions with several such companies have already taken place.

“We’re not trying to build another marketing services holding company,” said Freedman. “Instead, the idea is to create something that operates where brand meets entertainment, technology and modern media. To that end we want companies that will enable us to operate in those spaces, including some that are founded in entertainment, but can also be leveraged for brands.”

On that latter point, he’s eyeing companies in one of the more interesting and potentially lucrative trends in media today: branded entertainment. Slowly but surely, major advertisers are becoming entertainment financiers, getting their brands in front of people beyond the typical ad break — whether it’s between TV shows or social media posts. “We think it’s likely we will have an entertainment division because part of our strategy is to develop intellectual property and entertainment formats of our own,” said Freedman. This way, Common Interest has more credibility in convincing CMOs they can create their own entertainment.

There are two businesses the group believes could help with this: one is a startup they’re looking to invest in, the other is a business they’re looking to acquire — both straddling advertising and entertainment that Freedman declined to name.

“These companies will be built around people with ideas and an ambition to create original content that exists to entertain,” said Freedman. “We have a strong network to help both realize that ambition as well as find an audience for those ideas. We also build much more credibility to help brands operating in popular culture if we’re also operating as part of the entertainment industry.”

More broadly, the group’s credibility seems to be doing just fine. In fact, conversations are already happening with some clients about working with its businesses across the group rather than separately.

It’s a testament to how far Common Interest has come since its launch last September. __“What’s important to note is that cultural relevance goes beyond entertainment or a relevant celebrity in your ad,” said Diageo’s former head of culture and entertainment Leila Fataar, who now runs her own agency Platform13. “We are in a world of radical transformation. With consumer attention the fiercest it’s ever been, a fragmented media (digital and virtual) landscape, new commerce models driven by intuitive Web3 behaviors, and AI gone mainstream, the traditional funnel is no longer fit for purpose.”__

Clearly, Common Interest is being positioned to run counter to marketing’s obsession with quantification. Yet, the group’s bosses don’t dismiss those ideas completely. They know that paid performance, for instance, is important to amplify certain ideas for more reach, but they’re not driven by those metrics. Not when so much of that is controlled and increasingly commodities by the technology platforms themselves these days. It’s up to marketers to come up with strong ideas that can exist in spite of all that.
“We’re much more an origination business than a functional implementation business,” said Freedman.

This won’t be for every marketer, and he knows it. In many ways, it’s a niche play.

“Our strategy is not to try to persuade CMOs that are not inclined to think about things in this way to spend budget with Common Interest,” said Freedman. “We’re here to create a new and different option for CMOs who have already come to the conclusion that cultural relevance is a competitive advantage.”

He’s really talking about those marketers who have reached that point in their careers where they recognize the importance of building a strong brand. For many, the pandemic was a moment of clarity. Brand advertising was the key that enabled companies to corkscrew through the inflationary period of the past two years. Time and again, CEOs mentioned on conference calls how the strength of their brands allowed them to pass inflation costs to consumers. Not paid advertising. Not programmatic. Brand strength.

__“It’s a tough job,” said Fataar, who has written a book ‘Culture Led Brands’ on this topic. “Done right, it’s emotional, it makes people feel something by driving both reach and relevance, hype and depth, pulling people to your brand, not pushing your brand on people.”__

DIGIDAY, JULY 2024

__"She has more influence than most billion-dollar companies"__

Only a few celebrities can shift things at a global scale, be it politics or the economy, and Taylor Swift is one of them. Speaking as a brand practitioner whose job is to make global brands culturally relevant, Swift's numbers are wild. YouGov reports that an astonishing 97% of British adults have heard of her, the kind of universal awareness usually reserved for multi-billion dollar companies like Google or Coca-Cola. She is the top streaming artist on both Spotify and Apple Music and has had 232 songs on the Billboard Hot 100. She is the most-liked person on Instagram, with each post averaging 7.8 million likes. At her Eras show in Seattle, the jumping of fans created a 2.3 magnitude earthquake. Her influence is, quite literally, groundbreaking.

I can put a pin in the moment that things changed for her. After Kanye West interrupted her during her MTV Video Music Awards acceptance speech in 2009, she made global headlines, won sympathisers and a lot more listeners. Fan culture builds today's brands faster than ever before, and Swifties connect deeply with her relatable storytelling. From politics to trolls, relationships to anxiety, her lyrics are both true to her own experiences and reflective of what a generation is dealing with. 

But it's not just popular appeal that a brand needs to thrive - acknowledgement of your craft by industry gatekeepers helps too. Fourteen Grammy awards and being the first and only artist to win Album of the Year four times says a lot in a hugely competitive category. Her activism around artists' rights and fair treatment on global streaming platforms was awesome, and when her masters were sold by her ex-manager, her fightback by re-recording 1989 (Taylor's Version) showed her resilience in the face of the status quo.

At times, though, there have been questions about whether Brand Swift is nothing more than a marketing tactic. When Trump was on the election trail in 2020, she did use her platform to back the Democrats and explicitly fight for the rights of women and Black and LGBTQIA+ people, aligning with a younger generation of voters who had only a few months earlier driven the BLM protests across the world. However, in recent months she has been heavily criticised for her wasteful private jet usage and her silence on Gaza, raising questions about what she really stands for.

There's a fine line between cynically marketing for profit and being authentic, and it's in moments like this that Brand Swift is truly put to the test. As one of the world's most influential women who has used her platform to push for change that truly helps people, this year will show whether Taylor Swift can really be both: the cultural voice of a generation and a strategic businesswoman.


STYLIST, JUNE 2024

__Culture campaigns... culture-led brands__

“We create culture”. One thing our industry can agree on in 2024 is that we love to talk culture. But sure as culture changes and evolves, so has our use of the term, culture marketing, that has kicked around for well over a decade and has at times become shorthand for every campaign targeting the newest generation in, or simply anything we all universally decided was cool.

“Culture is often used as synonym for ‘Cool Gen Z’ activations, which is why it’s heavily associated with music, fashion and nightlife – but this overlooks other groups that engage with their own cultural worlds,” explains Gabriella Mascia, Insights Planner at PrettyGreen. “It’s about showing up in the moments and topical conversations that resonate with your audience. Everything from raving to running is ’culture’ with the right audience lens. Successful culture marketing is always audience-first – tapping into the insights that excite them, and ensuring your brand becomes a part of those discussions.”

__And while culture chatter in the industry has become ubiquitous – the art of creating the connections between brands and their audiences credibly is something that has been pioneered for decades explains Leila Fataar, founder of Platform13 which works with brands and organisations to champion culture-led creativity and storytelling. “Culture is how we communicate, what we wear, eat, see and listen to. It’s how we behave and what and/or who influences us and that includes politics, the media, technology, friends, family etc. It permeates every part of our lives.”__

__Defining a culturally-relevant brand as ‘one that engages a variety of different audiences consistently and positively, with these audiences in turn advocating for it and helping to attract new audiences’, Fataar explains that “This can only happen because that brand connects meaningfully with people within the context of what is happening in their own, and importantly, the wider world.”__

For Diego Pomareda, Marketing Director of Aguila at AB-InBev, it’s about starting with first principles before you start thinking about culture angles: “You need to know your audience, know your challenge, understand your objective and then, only then, bring creativity to the table. Culture marketing nowadays is a way to shape or use culture to engage, impact and most importantly not interrupt our consumers. In a nutshell, how are we aware of context, and how we use that knowledge as marketers… it’s one thing to surf the wave of culture, but quite another to be the one creating that wave.”

__Just do it (right)__

It’s a view shared by James Kirkham, CEO and founder of ICONIC, “it is about doing things right. It is connected with your audiences by being part of the conversations they’re having, and the communities they might be already building. If you are not part of the fabric of this cultural conversation, audiences and punters will ruthlessly filter you out. Instead of interrupting what your audience is interested in, you need to become what they’re interested in.”

And no interruptions includes no self-serving campaigns –  from fear of being cancelled through to ruthless TikTok parodies – brands are well aware of the pitfalls that can follow a perceived misstep. To ensure marketing campaigns are sustainable, brands need to prioritise the work that leaves a lasting change through creating an enduring positive impact.

That comes through connecting and investing with grassroots communities, says Chelsea Mtada, creative strategist at Amplify: “Brands wanting to embark on culture marketing campaigns should deeply connect with grassroots communities, not just as a strategy, but as a genuine investment in their growth and dreams. When brands pour resources and support into these communities, they become integral parts of their journey, fostering loyalty and authenticity.”

This longer-term commitment is essential to avoid being “a cultural plagiarist who thieves.. or a cultural gentrifier who tries to turn an existing community into something it isn’t,” says ICONIC’s Kirkham. Brands need to be in it for the long term, to show that they can add value to the community and the space. Citing Gymshark as a brand that consistently gets it right, due to an unwavering focus on community, he points to the witty ‘Sweat Gala’, which hijacked the Met Gala noise while showcasing workout fashion fit for the red carpet plus the brand’s Regents Park headquarters. “Their living, breathing, fully immersive retail space HQ is built community first, so young athletes who might not be able to afford gym memberships can learn how to lift weights at their ‘bench bar’, or meet their fitness heroes – creators and fitness influencers who regularly frequent the store and mix with the public.” 

__Celebrate the uncelebrated__

Mtada urges brands to find inspiration from uncelebrated talent – therefore making an early commitment to unheard voices. “The true power lies in being early investors in their potential, drawing inspiration from their raw, uncelebrated talent and ambition, rather than waiting for them to gain widespread clout. This approach not only amplifies the brand’s impact but also creates a symbiotic relationship that nurtures and celebrates the culture from the ground up.”

Celebrating the uncelebrated is an approach embraced by Snapchat for its ‘Hidden Black Stories’ campaign in partnership with The Black Cultural Archives. “Driven by the lack of black cultural icons represented in UK statues and landmarks, we worked with Snap to develop an AR lens that revealed the hidden black stories and people behind some of the UK’s biggest landmarks, fronted by Tukwini Mandela,” shares PrettyGreen’s Mascia.

__Meanwhile Platform13’s Fataar praises e.l.f Beauty’s ongoing work, from its So Many Dicks campaign to the brand’s Roblox game for entrepreneurs and their partnership of race car driver Katherine Legge “they live their social responsibility values consumer facing: every eye, lip, face, paw or fin.” And she adds, harnessing those values and understanding a brand’s unique culturing positioning in order to then unlock the role it can play for audiences – both within the business and to external communities, fans and consumers will always be core in developing the most relevant work.__

Add to this a singular focus and you’ve got enduring work that will keep resonating, says 

Maria McDowell, founder of Lollipop Mentoring. “Dove’s Crown Act and the “My Hair, My Crown” work was unapologetically direct. The brand didn’t try to pander to everyone – it was so specific and centred on black women and girls, and their hair. It’s complex and not everyone understands – I just loved the bravery of it all. People can get so afraid of being cancelled that they shy away from these choices, but I want to see more bravery – don’t try to placate everyone.”

__You can hear more from Leila in person at Brands & Culture in November and from Diego at The Brands&Culture Villa in Cannes.__

BRANDS & CULTURE, MAY 2024

Recently there have been a multitude of posts on Linkedin about AI, the future of ‘the agency’, that ‘brand’ and ‘creativity’ are dead. There have been debates around brand vs performance marketing, data vs media; and for me, once again, adland is misunderstanding what cultural relevance is.

Here’s a secret - it’s all connected.

__Cultural relevance as a growth driver__

So, let’s start with my definition of a culturally relevant brand. Having worked with, and for, some of the world's biggest global brands for just under 30 years and been told by people I respect that my type and body of work consistently resonates, I feel like I have some expertise here. I have always seen “culture” as the stuff of life, a reflection of reality, a global connector of communities and intersectional audiences. This rhythm of life has always intertwined heritage, identity, lifestyle, politics, technology, unspoken codes and so on. It’s what we see, what we do, what we wear, what we listen to, how we act, how we communicate, who we connect with.

I refer to a brand being “culturally relevant” when a variety of people (internal and external audiences) engage with, advocate for, work for and/or buy that brand’s products or services at any time (this may or may not be only your target audience or in your traditional campaign cycle). Culture-led brands do this because they deeply connect with intersectional audiences within the cultural context of what is happening in their own, and the wider world, credibly. It’s emotional, it makes people feel something. It doesn’t always have to be worthy, but it pushes things forward. For brands, this means consistently being in conversation positively, but not necessarily always on or in the places that can be ‘measured’. This means that adland has for the longest time considered cultural relevance a marketing nice to have.

But, done right, cultural relevance fosters curiosity and a possibilities mindset. It breaks the traditional formulas and pushes creativity in the places and spaces where the audiences are. Externally, a culture-led brand attracts and engages existing, latent and new audiences (both from a talent, advocate and consumer perspective) and can drive sustained growth beyond its category and target consumers. To do this, cultural relevance must be brought upstream in brand and brand strategy.

__On the future of agencies__

Throughout my career, I have always curated a crack team of specialists, assembled according to lived experience and discipline expertise from the brand category and the culture it's trying to be part of. In-house, I was able to tweak traditional hiring and procurement processes, to usher in the diverse voices and perspectives I needed to work with.

What Adland doesn't understand is that cultural relevance has and will always be about this input. This, in turn, delivers culturally relevant output across whatever medium is relevant for your audience, in the spaces, formats and in the creative language (and I don’t mean slang) of that generation. And yes, it could include traditional OOH and TV too. What it’s never been is about just putting a culturally relevant person in your ad or campaign.

I created Platform13 to answer challenges faced by big brands in the ever-changing world of consumer behaviour, technology advancements, creative innovation and the swiftly moving cultural landscape. I saw a gap that big brand agencies back then did and (still) cannot deliver. And I knew this because I was brand side. First, as Global PR, Social and Content Director for Adidas Originals then on the leadership team at Diageo, creating and heading up their first Culture & Entertainment department across Europe, working across their portfolio of big brands: Guinness, Baileys, Smirnoff, Gordons, Johnnie Walker and Tanqueray. Before working for these global heavyweights, I launched and ran a boutique agency focused on youth culture, integrating online, social and traditional comms for 10 years, learning on the job with no formal education in ‘marketing’.

This unique mash-up has helped to make me fluent in three languages - culture, corporate and entrepreneurial with curiosity my superpower, guerilla-style marketing my training and a global network of cultural voices, creators, creatives and experts who shape, represent and influence culture.

__Evolving the playbooks__

Culture, in the sense that I used it above, is living and breathing, always changing and evolving. All our work starts with finding a brand's cultural positioning using a methodology that unlocks the credible role that only a single brand, product and/or service can play for its audience. It sounds simple, but it's not easy.

We answer audiences, communities and fans needs’ through real world insights and collaboration with and from our diverse and global network. Our ongoing cultural intelligence service continues to read and analyse relevant shifts specific to the brand's cultural positioning. This empowers us with our clients to flex their brand plans, create audience resonate content and experiences, innovate products and services, explore new media and platforms, experiment with emerging commerce and even evolve their business models accordingly. The right insight and actions helps to mitigate risk internally and to creatively drive reach and relevance, hype and depth, numbers & nuance externally.

I have noticed that brands continue to use the demographics of Boomer, GenX, Millennial, GenZ, Alpha, Beta and so on, but for me, it's always been about mindsets affected by era-defining politics, societal norms and technological adoption, no matter your age. These cultural shifts impact us all, and for brands, their response to these shifts is reflected both through the business and out to its consumers. In this era, with uncertainty, the only certainty, monumental global political and societal dynamics and the threat and promise of an AI-powered future, a new approach to brands and business is needed. For me, it feels like a culture-led approach.

CREATIVEBRIEF, MAY 2024

“Across industries, a diverse workforce improves decision-making up to 87 percent of the time — the result of expanded perspectives,” cites the UK fashion industry’s first-ever diversity, equity and inclusion (DEI) report, published in January 2024 by the British Fashion Council, The Outsiders Perspective (TOP) and the (Fashion) Minority Report, with the support of knowledge partner McKinsey & Company.

Despite that fact, progress remains slow on improving DEI in the fashion industry. While “outward-looking” representation has evolved to showcase better representation in marketing campaigns and on catwalks, the “inward-looking” context in the workforce and boardrooms has not yet gained the same momentum for change.

For example, the report found that only 9 percent of executive roles within fashion and 11 percent of C-suite roles are held by people of colour and just 39 percent of executive teams and 24 percent of C-suite roles are occupied by women. Meanwhile, as fashion looks to the Middle East, India, Africa and Southeast Asia for growth opportunities, there remains little representation of these demographics in decision-making roles at brand headquarters.

However, DEI remains a core value of the industry’s workforce — and employees are holding businesses more accountable to upholding long-term change. The report shows that 39 percent of global job hunters have turned down job opportunities due to a perceived lack of inclusion. Similarly, employees are seven times more likely to advocate for their workplace if it fosters a feeling of belonging.

In a panel discussion at One Hundred Shoreditch in London, held on 25 April 2024, The Business of Fashion and The Outsiders Perspective invited HR, talent and strategy professionals in fashion, beauty and retail to explore key topic areas laid out in the UK Fashion DEI Report. The panellists discussed tangible learnings and best practice in improving DEI efforts in businesses today, and to inspire momentum towards long-lasting change.
The Outsiders Perspective is a non-profit initiative and incubator for people of colour working outside of fashion, to better equip them to join the operational side of a fashion business. The former CEO of Roksanda, Jamie Gill, founded the initiative in 2022 and has since collaborated with the likes of Burberry, Zalando and the British Fashion Council to mentor prospective candidates with the knowledge and tools needed to transition their career into Fashion.

Moderated by BoF’s Sophie Soar, the panel saw Jamie Gill, founder and CEO of The Outsiders Perspective (TOP), joined by Rebecca Levy-Lewis, senior director of people, culture and impact at Depop, and Leila Fataar, founder, CEO and CSO of Platform13, an independent full-service partner delivering cultural relevance for big brands such as Adidas, Birkenstock and Dr. Martens.

Here, BoF shares key insights from the talk.

__Invest in DEI and integrate it into business strategy__

JG: Businesses that are prioritising DEI as integral to business strategy are winning. Those businesses are growing — they have a stronger understanding of their customer. They’re growing in new markets as well. [...]

We also found that those businesses that are not prioritising this are having a tough time. They’ve sidelined the conversation: it’s seen as a social impact; it’s seen as the thing that we’ll [implement] when we have time, when we have money, when we have the resources. And then ultimately, they’re sidelining their people.

But there’s a ROI in investing in this. You can see your return on investment from your retention of staff because you created a great place for them to work. So you’re not constantly re-recruiting people, paying recruitment fees, and then taking a year for them to understand the businesses and get them going, only for them to leave after the third year.

__LF: There are certain parts of a business that should be your horizontal. The biggest issue at the moment is that [DEI] is being treated as a vertical — it’s the department as opposed to the strategy. If it’s in your strategy, upstream, it flows through every part of the business.__

__Every brand at the moment wants to be culturally relevant. But they don’t get it — it’s not about putting a person of colour in your ad. It’s not about focusing on the output — it’s about the input, which is having a diverse team. The output then feels credible and meaningful. In a world where brands are really struggling to find meaning and attention, they can do that just by being empathetic and human. It’s a business imperative.
DEI almost shouldn’t be called DEI — it should be a part of your business strategy.__

RLL: Budgets aren’t getting bigger and resources aren’t endless. Has that made it more difficult? Yes. Has that changed our commitment at Depop? No. I think, if anything, it has really strengthened our commitment because we see value in the opportunity.

We know that having a creative, diverse, inclusive workforce who genuinely understands the needs of 35 million users in hundreds of countries is going to propel our business forward. But we’ve had to really think about how we go from just talking about DEI as this thing we believe in, to making it a business unit and talking about it like we talk about business.

__Executives need to buy into DEI strategies and lead by example__

JG: The idea of leading from the top is getting leadership to understand. So asking them to question, “Do you understand this? Does this make sense?” And if you don’t, let’s get granular about it. Diverse teams are 39 percent more likely to outperform their competitors. That statistic is from over 1,266 listed companies across 23 countries in six geographies across all sectors.

If they [the leadership team] are on board — what’s their plan? Do you actually have the right people in place now to deliver that plan? And what’s the timescale on those priorities? We’re just asking leaders to be curious, to learn and be honest with us. And fundamentally, to be allies to the conversation.

When we ask leaders to lead from the top, we’re not asking them to leave their positions so we can replace them with new talent from diverse communities. There’s a fear around acting on DEI because of the fear of getting it wrong or being scared that [leaving their role] is what leaders are supposed to do. But it’s about progressing the movement with leadership through allyship. We’re asking leaders to be advocates and brand ambassadors.

*Three years ago, we were having this conversation about sustainability. And now it’s mandatory. So that policy is around the corner [for DEI], that pressure, that mandatory obligation.*

RLL: At Depop, we believe in consistently embedding impact and circularity in terms of how we define success — which is hugely important to our leadership. Our executive team is 60 percent female and 60 percent represent ethnic minorities in the UK. That’s an important signal to our 400 employees. But also, an important signal to our community as well.

On a more tangible level, leadership’s role at Depop today in terms of hiring is about meeting public representation targets — even if we’re not hiring that much, which no one is at the moment. But that means that we’ve changed how we hire. It means that we look to build better pipelines. That means we look at the process internally and think about implementing things like the Mansfield rule [a certification process which aims to ensure that all employees have equal opportunity to advance into leadership].

Leadership has an obligation to think about creative solutions on our behalf, because the goals and the targets aren’t changing.

__LF: In order to be able to speak higher up to the C-suite, it’s about leading by example. I [did] quite a lot of projects, which were diverse by default, because I am. I led the global re-release of Stan Smith for Adidas, which was a huge change in how they work for them. I didn’t do it with their rostered agencies or even fully with the team that I inherited — I brought new people in — both internally and through my network externally — and because that was successful, there was a case study to use going forwards.__

__So the fact that there was a [queue] for the first time outside of Adidas, that information went through the business all the way to the C-suite, which was huge. And then they were forced to examine: how did you do that?__

__I would advise looking out for the smaller projects which seem to be a bit below the radar, smash them out and give that company a case study for their business. Then they’ll want more like that. If they want more like that, they need to start thinking like you — that was my way of doing it.__

__Make DEI data-gathering and analysis more impactful__

JG: No one wants to fill in a DEI survey — going forward, that will never work. But what we’ve seen actually does work is, asking questions like, “What do you really think about our brand values? What do you think about what we’re doing? What do you think about where the market’s at right now?” If you’re succinct with the demographic data points that are included within the survey, that’s a really good way of doing it, which also gets a higher conversion rate.

Once you have gathered the data — analyse it. What is that data showing us? Is it showing us where we should be recruiting from versus where we shouldn’t be recruiting from? And it will give us insight there and an opportunity to be transparent with the rest of the business and communicate what we have found because that way, you can then gain trust with your organisation.

RLL: Depop is a technology company, so we have to talk about DEI like we would talk about the product experience or one of our marketing campaigns. And that’s been really important.

*The biggest issue at the moment is that [DEI] is being treated as a vertical — it’s the department as opposed to the strategy. If it’s in your strategy, upstream, it flows through every part of the business.*

The infrastructure for DEI, as it stands, means that we [as an industry] don’t know who’s accountable for DEI. And the fact of the matter is: it isn’t the chief diversity officer, it’s not the CEO — it’s all of us. So how do we consistently embed DEI into how we work and how we define success, to truly enable the business to think about it? That’s really been our focus for the past couple of years.

Having come into [my] people and culture role recently, especially with a communications background, what I found interesting was how much data we gatekeep from our leaders in the business as well. How are we supposed to make meaningful progress on our goals if we don’t give our leaders all the information. So say to your leaders, “Here’s some data, it’s not pretty, but here’s what we think it’s telling us and here’s how we think we can reverse this outcome in six months.” We have to socialise that data, which we do from a business perspective all the time.

__Incentivise employees to contribute towards DEI output__

RLL: I’m happy to say that we’re part of the 17 percent [of businesses] that publish our DEI goals, but those are long-term, five-year goals. But what’s important is that those goals become annual measures.

At an employee-level, what we’ve done is, prioritising diverse talent and also using that as a metric to assess our population. So keeping track and rating a person because they contributed to their ERG and that being evaluated in the same vein as that person who led that marketing campaign. So it’s not just how the company is measuring progress, it’s how we’re assessing individuals under DEI as well. That has to be a part of performance evaluation.

__LF: Implementing DEI should be connected to bonuses, because that’s how decisions are made. That’s a good business incentive. There’s nothing better than an employee saying, “I love it here.” That’s going to go so far within your business. Because it’s not necessarily diversity that’s the problem – it’s the inclusivity when you get there. And that’s a big problem.__

__Future-proof your business with the incoming workforce in mind__

__LF: What I think a lot of people don’t realise is that with so much movement in the world, things are just going to get more and more mixed. Almost 50 percent of Gen Alpha and Gen Z identify as non-white in the US. That’s their workforce coming through. But it’s also your consumer. So make the changes, or you’re not going to be relevant.__

RLL: Having Gen-Z as one of our primary consumers, we have employed a lot of listening strategies and data gathering externally. We do surveys, focus groups, we do committees. But we also apply that internally when it comes to DEI and how we create a workforce.

JG: In London, 57 percent of Gen-Z are diverse or from an ethnic community. 
The conversation isn’t going anywhere. Three years ago, we were having this conversation about sustainability. And now it’s mandatory. So that policy is around the corner for DEI, that pressure, that mandatory obligation.
So we can act now, authentically, or we can wait for it to be policy, at which point, acting on it will be inauthentic. All we’re talking about is our people and increasing financial profitability. It is by default for the greater good.

BUSINESS OF FASHION, APRIL 2024

Each month we invite two experts from the fabulously well-informed B&C community to take a second look at a recent brand and culture story to help us understand what it means, why it’s important, and, crucially – what can brands learn from it? This month’s special guests James Kirkham, co-founder of Iconic, and Leila Fataar, co-founder of Platform13 talk on the unstoppable rise of K-culture.

🧐 __What’s happening__

Do you know your Bluejeans from your Babymonster? If not, you might need to brush up on your K-culture.In the last few weeks, Estee Lauder and Gucci have both appointed K-Pop stars as their first Korean global brand ambassadors. Glastonbury organisers also announced that Boyband Seventeen will make history as the first K-Pop band on the Pyramid Stage, marking a major milestone in the decades-long ambition of Korean creative industries to find success in the global entertainment market. Samsung, Adidas, Starbucks and Pepsi have all worked with BlackPink. Brits are going mad for kimchi. But are brands paying enough attention? And how can marketers approach a phenomenon like K-culture?

🤷 __Why is K-culture important?__

James: Big brands obsess about two things: young people and big numbers. K-Pop has both in abundance. It has commanded a hugely engaged super-rich fandom way above simple eyeballs, which is perfect for brands like Gucci and Estee Lauder. And that grip over so many millions of young people is catnip for marketeers who want to bake their brand into the fabric of culture in the earliest audiences, ensuring their long-term alignment.

__Leila: K-pop is an obvious space for fashion and beauty brand. For me, K-culture generally is interesting because the fandom is such an important part of K-Pop scene. K-pop fans are global, huge, diverse and devoted, I'd say they give the Swifties a run for their money, which is why brands are interested.__

🤔 __Can it work for brands?__

James: Authenticity and legitimacy is everything. This is not a space you can merely dabble in. Like all cultural plays, you need a long-term commitment and not act like a brand that will merely plagiarise or even gentrify. Instead, brands need to cultivate and nurture the space over time. Fans need to see you’re in it for the long haul, adding value.
K-pop itself borrows tropes and pillars so familiar to global pop music consumption, from incredibly viral hooks and melodies perfectly built for a TikTok audience through to the beautiful, high-aesthetic imagery of those artists. Also, look at the huge demand now of Korean cinema, TV, animated features and more. This is K-culture, and K-pop is a mere faction of this.
Breakthrough TV shows like Squid Game delivered weirdness and a niche concept that was so in the margins that it acted as an antidote to the algorithm. The algorithm right now serves us up a beige and vanilla soup, where everything starts to look the same. Disrupting this creates waves of interest. 

__Leila: I always engage and work with the voices of the community who are shaping their culture to find the right way for your brand to be part of it. You need to understand the role of your specific brand in and what it can do for that specific culture – but you need the right hands who can translate the needs of both corporate and culture. Working closely with these ‘cultural voices’ in the right way for your brand means the creative and comms is already more original, more compelling and more interesting and can cut through the sea of sameness to break those traditional marketing, product and even business-model formulas.__

__I think lots of brands have jumped on the bandwagon of “let’s be culturally relevant”, thinking of it as an output, instead of an input – where it has so much more value and potential.__

__Marketers need to be honest. There is absolutely nothing wrong with a brand endorsement deal – just call it that. Helping that culture actually move forward, by finding out what they need and supporting that is a much better approach, especially if you want to be relevant for longer. And if one of the outputs is an ad campaign, that’s cool too, but it has to be part of the co-creation process.__

__I’m writing a book called Culture-Led Brands which comes out next year and one of the chapters explores how brands jump onto a cultural scene when it’s already in the mainstream, when they should and could be cultivating it at the sub or emerging stage. But that means firstly identifying the relevant signals and then credibly immersing the brand.__

🔮 __Where do we go from here?__

James: There are plenty of wonderful, well-nourished, sustained music scenes underground in the U.K., but they are not well-known. Likewise, there’s a certain globality now through proliferation of social platforms, DSPs like Spotify, and widespread content, as well as keen enthusiasm for DJs and artists to tour further afield.

If you look at Amapiano, (a Nguni word loosely translated to “the pianos”) this was a subgenre of kwaito and house music that emerged in South Africa but is now hugely popular and insanely well-known and consumed from U.K. shores to the US and more.

What’s exciting is that the cultural melting pot of a city or multiple cities nationwide then warp and twist and blend these sounds into something fresh. This is basic music evolution; it is why, for example, rave and drum n bass and jungle and hardcore morphed and shape-shifted from one import into an entirely new export and the world is all the richer for it.

__Leila: It’s worth remembering that K-pop sits in the same area as pop music. And now, we’re starting to see the osmosis of K-pop into traditional pop music. Just look at Selena Gomez collaborating with Blackpink. Don’t forget, China is still hugely influenced by K-pop, so for brands wanting to grow into China that’s potentially an opportunity Additionally, K-pop is only part of K-culture, which is where there are huge crossover brand opps. And with AI generated K-Pop bands like Mave gaining real fans, I don’t think we’ve reached K-peak, yet__

🙋 __You can hear more insight from Leila live on stage in ‘Culture Is Not (Just) a Marketing Issue’ at Brands & Culture in October.__

BRANDS & CULTURE, APRIL 2024

CULTUR=D PODCAST, APRIL 2024

Back in 2020, in the wake of George Floyd’s death, black squares began dropping on social media. After the shock came the promises of allyship. Then came the initiatives, in their droves. The advertising industry would change from Shoreditch to the South Bank to the sun-splashed Croisette in Cannes. Hires would be made with a remit to focus on inclusion. Diversity, equity and inclusion (specifically of black, brown and other minority ethnic talent) was, it seemed, finally top of the agenda.

But four years on it's a di!erent story. Campaign has spoken to more than 50 people, representing those from entry-level years through to industry veterans, to uncover the prevailing sentiment in 2024. Many spoke of their frustration at the speed with which DE&I has been deprioritised since the loud clamour for change in 2020.

Nishma Patel Robb, president of Wacl and The History of Advertising Trust, explains: “The rollback on DE&I with people replacing it in priorities – as if we have a choice – astounds me. We’re sleepwalking into a major issue where our industry just doesn’t reflect our population – neither have we increased representation at the top.”

Adland’s fickle obsession with trends is also evident, as Lollipop Mentoring founder Maria McDowell, outlines: “I genuinely thought the industry would change more but, it turns out, it was a fad. Adland has moved on to the next thing – sustainability or the menopause are the big topics now. You talk about race and you can actually see people glaze over, it’s as if this has become unfashionable. If DE&I is now dead, then where is the equity?”

Organisations that have taken a serious and structured approach to change –
implementing initiatives and making long-term commitments – have a key factor in common, says The Barber Shop’s founder Dino Myers-Lamptey: “In each example, there is a diverse leader there championing, pushing and tapping into networks. Places that tend to fail in their e!orts often have no representation at the top.”

The swift about-turn by many organisations on their DE&I structures and hires hasn’t surprised everyone. Kevin Morosky, filmmaker, author and co-founder of People of Culture Collective, points out that the roles did exist pre-2020 but were held predominantly by white women. “After 2020, the heads of DE&I became black and brown women. All of these jobs then disappeared because with black and brown women doing those roles, they were really testing and questioning the structure and so there was friction. When you are trying to make changes at surface level, nothing happens because the foundations are rotten, they haven’t been changed.”

And the clamour to be more inclusive has also resulted in a “tick-boxing" of blackowned businesses, with Quiet Storm’s chief executive and former Wacl president Rania Robinson explaining that, “Our agency, along with many black-owned businesses, was put on more rosters since 2020 but none of them lead to anything." It’s an experience shared by Myers-Lamptey, who agrees that his business hasn’t won any work due to being “black-owned/founded”, yet has certainly been invited to pitch more.

__Stats don’t lie__

The latest Advertising Association All In Census was released last May and covers both agencies and brands. It reported that 18% of respondents were from a “minority ethnic” background (compared with 16% in the previous 2021 census), exceeding the 14% of the overall UK working population. However, with the advertising and marketing industry highly concentrated in London, one of the world's most diverse cities, the industry remains under-representative.

More recent data from the IPA, released at the end of January, shows a decline in the level of ethnic diversity at agencies. The report estimates the percentage of employees from a non-white background is 23.3%, down marginally on the 23.6% reported the previous year. Individuals from a non-white background account for just 11% of employees in executive management and C-suite roles, down from 11.2% the previous year.

__Leila Fataar, founder of Platform 13, a cultural marketing and relevance
consultancy, comments: “Everytime I talk to a creative of colour and – or even – our allies, the story is not positive. The IPA data shows the level of diversity is marginally down overall, senior POC are down, while junior and entry level are up, impacting negatively the size of the ethnicity pay gap, which has increased year on year.__

__“Simultaneously, DE&I programmes, targets and initiatives have been deprioritised client side, which again has an e!ect on the make-up of their agency partners – it's all interconnected. And, disappointingly, it feels like it's going backwards.”__

__The entry-level experience__

Individuals from a non-white background occupy 35.6% of entry- and junior-level roles, up from the 33.3% the previous year according to the IPA data, but there’s an added scrutiny these new hires experience when making their next career move, says Naren Patel, chief executive o"cer and founder of Media for All: “There seems to be a ‘jilted John’ complex, with leaders complaining that their young hires from diverse backgrounds of 2021 moved on within two years. Well, so did their white colleagues, too – young people do tend to move on within a short space of time.”

The hope is that the new talent entering in the industry is here to stay, but the All In stats also flag that a startling 30% of black respondents and 21% of Asian respondents said they were likely to leave the industry due to a lack of inclusion and/or discrimination experienced. Clearly more must be done to nurture the talent before they exit the industry, says Ete Davies, Dentsu Creative’s EMEA chief operating o"cer and chair of the All In Black Talent Working Group.

“While there’s been a lot more work done by DE&I-focused initiatives at entry level, the experience hasn’t shifted much in the past four years,” Davies explains.

“Lots of these schemes are focused around landing that first job but once in, it remains quite difficult. The All In data tells us people are feeling undervalued, which is pretty bad when you consider this data was recorded in the years when the industry was really focused on DE&I. Despite everything that has happened, the stats on those likely to leave the industry have barely changed. Collectively, more needs to be done.” 

And one of these actions should be addressing “lazy” hiring, says Trevor Robinson, founder of Quiet Storm and Create Not Hate. “People look for themselves, often middle-class people from a certain school, basically ignoring a huge pool of talent along the way. There’s a hell of a lot of talented people who are not being used and the industry would be better if they were.

“For a young black creative, it remains hard work to constantly play the game, feeling you have to fit in. When you get a young, talented person into an agency where 99% of the people are not like them, then they will not feel comfortable. And they quickly feel that if they are going to succeed, they are going to have to get used to feeling uncomfortable.”

In addition to that discomfort, post-2020 many organisations leaned on their black and brown colleagues to steer their inclusion e!orts while also doing their own jobs. Amie Snow-Mayers, creative and founder of Eleda House + Sanctuary, a soon-tolaunch retreat for creatives, explains that after June 2020 she (and many of her peers) became a diversity ambassador. “The result is you flip-flop between your actual job of creating award-winning work and then also being this diversity lead, doing so much extra work and experiencing burnout," she says. "Black and brown talent su!er from burnout so frequently because we have to work two or three times as hard to prove ourselves.”

__Speaking of the urgent shift that needs to occur, Fataar adds: “The industry needs to see DE&I as a value, not a cost, and integrate it through the business as a horizontal function, not a vertical one. Diversity should not be conflated with inclusion, as they need di!erent strategies. Done right, those junior roles can be supported properly to reach senior levels and that all-important decision making. The risk of not focusing on 'inclusion' is that POC leave the industry before they even have a chance to get there.”__

__Senior leadership pipeline__

While entry-level representation may be improving, the most recent IPA Census found a decline in the proportion of senior leaders from ethnic minority backgrounds. This is because they had left to set up their own businesses or had left the industry entirely. Clearly more work needs to be done in terms of progression, development, mentoring and advocating at all levels. “There can be inequity in the support for progression,” says Davies. “We desperately need more representation in leadership to keep talent in the industry – and we need to make this more important across leadership teams in all roles that can influence to create change.”

And with such low representation in senior leadership, departures are felt acutely. Several people interviewed for this feature spoke of both shock and sadness following the announcement of the forthcoming departure of Karen Blackett as president of WPP in the UK, with Pretty Bird’s Mia Powell reminding that “we can’t be what we can’t see” and Backlight CEO and founder of the Black Pound Report, Lydia Amoah, adding: “You’ll always see apprenticeships and entry-level schemes, but what I want to see is changes in the top level of leadership teams – the CEOs, the MDs, the decision makers.”

As representation in leadership declines, it remains crucially important that businesses take a long-term approach to their DE&I strategies as any instability can hinder progress. Bukola Garry joined Adam&Eve/DDB in January 2021 as the agency’s first head of DE&I and, during her time there, created its first DE&I policy. However, her two years at the agency coincided with significant changes of leadership and structure. “Strategy is a long-term thing and it relies on a proactive leader to bring energy to drive it. If the person sponsoring and advocating for it leaves, that becomes a major setback,” she says.

The agency’s chief executive Miranda Hipwell confirms that no direct replacement has been found for Garry, saying that diversity is a “multifaceted challenge” that shouldn’t be the sole responsibility of one individual: “Rather than automatically find someone else to fill her shoes, we as a leadership team concluded that a di!erent approach was now needed. This is because, given the breadth of change needed, it’s unfair to expect one person in the agency to lead it and doing so can absolve everyone else from feeling the need to share responsibility for it.”

“What we are doing now is working to get more weight behind becoming more
diverse, not just in gender or ethnicity but in respect of a wide range of di!erent experiences and backgrounds. We are doing this by involving everyone in the agency, collaborating with a broad array of external partners and embedding a number of important new, culture-changing initiatives.”

Adland needs to move beyond overestimating what can be done in the short term, Patel Robb says: “People are the most important aspect of your business. We would not treat other aspects of business strategy in the same way. No-one should have approached this with short-term objectives. I worry it comes from a place of fear, of relinquishing control. Great people can rise to the top, but we need more urgency and action.”

__Creating an equitable future__

Progress is being made but frustration at the pace of change remains, says VCCP’s group CEO and former IPA president Julian Douglas. Douglas, who also chairs the Black Representation in Marketing (BRiM) advisory group, explains: “Everyone knows where we need to get to, we just need to take individual responsibility to get there more quickly. As we say at BRiM, we must move from good intentions to meaningful action.”

While it is clear that urgent actions need to come from across the industry,
individuals are also demonstrating their own impact in creating an equitable future. Nina Bhagwat, global group director of DE&I at global public relations agency Golin, isn’t alone in sharing the view that one of the biggest changes in the past four years has come from individuals having more agency in how and where they want to work: “What makes me optimistic is the fact that more emerging talent are proud of their unique voices, are able to advocate for themselves and be who they want to be.”

Initiatives from Black Strat and It Takes a Village Collective through to Lollipop Mentoring also point to a rise in communities focusing on galvanising and uplifting each other. POCC’s Morosky stresses that “we all need to go o! and build our own spaces and talk to each other as a foundation, so that when you do step into those spaces, you have your own foundation and what you will stand for and what you won’t”.

“We are all a part of building the future we want to see,” agrees Ayo Fagbemi, cofounder of Explorers Club and founder of Black Strat. “Constant iteration; it’s how the best judge themselves. How can I be 10% better every week? This is an approach we as an industry should take on a variety  of issues versus a yo-yo-ing of priorities and questions. Action moves the industry forward.”

Campaign, April 2024

__By Rebecca Stewart__

In late 2023, newly appointed Gap CEO Richard Dickson said it was time to strengthen the eponymous retail group’s catalog of brands—including Gap, Old Navy and Banana Republic—with “crisp identities and purpose” to counter years of sluggish sales.

“We have to communicate through innovative marketing to regain a powerful ongoing voice in the cultural conversation,” he told investors. “We need to do this, while consistently executing with excellence at every touch point and interaction.” 

For the conglomerate’s namesake brand, the first manifestation of this blueprint came in the form of “Linen Moves,” a crisp, reimagined take on TikTok-famous music video “Back on 74” by Jungle. The original video sparked its own dance craze on the platform, garnering over 1 billion views to date.

Designed to promote the retailer’s newest collection, Gap’s spot puts South African Grammy Award-winning artist Tyla front and center. And if the seamless motion and choreographed dancing in the ads looks familiar, that’s because it’s meant to: The spots hark back to Gap’s iconic 1990s and 2000s campaigns, which featured troupes of dancers strutting their stuff in khakis and denim.

The creative was directed by Jungle members Charlie Di Placido and J Lloyd. Elsewhere, Shay Latukolan, who was behind the original dance, worked his magic on the choreography.

This perfect blend of nostalgia and virality could be just the ticket for Gap to revive its brand and appeal to younger consumers following years of sluggish sales.

In a statement, Gap said its 2024 campaign, which was developed in-house, serves as a celebration “of self-expression and individuality through fashion, music and dance.”

Mark Breitbard, Gap’s president and CEO, said working with talent like Tyla was not just a choice, but a “commitment to Gap’s heritage,” harking back to a time when the likes of Madonna, Alanis Morissette and Lenny Kravitz would front its spots.

“This campaign pays homage to Gap’s iconic musical ads of the past, while embracing the diverse voices and talents that shape our present and future,” he said.

In recent years, the brand’s marketing has flip-flopped between featuring famous faces like author and podcast host Jay Shetty, and its “Dream the Future” platformn, which featured Yeah Yeah Yeahs artist Karen O. However, nothing has been as strikingly confident or tapped into trending topics like “Linen Moves” does.

__A ‘masterclass in talent’__

After having two chief marketing officers depart within the space of three years, Gap filled the role in May 2023 with the promotion of Old Navy brand boss Erika Everett to head of marketing. Shortly after, Mattel president Dickson was hired to oversee the brand as CEO after leading Barbie’s blitz on culture and putting pink firmly back in the zeitgeist.

Gap was once one of America’s most beloved apparel retailers, known for its laid-back basics and classic denim, but in recent years, its financials have suffered, with its parent group seeing sales decline 6.32% year-on-year between 2022 and 2023. Everett and Dickson also have some way to go in restoring a sense of purpose to the brand, with Stastia finding that while Gap is recognized by 90% of online shoppers in the U.S., just 25% buy from the retailer.

Generation Z, a demographic that now commands $360 billion in disposable income as per Bloomberg, holds the key to boosting both profitability and relevance for Gap. However, the company will have to lure them away from fast fashion, with a recent study from the U.K.’s Sheffield Hallam University finding that 90% of Gen Zers buy from fast fashion retailers.

Despite these barriers, the generation’s affinity for nostalgia and trend resurrection might just give Gap’s new strategy some juice.

For James Kirkham, founder of brand consultancy Iconic, this is a reset with style and swagger, while being rooted in legitimacy and credibility that could push the brand forward with a younger crowd.

Kirkham described Gap’s casting and creative choices as a “masterclass in talent.”

“If you find and use the right artist, then most vital is to bake them into the fabric of the campaign from the start, so that they’re as much the author of the piece and bring together just the right ingredients,” he added.

Everett and Dickson’s experience in content and collaborations meant that Tyla and Jungle were involved in the creative process from the start.

The “Water” singer, known for her standout red carpet looks, said she added a waist belt and boots and wore her hair in braids to “mix both Gap and Tyla’s worlds” together on the day of the shoot. She also curated in-store playlists for the advertiser part of the campaign.

“[This credibility] is vital to ensure that it lands in the right communities, creating the right conversations,” Kirkham said. “Without such solid foundations in music, it would otherwise flounder in today’s high-speed content space, where audiences ruthlessly filter [brands] out.”

__Influencing a new generation__

Kirkham believes Gap is following the Strauss–Howe “20-year-rule”—where fashion cycles repeat every two decades—pointing to comebacks driven by TikTok like the post-Saltburn success of Sophie Ellis-Bextor’s Murder on the Dancefloor, or the Netflix revival of David Nicholls’ 2009 book, One Day.

“In this instance, paradoxically, it was the original brand TV ad that provided the spark of inspiration for the music video to come, where Gap’s 1998 ‘Khaki Swing’ spot influenced a generation,” he concluded.

Marc Allenby, co-founder and chief creative officer at ad agency Hijinks, praised the work for playing into the historic tones of the iconic Gap dance ads of the 90s through a 2024 lens.

“The trend of bridging entertainment and advertising together is apparent here. Using an artist/creator is smart. That itself reaches a new consumer and reconnects the brand to that new demographic,” he said. “The styling is beautiful, the track is sticky and it’s an ad I’d happily watch over and over; I’m excited to see an old icon become a new one again.”

The clothing collection featured in the ad takes Gap back to its unique selling point, too: staples that are versatile, utility-focused and easy to pair with what’s already in consumers’ wardrobes.

The ad will run across digital media, out-of-home, video, social and Gap brand channels. “Stay tuned for more updates as we continue to inspire and empower individuals to express their own originality,” the brand teased.

__Leila Fataar, founder of marketing shop Platform 13, agreed that the initial spot ticked an aesthetically cool and effortless box, reminiscent of the brand’s golden age. Despite a good start, she said, success will depend on adding depth in extra ways moving forward and working with original talents and creators across a variety of categories.__

__From a consumer point of view, she observed, Tyla and her story add a much-needed weight to Gap, but it’s what comes next that matters most.__

__“Brand cultural relevance goes beyond putting culturally relevant people together in an ad, so I am interested to see how the powers that be at Gap credibly embed this commitment and brand into culture in the longer term,” she asserted.__

adweek, Mar 2024

WEBINAR: GENZ & GENZALPHA, JAN 24

__By Sam Bradley__

More agencies have begun to embrace a product-led market proposition in response to widespread client dissatisfaction with the classic agency service model. But changing how an agency presents, delivers, and bills for its services and expertise isn’t easy.

A major change in the direction of a business can disrupt the career plans and expectations of staff; existing clients on the roster might not want things to change; meanwhile, shareholders and investors will still expect commercial growth and a return on their involvement.

Even agencies backed by major holding companies, such as Interpublic-owned Huge, have found developing and bedding in a new service model a daunting and drawn-out process. For indie agencies, with less cash, time and fewer staff to throw at a problem like this, it’s even more difficult to.

For Leila Fataar, founder of agency Platform13, the opportunity cost was even higher. A boutique shop founded six years ago in London, the agency “creates cultural relevance” for brands such as Dr. Martens, Birkenstock, Guinness and Berghaus via content, creative campaigns or digital experiences.

Fataar, who previously worked for adidas and Diageo, had always argued that clients shouldn’t undertake such projects in isolation from their broader brand strategy. If they couldn’t “understand what’s happening in the world and understand how it’s impacting the people you’re trying to talk to,” she adds, they would not be successful.

__Understanding the specific coordinates of a given brand amid the broader cultural landscape was essential, but too many marketers perceived of the world and their work as “brand out,” she says, cutting themselves off from the wider cultural context that marketing exists within.__

“There’s a cultural position which only your brand can do. That’s what we can unlock. It’s a really important first step to anything we do,” she says.

The company had offered consulting services to help boost that understanding and ensure organizations could embed that knowledge. But they’d typically been arranged ad hoc or reserved for deeper client relationships.

A product-led approach, though, could enable the agency to reach new clients through its expertise in cultural positioning rather than only through external-facing projects. It would allow Platform 13 to work with clients only interested in the internal piece. A bespoke cultural positioning product meant that cash previously left on the table would suddenly be within reach.

Fataar sums up the proposition: “You want to be a culturally relevant brand? Something needs to shift internally. I have the experience; I’ve been doing it for 25 years,” she says. 

__Platform 13’s cultural positioning piece and its project-based marketing work are now presented as two arms of its business: P13 Depot, covering the latter, and P13 Inside Track, for the former.__

Platform13 already used output-based billing. But making sure its cultural positioning offer was as “relevant” as possible to clients in an era where “many want to be the next Barbie… or are scared to be the next Bud Light” took time.

Fataar says she went to a circle of trusted peers and clients to discuss how the proposition could be honed. She asked: “What is it you actually need? Then I finessed and finessed and finessed.”

An initial bells-and-whistles launch was slated for October, but Fataar chose to delay until the new year, given the outbreak of war between Israel and Hamas that month. “I’m quite unsettled about what’s happening, and I’m trying not to be disrespectful by banging on about this new thing. So, I’m planning and low-key talking to current clients.”

As well as helping to fuel the agency’s “next phase” of maturity, she’s also conscious of the competition. 

“A lot of agencies are also starting to work similarly to us when we launched,” she says. A product-led approach, though could give the business a means of differentiating itself and mark it out again as an agency at the forefront of culturally-minded marketing.

__“I think there’s a fundamental shift in just how brands and the role of brands today may be different and should be different than maybe what they were even a few years ago,” says Fataar.__ 

__In response, she concludes: “Our industry is changing, and it needs to. Everybody needs to innovate.”__

The Drum, Dec 23

__By Bailey Calfee__

On May 25, 2020, George Floyd was murdered by Minneapolis police officer Derek Chauvin, who knelt on Floyd’s neck for over nine minutes while two fellow officers watched. Floyd was one of 1,152 people killed by U.S. police officers in 2020, and his death started an uprising as the country
forced institutions to reckon with deep systemic inequality.

In the advertising industry, those demands were met with promises to increase diversity in campaigns and within teams. Agencies and brands created new positions and departments to address DE&I shortcomings, and reexamined business structures to eliminate institutional bias.

By 2023, the limits of these commitments became apparent. 

High-profile backlash to LGBTQ+ inclusion by brands led many to abandon or pull back on their displays of Pride, while advertising blunders sparked allegations of racism and concerns regarding marketing teams’ internal diversity measures.

Meanwhile, the chief diversity officer role is increasingly susceptible to elimination as companies tighten their belts and lay off staff amid fears of recession. __Three years after Floyd’s murder, industry leaders told Campaign US that the industry's commitment to racial parity is still lacking.__

According to Dawn Wade, co-founder and chief strategy officer of multicultural creative agency Nimbus, industry norms of calculating DE&I impact by revenue gains sets the system up for failure.

“DE&I doesn't have a return that hits your bottom line — it's an expense, it's not a revenue generating opportunity,” she said. “Of all the efficiencies and good work that DE&I has done, it hasn't generated money for the brand, so it's going to get cut — and that's what we see happening
across the board.”

__When averting risk is prioritized in the name of maximizing profits, some brands have made plain their limited interest in pushing for progressive change.__

“I don't think that people of color in general are surprised at the downward trend of DE&I,” said Tyra Jones-Hurst, managing partner at agency Oliver and founder of its inclusive marketing arm, InKroud. “We've seen it time and time again, where there's going to be change and then nothing happens.”

But rather than give up on making progress, adland must examine its mistakes and rethink its strategy as the country becomes more diverse – and consumers and employees alike demand change.

__A purpose-less Pride__

In March, ABInBev’s Bud Light commissioned trans influencer Dylan Mulvaney for an Instagram partnership that involved sending her a custom can of beer with her face on the label to celebrate her one-year anniversary of beginning her transition.

What ensued was a vicious reaction from a conservative faction of the brand’s audience: Stock prices plummeted, buyers backed out and truck drivers with Bud Light branded vehicles were attacked along their distribution routes.

But instead of reiterating its support for Mulvaney, Bud Light instead distanced itself from the controversy. This broadened the backlash to both sides of the aisle and undid any attempts at diversifying Bud Light’s audience, a strategy shepherded by its first woman marketing VP in its 40-
year history, Alissa Heinerscheid. ABInBev suspended both Heinerscheid and her direct supervisor in the aftermath, and Bud Light’s advertising has reverted to tie-ins with football stars and country musicians.

In the wake of the fiasco, many brands that had previously expressed support for the LGBTQ+ community went silent or at least muted their marketing efforts during Pride month.

Perhaps energized by their success with Bud Light, conservative media targeted other brands that activated for Pride to varying degrees of success. While The North Face refused to backtrack on a Pride campaign starring drag queen Pattie Gonia, Target moved its Pride collection to the back of some stores and pulled a collaboration with a trans designer after untrue allegations circulated that the company was selling trans-inclusive swimwear to children and stocking products with Satanic themes.

__Wade noted that the speed with which brands backtracked around Pride commitments this year proved that their initial DE&I commitments were rooted in risk aversion, and therefore were performative.__

Rash decision-making to retreat around Pride exacerbated the backlash by alienating both sides, leading to more financial damage.

“Target, for example, made those radical decisions before there could be any counterbalancing from those that support [Pride] efforts, which could have actually balanced losses from that perspective,” Wade said.

In the name of risk-aversion, she added, Target and Bud Light reacted “before [they] recognized that the system was going to normalize itself.”

Had either brand played the long game and stood behind their inclusive decisions, the tide would eventually have turned in their favor, Jones-Hurst agreed. Similar to trading stocks, one doesn’t cash out at every dip.

“You have to trust and believe in the change that’s coming about and that you will get more gain in the end — and not just financial gain, but brand loyalty, brand awareness and new consumers from an audience segment you might not even have tapped into.”

When risk aversion leads to community abandonment, it becomes clear that a brand’s values do not align with its promises.

“If you really stood by the principles and values of what you were creating, then why would you pull it back?” said Theresa Sarbeng, head of DE&I, North America at Oliver. “It shows who your company is if you're like, ‘oh shoot, we're gonna lose some profit.’”

__Lack of accountability breeds “easy” inclusivity__ 

Three years after the business world began to prioritize DE&I, it seems to no longer be viewed as a business essential. According to industry leaders, this reflects a lack of accountability from the industry as well as consumers.

__“There have been countless conversations, countless promises [to prioritize DE&I], and I feel like there is a question around accountability,” said Leila Fataar, founder, CEO and CSO of cultural relevancy agency Platform13. “Even in 2020, I thought, ‘Who's going to check all this stuff?’ There was so much promise.”__

Nimbus’ Wade argued, “Many of those commitments were a facade, and will continue to be a facade until the consumer decides that it's important to them,” adding that consumers as a whole have not abandoned brands who have failed to meet promises made in 2020.

“[Brands] recognize, ‘they’re not holding our feed to the fire to make sure that we are delivering on those [promises],’” she said. “So they took a tentative step back to see if that would be felt, and when there was no blowback or accountability, now they’re more comfortable with taking two feet back — and they will continue to backtrack.”

Similarly, ABInBev’s earnings took a hit in the aftermath of Bud Light’s controversy, its stock prices have since stabilized to about $2 more per share than their worth in January. And as the controversy has faded, more than 40% of consumers that boycotted the brand in April are more willing to come back to Bud Light.

As brands continue to lack accountability for their actions, people from marginalized communities are most likely to continue to push for inclusive marketing — but their voices are less likely to be heard.

Leaders agreed that while inclusivity has not fallen completely by the wayside, brands have pulled back from taking big risks.

“I wouldn’t say that I see a shift toward less inclusivity, but I see a shift in easy inclusivity,” said Jones-Hurst. “The quick wins were easy — setting a vision, being very vocal about your commitments, setting metrics — and then the hard part comes with the endurance and shared accountability,” said Sarbeng.

__Honing in on the right issues__

According to Natalie Silverstein, chief innovation officer at influencer marketing agency Collectively, brands are now honing in more carefully on which issues their consumers want them to take a stand on.

“What we saw in 2020 was that every brand was feeling like they needed to comment on everything, and I think that that's definitely shifted — brands have gotten more selective about what they focus on by really hearing their customers,” she said. “There’s not as much of a knee-jerk reaction from brands to say something immediately.”

This strategy has been most noticeable amid the war in Gaza, with very few businesses willing to speak in support of either side. Though it’s a nuanced topic that doesn’t affect every U.S. brand, brands were very quick to risk speaking out in 2022 when the Russia-Ukraine war began.

According to Silverstein, brands that have shifted the ways they react to issues have in fact shown who they want as their customers.

“Seeing these patterns, the smartest marketers are focusing on understanding, ‘Who are my customers of today, who are my customers of tomorrow, what am I trying to communicate through this brand effort and what risk am I willing to take to go there?’”

__The great DE&I layoff__

As brands grapple with how to react to societal issues around inclusion, they’re grappling with a loss of DE&I leadership.

A Paradigm study found that companies are less likely to have had a DE&I budget or strategy in 2023 as opposed to 2022, though it noted an increase in companies with senior DE&I leaders during that time.

But any uptick in DE&I leadership has been overshadowed by industry-wide layoffs. DE&I roles added 2020 getting cut as early as 2021, with the number of job losses surging in 2022. DE&I professionals were disproportionately laid off in 2022, according to a study from Revelio, and while final stats are not yet available for 2023, anecdotal evidence suggests that DE&I positions have continued to be disproportionately laid off or eliminated amid fears of a recession.

__“We can see what has been deprioritized, we can see the layoffs, we can see the heads of diversity being removed,” said Fataar.__

Sarbeng said she was afraid for her own job, and shared her concerns from “watching different companies cut very established, very strong DE&I leaders across the industry,” with her CEO. “Many companies are almost blaming DE&I for not achieving their goals.”

__Fataar argued that DE&I layoffs are due to failures to properly integrate the department as a core business function.__

__“It should be horizontal throughout the business,” she said. “DE&I needs to go across the business, not just one department, because as soon as you’re deprioritizing, you just get rid of that department.”__

__DE&I as an easy internal fix also doesn’t work in the long run.__

“To try to change a system where the dominant majority have been benefiting from systemic racism and asking them to give more power to a group that has been historically marginalized takes time and investment,” said Sarbeng. The disconnect is on the original structure.”

Inclusive marketing blunders underline lack of diverse talent internally, or at least a lack of those with power to sway campaigns.

For example, a diversely cast KFC Canada campaign ended up drawing accusations of racism for its out of home element, which showed Black consumers eating fried chicken without utensils. In a previous piece on the campaign, Jones-Hurst cold Campaign US that the OOH imagery “dampened what should have been a cheeky and refreshing take on an old slogan into a classically harmful and stale stereotype for the Black community.”

Recently, a global Zara Atelier campaign drew backlash for the imagery’s resemblance of photos from the war in Gaza, showing mannequin bodies and limbs wrapped in white tarps. A Muslim person on staff could have pointed out that the images were reminiscent of an established Muslim burial tradition.

“Brands don't know what they don't know, and until they open their doors and are willing to be exposed, they won’t — that's why you have to be intentional about who sits at your table,” said Wade.

Having diverse talent on staff can not only limit potential blowback from a problematic campaign, but also underline the importance of standing by inclusive efforts. 

__Fataar noted that ABInBev’s decision not to stand by Mulvaney reflected its lack of awareness on the impact of such a move, whether that be threats to Mulvaney’s life or a subsequent lack of opportunities for other trans
influencers.__

__“Diversity and representation cannot only be on the output — it's got to be on the input, or else you're not checked as a brand, you're not challenged internally and it will hurt your brand at the end of the day.”__

__Where does the industry go from here?__

The lack of accountability and the pullback of DE&I efforts in 2023 shows that brands need to set clear values to inform their course of action.

__“Shifting cultural relevance from a marketing ‘nice to have” to a business strategy is what I’ve always championed, because then it goes throughout the business and the output is different,” Fataar said.__

__This is a responsibility for brands, she said, “especially big global brands, because they've got a big voice in the world. They can influence things, they can stand for something.”__

Brands also must see DE&I as valuable, rather than costly. “Brands that commit tend to do better over time,” Silverstein pointed out. Likewise, “If it's just empty behind those messages, consumers feel that.”

Sarbeng acknowledged the challenge for brands and agencies. Oliver, she said, “didn’t cut our budget and stays investing [in DE&I], yet it’s still very challenging. You can constantly feel like you’re failing, but it’s going to cost time and money to make systemic change, which is why you
can’t ever give up even when it feels like you’re taking two steps back.”

Though this year was full of high-profile setbacks, there are bumps on the road to progress.

“We’ll have this huge leap forward and then we're going to have some setbacks,” said Silverstein. “Our responsibility is to continue to emphasize and recommend to our clients how to operate in these spaces and to always be pushing for authentic representation wherever we can.”

In the long term, “if marketers and business leaders are not adapting to an inclusive and diverse workplace and if you aren’t leveling up your leadership in those areas, you are going to fall behind and lose profit,” said Sarbeng.

“I think they’re waiting for us to go away, but we won’t,” added Jones-Hurst of people from marginalized groups. “As generations keep shifting and as time keeps going, we become more and more outspoken — and we’re the ones with buying power.”

Campaign US, End of Year 23

By Bailey Calfee

On December 8, fast fashion behemoth Zara released a campaign for its higher-end Atelier line. 

Entitled The Jacket, the work was meant to evoke the messy interior of a sculptor’s studio, complete with unfinished life-size human sculptures and broken- down plaster building materials.

Instead, the imagery was perceived by many as egregiously reminiscent of images of suffering Palestinians released in the past few months as the war in Gaza wears on.

In particular, one image shows the star of the campaign, model Kristen McMenamy, holding what looks to be a mannequin wrapped in a white tarp. 

According to resounding feedback on social media, many felt the concept looked eerily reminiscent of the wrapped bodies of Gazans killed during the war.

Other images seem to show models, meant to be dressed as half-finished sculptures, also wrapped in white tarps. The campaign was shot by esteemed fashion photographer Tim Walker, whose distinct style has landed him several art exhibitions and countless high-profile cover shoots for magazines like Vogue.

The controversy calls into question how the campaign made it to launch, and whether consumers can be expected to divorce advertising from the world around them.

Zara did not respond to a request for comment.

__Did Zara see the resemblance?__

Although the entire scene, including the dusty debris from building materials, has been called into question for its resemblance to the destruction in Gaza, the mannequins and models wrapped in tarps bear the brunt of the outrage. In Muslim tradition, the bodies of the dead are fully wrapped in white cloth or plastic tarps, and much imagery from the region shows survivors holding and crying over the bodies of their loved ones and children shrouded in white.

“Honestly, I gasped when I first saw it,” said Ashley Cooksley, North America CEO at The Social Element, of Zara’s campaign. Manfred Abraham, CEO at consultancy Yonder, said the team at Zara may have overlooked the similarities between the campaign and images from Gaza. “When you’re deeply involved from the inception of an idea to its execution, you tend to focus on the conceptual aspect and may overlook the potential interpretations,” he said.

__Still, Leila Fataar, founder, CEO and CSO at agency Platform13 and former global director of PR and social at Adidas, said she “can’t imagine a fashion company not having had any visual on [the war] at all.”__

__People in the fashion industry “know what's happening on social, because the job is to find trends,” she added. And when it comes to images of the war in Gaza, “you don’t even have to search for it — it’s on your feed, it’s in the news. It’s pervasive; the conversations are live, polarizing, global.”__

__Fataar added that the campaign’s release felt “really tone-deaf ” and showed that Zara had not adequately “read the room.” She said, “I look at it now and I still cannot imagine the decision” to release the campaign.__

__Who was in the room?__

Zara swiftly pulled the campaign on Tuesday after the controversy erupted, and issued a statement expressing “regret” that “some customers felt offended” by the imagery. The statement also clarified that the campaign was conceived in July and photographed in September, therefore any perceived similarities with the war in Gaza were not intentional.

However, Cooksley points out that “agencies and brands are always planning ahead — sometimes years in advance — but that doesn’t mean that whatever we decide or whatever direction we chose previously can’t flex.” “All businesses should know that a campaign conceived with good intentions in July can take an unexpected turn when released just a few months later,” added Abraham.

If no one on Zara’s internal team noticed the visual similarities between their campaign and the destruction in Gaza, __both Fataar and Cooksley posited that could reflect a potential lack of diversity either on the team or among those with sway.__

“There was clearly a point of view — possibly even knowledge of what’s happening — missing in the room when this campaign was given the green light for a December launch,” said Cooksley. “Someone could have questioned or suggested, ‘This might not be the right time for this given the broader world context,’ but that didn’t happen — or worse, someone did raise it, and they weren’t listened to.”

__Fataar added that a lack of diversity limits the viewpoints brought to the table. “Where you grew up, what impacted you and what impacted your community impacts and shapes your worldview,” she said. “If everyone has the same view, then you’re not seeing the rest of the world.”__

For example, a Muslim person would likely have noticed the similarities between the mannequins wrapped in white and their burial traditions. 

__“If you want to be a global player, which Zara is, then you need to make sure that internally you have diversity of thought and knowledge,” said Fataar.__

__Advertising exists in context__

Despite clarifying that the campaign was not intended to evoke imagery of Gaza, Zara moved forward with releasing it in the midst of an ongoing global conversation about the humanitarian crisis unfolding there.

__“The bit that sits hard with me is the decision to put this out right bang center in the middle of this conversation,” said Fataar, adding that she recognized “it probably was a pretty expensive campaign.”__

To Cooksley, “whether the intention was there or not doesn’t matter.” Even if Zara did not mean to evoke the crisis in Gaza, “thousands of eyes across the globe did see exactly that and ended up interpreting the images as something hurtful and damaging, both to the global situation and the brand.”
Zara’s statement in response to the backlash spoke more about the campaign’s intent than its impact, which put the “responsibility for hurt feelings on the way consumers perceived it, rather than fully taking responsibility,” she added.

It’s a stark reminder for brands that advertising doesn’t exist in a vacuum, and people interpret it within a broader context. 

Zara — which has not issued any statements about the war in Gaza or the Oct. 7 Hamas attack — noted that consumers “felt offended” because they “saw in [the images] something far from what was intended when they were created.”

Nevertheless, a consumer’s lived experience informs the way they interact with brands. Plus, consumers are often seeing advertising in their social media feeds, alongside news about ongoing world events, war-related or otherwise.

“Advertisers cannot expect anyone to separate world events from advertising,” said Cooksley. “Context is everything.” According to Abraham, Zara’s statement also reflected a lack of awareness of its audience’s values. “Characterizing this as a 'misunderstanding' absolves Zara of the responsibility to truly comprehend their audience, the mood of the nation and the wider context in which they are operating,” he said.

And even as brands intentionally pull back from publicly aligning themselves with social and political issues, brand imagery impacts consumers daily.

__“Big brands have a responsibility in the world — they have the ear of the mainstream, and it’s important for them to be really careful,” said Fataar.__

__Internal checks for external viewpoints__

The Zara campaign underscores that __marketers must set up an internal set of checks and balances to ensure campaigns resonate with both broad and niche audiences.__

__“There needs to be space for questioning and challenging things in order to shift things forward, because the world is shifting,” said Fataar.__

__It’s also important for marketers to look outside their own four walls and listen to what their audiences are saying online and elsewhere to understand the context in which they are receiving brand messages.__

__“You need to make sure that you’ve got eyes outside that inputs information that may be relevant for your audience, your community, your fans,” said Fataar.__

“Brands that fail to contextualize their products in the broader context of their audience’s lives risk such damaging oversights,” added Abraham.

__The Zara campaign case proves that regardless of how far in advance work is planned out, in a fast-moving world, campaigns need to be reexamined with a global view prior to launch.__

While Campaign US could not reach Zara to learn more about its internal creative process, large-scale campaigns typically go through multiple rounds of approvals prior to release.

“It's crucial, before releasing a campaign, to thoroughly assess it against potential sensitivities rooted in diverse cultures, taking into account the global context at the time of the launch,” noted Abraham. “There are tools and methodologies that enable brands to better connect with consumers and predict their responses before launching a campaign, making such missteps as this one preventable.”

As for how Zara can move forward, Cooksley said she believes it “ has no choice but to address the war,” and hopes more brands will do the same.

“There’s a humanitarian crisis going on, which is admittedly quite complex, but that doesn’t change the fact that we need to recognize what’s happening,” she added.


Campaign (US), Dec 2023

__By Stephan Lepitak__

The sports industry is going through transformational changes to meet the needs and expectations of 21st century fans.

From leagues and athletes getting closer to culture through music, fashion and gaming tie-ups, to new partnerships designed to drive audience connection, it’s all about engaging with fans beyond the field.

However, live sports is facing a problem: Gen Z doesn’t seem to have much time or interest in following it, alarming news to the many major brands

Deloitte recently surveyed 3,000 people in the U.S., and found that while 71% of all fans’ favorite type of sports content to watch was live events, that number dropped to 58% among Gen Z and millennial viewers.

__“Today, brands and marketers are under pressure to find new audiences and then engage them credibly. Sport is one of the biggest connectors of global vast, multiple cross-sectional communities and fans—[who are] huge consumers whether they play or watch,” explained Leila Fataar, founder of creative agency Platform 13.__

__“Sports that may not have always been in your universe while growing up through your background or location can be introduced through lifestyle brands, whether beauty, gaming, sneakers, fashion, etc.,” as well as tentpole events like the Women’s World Cup, continued Fataar. “Finding the right and credible way to do that beyond traditional endorsement is key for success.”__

In the age of digital content, mostly consumed by younger audiences, fan bases have grown exponentially too, especially on TikTok.

Today, only a fraction of fans attend their team games regularly. French soccer champions Paris Saint Germain currently have 40.8 million followers on TikTok and yet its all-seater stadium holds less than 50,000 people when full. Meanwhile, the National Basketball Association has 20.6 million followers, Premier League soccer has 13.3 million, the National Football League has 12.3 million and Major League Baseball has 7 million.

Released in June, Twitch Ads’ Anatomy of Hype report heard from 12,000 people across 12 countries. Almost two-thirds (63%) felt fandom was a defining part of their identity, while over half were more likely to consider a brand that sponsors content related to their fandom.

“Technologies, like those powering social media, have helped fan culture to become ubiquitous, connecting like-minded people to build communities,” explained Allison McDuffee, head of insights and measurement for the Americas at Twitch Ads.

“Sport still creates some of the most passionate, engaged and vocal communities, but as the next generation of sports fan emerges, brands have had to evolve the way in which they are interacting with long-established fandoms,” she continued. “This evolution means creating new ways for viewers
to consume and engage with content, experimenting with new and interesting digital services and platforms to allow more interactive and immersive viewing experiences.”

This is good news for marketers, since collaborations allow brands to find new routes into sporting communities. Fashion, food and drink advertisers are increasingly turning to nontraditional channels that reach younger audiences.

“With the intersection of fashion, music, gaming, sports and technology, our culture means they just all intersect,” PepsiCo CMO for international beverages Mark Kirkham said at Adweek’s Social Media Week Europe about the company’s involvement with the launch of soccer video game brand EA Sports FC 2024.

The campaign featured international soccer stars and went beyond the traditional TV hero ad, offering in-game rewards that would tie together the sport, the gaming experience and the brand.

Interest in Major League Soccer is growing worldwide, with Inter Miami’s signing of World Cup-winning Argentinian striker Lionel Messi and the Saudi Pro League recruiting Portuguese soccer icon Cristiano Ronaldo, fandom has begun to transcend teams as players develop their own worldwide followings, leading to even more highly lucrative sponsorship deals.

When digital soccer publisher Footballco asked fans how they would feel about a brand if it were to sponsor their favorite player, 67% of player-first supporters said they would feel positive about the brand, compared to 47% of team-first fans.

Andrew Baker, head of strategy at Footballco, commented: “While leagues in the Middle East and U.S. are growing their global profile through the introduction of some of the biggest players in world football, this data highlights the importance for clubs and leagues to develop fandom beyond the superficial to retain and engage fans longer term.”

__Fashion and collectables as a fan connector__
As sports marketers look to culture to grow their connections with fans, the world of fashion has become a regular space for collaboration, placing teams’ branding on more than duffel bags and baseball caps.

In October, the NBA announced Skims as the ofﬁcial underwear partner for men’s and women’s basketball, with NBA Commissioner Adam Silver describing Skims as having become “one of our most culturally influential brands.”

In her announcement of the deal, Skims owner Kim Kardashian said: “Together, Skims and the NBA will connect people of all backgrounds through fashion, sport and talent, and I look forward to seeing the partnership thrive.”

Meanwhile in October, not long after Formula 1 and Puma signed a long-term partnership, they announced rapper and designer A$AP Rocky as the new creative director at the apparel brand, with a focus on motorsports.

Last year, French soccer team PSG opened a flagship store on Fifth Avenue in New York, while LVMH, which owns brands such as Louis Vuitton, Dior and Berluti, has formed a partnership with the Paris 2024 Olympics to promote the Games and the country to the world.

And luxury fashion house Ralph Lauren has become the exclusive fashion outfitter to the G2 Esports team, which debuted in July during the League of Legends’ LEC 2023 Summer Playoffs.

At the time, Sabrina Ratih, COO of G2 Esports, said: “At G2, partnerships are all about creating better experiences and offerings for the consumer, bringing fans closer to the brand and attracting new audiences. This collaboration does all of that and more.”

For its fall collection, fashion brand Pleasures began a collaboration with MLB, producing its apparel to feature the logos of its teams including the New York Yankees and Los Angeles Dodgers.

Fanatics also produces collectibles with various licensing deals in place across major sports including World Wrestling Entertainment, Formula 1, golf and soccer leagues.

“It is the celebration of a moment, it is a memory of a moment,” explained Ken Turner, CMO of Fanatics Collectibles, speaking with Adweek’s Speed of Culture podcast on the power of sports memorabilia. “It’s not necessarily about the item, it’s what that item reminds them of, and there is great history with it.”

To capture those moments, Fanatics allows fans to order trading cards of their favorite sporting moments as they happen with Topps Now.

__How fandom is developing new sports__

And with fandom comes opportunity, with younger audiences always looking for the next big thing.

“One of the most interesting insights into sports fandom these days for younger audiences is their rejection of the big leagues/formats/rules of play, and instead how they’re embracing sports through new leagues and formats and new forms of entertainment,” explained Zoe Scaman, founder of strategy studio Bodacious.

As an example, Scaman pointed to Kings League, a seven-a-side football league founded in 2022 by former Barcelona and Spanish defender Gerard Pique. It is streamed to audiences across Twitch.

Meanwhile this summer, Hasbro-owned toy brand Nerf launched its own sport, Nerf Ball, in which two teams battle by hitting their opponents with soft darts to prevent them from scoring points and getting the game ball through the hoop. Think basketball, but where the other team uses toy guns instead of their hands.

And in the golfing world, champions Tiger Woods and Rory McIlroy have teamed up to co-create TGL, an 18-hole indoor golf league that will air on ESPN every Monday from January. It includes backing from major celebrity investors such as Justin Bieber, LeBron James, and Serena and Venus Williams.

“All of these are centered on new ways for fans to be more involved from the get-go, with new broadcast and platforms that focus and prioritize fun while saying, ‘Fuck the rulebook,’” added Scaman.

adweek, Dec 2023

The Ad Race, Season 2, Nov 2023

By Rebecca Stewart

After a tough 2023 for Bud Light, Benoit Garbe, the U.S. chief marketing officer of parent company Anheuser-Busch InBev, will resign at the end of the year.

Garbe’s marketing role will not be directly replaced, the company confirmed. Instead, U.S. chief commercial officer Kyle Norrington will oversee marketing for the country moving forward.

His departure follows the exit of Bud Light marketing vp Alissa Heinerscheid earlier this year. He will see out 2023 before “embarking on a new chapter in his career,” the business said.

In a statement, AB InBev CEO Brendan Whitworth said the latest executive shakeup would “reduce layers within our organization and better enable our top commercial leaders to drive our business and legacy forward.”

__Backlash and the bottom line__
The shift to focus on profit follows six months of turmoil for America’s once bestselling beer, which in a short space of time has fallen rapidly from grace following a backlash from conservatives over a social media promotion with transgender influencer Dylan Mulvaney.

Bud’s issues started in April, when TikTok star Mulvaney promoted Bud Light on her social media platforms as part of a planned partnership. The post received transphobic backlash, with conservatives calling for a boycott.

On the other side, members of LGBTQ+ communities and their allies also rejected the brand, after the business failed to quickly speak out and stand by Mulvaney.

By June, sales had fallen and Modelo Especial had displaced Bud Light as America’s favorite beer. In October, Bud continued to strain AB InBev’s bottom line in the market, with the company reporting a 13.5% decline in third-quarter U.S. revenue per 100 liters.

Since then the brand has invested in a series of marketing campaigns to return Bud Light to its place in pop culture as the easygoing beer of choice. These have included a huge summer push from Anomaly, NFL activations and a new sponsorship deal with UFC reported to be worth $100 million.

__As the company puts its marketing budget in the hands of the CCO, Leila Fataar, founder of cultural and marketing strategy firm Platform 13, said Bud Light’s debacle holds lessons for brand leaders everywhere around the importance of connecting with culture.__

__“In today’s world, one social post can travel faster and further than anything else as we have seen with the [Mulvaney] situation,” she noted.__

__She suggested putting a marketer in a more senior role would help a brand like Bud drive relevance and competitive advantage.__

__“We see a shift where CMOs are becoming CEOs. To be culturally relevant, this may be the better approach for a modern business model because a deep strategic understanding of the consumer and how the ever-changing shifts impact them has never been more important for brands and business in the new world we live in.”__

Alicia Iveson, co-founder and chief of creative shop Hijinks Collective, said though Garbe has walked, apparently taking the heat for the conservative Mulvaney backlash, Bud Light should have been prepared for the boycott instead of ambushed by it.

“The lesson for marketers is, yes, support diverse communities and influencers, but don’t go into battle unarmed. Have a powerful response lined up in the event of repercussions, such as backing from other celebrities, words from a president or a broader marketing campaign,” she said. “Scenario planning and crisis management are vital for all ad campaigns. Interrogate, stress test, road test. Never be caught off guard.”

__Is a brand turnaround possible?__
Recent analysis from consumer insights company HundredX suggests Bud is in the early stages of a rebound, with drinkers slowly warming up to the brand’s values and trustworthiness.

After falling more than 30% from March through June, data gleaned in October found that customer perception of Bud’s brand values grew between 1% and 2% since June.

Customer perception towards sister brand Budweiser’s ads—which recently saw the return of its iconic Clydesdales—also clawed back 11% since falling more than 50% from March to June.

In its most recent October earnings update, global CEO Michel Doukeris said AB InBev would continue to invest in Bud Light marketing, with internal polling showing 40% of lapsed Bud Light drinkers would consider putting the brand back on their shopping list.

He cited research the business had conducted with 260,000 people: “The common points of feedback remain consistent,” he revealed. “One, consumers continue to want the Bud Light brand to concentrate on the platforms that all consumers love,” pointing to more “traditional channels” including NFL broadcasts.

Consumers also asked “Bud Light to focus on beer,” said Doukeris, and “third, they want that beer without a debate.”

“We are taking the feedback and working hard towards our consumers’ business every day across the world,” he finished.

adweek, Nov 2023

__By Leila Fataar__

Media has an important role to play in pushing things forward at scale - from updating narratives to building communities and shaping public opinion. And in an AI and content dominated future, much more needs to be done to tackle mis- and disinformation, bias and stereotype. We have seen where mainstream media might frame information around a political or financial agenda.

__The truth and the full story has never been more important.__

I believe brands, education systems, companies and relevant organisations must take a leading role in helping teach and embed key new world soft skills like critical thinking, digital literacy and empathy as content across channels becomes even harder to verify.

__The need for credible new media outlets__

Having worked in advertising, marketing and communications for almost three decades, I have both seen and been part of the fragmentation of ‘information sharing’ from print, to online, to social and more.

New media can foster a sense of community and belonging for their respective audiences. They can provide a platform for nuanced voices to be heard and shine a light on important issues that might otherwise be ignored by the mainstream media.

Turning to women-focused media specifically, The Mix and HURS study this year highlighted some key issues in the style media space.

66% of women feel that women are discriminated against in the media at large.

Only 21% of women feel positive about how content addresses women in digital or print articles.

53% of women have negative feelings towards how women are addressed in the media.

40% of women say women's style media affects their self-esteem due to the "constant demand for self-improvement."

Only a quarter (26%) of women come away from reading content feeling inspired.

These findings are clear: the current state of womens style media is not working for women. It’s making them feel worse about themselves, and it is not inspiring them. 

__Reasons to protect and champion women-led new media outlets__

First, it provides a platform for women to share their stories and perspectives. Women have unique experiences and insights that are often overlooked and women-led media can help to ensure that these voices are heard.

Second, women-led media can challenge stereotypes about women by providing a more accurate and nuanced view of women, by women.

Third, women-led media can promote gender equality. When the media portrays women in a positive light, it can help to shift public attitudes towards women and to promote gender equality for everyone.

Another important step is to create more opportunities for women to work in the style media industry. This can be done by supporting diversity and inclusion initiatives, and by hiring more women in leadership positions. It’s also important to provide training and mentorship opportunities for women who are interested in working in the style media industry.

__The Future of Women-Led Media__

Despite the challenges facing women-led media, there is reason to be optimistic about the future. 

The future of women-led media is bright. With the increasing demand for diverse and inclusive content, women-led media outlets are well-positioned to succeed. They’re providing a much-needed alternative to the mainstream media, and they are helping to make the world a more equitable place for women.

There are a number of new and emerging media companies that are challenging the status quo and providing a credible platform for women's voices. They’re using the power of the internet to reach a global audience, and with it are breaking down the barriers that have traditionally prevented women from succeeding in the media industry.

In a world where the mainstream media is increasingly concentrated in the hands of a few large corporations by taking steps to support women-led style media and to create more opportunities for women in the media industry, we can help to ensure that women's voices are heard and that women's issues are represented. 

HURS, Nov 2023

Label Sessions POD, Nov 2023

__The discussion:__ The maturity of social media within marketing means it is one of the most important components of a company’s ongoing external communications - so in the age of creators, where are we now? Can and how can brands be built using social media as the main channel to drive awareness and tap the creator economy in the process?

__Leila Fataar's key take-away:__ A cultural first approach to brand building means the right social strategy is integrated and not a performance-only bolt on. 

She also shared what it took internally to do culturally relevant work with topline case studies from her time brand side: adidas - the re-release of Stan Smith and Diageo ‘Only one Captain Morgan’ with Captain Morgan and how we [work with brands like Dr. Martens](https://www.platform13.net/p13insidetrack) through Platform13 to explain what that meant.

__Photo:__ Alexandra Khan 

SOCIAL MEDIA WEEK, OCT 2023

Cultural relevance cannot be achieved with major rebranding efforts and media and PR blitzes. It needs to be organically grown and fostered throughout the organization.

The question is, how?

I have worked in cultural branding for more than two decades. Through my experience, I believe marketers must understand four interrelated concepts especially well in order to rewrite their marketing playbook for greater cultural relevance.

__Cultural relevance__
Let’s start with the objective itself. Cultural relevance refers to a brand state when people feel compelled to talk positively about that brand and advocate for it, at any time (not only during the campaign cycle) because it deeply connects with them within the context of what is happening in the world. This connection is established when a brand makes a positive impact (that doesn’t always have to be “worthy”) on and with their communities and engages with them credibly, meeting them how and where they are. 

__Cultural marketing__
For me, culture marketing is marketing. Even before 2020, global cultural shifts, such as the climate emergency, technological advancements and political influences started changing audience behaviours and mindsets and called for big brands to embrace "cultural relevance" as an opportunity. 

Understandably, the past few years have forced businesses into survival mode, leading to a surge in traditional lower-funnel marketing strategies. The prevailing belief is that the bigger the brand, the larger the media spend, and the more eyeballs reached, the more successful the brand becomes. 

However, in a post-2020 world characterised by uncertainty, complexity, and a new financially empowered generation that values privacy (impacting 3rd party data) and seeks meaningful relationships and shared values with brands, the traditional funnel is no longer sufficient for reaching and engaging audiences. 

Knowing how to read and analyse cultural shifts specific to our clients, then flex brand plans accordingly, is how we drive reach & relevance, hype & depth, numbers & nuance. 

This is modern marketing.

__Cultural positioning__
To be truly culturally relevant, you must rethink your entire approach to product, culture, consumer and commerce. You must realign your brand, to discover your brand’s special role and place in the world for your audience, and community—a role only your brand can fulfil, addressing or navigating the global shifts affecting the target audience and positively impacting that much desired brand differentiation score. 

If executed correctly, this can put companies on the path to sustainable, equitable, and meaningful business success.  

__Latent audiences__
One important byproduct of the cultural positioning work is the identification of “latent audiences”— communities and consumers who already engage with, purchase products and services from, and even possibly love a brand—but who are currently not part of the brand’s traditional target audience. 

In many cases, the brand may not even be aware of these audiences. Think Timberland with Hip-Hop culture in the 1990s. Or sportswear brands and/or music artists in gaming culture today. 

Cultural relevance does not happen in a single moment. It is earned through positive contributions to communities and genuine connections with consumers over time. 

It comes not from new mission statements or isolated social initiatives but through a continuum of strategic, creative, and operational decisions to address the global shifts affecting a target audience.

Tapping into and resonating with latent audiences creates previously additional and unconsidered business growth opportunities and can facilitate curiosity and an innovation mindset internally. Respectful acknowledgement and support can give a brand true credibility in that culture or with those communities. 

But to be successful, the right people need to be managing and handling this type of marketing to ensure the nuances and expectations are respected. This may be outside of rostered agencies and the current internal talent pool.

__How Guinness Found its Flava—and a Latent Audience__
One notable brand that tapped into a latent audience is Guinness UK. In 2020, the 250+-year-old beer maker sought Platform13’s help to become more culturally relevant and meaningful to consumers outside the brand’s traditional target audience of older white males.

During my time in-house at Diageo, I discovered that Guinness had been exported to Africa and the Caribbean since the 1800s. In the UK, the movement of people from the colonies (West Indies, Africa, and Southeast Asia) in the 20th century shaped the multicultural demographic that exists today. 

These latent communities brought with them their cultural expressions, including food, art, music, and fashion—alongside their beloved Guinness.

Among the insights we gathered, one statement from a Jamaican record label owner stood out: “I thought Guinness was Jamaican. I had no idea they were Irish.” 

Culturally, Jamaican culture has a massive influence on the world and on Black British culture, particularly in music and food. Given Guinness’s history in the Caribbean and West Africa, we had a unique opportunity to celebrate the stories and heritage of the elders in a way that resonated with the current generation—a reflection of the ongoing cultural and global shifts.

We launched the series by telling the story of Original Flava—a pair of brothers born in a London suburb, Croydon, who transformed their passion for flavoursome Caribbean cooking into a unifying platform that blended British and Caribbean culture through food and flavour, with many recipes taught to them by their incredible grandmother, including the iconic Jamaican Guinness Punch.

The Guinness campaign we launched targeting the Caribbean community took place on the last long weekend of August 2021, coinciding with the end of summer and Notting Hill Carnival—an annual celebration of Caribbean culture (which had been postponed to Covid that year) which attracts over a million attendees.

A citywide OOH campaign featuring Nanny and the Original Flava brothers, along with social content on how to make Nanny's Guinness Punch and Original Flava’s Guinness Jerk chicken, received an overwhelmingly positive response from the Caribbean community. 

The comments we received from these long-term latent audiences were truly goosebump-inducing, as for the first time, this community felt seen, heard and celebrated by a brand that was already deeply embedded in their culture. Added to that was how the project surpassed the traditional metrics and benchmarks, achieving 59% over planned reach, which was the main brand-set KPI for the campaign. 

The results are clear, a brand can have both reach and relevance - this is where culture marketing wins.

__Cultural relevance as a growth driver__
Now imagine if this approach moved from marketing activity to business strategy. 

Your employees are also part of cultures and communities. We know the new generation of incoming intersectional talent want to work for brands and companies who have a point of view on the world…and stand up for what they believe.

Done right, cultural relevance will foster curiosity (of what is happening in the world and the credible role that brand has to play in it), encourage creative new ways of working and drive innovative ideas (updating processes and systems to make it fit for purpose for the 21st century) to build resilience (can help in decision paralysis and concern around call-out culture) and achieve resonance by credibly engaging with existing, latent, and employee communities and consumers. 

Such an approach could ultimately future-proof the business and the brand. 

But it’s not enough to simply add the word cultural to your title. It can only work if you can, know how to or bring the right people in to help evolve the traditional marketing and business playbook to make it fit for purpose today. 

It’s time to embrace cultural relevance as a powerful force that can shape the trajectory of brands in the 21st century.


adWeek VOICES, August 2023

adweek PODCAST, July 2023

Marketing gone awry recently cost Bud Light its long-held crown as America’s bestselling beer.

But the brand’s owner, Anheuser-Busch InBev, was here at the Cannes Lions International Festival of Creativity—a lavish annual gathering in the south of France, often called the Oscars of the ad industry—collecting one of the event’s highest honors: Creative Marketer of the Year.

A collision this spring between Bud Light’s marketing hub in Manhattan and many of its loyal drinkers across middle America resulted in a case study in how not to market through the culture wars. A consumer and celebrity backlash against a Bud Light social-media promotion with the transgender influencer Dylan Mulvaney snowballed into a boycott and plummeting sales. The uproar prompted AB InBev to put on leave two marketing executives who oversaw the promotion, leading to more criticism.

In the wake of that controversy, across the Atlantic on Monday, AB InBev’s global chief marketing officer, Marcel Marcondes, took to the Cannes Lions’ main stage to give the event’s opening seminar. The session was described in programming notes as a talk in part about AB InBev’s “relentless focus on connecting with consumers in meaningful ways.” Marcondes also touched briefly on the Bud Light situation stateside.

“In times like this, when things get divisive and controversial so easily, I think it’s an important wake-up call to all of us marketers, for us to be very humble,” Marcondes said.

AB InBev is “really reminding ourselves of what we should do best every day, which is to really understand our customers, which is to really celebrate and appreciate every customer that loves our brands, but in a way that can make them be together, not apart,” he said. The words echoed comments by Brendan Whitworth, chief executive of AB InBev’s North American business, made immediately following the backlash in April.

Cannes Lions made its debut in 1954 as an advertising film festival, but over the years has evolved into one of the industry’s most important annual conferences.

Technology companies, consulting firms and legacy Madison Avenue agencies alike hold meetings and pursue deals in Belle Époque hotel suites. Chief marketing officers from around the world helicopter in to speak on panels. And rosé-soaked parties, soundtracked by top DJs, continue on until the small hours of the morning. 

But in offices back home, Cannes delegates are facing slowing advertising markets, widespread layoffs and questions around artificial intelligence’s ability to replace a variety of roles across the marketing industry—sure to be another big topic at this year’s ad festival.

Marketers are also dealing with a split in consumer attitudes toward using social causes such as LGBTQ rights as a basis for advertising. Cannes Lions judging panels have in the past been criticized for favoring such campaigns above less socially-minded equivalents that shifted more product for advertisers.

AB InBev has had other marketing successes this year. Budweiser’s quick reaction to a last-minute alcohol ban at the World Cup in Qatar has been shortlisted for a Titanium Lions, one of the event’s most prestigious. And campaigns from its brands including Michelob Ultra and Corona have been shortlisted for a raft of other categories in the 2023 awards.

Cannes Lions honored AB InBev as Creative Marketer of the Year during the 2022 festival as well, making this summer’s repeat honor the first consecutive such win by any company, organizers said. 

The awards body, which is owned by London-based Ascential Events, announced AB InBev’s back-to-back win in March, months ahead of the Cannes Lions festival itself and just before attention around Bud Light’s work with Mulvaney began to swirl.

“The award recognises AB InBev’s sustained creative excellence that has driven sustainable business growth—as well as their body of Lion-winning work amassed over a sustained period of time, and reputation for producing brave creative and innovative marketing solutions,” Cannes Lions said in a statement released in March. 

Some marketers on the ground on Monday said Bud Light’s difficulties in the U.S. should not negate the achievements of the company’s creative success across the world.

Other delegates said they were skeptical about the company’s acceptance of the creative marketer title in light of the Bud Light fiasco. 

One social-media post can now travel faster and further than an advertising campaign, said Leila Fataar, founder of cultural and marketing strategy firm Platform13. “In the spirit of fairness and credibility, I think it would be a big and the right gesture for AB InBev to give the 2023 award back, make the changes necessary and come back even stronger.” 

Organizers of the festival and AB InBev weren’t available Monday to comment

wall street journal, june 2023

Sharing our expertise on GenZ with Voxburner for YMS in multiple ways: Leila writing the foreword for both their UK / US Youth Marketing Report 2023, hosting the whole of day 1 at the London event and curating/moderating a panel with a series of GenZ whisperers (and friends of P13) from Pinterest, Depop and Woo.


YMS, June 2023

Love, Hate, Create POD, May 2023

"In a time of radical transformation, being culture-first is your superpower,” says Leila Fataar, Founder of the multidisciplinary creative company Platform 13. 

“What this does is drive cultural relevance, which helps decision making both from inside the business and for your audience. You can build authentic cultural projects that redefine your equity, and you can optimise your internal processes for strategic growth.”

Photo: Annabel Alice


D&AD Keynote, May 2023

As the oversized statue of Japanese artist Yayoi Kusama presided over the entrance to Harrods, beneath it a pile of freesheets faced upwards, the front pages dominated by foreboding headlines of economic headwinds, tragedies and an ongoing cost-of-living crisis.

The often frivolous and excessive nature of luxury fashion has long been exposed during recessions, but as the news headlines during last month's London Fashion Week rolled out, it became increasingly evident that it is becoming increasingly challenging for luxury brands to stand out.

Nonetheless, as both a consumer calendar moment and a business event that demands the collective of buyers, fashion houses, media and designers all coming together in one city across a week, many luxury brands have chosen the gateway of LFW to create standout experiences and campaigns to fuel chatter and gain cultural currency.

Think Loewe: the brand brought its latest capsule collection with Japanese animation house Studio Ghibli to life at Selfridges with a series of immersive installations.

Timed to capitalise on LFW, the spaces based on Howl's Moving Castle included The Cloud Room, which housed an exhibition telling the story of the collab and Calcifer's Kitchen, a "culinary experience" named after the film’s fire demon.

And Vogue used the moment to unveil its second iteration of Vogue x Snapchat: Redefining the Body, an exhibition curated by British Vogue’s editor-in-chief Edward Enninful that explores the future of fashion’s physicality, harnessing AR to bring the high fashion of Dior, Versace, Thebe Magugu and more to the digital masses, not just the FROW.

The experience fell under LFW’s City Wide Celebration programme of events and attractions that ran alongside the LFW show schedule, which included creative workshops, styling sessions and brand activations, including Anya Hindmarch’s World’s Smallest Department Store.

As Oliver Lloyd, strategy director at Attachment, who works with The British Fashion Council across its entertainment strategy, talent and brand partnerships, says: “Throughout the pandemic there was a democratisation of experiences as consumers really embraced live streaming, something which TikTok does so successfully.

“Coming out of it, there’s a more hybrid approach. Additionally, fashion’s relationship with entertainment has also been dialled up and we are seeing unexpected celebrities now attracting new audiences.”

Partnerships with culture-defining celebrity talent are rapidly increasing. Daniel Lee marked his creative directorial debut at British luxury brand Burberry with "an ode to Britishness" – a campaign featuring some of the UK’s most exciting talent, from Shygirl and Skepta to Raheem Sterling and Lennon Gallagher, leveraging celebrity names to reach new audiences.

“Fashion has always been about self-expression and identity,” Platform13 founder Leila Fataar says. “Luxury is finally catching up and there are shifts from the old to the new, from status to self-expression, moving beyond only the cost of product to cultural credibility, shifting from traditional bricks and mortar retail in only the traditional fashion capitals to brand experiences and creative ways to drive sales, in new and unexpected places.”

And while LFW presents a rich playground for brands to activate and engage consumers alongside press, talent and retailers at scale, to gain cultural currency, badging exercises are over and brands need to co-create, argues Lloyd.

“Brands must come together to genuinely have an active role with the creative industries or give consumers, especially Gen Z, new, meaningful experiences.

“Beyond impactful talent, we are seeing brands cut through using unexpected collaborations that create conversation and big, bold experiences that involve a breadth of target audiences from press, buyers, talent and consumers.”

Collab culture 

One brand capturing the imagination of the experience seekers is Louis Vuitton, with its global takeover by Yayoi Kusama appearing from NYC’s Fifth Avenue to Place Vendôme in Paris and London’s Knightsbridge.

And the ultimate example of collaboration, in terms of scope, scale and vision, came this LFW, when Italian luxury fashion house Moncler unveiled a collaboration of mega proportions with its "The art of genius" event at Olympia.

Inviting in 10,000 consumers alongside a VIP crowd of global celebrities including Serena Williams, Naomi Campbell, Lewis Hamilton, Hailey and Justin Bieber, was a considerably risky move but one that paid off, given the PR coverage and social reach. 

Brand experience agency XYZ delivered event planning, logistics and event production, with Paris-based Villa Eugenie on creative production for the experience that stole the LFW spotlight with its evening of immersive experiences from brands including Mercedes-Benz, Adidas Originals and Roc Nation, plus a surprise performance from Alicia Keys, sporting her debut capsule collection.

XYZ’s executive creative director Paul Stanway believes that Moncler went for, in a controlled way, “the energy of chaos and disruption”, explaining the very deliberate choices the brand made to opt for a huge consumer crowd, beyond a select fashion set, and a wider VIP guest list than LFW traditionally commands, not to mention the millions that tuned in to watch.

“It didn’t matter if you were some hype kid from south London or a celeb flown in from Hollywood, the way you experienced the collabs was all the same – the way the artists had envisioned.” 

It's a view shared by Stefano Pierre Beruschi, senior design director, culture collaborations and partnerships, Adidas Originals, who described the brand’s immersive space within the event as an extension of the collection’s vision, “toying with the senses in order to confront guests with an experience that is inspirational and outside of the norm”. 

So, does this ambitious approach represent a further disruption of the traditional show experience? “Evolving the current system is a huge opportunity for luxury brands, as we move beyond the now uniform hype and drop mechanics of the past few years,” Fataar says.

“We love finding that cultural positioning – an intersection of the brand and its target communities, and then bringing it to life in a resonant way – always based on how the audience wants to receive it.” 

With LFW celebrating its 40th year in 2024, more brands should opt for the capital to engage the creative community and inspire young audiences.

“London is the home of innovation and creativity,” Lloyd argues. “For brands looking to tap into this, and genuinely position themselves in a purposeful way – there’s nothing comparative or as exciting in the UK.”

And luxury brands, emboldened by the success of Moncler’s unconventional approach to its Genius presentation, will look to expand their approach to experiences.

“The visual language of how you present fashion was so engrained and so traditional that it was ripe for disruption,” Stanway says.

“Breaking the tyranny of the catwalk is long overdue.”

Campaign, March 2023

__It’s a volatile world and we just live in it__

The role of branding, marketing and communications has never been more important in trying to solve global issues and helping intersectional audiences navigate the world we live in. 

We have a responsibility not to allow people to forget the meaning behind the immense shifts of the past few years. 

A responsibility to create the future we want and need for people and the planet without greenwashing. And a responsibility to push things forward with intent, purpose, courage and empathy.

Credibility and relevance must become the objective to rebuild consumer trust, decolonise the industry and reduce cancel/callout culture, which was already circling in pre-Covid times. 

For brands, that takes a commitment of time, effort and money to unlock their credible role in culture.

We have a rare opportunity to make cultural relevance a growth driver: to create short- and long-term plans that work at the speed of culture, understand how these cultural shifts affect behaviours and attitudes, and to create employee engagement and incentives around inclusivity, curiosity, experimentation and innovation.

Getting this right will ensure we produce work that drives positive impact, finds latent audiences and reaches dormant and existing consumers where and how they want… ultimately resulting in positive business growth.

At Platform13, we do this by assembling bespoke, crack teams of the most relevant global voices who represent, shape and create culture to answer brand challenges, unlocking relevance, unleashing creativity and creating positive conversation.

__Big funnel energy__

The past few years have seen a massive uptick in lower funnel performance marketing and promotion – and their traditional measurements of success read through KPIs and ROI. This was done at the expense of brand-building in the pursuit of explosive business growth. In a world of uncertainty, brand love and loyalty will help, so balancing those short-term sales with long-term growth is essential. But with that will come an evolution in how clients brief and how we measure success.

__Ask not what your community can do for you, but what you can do for them__

If brands want to resonate with their target audience, they must earn their place in the culture or community they want to connect with. Meaningful connection trumps paid reach, especially as the algorithmic social heavyweights’ influence and relevance starts to fluctuate.

__Let’s get phygital, but make it culture-first___

For too long we have had to deal with the same creative ideas repackaged, the same formats repurposed with the same type of mindsets saying the same thing.

The past few years have unleashed a new era of creativity – with radical inclusivity, new-world innovation with AI, the explosion of crypto, blockchain systems and Web3, and multiple and mixed realities using VR/AR/XR at the forefront disrupting the limitations of the traditional
channels of experiences, retail, marketing and communications.

At Platform13, creativity is contextual to culture – it needs not only to have reach but resonance, sitting at that unique intersection of “brand” and “culture”. 

This will explode as the talent diversity pool continues to widen, both internally and with external teams (procurement policies and the pitching process needs updating for this to make an impact on the type of agencies/partners/collaborators brands work with).

Now more than ever, a constant influx of fresh and relevant cultural perspectives throughout the creative process is necessary and will serve only to strengthen the work. This in turn drives brand fame and business growth, while making an impact on the community, socially and financially.

__Convergence of corporate and consumer comms__

As always, actions speak louder than words. Saying a brand is doing “X” or committed to achieving “X” by 2030 is no longer enough – it’s never been more important to transparently and tangibly act on corporate policies and promises.

By doing cultural relevance right, organisations can ensure they and their communities win – the only option when it comes to modern marketing, not to mention that priceless brand advocacy. The brands and companies that do this authentically will be remembered for the right reasons.

Campaign, January 2023

We are in a time of radical transformation – political, societal, technological – the list goes on. For us, this is culture – the stuff of life, the fabric of our reality, a global connector of communities. Culture is how we all communicate, what we wear, eat, see and listen to. It's how we behave and what influences us. Culture is living and breathing and changes all the time.

Brands, industries, products and spaces we didn't imagine could ever disappear, will... and fast. Because, if a brand or company can't (or doesn't) read, analyse and address the right shifts for it, it can easily lose that all important cultural relevance and become redundant very, very quickly.

The new values-focused consumer and employee speak both the language of meaning, not only profit, and they will work for and buy brands that share those values. It is no longer acceptable for organisations to sit on the fence – staying silent or culture-washing is almost worse.

Since the Black Lives Matter movement, businesses have had to take a long hard look at themselves to identify their gaps in diversity and the reasons for this, and from the explosion of DE&I activity since then, we can only assume the gap is massive – from C-suite all the way through the business. 

And when the memes go viral and HR "diversity" initiatives become fodder for comedy, you know it's a live conversation.

But in this golden age of DE&I, we always, if not more than ever, need to look critically at how we can ensure the end result matches the objectives. This starts with clarification of the terms.

DE&I – or diversity, equity and inclusion – are usually lumped together, and in theory they could be... but unfortunately, in practice they definitely should not be conflated as they need to be approached in different ways to ensure long term success and change.

Diversity is a broad term describing people on their intersectional range of experiences and backgrounds, based on characteristics such as gender, sex, socioeconomic background, cultural upbringing, religion, education, sexual orientation, ethnicity and neurodiversity. And just to be clear, this transcends purely race.

Inclusivity is ensuring that all those people are not only represented, but also thriving because of their unique differences. This is manifested in equality in opportunities, resources and treatment both in the workplace and also with external partners.

Equity is a driver of inclusivity – recognising that people's intersectional experiences and backgrounds differ vastly and that this can affect their starting points. Some people were never given the opportunities to even be at that "equal and inclusive" stage, so it is great to see the green shoots of equity driving initiatives in the industry, creating fair access, opportunity, and advancement.

I believe DE&I done right breeds business success. My personal experiences have proved that a variety of perspectives and positive internal culture drives innovation, performance and growth – a win-win.

So what does it all mean for the current state of adland?

For me, advertising, marketing and comms have the power to push things forward. While there has been good progress in diversity (especially in output such as the variety of representation in campaigns) and even some of the equity buckets, especially around access to the industry (night schools, internships etc), the inclusivity bucket at brands, companies and agencies is where the work still really needs to happen across all levels. 

It's inclusion in the input both in-house and agency side – insights, ideation, creative, production, etc and crucially, in senior decision-making.

The Advertising Association's All In Census published in 2021 is pretty clear:

"One in three of our black colleagues in advertising didn't feel they belong in the advertising industry"
"1% black representation in the advertising c-suite"
"32% of black industry individuals we spoke to said they likely to leave the industry due to do discrimination"
It's deep, complex and nuanced, and part of the process is asking yourself the hard questions, and facing and addressing the uncomfortable truths about yourself and the business you are part of.

A big blocker is unconscious bias and stereotypes, enabling the perception of women of colour being collectively labelled as "difficult or aggressive" or people of colour not being "team players" if we challenge the status quo or an invalid view because we have different reference points.

Example questions: are there enough black people in key leadership roles throughout the business, with decision-making powers? If not, why not? Are we continuing the work beyond Black History Month?

For the limited POC who are in these positions:We are in a time of radical transformation – political, societal, technological – the list goes on. For us, this is culture – the stuff of life, the fabric of our reality, a global connector of communities. Culture is how we all communicate, what we wear, eat, see and listen to. It's how we behave and what influences us. Culture is living and breathing and changes all the time.

Brands, industries, products and spaces we didn't imagine could ever disappear, will... and fast. Because, if a brand or company can't (or doesn't) read, analyse and address the right shifts for it, it can easily lose that all important cultural relevance and become redundant very, very quickly.

The new values-focused consumer and employee speak both the language of meaning, not only profit, and they will work for and buy brands that share those values. It is no longer acceptable for organisations to sit on the fence – staying silent or culture-washing is almost worse.

Since the Black Lives Matter movement, businesses have had to take a long hard look at themselves to identify their gaps in diversity and the reasons for this, and from the explosion of DE&I activity since then, we can only assume the gap is massive – from C-suite all the way through the business. And when the memes go viral, you know it's a live conversation.

And equally, when HR "diversity" initiatives become fodder for comedy, it's a live conversation

View this post on Instagram
A post shared by Kae Kurd (@kaekurd)

But in this golden age of DE&I, we always, if not more than ever, need to look critically at how we can ensure the end result matches the objectives. This starts with clarification of the terms.

DE&I – or diversity, equity and inclusion – are usually lumped together, and in theory they could be... but unfortunately, in practice they definitely should not be conflated as they need to be approached in different ways to ensure long term success and change.

Diversity is a broad term describing people on their intersectional range of experiences and backgrounds, based on characteristics such as gender, sex, socioeconomic background, cultural upbringing, religion, education, sexual orientation, ethnicity and neurodiversity. And just to be clear, this transcends purely race.

Inclusivity is ensuring that all those people are not only represented, but also thriving because of their unique differences. This is manifested in equality in opportunities, resources and treatment both in the workplace and also with external partners.

Equity is a driver of inclusivity – recognising that people's intersectional experiences and backgrounds differ vastly and that this can affect their starting points. Some people were never given the opportunities to even be at that "equal and inclusive" stage, so it is great to see the green shoots of equity driving initiatives in the industry, creating fair access, opportunity, and advancement.

I believe DE&I done right breeds business success. My personal experiences have proved that a variety of perspectives and positive internal culture drives innovation, performance and growth – a win-win.

So what does it all mean for the current state of adland?

For me, advertising, marketing and comms have the power to push things forward. While there has been good progress in diversity (especially in output such as the variety of representation in campaigns) and even some of the equity buckets, especially around access to the industry (night schools, internships etc), the inclusivity bucket at brands, companies and agencies is where the work still really needs to happen across all levels. It's inclusion in the input both in-house and agency side – insights, ideation, creative, production, etc and crucially, in senior decision-making.

The Advertising Association's All In Census published in 2021 is pretty clear:

"One in three of our black colleagues in advertising didn't feel they belong in the advertising industry"
"1% black representation in the advertising c-suite"
"32% of black industry individuals we spoke to said they likely to leave the industry due to do discrimination"
It's deep, complex and nuanced, and part of the process is asking yourself the hard questions, and facing and addressing the uncomfortable truths about yourself and the business you are part of.

A big blocker is unconscious bias and stereotypes, enabling the perception of women of colour being collectively labelled as "difficult or aggressive" or people of colour not being "team players" if we challenge the status quo or an invalid view because we have different reference points.

Example questions: are there enough black people in key leadership roles throughout the business, with decision-making powers? If not, why not? Are we continuing the work beyond Black History Month?

For the limited POC who are in these positions:

Are they empowered within their roles to decolonise old-world policies on important areas such as hiring, internal progression and/or procurement. Are their opinions listened to and actioned?

Have they been placed there for the optics and to tick a box in a world where things have changed and organisations need to be seen to be doing the right thing?

Have they been put in positions of power because they reflect the traditional structures that have so long kept the status quo as is?

And, ultimately, should these individuals be the spokespeople for all POC – with the expectation from both white and communities of colour? After all, the homogenisation of communities is problematic too and erases intersectionality.

It's a personal choice, not the job of marginalised communities in the workplace to teach everyone how to be inclusive – there are countless tools, books, podcasts, and lists available to self-educate on how to practise anti-racism in your everyday actions.

We talk about organisations taking action, but at the end of the day a person's values have an impact on their professional life and those around them – and just because your company may be on the way to being more diverse, the mindset to foster inclusivity (and equity) is not a given.

Leila Fataar is founder of Platform 13


Campaign, October 2022

This weekend, the world’s (second) biggest party returns to the streets of west London for the first time since 2019. Notting Hill Carnival, a British summertime institution, attracted up to two million partygoers annually before the pandemic put a pause to its IRL plans. A relocation into the digital world failed to scratch the collective itch for a true “carni” experience and, three years on — with social distancing a distant memory in the UK — organizers are anticipating a record attendance.

As ever, Carnival’s main events fall on the Sunday and Monday of the August bank holiday weekend, with the former typically noted for its family-friendly feel. However, the unofficial start of this year’s festivities is being marked by the National Panorama Steelband Competition — the only ticketed part of Carnival — kicking off from 4pm BST on Saturday, August 27.

While this summer saw music festivals return en masse throughout the UK, tickets to some of the biggest and best were impossible to acquire for most. Notting Hill Carnival, on the other hand, is a free-for-all, and music — the great equalizer — is at the heart of both the carnival and the Caribbean culture it celebrates. Those descending onto the three-and-a-half mile route this year can expect to find all the familiar sights, sounds, and scents that make the carnival so legendary. Freshly-grilled jerk chicken and ice-cold cans of Red Stripe will be soundtracked by a choice of 38 different static sound systems dotted around, and just off, the main parade. In compliment are the inevitable pop-up side-street parties, hundreds of parade floats, horns, whistles, and steel bands accented by a sea of dancing smiles and a kaleidoscope of intricately crafted costumes. Oh, and dancing police, if you’re lucky (we guess?).

Some of the unmissable stages returning this year include the Channel One Sound System which marks its 40th year providing the people with roots and culture; Deviation, the brainchild of London-born DJ and long-time Virgil Abloh collaborator Benji B, which is taking over the Killerwatt Sound System on Sunday; Rampage Sound, which is ramping up for another carnival roadblock; and certified carnival institutions like Cecil Rennie’s sound system, better known as King Tubby’s, is set to return return along with original dubmaster Aba Shanti I.

“Carnival is an important milestone in the year symbolizing the huge impact of Caribbean culture in all its forms and influences
Travel site Trippin has created a helpful downloadable digital map featuring a curated selection of “the best sound systems, stages, parties, food stalls, toilet access and safer spaces across Notting Hill Carnival”, which can also be used offline⁠ in case of bad cell tower reception. We’ve also heard that community greengrocers Trapfruits have linked up with another Black-owned, London-based brand, BAYAB, for a special carnival punch collaboration. These will be handed out for free at secret locations throughout the weekend (so don’t expect to find these on Trippin’s map).

Rivaled in size only by Rio de Janeiro’s Carnaval, London’s Notting Hill Carnival is a colourful, three-day celebration of Caribbean culture spanning the musical to the culinary and everything in between. Since the late 1960s, the annual event has brought together generations of Brits (and beyond) through a shared love and appreciation of “island life” — albeit a slightly sunnier version than the British Isles are known for. This not only reflects the indelible impact the UK’s Caribbean community has had on modern-day Britain but speaks to the larger influence Black culture has had on the arts across the western world over in the past century.

But, like similar celebrations born of strife — think Pride and the Stonewall Riots — the Notting Hill Carnival is rooted in a slightly darker place: the 1958 race riots of its namesake neighbourhood saw a 300 to 400-strong fascist mob attack the neighborhood’s West Indian residents and their houses. Post-war Britain was inevitably a period of great change, but the cultural shifts that came with this could not have been predicted: while Britain was on the winning side of the war, the British Empire was fast losing territory and in 1948 the British Nationality Act gave Her Majesty’s colonial subjects the right to UK citizenship. Soon after this, the SS Empire Windrush arrived at the port of Tilbury, near London, bringing with her the first migrants from Jamaica, many of whom settled in the then-dilapidated west London neighborhood the carnival is named after. These two events would not only shape the UK but arguably popular culture as we know it today, impacting music, fashion, art, and culture worldwide.

“This is the biggest celebration of Caribbean culture”
Hypebeast spoke to a couple of long-time carnival goers ahead of this weekend’s event, including London-born photographer, Ollie Trenchard, whose work captures a side of carnival most don’t see: arriving at the crack of dawn, he shadows some of the vendors and performers working on behind-the-scenes build-up to highlight the full spectrum of love that goes into creating Europe’s biggest gathering of people. “Notting Hill Carnival coming back means everything! As a proud Bajan, this is the biggest celebration of Caribbean culture. It shows how it permeated all aspects of the UK from music to fashion and food. It’s such a unique event, it must be treasured.”

Leila Fataar, the founder of culture-catalyst Platform13, echoes this saying “(it’s) where everyone I know, regardless of age, color, the background comes together. Pure joy, pure vibes. An important milestone in the year symbolizing the huge impact of Caribbean culture in all its forms and influences”.

As always, expect surprise guests throughout the weekend. In 1997, a young Jay-Z surprised fans with an unplanned performance, and in 1999 a pre-Carter Beyonce Knowles performed with Destiny’s Child. Given the love shown to London by stars from across the pond, it shouldn’t be a stretch to think some will make the trip over for this year’s event.

In other news, adidas just released a special Carnival edition double-pack consisting of a Samba and a Campus, two of the brand’s silhouettes long-associated with dub culture, and Arsenal F.C. are launching a new jersey celebrating the club’s Jamaican supporters.

HYPEBEAST, AUGUST 2022

HURS, MAY 2022

Brand relevance is a discussion that has been on the rise, especially in the last few years, with brands like Lego doubling their profit during the pandemic due to the adaptability of their marketing and aesthetic, that has been in tune with the situation in the world. 

Janine Hearn-Odell, global brand marketing manager at Dr. Martens, however, points out that in the past when she worked for Vans, relevancy was not a word that was mentioned often. 

“In recent few years, relevancy has come up more and more,” she shares, “Relevancy is a confidence in your reason for being, that allows brands to reflect what is shaping society at the moment, but has to always be done with empathy and through active listening.”

Platform13’s founder Leila Fataar took it even further, and explained that brand relevance, and especially ground-up relevance, is critically important, because many brands today “hold a lot more power than possibly even governance.” 

“There is a role for these brands to play not only to reflect and normalise things that may not be normalised in communities, but also they need to realise they have the weight and power to be able to do that authentically, while having a back and forth with the consumer about where they do well and where they fail,” said Leila. 

When it comes to listening and having an open back-and-forth approach with consumers, Alex Hill gave an example of a recent TikTok trend that Dickies found themselves in the midst of, where people wearing their wide leg trousers decided to start turning the waistband over because it looks cooler. Something that was definitely not manufactured neither was it intentional, but gave the brand an incredible boost on social media.

“What is super interesting is seeing how your consumer takes your brand and appropriates it and adapts it as they want,” says Leila. “It actually has nothing to do with the brand! 

There’s absolutely no way that the flicking over of the waistband trend was in anyone’s mind when that happened. And I think what is really important here is to be able to pick up on that and authentically celebrate how your consumers use your product - that is what adds brand relevance.”

In terms of where relevancy grows, Alex touched upon brand purpose, values and how important brand stance is, as well as how adaptable those stances that brands take should be. “An obvious example is Patagonia - we know who they are and what they stand for, but would I buy anything that they create because of what they stand for? Is this something that is essential for brands to be vocal about now, in terms of who they are?”

Janine pointed out that now, more than ever, being vocal about who the brand is is crucial. “It’s also appropriate for us as brand people to make those decisions that make you feel what the brand is. Doing the thing that feels connected to where you started and why this is what makes it so uniquely you, makes you really memorable and meaningful to consumers. 

So purpose absolutely has to be part of it. Vans is all about driving creative self expression, where as Dr. Martens is all about breaking down barriers, and that’s what makes them so distinctive, as they sit side by side.”

Leila believes that beyond recognising those pillars of purpose, brands need to be prepared to take some of their profit and put it back into what their purpose means. “It’s really hard to do this in the corporate world. To realise that something is not a sales opportunity, but a brand building opportunity.” 

Keeping core values in mind and being aware of what the brand stands for is just a start, but as established before, consumers tend to take things out of context a lot of the time. 

Alex moved on to question how brands are meant to keep an eye out for new audiences that adopt their product, while still maintaining the core audience that it was set out for, especially from a fashion perspective. 

“There isn’t culture and mainstream anymore - they sit side by side,” said Janine. The honest question that was looked at at Vans was how to protect skateboarding as the brand grew beyond it. 

“We absolutely had to talk about skateboarding in a wider context. And it was about also acknowledging that people are on a different journey with your brand at different points in time. So if you picked up that product in a sports store, or at a skate store, you still have a right to be here and spoken to. 

It comes back to the consistent change and reevaluation of how you communicate your brand.” 

So far we understand that flexibility has to stand at the heart of brand relevance, as well as keeping in touch with how their own consumer circles adapt their products, and when new consumer circles emerge to reappropriate the product. 

But how can legacy brands identify their core and stay true to it, while not becoming completely out of touch with what they are meant to be delivering to their contemporary audiences? 

“It is harder, but at the same time, I think there’s a shift in people wanting to know the foundations of brands now. It wasn’t like that before and I think people are more caring about foundations now. 

Business is not just about the product, it’s very much about being bold and making a meaningful contribution,” explained Janine. “I think that’s where the big legacy brands come in because they constantly do that and are reevaluated all the time.” 

For Leila, the devil is in the details, because she truly believes that legacy brands are the ones that have the most richness in terms of relevance if they really look into their roots. 

For example, when she was at Diageo and was going through their archives, she discovered that Guinness had been selling to the West Indies and Africa since as early as the 1820s.

“The brand has a huge, huge relationship with Caribbean culture in this country, so we recently did a campaign where we highlighted that newfound relevance. The community felt heard and it was fantastic to see their engagement - creative decisions need to be made around that,” she pointed out. 

“It turns out it is such a huge part of this culture that some of my Jamaican friends didn’t even know it was Irish!”

Social Media Week, May 2022

You can’t turn anywhere without hearing about ‘the Metaverse’ these days. Why it has planted itself so firmly in our reality at this moment in time comes down to a perfect storm: Firstly, the global lockdown meant everyone started living digitally. And additionally, technological advancements and the mainstreaming of hardware and peer to peer platforms like Roblox and The Sandbox are driving new ways to connect, create and, ultimately, earn.

It didn’t take long for the industry to press GO: Roblox launched music, Nike acquired Rtfkt, adidas and Prada partnered on an NFT, and Balenciaga launched merch on Fortnite. By the time you read this, 1000+ other projects will have minted themselves into existence.

In this unfiltered discussion, curated and hosted by Leila Fataar, we explore the ultimate question: How can we stay human in the face of this virtual world?

THE PANELISTS
- Leila Fataar, founder, Platform13

- Wilson Oryema, Head of Metaverse at the Institute of Digital Fashion (IoDF)

- Shanu Walpita, Futures Director, Educator and Co-Founder of The Emergence of Tomorrow

- Galit Ariel, Technofuturist & author

LEILA FATAAR: The Metaverse is happening… fast. It feels like the metaverse is ‘new’, but Galit, tell me, have we been here before?

GALIT ARIEL: It's not new. During my college days in London, I almost failed my degree because I was in Second Life, and that was the '90s, right? We're seeing similar discussions and similar, I want to say, challenges, to what was happening then. The idea of Web 3.0 or the metaverse isn’t new at all.

FATAAR: Let’s discuss the differences between Web 2.0 and Web 3.0…

WILSON ORYEMA: Web 2.0 is, basically, a few centralized systems controlling the source of information and the removal of agency from the individual, so that most people's opportunities and experiences are limited by the big platforms. Web 3.0 is decentralization of the internet, or the mobile internet, that we've come to know before, so that individuals have their start point and that they can interact on any level with any individual or organization that they choose to.

SHANU WALPITA: Web 2.0 Is about the individual/the corporation, and Web 3.0 is about the collectivist statement, or the community / collectivist environment, in some ways.

ORYEMA: I'm super optimistic about what can be achieved through blockchain innovation and this onboarding to the metaverse. One thing that most people don't realize yet with regards to Web 2.0, is that they own nothing. They have no ownership or responsibility for any of the systems or products that they interface with. So what is coming through now, with things like Ethereum and Bitcoin, is that people can now be self custodians and directly interact with others on a peer to peer basis.

ARIEL: Web 1.0 was really about the connectivity economy – the ability to access information, create communities, and the worldwide network. Web 2.0 became the data economy, where the transaction seems free, but our data and the surveillance of our behavior is the transaction or the fuel behind it. And these two are super necessary to arrive at Web 3.0 - the spatial economy, where virtual space experiences or digital assets and experiences in a physical space become the web.

And a word of caution to all these world builders, corporations, and brands, because this is a space where people are not just participating but proactively creating. If these organizations are not careful, there may be a time they are not needed anymore beyond facilitation to create communities, activities, and content. So I think we're going to see a really big power shift through Web 3.0, eventually, but I'm concerned about who's trying to centralize it while using the term "decentralizing."

FATAAR: As we shift from Web 2.0 to Web 3.0, what does this decentralization actually mean? How do we make sure we're embedding safety, representation, inclusion, learnings from social media, etc., and fixing these issues?

ORYEMA: So there's a lot that's being done already. It's still very open in terms of what is possible and what is capable in these spaces. Of course you have people who are larger shareholders in the space, but there's still opportunity for everyone to kind of come in.

WALPITA: This power shift is super interesting. The way that I've been trying to think about this metaverse as a space for digital ecologies to grow from a cultural side rather than a monetary side, which is speaking more to accessibility. It’s like this modular thing that keeps moving and creating, there's always much more open to interpretation, and it’s much more accessible and inclusive in its own way.

FATAAR: What's the difference between life in the metaverse and IRL? How do we normalize these things so that we start living in that way IRL instead of only virtually?

ARIEL: There is already a really transformative phase moving through social media - this fluid state of being represented as ourselves or alternative selves in virtual space. And so the boundary we pretended we had between digital and physical spaces is going to be literally broken by virtual spaces.

WALPITA: I mean, to a degree, because there's a lot of people who are trying to acknowledge the fact that some of these avatars are quite limiting at the moment. What's really exciting is that there is going to be this more permeable kind of existence between real and not real, to the degree of us being able to create these fictional fantastical characters if we want to.

ARIEL: We already have it with beautifying filters on Instagram. And you have this anti-movement of representing yourself in an authentic place. But of course in the virtual space, it’s a given. And when we talk about regulation, it's also coming more heavily from users themselves. There's self-regulation – the community itself is, I want to say, more vocal, more proactive. We are more aware of the impact of Web 3.0 and our desires and our goals. People will go where the real value is for them. And the question is then, what will be that real value? What will be that space that interests people?

ORYEMA: It's different strokes for different folks. In that, Meta will build in their own experience and will have their own limitations based on regions they enter.

FATAAR: One thing that's obviously the biggest issue in all our lives is the climate crisis. We know the technology required to run the metaverse is going to make an already difficult situation even harder. What are our thoughts on its environmental impact?

WALPITA: The internet is invisible, to a degree. People don't really understand the impact that it actually has on our environment. Digital technology now accounts for 4% of greenhouse gas emissions. That's more than the entire aviation sector. And then looking ahead into 2050, the internet could consume more than a 5th of the world's electricity. Just to give you a sense of where we are at: a single transaction of Bitcoin, has the same carbon footprint as 680,000 Visa transactions.

ARIEL: There is this illusion that tech is something that happens somewhere and has no cost, cultural or physical. Which is untrue. My question is whether the Metaverse is becoming a space for increased consumerism. You can own a 1,000 dresses, but then you have to power it and maintain it. And it has its own economy of trading, forgery, and ownership. The ecosystem around it doesn't just end when you put your goggles on or switch on your phone. I somehow suspect that owning a real wardrobe might be less costly long term.

FATAAR: What is your opinion on ownership and copyright?

ORYEMA: I actually wrote a blog post a few weeks ago about how essentially all fashion, all pieces of physical fashion, will eventually be tokenized and sold as NFTs. So the idea is that although we only look at NFTs as digital images, NFTs at their core are just certification or proof certificates to say that you own something.

ARIEL: But NFTs are not always for ownership. That's something else the audience needs to know. Not always does the NFT say, "You actually own the full copyright." There are NFTs and blockchain technology that allow you digital ownership and there is the other kind, affiliation, which is slightly different.

ORYEMA: It’s a direct tokenization of physical items, and in the future, brands will tokenize their products themselves.

ARIEL: We're moving into new ideas of ownership and copyright. This was dismantled in social media because as long as you could share it, you owned it. It’s going to be really, really interesting to see how it shifts.

WALPITA: I come from a trend background, so this is something I've thought about so much over the years, and I've shifted my thinking around ownership and what it means to create. It’s very polarized. You've got brands taking huge ownership of their creative work that spans eras. Is that going to have an issue in terms of creativity in that sense?

But I was also thinking about hype culture and the idea of tokenism and collectibles – a big part of sneaker culture. For brands to operate in that space, I think the Metaverse could offer tons of potential. We know that it's been successful for Balenciaga and Fortnite, for example.

If they want to be in that space, they really have to understand who that consumer is, and that consumer is super complex. On the one hand, you've got kids who are like, "Boomerverse." But you've also got lots of people who are really excited about this idea of being able to create and buy and purchase and repurchase and own;this tokenizing of product. It's so complicated, but I'm also excited by that. It's going to be tricky and it's going to be super cringy as well.

FATAAR: Platform13 was created in order to make sure that the input of marketing and communications ideas is done by the people who brands are trying to sell to. So instead of just talking at them, the ideas come from the culture, from the community you're trying to be part of. Do you think that those big companies currently driving this space don’t have enough people at the input stage to ensure they are being as careful about everything?

ARIEL: The new era is not coming from Silicon Valley at all. It is coming from everywhere. This is a decentralization of innovation that is happening everywhere. It's reactive, it's a regulatory thing. I think it's a different world post-COVID.

FATAAR: I understand. But what I'm saying is from a branding and marketing point of view, I can see that hype. I can see this thing and I'm like, "Is it a shiny new toy? Or can we make sure that it's done properly?"

ARIEL: It's a shiny new toy that can be done properly.

WALPITA: But I mean, if you don't embed the power swap, if you don't embed the right people in those spaces, we will risk institutionalizing them again. What's beautiful is that what Web 3.0 and the Metaverse offer is a sense of collectivism, which would potentially reinforce these nuanced interests. But we have to be very careful.

Maybe a way to position it is, and I'm obsessed with this word right now, flex. This idea of flex as a way of looking at how brands and consumers are navigating this quite complex space between value consumption, social impact,, and also just, existing. It's flexing, we're flexing in and out of these realities when we talk about the Metaverse. The more that we progress with technology, the more that we're going to flex in and out of this as well. I think a lot of brands need to be much more in that mindset of not always knowing exactly what to do, but being open enough to do something. Maybe this new virtual world will push them to be more flexible, or will force them to be more flexible.
ARIEL: So you say flex, I like fluid. I think it's fluid. And that is very hard for brands, because they're used to…

FATAAR: Demographics vs mindsets.

WALPITA: Yeah. Get the metrics, right?

ARIEL: It's a whole new platform with a whole new interaction, so it will force them to adapt. It's a complete transition. You're bringing the real world and mixing it together with a speculative world.. It will work to a limit for a certain amount of time, but then, it will have a shift. And it will shift much quicker than in social media, because now we are involved.

FATAAR: What’s the gamechanger to shift this forward?

WALPITA: Awareness, hindsight. And we have to be aware of the fact that it's digital natives who are now co-creating these spaces. Whereas before, it was very much top down. And really enabling collectivism, collectives, community to build these spaces from the ground up, rather than from the top down.

FATAAR: Is this democratization of creativity a good or bad thing?

WALPITA: It's both. I feel like democratization obviously is really positive for young creatives in particular. It gives them space. And it also negates this idea of gatekeeping, which very much is an issue in terms of accessibility. All these issues can theoretically be sorted through this idea of ‘decentralization’. But at the same time, I think we also have to acknowledge the issues that it could present.

FATAAR: What do you think the future holds for us and what can brands do now?

ORYEMA: It will move towards everything that has the foundational layer of the blockchain. Brands and individuals can build on top of it, but there is no restriction to any individual party.

And we'll see this extend throughout the metaverse as all of these different platforms or systems - that's democratizing opportunity for all. In the future, all of this is overlaid through a seamless experience with the use of AR/VR. Our phones, which will become a lot more functional over the next decade, and will have such a seamless experience that encourages sovereignty, but also, allows for the safe space or various safe spaces of the users' world

But there's also a lot of people who also like the comfort of these centralized spaces where they don't want to think too much. So, I think there'll be opportunity and freedom for everyone to make their particular choices.

For brands, just play around with these tools in your spare time. It requires a whole different way of thinking in terms of how peer to peer systems operate. I would say for anyone to just buy your own NFT, set up the MetaMask wallet. Get involved.

WALPITA: Technology in the virtual world will absolutely impact the way that we experience these spaces and that, in itself, will also, then, push innovation in a different perspective, or in a different place than it is right now. And we can't deal with the same rules that we're dealing with right now. It just won't exist, or they'll change slightly.

On brands, co-create and make it accessible, and also, get people to challenge your perspective. And who also really are in that space who can tell you what that usability is like, and also, then kind of build equity into everything that you do in terms of strategy, that's my advice.

Take it beyond the product. It's about experience. It's about value, it's about new systems that aren't necessarily linked to an artifact or a physical product. So, what can you do as a brand to really tell a story in a completely different way that is completely inclusive and it's inclusive beyond binary?

ARIEL: My advice is to grab the opportunity to learn, reflect, and explore creative brands, playgrounds, to co build and evolve your presence, but also, your perspective on this space. There's a lot of time. Start now. And protect yourself, protect your users, protect culture, like really think about it because long term is not just like let's build it and make it stay. Like really understand, keep your finger on a pulse. Because again, in these environments, the down spiral is going to be very quick and very hurtful, and very damaging for yourself and the users. The duplication of the value system that we already have in this world is, for me, boring. We can go to social media for that. What is exciting for me in VR and is starting to come, is this alternative speculative, cultural space that I'm so excited about.

FATAAR: Like anything new, this is incredibly exciting. We're at the stage of build, and this input is essential for what's going to happen over the next few years. But if we don't get it right now, it's a waste of everything that's happened before.

HIGHSNOBIETY, MARCH 2022

Leila Fataar is a rare breed. A woman who can seamlessly marry commercial savvy with creative vision to produce brand projects you’ll actually want to watch, share or be part of. As a result, her company, Platform 13 embodies this same unique perspective. With her small but perfectly formed team, Leila enables credible conversations between brands and their audiences without the common mis-steps or clichés. 

We wanted to speak to Leila for this series because with 20 years of experience, from running a youth-oriented boutique agency, Spin, and senior positions in-house at adidas Originals and drinks heavyweight, Diageo, Leila is the person you want on your team to bring wisdom, flair and fun – always fun. 

__Why did you first want to start Platform13? __

We are in a time of radical transformation: politically, societally, culturally and technologically. Consumers want and expect brands to be more than the product or service being sold - it needs to make sense, to add value, earning their place in the culture or community they want to be part of. And brands / companies need to evolve to reflect cultural shifts.

Three key challenges I wanted to address impacted why and how I set up Platform13.

Where big brands use agencies which are perfect for letting your target audience know about the features or benefits of your product or brand to drive sales. My biggest issue was and is that these agencies are filled with the same types of people. For me, lack of diversity and lack of access for talent  at the input stage of creating a campaign is a LIVE conversation and something I have always been vocal about within the advertising and comms industry.

Additionally, this traditional way of approaching comms also misses out on HOW brands can positively impact the people they are trying to sell to, and the wider world. For us, positive impact comes in many forms. 

So, I set up Platform13 differently in all aspects. One essential way is that we curate our teams according to the brand category, the culture and community that that brand is trying to be part of - be it local or global. This means that any Platform13 projects have INPUT of the audience from the get go…and not only “representation” in the output.

__What were the first main steps you went through in the process of setting up Platform 13?__

For me, it was identifying what Platform13 could offer big brands that their traditional agencies could not. 

I literally wrote down the 5 things I knew I could do that complemented the current industry set up. Platform13 has never been about competing with the traditional agencies and we don’t want to - there is a role for both. In fact, we don’t call ourselves an agency at all.

I wrote a clear vision deck with the values I wanted the company to uphold. 

I definitely didn’t do a traditional business plan, because it was a new way of working, but I had to think about how the company would work financially.

__What were some of the main obstacles in the beginning?____

I do remember, from my first company, gaining clients initially and cash flow were the toughest obstacles, especially when you have no contacts or even from being in school for what I do now. 

As a new company, one of our biggest challenges was the beginning of the pandemic, when all brands just stopped work. Our business setup meant that we could quickly adapt, not only from a remote working POV but also the ability to offer what our clients needed at that point. 

Now, with Platform13, my 20+ years experience, a strong small core team, knowing those languages and clarity on our offer helps. I was lucky that Diageo came on as my first client as soon as I was set up. This allowed me to ’test’ this new non-agency concept and it worked well for me and them. 

“When starting a new project, aligned ways of working with your client is key e.g. do they want a weekly or daily update, in person, on email, on the phone.”

__You started with one main client, what advice would you give to people when they're looking to attract and sign up their first new clients?__

The main advice would be to try to and go for potential clients who may need your unique offer. Research well and put together an intro that ensures they understand that you have done your research about their company and their needs. Target your outreach emails, keep it short AND please, please check your spelling, grammar and names of the people you need to talk to. People get literally hundreds of emails a day. What’s going to make them stop at yours?

__What are the first things you make sure you address or cover when you start a new client project?__

Once they are signed, ensure clear terms on budget, timelines, deliverables and payment schedules in your agreement. When starting a new project, aligned ways of working with your client is key e.g. do they want a weekly or daily update, in person, on email, on the phone. 

Team curation is key - ensuring the right people are involved makes the projects what they are. The ability to work with a mixed and diverse team from a variety of backgrounds, life experiences and levels of professional experience is one of the reasons I started Platform13. 

__What would you do differently, knowing what you know now?__

Not sure if there is anything I would do differently, as for me, every step is an opportunity to learn. I am very very hands on with all aspects of the business, so what I am focused on now is building and developing the team.

__How do you stay motivated when energy for the project is a little low or if it's challenging?__

It's tough and as a founder, the buck always stops with you. You will have to shoulder the responsibility, especially when it's challenging. You have to face it head on.

I enjoy troubleshooting, so I like solving problems. You have to be passionate about what you are doing - remember why you started - this usually gets me through. Otherwise, it’s really hard to motivate other people.

__What do you love about running your own company?__

I learnt so much when I worked in-house, but I really struggled with in-house culture. So, in my own company, I can set my own rules and try new ways of working.

__What's the best advice you've had or heard for anyone starting out or starting something new?__

I know this is supposed to be an inspirational quote, but I am always a realist. My first accountant of my first business said: "Just remember, you are only 'in business' when you invoice, when someone wants to pay for what you can offer.” It stays with me always.


RIPOSTE, JANUARY 2022

ADWEEK, DECEMBER 2021

Ahhh Thanksgiving, a time-honored, extremely problematic American holiday that has bred another, equally problematic holiday, one enshrined entirely to the apex of capitalism and consumerism. That's right, Black Friday. And while this holiday is great for those of us looking to snag deals on new technology, it is something of a nightmare when we consider the drastic impact this heightened consumer frenzy has on the environment.

In this unfiltered discussion, curated and hosted by Leila Fataar, we explore overconsumption to answer the question: “Do we still need moments like Black Friday?”

THE PANELISTS
- Leila Fataar, founder, Platform13

- Dio Kurazawa, co-founder of The Bear Scouts

- Lola Okuyiga, buyer & former director of collaborations and special projects

- Leanne Elliott Young, co-founder of Institute of Digital Fashion

- Steve Dool, Head of Brand Partnerships at Depop

THE CONVERSATION
Leila: I think that sustainability needs to be redefined as "planet and people," because that's something people seem to forget. Fashion is the world's second largest polluter after the oil industry. People buy 80 billion garments around the world every year. 80 billion. Nearly 70 million barrels of oil are used each year to make the world's polyester. And that takes more than 200 years to decompose. I mean, these are ridiculous numbers.

So since the 1980s, many Western fashion retailers have been sourcing their clothes from countries with low labor costs, Di, looking at you, and poor environmental governance. What does this mean for things like Black Friday? Because without that, would these people be starving? What is the way forward for this? What do you think, Di?

Dio: I come from the Global South, and I come from a family who manufactures in the Global South and has taken advantage of globalization, or let's say the offshoring, production from the Western world. Everyone has to evolve. And what I mean by that is, I don't look at my family and say, "We rely on the pennies that we get from the Western world, and without those pennies, where would we be?" We have to disrupt the industry in a way that sees the supply chain and the brands partnering, but not partnering from "Yes, my partner in the supply chain is ABC," but partnering from a perspective of sharing gross profit margin. If I'm a supplier and I'm getting the cost of goods for whatever I create for a brand, why should I not also get a small piece of the pie of profit?

Leila: Yeah, but because of over-consumption, you get these big, fast fashion retailers that are selling things at five pounds, that to make is pennies. I mean, it's ridiculous. The margins are massive. What if the margins of the price of it are so small that it's impossible to do? Which means that somewhere, something's got to give... usually at that labor cost and supply chain further down the line.

Dio: It's not just the labor cost. I spent, let's say, three years in Bangladesh for brands I shouldn't mention. And I can say that there's a lot of unregulation, which is the reason why things are the way they are. I've sat in meetings where I'm, at the time, a product developer, meaning I go on a development trip, let's say for a month, get everything ready, and then the buyers come in to make decisions and to negotiate the cost. And I would be privy to this negotiation. The buyers would first go to Pakistan, and then they would come to Bangladesh, and the buyer would lie to the owner of the factory and say, "Hey, the guy in Pakistan is saying it's 10 cents less than what you're offering." Total lie. I know it's a lie. But what can I say? The owner of the factory is literally in tears. I'm a person of color and I'm hearing this person of color talk to this Western person and saying "Boss, please don't do this. If you do this, then we cannot lose the business." Cause look, not taking the business is bigger than taking the cents off.

But if you take the cents off, then what is missed? You mentioned labor cost immediately. Labor cost, yes. But what about innovation? What about basic maintenance of the factories? What about the future of the factory, as far as bringing in new business, bringing in new employees? It's a downward spiral. But it's all based on the fact that clothing is cheap.

Leila: Exactly. Why should clothing be so cheap? Leanne, from a digital innovation point of view, can people still have that feeling of expression and stuff that we love clothes for?

Leanne: The key thing we talk about as a company that's creating digital fashion is that we are not negating our physical world. It's how the IRL and URL, how the physical and digital, can work in unison, and how they can lay on top of one another, and what these experiences feel like. If you boil it all down, fashion is about expression. It's about kinship. Fashion is about expression. It's about kinship. And what we're missing is that when you actually all live in a digital age, and the fact that everyone thinks digital fashion is so abstract, but actually we're already sharing digital assets. As soon as you post something on Instagram, that is a digital asset. And it all comes down to the idea that if we, as humanity, really thought about how we could live in a more cooperative space, then the world would actually be a much better space, a greener space.

Leila: Steve, what are your thoughts on the impact of people, the structure, and how it feeds each other in a way? And to Leanne's point of view, this idea of the digitization of it?

Steve: I mean, it's structural, there's so many places that need vast improvement and complete overhaul. But on a fundamental level, if you are a consumer and you see a bathing suit, a T-shirt, whatever the case may be, sold for five pounds, how do you say no? Especially if you're someone who doesn't have a lot of disposable income? We can shout at the top of our lungs 365 days a year about how we need to make better choices as consumers, but we need to be more responsible and more conscious.

Dio: It's up to people like us, and to brands, to educate and explain and have that level of transparency. But there has to be a real reckoning with someone who just doesn't have a lot of other options financially. It's hard for a consumer to navigate when push comes to shove, when it comes to taking money out of their wallet. So I hope all consumers are educating themselves. I hope brands are being transparent about it. The responsibility is on everyone to do better in a way that’s hard to pinpoint, like, “This is what we should do tomorrow.”

Leanne: There's so many smarter ways to shop now. You can purchase something, and then there's an option or ability for resale, like Depop. The youth are getting more and more smart about thinking about their own ecosystems, their own sense of commerce. And I feel like we're in a really powerful time now, because as a customer, you can really make a statement. We've got these platforms where you can really amplify your message. And it means that there's much more knowledge out there.

Lola: Hype culture gets such a bad rap, but when I think about hype, I think about demand exceeding supply. Which is what we want, right? What I always think with sustainability is mindful consumption, and when demand obviously outstrips supply, then it means that you've got stuff that people aren't going to throw away. They are going to put it in the circular economy, or they're going to keep it and display it and sit on it or whatever. We live in this timeline-based culture, so "New In" is the most-shopped page at most retailers or brands. That is what is driving demand. We're literally scrolling down, trying to see what's new. Expecting consumers to make better decisions when things are quite confusing is quite hard.

Leila: Absolutely. I don't think it's as simple as going, "It's not the consumer," or "It is the consumer," or "It is the industry." It's going to take a village, all of us, to make the change. So, what is the solution? What is the short-term, medium-term, and long-term solution? Because to your point, what can you do tomorrow? I think where everyone gets stuck, they're like, "Oh my God, it's so massive. I don't even know where to start."

Leanne: Covid gave us this amazing opportunity where the semantics of fashion were really reconsidered. It gave us a point, almost like a breather, to think about the future of the industry. I feel like the fashion industry is like a big beast. It's like the Titanic. It's massive. And it's like, we're heading towards the iceberg, but it's too big to turn, everyone's on the top deck still playing, they're like, "Oh my God, I can see it." How do you remodel that?

I’ll talk about digital, because that's my space. With a digital asset from studio floor to shop floor, that asset is a digital asset, but there's nothing that has gone into production. And that can be worn a million times and it's still the worn asset. You can click through various different fabrics and they haven't even gone into production. You can see it in a python skin, but no pythons were killed. That's the beauty of that landscape. Those things seem so radical to even because it feels all so abstract. There's so many solutions, but incrementally, as the adoption of digital has become more and more normalized, we'll really see that shift in the landscape and have lots of sustainability.

Steve: Maybe there's a way to at least kind of lean into that unquenchable thirst that consumers seem to have around something new. That's just shifting it slightly into, you're not necessarily buying all the clothes that you used to buy to wear on Instagram or TikTok. You're maybe replacing some of those with digital. It's a start towards something that seems a little bit better.

Leila: Di, you've been working in this space for a long time. Out of all the stuff that you've been seeing, what do you think is the one that's a myth? And then also, what do you think is the one that has the legs, in thinking about the future and where that innovation could happen?

Dio: One of the myths is about circularity and recycling. We work with a lot of influential or high brands, and at the end of the day, if you have a recycled product, it's not 100% recycled. It's maybe sometimes 30 percent. If you're lucky, depending upon the fibers, up to 70 percent. And then if you want to push circularity, to bring back into the supply chain something that was 50 percent, which if I now recycle it again, it's even less.

However, I believe very much in upcycling, and in 3D printing. And I would love to see direct-to-consumer shipping. So it's not shipped to a distribution center or to a shop anywhere. It goes direct. That's a major improvement to the carbon footprint.

Leila: What's the blocker right now in your industry? What can we do straight away this year? What can we do next year? Are we doomed? Steve?

Steve: We are in the business of selling things that people like, that make them feel good, that they can express themselves in. I don't want to see another more consciously-made or ethically-made collection that's promoted with somebody walking through a fucking field and touching a tree. I can't relate to that. It has to look good. Do you know what I mean? And I know that that sounds frivolous. But truly, if we're selling the ideal, it has to be made well, mindful of the people who make it. We can start there.

Leila: One last comment, do we need Black Friday?

Dio: No.

Leanne: No.

Steve: No.

Lola: I'll say no for the big companies. However, I do feel like a lot of smaller brands and people I know use it to.. It is another peak for them. So I guess from a supporting small businesses point of view, it could be a thing, but I don't like the concept of it as in terms of just markdown. It's work. It's like a moment on the calendar, isn't it? People around, and then everyone knows to shop on that day, and if people are going to shop and you're not going to stop someone from shopping, let's least give them some -

Leila: Better options that are feasible and realistic. Yes, we should.

HIGHSNOBIETY, NOVEMBER 2021

This week's FRONTPAGE is an analysis of a leading question facing the industry: just how involved should corporations be in the dire social struggles defining our times?

Two weeks ago, Valentino launched one of this year’s most covetable luxury products. For a mere €590 (about $690), you could be the proud owner of a limited-edition black logoed hoodie, emblazoned with the words “VACCINATED,” of which 100 percent of the proceeds would go to UNICEF’s global COVAX program.

The idea came from Valentino’s celebrated Creative Director Pierpaolo Piccioli after seeing the overwhelming positive response a selfie he posted on Instagram had generated, in which he wore one of the "(V)accinated" pieces, following his second jab. And when Lady Gaga, Marc Jacobs, Instagram’s Eva Chen, and almost every other major industry figure “needs one,” it’s go time.

“I can talk about ruffles and bows, but sometimes you have to use your voice to say what you really believe, and I believe it’s our social responsibility to get vaccinated,” Piccioli told The Times’ Vanessa Friedman ahead of the launch of the capsule. “It’s not a symbol of freedom to not be vaccinated. It’s a symbol of lack of respect for others,” he went on.

The Italian fashion house is the latest to join a fast-growing list of apparel brands who are making their support of social causes a key part of their branding strategy. From Nike’s public support of Colin Kaepernick and Burberry’s long-term partnership with footballer Marcus Rashford on fighting child poverty to Louis Vuitton’s work with UNICEF, brands big and small are looking to find growth by unapologetically wearing their heart — and values — on their sleeve.

“More and more consumers care about environmental, social, and governance (ESG) issues; it therefore makes good marketing to weave those values into the brands' narrative,” says Luca Solca, Senior Research Analyst, Luxury Goods at Bernstein. “Think Prada and re-nylon, think Moncler and the Covid-19 hospital donation, LVMH and disinfectant liquid, as well as Valentino. They’re all examples of the same trend. Brands are right to update their behavior and discourse, adjusting to the current zeitgeist.”

But how much can brands (whose entire reason for existing is centred around growing their bottom line by finding new ways to sell you new physical products) actually drive lasting change? When is it genuine? What does “good” even look like? These questions are increasingly becoming more nuanced and polarized, as watch dogs like Diet Prada and Twitter are always lurking to catch fashion’s latest misstep. With real money at stake, brands can no longer avoid becoming more value-driven.

According to a 2019 study on value-driven brands by Deloitte, “55 percent of survey respondents believe businesses today have a greater responsibility to act on issues related to their purpose. Those failing to do so risk being displaced by purpose-driven disruptors.” It’s also bad for business in the long-term, with purpose-oriented companies seeing higher productivity and growth rates. Especially given that consumers are ready to walk away from the brands that don’t hold themselves accountable to the values we hope they’ll share with us.

At a time when our trust in traditional governing bodies is quickly fading and pessimism about social and political climates has reached a historic low — according to Deloitte’s updated Global Millennial 2020 report, more than 40 percent of survey respondents expect worsening situations, the highest ever recorded — we’ve looked elsewhere to those that can guide us. Brands whose role has always been to convince us they’re direct extensions of our identity — and are instrumental for how we want to be seen by others — have taken it upon themselves to save the day.

As social media has democratized the feed, a brand like Gucci has the same digital real estate and engagement frequency as that of your best friend (both live alongside each other on your feed). And brands have infiltrated every aspect of our lives by masking themselves as just that: our friends, our guiding forces. Those who best understand what values drive us emotionally win. As Deloitte states in its report: “As consumers are increasingly putting their wallets where their values are, stopping or initiating relationships are [now] based on how companies treat the environment, protect personal data, and position themselves on social and political issues.”

We’ve now come to a point where we’ve humanized brands to the extent where, by and large, we expect them to think harder, know better, and feel deeper. We’ve decided that anything shy of that embodiment just isn’t acceptable and doesn't deserve our time, attention, or money — the three ultimate pillars at the center of today’s brand competition. It’s a challenge brands have all too eagerly accepted.

“Brands are made up of people, and at the end of the day, we’re all humans,” says Leila Fataar, founder of Platform13, an independent full-service creative marketing and communications company that has worked with companies including Vans, Dr. Martens, and adidas on building cultural value for brands by working hand-in-hand with cultural voices around the world. “These human-first decisions can make a difference in how brands act; they have the weight and power to change narratives, if they want to. They also have the responsibility to do so.”

Fataar continues: “At best, they’re doing it because they really want to be part of the much needed change that has been accelerated in the past 18 months. The best brands and companies listen to their consumers and employees. At worst, it’s a performative action to stay relevant and be part of the conversation.” She adds: “It's a risk if it's not done with the right intention or without the guidance and collaboration from experts or people who are impacted. It’s a complex issue, as opportunity and risk are two sides of the same coin. [But] change doesn’t happen overnight. Long-term action and commitment is needed for social justice issues.”

What’s clear is that brands that are still on the fence of getting involved with social causes now that their societal role has changed, and as their global influence has continued to grow, shouldn’t ask "if" but "how" they can best get involved in an actual impactful way. At least that’s what our HS Rolodex community members think.

“If I was asked this question a few years ago, I probably wouldn’t have cared if brands spoke up regarding social issues,” says one member. “But today, I feel it’s crucial that they do. I’m a young Black woman from the US and I really felt seen when brands that I shop from posted their support of the BLM movement. A brand should support their customers like their customers support the brand. Creating that personal connection prompts me to want to support a brand [more].”

Across the board, however, the experts and HS Rolodex members we spoke to say they only want to see brands support social and environmental causes if it makes sense to the brand. Without a clear association, one can be walking on thin ice and risk coming across as green- or woke-washing.

“When fashion brands choose to become more involved with social causes, they can do this if their ambition goes beyond selling more products,” says one HS Rolodex respondent. “They need to choose carefully which social cause is meaningful to them. This can be through an authentic tradition, a cultural moment, or a long-term vision that connects the cause and the brand for the future. Short-term product drops and social activations can be perceived as cheap and provoke the wrong message.”

“I think Jacquemus does a great job in his sharing of LGBTQ+ rights, as well as Virgil Abloh and [his work] as an influential Black figurehead in fashion and culture,” says another respondent. “Brands should only get themselves involved where they’re able to genuinely add genuine thoughts, opinions, and social solutions, or have a reason for involvement, not when it’s just trendy or if it’s from a money-making angle.’”

Or, as Bernstein’s Luca Solca says, “[Brands] appear more credible when what they do is directly linked to the brand core equity. For example: Prada is recognized for nylon; using recycled nylon is credible. Charitable actions disconnected from the brand equity are commendable, but produce less of a positive impact.”

Credible impact is when Pyer Moss’ Kerby-Jean Raymond and Kering link up to launch Your Friends In New York, a platform designed to empower the next generation of innovators, which merges fashion, philanthropy, art, and music; when Burberry — one of the most widely-adopted brands in football culture — invests in footballer Marcus Rashford’s ongoing vision to support charities supporting marginalized young people in the UK and beyond; or when Jordan Brand and Michael Jordan pledge to donate $100 million over the next 10 years to fight racial inequality. Fast fashion giants pushing celebrity-endorsed messages about their new, more environmentally responsible capsules? Not so much.

“I would add Telfar as a brand that is delivering social impact through their unceasing vision of the ‘not for you, for everyone’ stance,” says Heta Fell, a Brand and Social Impact Consultant who has worked with brands including Gucci, Fendi, and adidas. “While most luxury fashion brands are slowly becoming slightly more inclusive, Telfar paves the way, and it’s clear it comes from the heart.”

Fell names Bethany Williams’ work with Manx Workshop for the Disabled, addiction rehabilitation centre San Patrignano, and The Magpie Project that supports mothers in insecure accommodations as key examples of how a brand can authentically put community impact at its core, as well as Ganni’s publishing of its Responsibility Report, and Loewe’s Studio Voltaire Award, which offers rent-free studio spaces to artists in London.

“Too many luxury brands aren’t getting the basics right in social impact and end up giving Diet Prada more fuel than we have right now. There’s too much performative impact work that ends up with brands burdening the very communities they are trying to help,” Fell adds. “I think it’s vital for brands to use their platform and resources to make a positive impact, but it needs to be done properly.”

She recommends brands take a community-first approach and directly work with communities to find out what they really need, and how they can contribute to lasting change. That includes brands needing to recognize community leaders as the experts in this work and valuing them as a result.

“The brand team that works on this needs to be intersectional and understand how to operate in worlds outside of luxury fashion. [Of course] a luxury brand’s social purpose also needs to be the obvious choice for the brand’s vision. This adds positively to the mental imprint of the brand in people’s minds, and keeps your brand top of mind when it counts.”

With that in mind, over to you.


HIGHSNOBIETY, OCTOBER 2021

Fashion’s freelancer problem exposed

Fashion’s freelancers say they are stuck in a cycle of financial instability and poor mental health. What would a more sustainable and stable ecosystem look like?

Nicky Pasterfield, an artist who hand-paints bespoke florals on everything from dresses to blankets for brands, says there is a dichotomy specific to fashion freelancing that has taken a toll on her mental health. “Month to month or week to week, nothing is guaranteed,” she says. “For the first two years of freelancing, I was living hand to mouth. Ironically, I was working on luxury fashion but I couldn’t even afford a pair of shoes or a new coat.”

Vogue Business surveyed 549 Vogue Business Talent subscribers in March — 192 of whom identified as freelancers working with fashion brands globally — to find out how, over a year into the pandemic, their work loads and mental health have fared. Of the respondents, 66 per cent said their financial situation had been unstable during the pandemic, compared to 19 per cent before the pandemic. Among the reasons cited by respondents were: fewer freelance opportunities, lack of contract clarity, poor pay, lack of supplemental jobs, uncertainty with clients and late payments. The most common issues included the irregularity of work, extreme pressure and stress, clients cancelling jobs with no notice or compensation, and ageism.

Freelancers interviewed by Vogue Business painted a picture of a challenging industry before the pandemic: six- or seven-day working weeks punctuated by loneliness and late payments, time wasted chasing invoices, and a race to the bottom on fees as more and more freelancers compete for opportunities. When Covid-19 hit, this instability was magnified. At the same time, those who did find work say they grappled with higher expectations from clients and the disheartening likelihood of less pay.

A 2019 survey by Edelman Intelligence for Upwork and Freelancers Union says 75 per cent of those working in the US arts and design sector are self-employed while Eurostat estimated that 32 per cent of Europe’s cultural workforce was self-employed that year, compared to 14 per cent of the whole economy. The Creative Industries Federation estimates that there are more than 660,000 creative freelancers in the UK. The pandemic led to event cancellations and budget cuts all round, leaving freelancers feeling more insecure. There are no unions that cater specifically for fashion freelancers, leaving an advocacy gap that allows exploitation to flourish.

The results of the Vogue Business Talent survey suggest that sweeping change is necessary, says Anna Codrea-Rado, author of freelance guide You’re the Business. Changes can be made throughout the freelance work cycle, from grassroots action to better brand policies and stricter enforcement of legislation, she says.

Giulia Mensitieri is an anthropologist and author of The Most Beautiful Job in the World, which exposed a culture of exploitation across the industry. She says that fashion is upheld by the illusion of “the dream”: if you can first endure hardships and free labour, you’ll be awarded on the other side by a glamorous role. To overcome this, Mensitieri says, “We should build another dream that transforms the idea of what is successful and glamorous, that re-enchants the idea of stability and collective goals.”

Lack of opportunities, barriers to access

In the survey of freelancers, Vogue Business found that many had been asked to work for free or “exposure”. Some supplemented their income with hospitality or retail jobs to cover basic living expenses. The cancellation of travel and international fashion events during the pandemic played a significant role in reducing freelance opportunities. A few respondents also pointed to the cancellation of weddings, proms and other occasions that had previously offered a supplementary income outside of the fashion industry.

University of Cincinnati students Draven Peña, Elie Fermann and Alexa Ream published a report called The Dream Will Never Pay Off in September 2020, detailing how unpaid internships uphold exploitation and financial instability in the fashion industry, drawing parallels with freelance work. “Knowing you are undervalued takes a toll on your mental health,” says Peña, who saved $5,000 over 18 months to afford a short internship in New York. “So many people go into debt for their fashion career, so they accept low payment throughout.”

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“I put myself into debt to build this career,” says creative director and stylist Jamie-Maree Shipton, who has been diagnosed with OCD and depression. “It’s soul-crushing. When you’re struggling financially, you accept rates and conditions you wouldn’t otherwise. That financial need among freelancers is being exploited.”

These issues are exacerbated among freelancers from underrepresented backgrounds. “There is an issue with access across the industry,” says Leila Fataar, founder of creative marketing and communications company Platform 13, which is modelling a new blueprint for freelance work. “People who don’t go to the right colleges or have the right contacts have fewer opportunities, but it doesn’t mean they have less talent. We teach soft skills like building a deck and invoicing as we go.”

The perceived scarcity of opportunities leads to many freelancers accepting more jobs than they can reasonably complete. Many survey respondents spoke of overbooked schedules and burnout. The combination of job insecurity and overwork, plus competition in a highly sought-after field and isolation, is mentally taxing.

But workers say they still can’t risk losing work to take care of their health. “When you’re freelancing and have no security, it’s even scarier to disclose mental health conditions,” says editor and consultant Hannah Tindle, who has been freelance since the beginning of her career, mostly on contracts with no holiday or sick pay. “Brands should make reasonable adjustments for freelancers like they would for staff.”

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Companies could extend HR, finance or tech support services to freelancers, suggests Jodi Muter-Hamilton, founder of consultancy Other Day and currently working on a report about creating better freelancer environments. Several other industries have rate cards, which offer guidance to freelancers and employers on minimum pay rates, helping to standardise pay and improve transparency, says Yann Allsopp, organising official of the British trade union Bectu. “Rate cards also cover overtime rates, bank holiday payments, unsocial hours, night or weekend work, things you probably don’t have as a freelancer because you don’t have the same protections under employment law,” he says.

“I’m sick of not getting the support someone would have in-house,” Shipton says. “It should be a no-brainer to support the people you’re hiring and if that isn’t happening, we need a body to report these issues to. There’s nowhere for us to turn right now.”

Advocating for a better system through collective action

“Workers are aware that something is wrong, but collective resistance to professional abuse is science fiction to them, largely because fashion freelancers don’t necessarily see themselves as workers,” says Mensitieri. In 2012, New York’s Model Alliance was formed to take on harassment and unsustainable practices in modelling. In February this year, SAG-AFTRA allowed social media influencers and content creators doing sponsored videos or social media-based voiceovers to join its union. As yet, other fashion freelancers have fallen through the cracks. Budapest designer Fabian Kis-Juhasz says she didn’t even know designers could join a union.

Of the fashion freelancers Vogue Business surveyed, only 3 per cent belong to a union, 7 per cent to an agency and 1 per cent to both. However, 16 per cent would be interested in joining a union, 20 per cent an agency and 44 per cent both. In total, three-quarters of fashion freelancers would be interested in a structure that offered pay standardisation, knowledge exchange, support, working rights and job security.

While agencies can help freelancers find work and negotiate fees, they can also take advantage, freelancers say. “An agent is not a union,” adds stylist and Fashion Roundtable founder Tamara Cincik. “Arguably you want both.”

In the UK, Bectu represents more than 40,000 staff, contract and freelance workers in the media and entertainment industries. This month, it will hold preliminary talks with fashion assistants — coordinated by Fashion Roundtable and @fashionassistants — with the end goal of setting up a union branch for them. Allsopp says there’s a strong appetite for fashion freelancers, but outdated stereotypes and misconceptions about unions have proven to be barriers. Allsop emphasises unions offer support, expertise and legal advice from first-hand knowledge of the field.

“If a brand mistreats you on any level, there is a third-party organisation that will step in and represent you, and that brand will be blacklisted,” explains Cincik. “That’s extremely powerful.”

Legislation is limited

Where does legislation stand? In New York, the Freelancing Isn’t Free Act mandates written contracts and full payment within 30 days. In the UK, the Late Payment of Commercial Debts Act is in place to curb late payments and give freelancers the right to charge interest on invoices after 30 days. “This is hard to enforce, and it’s still not illegal for companies to stipulate a 120-day payment term,” says Codrea-Rado.

Campaigners have rallied to fill this void. The No Free Work campaign by jobs board the Freelancer Club encourages brands and freelancers alike to condemn unpaid work. In August, the New Economics Foundation proposed self-employed centres offering free co-working spaces and advice services. And in February, fashion brands and organisations including Allbirds and Thredup called on US President Biden to appoint a Fashion Czar.

As legislation catches up, Codrea-Rado says contracts can protect freelancers. Most of the freelancers Vogue Business spoke to never send or receive contracts, citing fear that brands won’t want to work with them if they do. To brands, she advises posting rates with freelance job listings and seeking out diverse talent. “When you work with freelancers, be the first to talk about money, don’t wait for them to ask what the fee is. I’d also love to see freelance liaison officers, who can make sure freelancers are being paid and treated properly.”

The social capital associated with working in fashion makes complaints of financial and emotional instability difficult to raise or validate, a situation worsened by what some see as a glamorisation of mental illness on runways and in photoshoots. “There’s this energy innate to fashion that your wellbeing isn’t the priority. And that your job is do or die,” says New York-based freelancer Sara Radin, who often shares her struggles with chronic illness and mental health online. “The systems are stacked against us.”

“Work and pleasure can get very blurred, especially during fashion weeks,” says Hannah Tindle. “The industry is so problematic, but people are scared to speak about it in case our reputations get tarnished, and you’re meant to feel lucky to have a job in fashion. That’s how they keep you saying yes and not asking for more money.”


VOGUE BUSINESS, APRIL 2021

The advertising industry is in a very different place to where it was a year ago. For the creative brains behind the brand content we consume, 2020 saw a monumental shift in the way they work; animation and CGI technology replaced physical shoots and Zoom has become the new digital office space where creative ideas are formed. Creatives across the globe have been forced to pivot, spurring a new era of innovation, ingenuity, and opportunity.

Shutterstock’s 2021 Creative Trends report brought together creative minds to explore the developments, techniques, trends and technologies that will define creative expression in the year ahead.

While remote working has proven challenging in keeping team spirit alive, it has also allowed creatives to be in an environment that is welcoming to their “full selves” and has enabled more flexible, productive ways of working through new collaboration tools and technology.

“We’re actually living in the best possible time for us to be in the situation that we’re in,” said Julia Shapiro, VP, marketing, WeTransfer. “It was pretty phenomenal to see all the tools at our disposal that allowed us to communicate on all these different levels, making the execution process much easier.”

The cleverness of a story is the creativity

The participants agreed that technology has helped creative teams to connect and overcome some production issues, but Andre (Dede) Laurentino, chief creative officer, Ogilvy UK, noted that creatives risk becoming too narrow in their portrayal of the world.

“The problem is, after a year of this, you run out of the creative devices,” he said. “Yes, we need to reflect life, so this will evidently transpire into work. Suddenly your repertoire becomes very narrow because life has become very narrow. So it’s a creative process and learning curve finding ways of bypassing the narrowness of what life looks like today.”

With an increasing demand for engaging content, 2020 saw creators exploring with animation and stock content - something San Sharma, UK creative director, Wunderman Thompson believes will see creatives using more of a “hybrid approach” with these techniques in their work.

Truth is what you do when no one is looking

Culture has always defined marketing and brand marketers have a lot of power to dictate. The difference is that either brands are listening and becoming part of the cultural conversation, or they’re not, and that’s where they lose their way and get left behind.

“That’s the fine line marketers have to cross - on one hand, you want to have that authentic voice and position yourself as always doing the right thing, but you have to back up that marketing messaging with something that you’re going to do,” said Flo Lau, creative director, Shutterstock.

Brands need to think culturally about what’s happening in the world and where their service or product plays a role, and find the right cultural moment to take action, but this has got to progress from grand gestures to ongoing commitments.

“Creativity is not necessarily an ad spot,” said Leila Fataar, founder, Platform 13. “Where is the community? Where are the people? Deliver that information to them right there, that’s what they need. Creativity is going to be in what people are doing. Stop thinking like marketers and start thinking like humans in terms of creativity and interest.”

“This year forward we’ve got to hear commitments to action and I think there’s an opportunity for agencies to help those brands really galvanize consumers to help them on their mission to do practical things,” added Sharma. “Action needs to be sustainable, and it needs to be practiced.”

2021 has got to be a year of action, especially for diversity. But in driving the cultural output, there needs to be diversity in the input--not just the face of a campaign but the brains behind it.

“If the right people are on those creative teams in the input--brand and agency side -- you will have that embedded without a question about it, because that’s representative,” said Fataar.

The shift from me to we

“As agencies and brands, we need to facilitate people helping one another rather than just helping themselves,” said Sharma. “I think creativity and content will see a shift from premium to practical. We all need to work together better to make sure we can practically help people.”

Agility in creativity will be essential in moving forward in 2021, according to Lau: “We have to not plan so much and start building teams that have the ability to be agile. This is a big shift for marketers but something they are going to realize—the old waterfall process is just not working for the changing society.”

“The natural tension and correlation that exists between uncertainty, and that spurring creativity, is a really natural and human instinct, because as creatives and as humans, we want to find solutions and smarter ways to do things,” added Shapiro. “Trying to leverage that as a way to really spur creativity and culture is the best thing that we could get out of this entire experience.”


THE DRUM CREATIVE TRENDS FOR 2021

HIGHSNOBIETY X LYST THE NEXT 20, 2020

THE DRUM AGENCIES 4 GROWTH FESTIVAL, OCTOBER 2020

HIGHSNOBIETY X LYST NEXT 20, OCTOBER 2020

__Make it creative and memorable__

In a post Covid world, competition will be tougher than ever. Remember the people you are chatting to might have been on back-to-back video conferences and calls, so find ways to make your interaction with them memorable. It says a lot for the type of thinker you are and how you can flex to the audience you are trying to reach.

__Tailor your portfolio to the situation__

Personalise your portfolio to suit the company, brand or potential job. Keep it short and sharp. I always look for original thought with a simple comprehensive message, packaged in creativity and cultural relevance.

__Bring your POV to the table__

The rise and acceptance of remote working means that the talent pool has drastically widened location-wise, and opened up long-needed opportunities and access for creatives across gender, disability, sexuality, ethnicity, age and disadvantaged socioeconomic backgrounds, too.

In this transformational time, work that shows awareness of global issues will resonate. Create campaigns or work you would like to see in the world. Bring your POV to the table.

Lecture in Progress, August 2020

HIGHSNOBIETY X LYST NEXT 20, JULY 2020

__With the Facebook ad boycott, the push for inclusivity arrives in ad buying
__

As more advertisers pull money from Facebook over its handling of hate speech, attention has turned to how their dollars are funding similar divisive content across the rest of the internet, right down to how they segment audiences.

As June comes to a close, some of the world’s largest advertisers including Unilever, Verizon, Diageo, Honda and Coca-Cola have canceled ad buys with Facebook for at least until the end of July.

The spark, the killing of George Floyd last month and global protests it spurred, prompted a reckoning with racism for those businesses that made them quickly align themselves with protesters calling for Facebook to be defunded over its handling of hate speech. In doing so, advertisers have set a precedent for whom they buy ads from in the future. 

“This is a good start but anti-racist work must be continued and sustained, underpinned by tangible actions throughout the business and industry,” said Leila Fataar, founder of marketing and communications company Platform 13. “Truly acknowledging, facing, and addressing the uncomfortable truths about yourself and your business is what’s required. This is not a situation that can be ‘fixed’ overnight, or in a month or even by the end of the year.”

What the advertisers exiting Facebook are grappling with is how to reconcile their pledges to defund racist rhetoric with their traditional business practices on the huge social platform. Granted, many of them haven’t had to think critically about racism or their own role in perpetuating it until now. But in their rush to say they’re anti-racist, advertisers haven’t fully thought through the disconnect between their messaging and the actualities. Ads bought by advertisers including Walt Disney, Amazon, Microsoft via ad tech vendors appeared on stories spreading hate speech and misinformation about the protests between June 22 and June 26, per the Global Disinformation Index. This happened at the same time many of those companies were publicly rebuking racism.

“You’re starting to see advertisers think more carefully about where they buy ads and the impact that has on society,” said Jerry Daykin, media director for GlaxoSmithKline in EMEA. “Programmatic technology puts focus on reaching the right consumers but less on the context in which that happens. That has left many marketers distant from the voices behind authentic journalism and quality content.”

Daykin, alongside Electronic Arts’ former global head of marketing intelligence Belinda Smith, is leading a task force for the World Federation of Advertisers to come up with a series of steps their peers can take to ensure they’re not just promoting messages of diversity and inclusivity but are also funding businesses that do the same. “It’s important to make it easier for advertisers to manage their media to systematically challenge the funding of hate speech and misinformation, and instead to invest in building a quality internet,” said Daykin

Some advertisers are already redistributing media dollars to minority community publishers. For example, GroupM is building private programmatic marketplaces of those media owners on the instruction of some advertisers in recent weeks. “There’s a concerted push on minority publications right now to see what we can do to support them as well as make sure they’re a permanent part of working with advertisers,” said GroupM’s global vp of brand safety John Montgomery. 

Other advertisers are looking at Black-owned podcasts. AT&T is working with Pod Digital Media, a multicultural podcast network, to find sponsorship opportunities for its Cricket Wireless network. “AT&T wants to support Black voices by identifying a mix of podcasts that not only align to their audience but also have the scope for them to make long-term media commitments,” said Gary Coichy, CEO of Pod Digital Media. 

Making those commitments won’t come without careful consideration of existing media strategies. In fact, some advertisers are already mulling how to move away from classic demographics to find more nuanced ways to segment people based on their behavior, personal interests and life stage. Their rationale is that there are some segmentation practices that incentivize segregation. An example of this is the catchall term of BAME, which lumps together Black, asian and minority ethnic groups, who all have their own rich heritage, experiences and interests. 

“We’ve seen through our communities that this is an area that’s not improving as fast it could and the events over the last few weeks have underlined how important it is for marketers to act now,” said The North Face’s vp of marketing Steve Lesnard. He said the company would have more to say on how its own media strategies are changing in the coming weeks. 

“Segmentation is always going to hurt Black people,” said Steve Stoute, CEO of agency Translation. “Agencies will segment African Americans based on the fact that they represent 13% of the population, but that doesn’t capture the dominant cultural influence those people have. The value created by Black people is never going to equate to value earned through traditional segmentation.”

While these changes won’t compensate for advertisers’ systemic failures to foster racial equity in the past, it’s clear that they are no longer able to sit on the fence.

“When it comes to our welfare and sustainability messaging we’ve always talked about diversity and inclusivity, but I can honestly say that we’ve not been as strong about those issues as we have about animal welfare,” said Handsome Brook Farms CMO, Matthew Sherman. The death of Mr. Floyd and the subsequent civil rights protests have forced a reassessment of that stance, said Sherman. 

For example, Sherman has asked the company’s media and PR agencies to find minority community publishers and black influencers for his ad dollars. “We want to be more supportive at the lower end of the funnel to those companies that may not have steady access to funding because the likes of ABC and Hulu are going to be fine without my dollars,” said Sherman. 

“To show our support of the Black Lives Matter,” added Sherman. “We’re going to use our messaging and dollars to support social justice, amplify voices as well as make donations and identify new media organizations to work with.”


DIGIDAY, JUNE 2020

We speak with Leila Fataar, founder of Platform13, about why "cultural marketing" is really just "marketing,” and Adeshola Makinde, a Chicago-based artist turning billboards and advertising into mission-driven social commentary.

Makinde’s most recent work includes an augmented reality billboard demanding an end to police brutality. We also talk to director and visual artist Emmanuel Adjei, whose music videos blend surrealism with layered messages about oppression. 

Adjei’s “Shahmaran” video for Dutch-Iranian singer Sevdaliza drew international attention in 2018 and garnered dozens of accolades for its epic visuals and depictions of Black oppression.

Together they cover everything from how brands can be anti-racist, to advertising mediums like billboards becoming an artist’s tool to amplify Black voices. 


CANNES LIONS LIVE, JUNE 2020

THE DRUM, JUNE 2020

‘It’s time to be vocally and proactively anti-racist’

The murder of George Floyd in Minneapolis and subsequent Black Lives Matter protests have sparked a global – and long-overdue – examination of systemic discrimination against black people in all societies and industries. Leila Fataar, founder of creative marketing and communications company Platform13, looks at what needs to change in fashion. 

Systemic racism in all industries is so complex that no amount of apology will do. Official “statements” and financial donations are appreciated, but tangible and accountable action is needed. Brands and companies have a responsibility to play an active and pivotal role in trying to solve global issues.

For an industry that has the weight and influence to make a positive impact at scale, the past few years have brought some of the most offensive products and tone-deaf campaigns in fashion, from luxury to the high street. However, the sales kept coming in.

In the workplace, racism is lack of thought and empathy; it is unconscious bias and old-world policies on hiring, agency procurement, promotion and campaign production; experiencing and internalising micro-aggressions on a daily basis, often at the hands of colleagues or employers; perceptions about POC [people of colour] being “difficult”, “aggressive” or “not a team player” if they challenge the status quo; being perceived to have an invalid view if POC have different reference points. And so on.

White CEOs and senior industry leaders need to hold a mirror up to themselves and their companies, even if it is uncomfortable. They need to drive for and champion horizontal, top-down, proactive, vocal, practical anti-racism training. This will mean all brands, agencies and companies across the industry formulate long-term, sustainable strategies, rather than short-term actions that are a response to a “trend” or this moment.

It is no longer enough to have vertical “diversity and inclusion” departments in the human resources function. It’s not the job of the POC in your business to end systemic racism – it is the responsibility of every non-POC person in your business to acknowledge what is happening and take responsibility for that transformation. We need to move past the “we stand by the black community” statements to proactive actions, starting with internal structures.

Being proactive and making changes from within will reduce the risk of inadvertently offending people with tone-deaf campaigns and, most importantly, will move things forward.

It’s not enough to be quietly non-racist – it’s time to be vocally and proactively anti-racist.

I spoke to voices who have worked within the fashion industry about their experiences, and how they think we can achieve meaningful change.

‘Hire more black people in integral roles’ – Tennesha Vanterpool, sales and project manager, Phoebe English 

Just as there is a glass ceiling for women, there is a glass ceiling for black people. We make it to the stores, and maybe into the lookbooks and campaigns, but the higher up the chain you go, the fewer black people there seem to be. As someone who has worked with brand founders and directors, there is something halting progression.

The industry needs to create space. Hire more black people in integral roles and allow staff to grow within the company.

I was at [denim brand] Edwin for six years and learned so much. My boss saw how hard I worked, how much I cared, and he fought for me. When I progressed from retail to wholesale after one year, the creative director at the time encouraged me to be me, and make my role my own, so naturally, I flourished.

And for the people who have made significant progress: no more gatekeeping. It is up to us to make things better for our peers and the generations after us [and help provide access].

The fashion industry as a whole needs to stop and listen. We all know the problematic history of representation within the industry, yet we’ve seen little change. That means that either someone has actively chosen not to listen or absolved themselves of the responsibility.

There is also a lot to be said for humbling oneself. People need to be way more open to constructive criticism and work towards creating real change, rather than sticking a band aid on the issue.

‘Financial inequality is holding black people back’ – Foday Dumbuya, founder and designer, menswear brand Labrum London
Financial inequality is one of the key factors holding black people back in the fashion industry – for instance, difficulty securing vital funding either from financial institutions, venture capitalists, or friends and family.

Advocacy from fashion journalism and key organisations also holds back black people in fashion. Recognition of black creativity is being appropriated by better-funded, better-advocated white-owned brands.

Success should be based on meritocracy, not on who you know. Black designers often lack the network that white designers have through their education and social network, which is further propagated in fashion journalism.

I will continue celebrating and educating others about my West African culture. I will continue supporting other black designers.

The industry needs to stop tokenism – there is room for more black designers. Democratise fashion PR and help promote unrecognised brands and give them a platform. Set up purposeful black mentorships between successful black-owned brands and unrecognised black-owned brands. 

‘It will uplift everyone once black talent matters’ – Lola Okuyiga, special projects and collaborations consultant, who has previously worked for Browns, Asos and Topshop
Businesses need to address where they’ve gone wrong in the recent past and now. Review black and POC exit interviews and start examining turnover rates of these groups.

Being in an environment that’s not optimised for you, or is even toxic for you, while trying to prove yourself relentlessly, is exhausting.

Review black talent positions in your organisations. What support do they need? Don’t just rely on them to speak up.

Review any past HR complaints, no matter how small, that are relevant and have been swept under the rug. If you or your  organisation have been complicit in causing trauma, you need to resolve it or have a real plan to ensure these things do not happen again before making a plethora of diversity hires. It’s better for retention and is the right thing to do.

Fashion is notorious for only doing “the right thing” when people are looking. This isn’t about optics. If that’s what gets progress signed off then fine, but this needs to be a lasting culture change within your organisation and therefore the industry.

It’s not a trend. If you treat it like one, you’ll get left on the wrong side of history.

Review the pay structures, hierarchy and the widely held ideas of what’s OK in terms of talent pipeline, as well as the working environment that all talent is entering, as it will uplift everyone once black talent matters.

Fashion thrives on exploitation, overworking and underpaying in many organisations. Black talent, especially in entry-level roles, is far more susceptible [to lack of progression in roles], as employees often don’t have the privilege of financial cushioning because of wider historic fiscal inequality.

The whole model is flawed and needs reform. Fashion retail, as we know is in crisis, and it’s no wonder if talent isn’t able to move up the ranks, be heard and placed in decision-making roles.

Your customer is diverse. Business teams should reflect that from top to bottom. You will end up with better product, ideas, and execution.

I have no idea why the boards of young fashion businesses are predominantly made up of middle-aged white men. We have now entered the age of the relevant CEO.

DRAPERS, JUNE 2020

HOW BRANDS CAN ACTUALLY TAKE ANTI-RACIST ACTION

The tragic death of George Floyd has erupted a volcano that has been simmering for a very long time. This time feels different, and hopefully it will be. It’s the first time I have seen non-POC vocally acknowledging and understanding their privilege (or at least trying to). Some are finally as outraged with bias, prejudice, and racism as we have been for so long. The culture, so influential in fashion, sports, food, and music, cannot simply be separated from the reality of black culture. Yet, those proclaiming to love the culture, cannot not understand the anti-racist work that needs to be done.

Within brands and companies, unconscious bias and prejudice are some of the most dangerous forms of racism. They manifest themselves in many ways — it’s a lack of thought and empathy for black colleagues and their race-based struggles resulting in us experiencing and internalizing micro-aggressions on a daily basis.

It’s the old world policies on hiring, agency procurement, and campaign production. It’s a perception about us being “difficult or aggressive,” or “not being a team player” if we challenge the status quo or an invalid view if we have different reference points. And so on.

These things may seem small, but they accumulate and add to race-based trauma. It’s deep and complex, and part of the process in becoming a true ally is asking yourself the hard questions, and facing and addressing the uncomfortable truths about yourself and your business. And while there isn’t a set checklist for brands to be checked off when it comes to being an inclusive organization, the following points and questions need to be considered.

Know Your Privilege, Educate Yourself
Your privilege isn’t left at the door when you go to work; it impacts your professional life and those around you. It’s not the job of POC to teach you how to be anti-racist — there are countless tools, books, podcasts, and lists available to self-educate on how to practice anti-racism in your everyday actions.

Ask yourself: Are you actively seeking to educate yourself and your network on the importance of anti-racism? Are you aware of offensive (especially "casually" offensive) terms, phrases, or questions? Are you aware of your history? Are you listening to black people in your life, friends, family, or people that you look up to and follow on social media? Are you calling out transgressions and questioning friends and colleagues on words and actions that are casually and overtly racist?

Commit Beyond the Feed
We need to move past the solidarity statements on the feed and take action. Yes, it can be difficult to know what to say, but empty messaging or silence is worse. Reading and analyzing shifts in how people are feeling and being human-centric is a big part of cultural communication. Your audience is watching how you act at this time. Be honest, and acknowledge your failings as a brand. Your initial message is important, however, transparency would resonate more. After this, create a credible task-force and listen to those impacted to audit your company. Collectively come together with similar brands for industry-wide change and create sustainable and long-term tangible and actionable solutions from your findings.

Ask yourself: What is the motivation and intention of the post? What is the tangible action behind the statement? How will this statement be actioned beyond marketing — and instead become part of long-term sustainable change and transformation? Is your brand or organization organizing internal anti-racist education? What are the areas within your brand and industry that you and your brand can impact in the short- and long-term?

Clean Up Your House
Executive Leadership
It’s not the job of POC in your business to end systemic racism in the company — it starts with holding a mirror up to the decision makers. In the workplace, it takes the C-Suite and senior leaders to champion a horizontal, top-down proactive, vocal, and practical approach to anti-racism. It’s not as simple as putting a POC in charge of a vertical Diversity and Inclusivity department, even if they are on the board.

Ask yourself: Is the executive board diverse and balanced? If not, why not? What and how can you change that? Are there enough black people in key leadership roles throughout the business, with decision-making powers? And for the few POC in these seats of power, are their opinions listened to and actioned? What are the specific areas (HR, supply chain, marketing, etc) that need to transform to make the overall workplace more inclusive?

HR and Procurement
Look at who and, importantly, how you work with people from black communities. If you are hiring, they may not have what your existing bias defines as the “ideal” profile — they may not have the same education or the same contacts, but the talent is there. Same goes for your partner agencies — challenge them on their black representation and activity. The more inclusive the input, the more inclusive the output. This could also prevent the likelihood of cancelling callout culture, usually instigated through tone deaf campaigns that can cause additional pain to the community and also be damaging to your brand.

Ask yourself: Are your teams diverse enough? If not, why? Challenge HR and recruiters. Are POC paid equally? Where and how do they recruit their talent? How can we attract more black talent to the business? Have I put that CV on the "maybe" pile because of the name or education? Is one “bad” or “not ideal” experience tarnishing my decision? Am I looking for the safest option? Am I looking for someone who I can relate to and mirrors my experience or background? When interviewing or meeting new agencies, is my unconscious bias impacting my hiring decisions? Are your agency personnel diverse enough? If not, why? Ask them about their policies.

Within the Teams
Within big brands and companies, POC make up the minority — understand that this in itself is difficult. We look different, we dress different, we talk different. Also, being the only one on a team may make us feel like the token POC, which comes with a lot of pressure. Ask questions and listen to your black colleagues. Our experiences and points of view are valid, even if you don’t agree with it or you have not experienced it. Diversity is proven to breed success.

Ask yourself: Do I use ‘“funny” or “jokey” yet casually racist terms, phrases, or stereotypes? Does anyone else, and have I challenged or reported them? Are POC team members comfortable enough to speak up? If they do speak up, is it actioned? Do they feel like their opinions are valid? Are they struggling with world affairs related to racism and expected to show up and deliver that presentation? How can I help take the pressure off?

Assess Your Brand, Action Change
Brands have the weight and influence to make impact at scale. Be self-reflective and considered. Consumers want and expect brands to be more than the product or service being sold — it needs to make sense, to add value, earning their place in the culture or community they want to be part of. For us, positive impact comes in many forms. But it does mean respectful collaboration with the people who represent, create, and shape culture from grassroots all the way up.

Ask yourself: Where is your inspiration from? Has your brand profited from POC culture and the community? How can I collaborate with that community? How can I contribute to that culture? How can they become part of gaining the benefit, financially?

Change the Narrative, Invest in Progress
The role of brands has never been more important to play a crucial role in trying to solve global issues and help their consumers navigate the world they live in. Use your brand channels to educate and amplify inclusive campaigns, messages, and actions to your broad audience. It may seem like a risk, but risks are necessary to champion change and progress. And follow through with tangible actions to push things forward with intent and purpose, with courage and empathy.

Ask yourself: Are the brand actions opportunistic and damaging rather than mutually beneficial? Are we using our channels to make people think about racism, educate, or change opinion? Why not? Are my brand partners inclusive or do they support racism in any form? Is my brand driving innovation with sustained contribution to change and the restructuring of oppressive systems?

Open Up the Pipeline
The only way to transform the industry to the ideal place is to open up the talent pipeline and pool, and ensure non-token, balanced, and multicultural people on all levels. This must not be measured by a target quota or statistic, this needs to be a permanent and sustainable increase in lack talent. Consider what biases or changes you and your brand need to address to ensure POC are not looked over for a promotion. Having a different “communication style” and “behavior” should not be reasons.

Ask yourself: How can I and my company be part of career days and career guidance at school level? Is my unconscious bias impacting my decisions on promotion of POC? How can I recognize those? How can my company support an internship financially? How can we instantly increase accessibility for black talent: fairly paid internships, mentoring, graduate schemes, funding, interview/CV skills workshops, and fairly paid work experience?

Leila Fataar is the founder of Platform13, a London-based independent full service creative marketing and communications company building cultural value for big brands by working hand-in-hand with cultural voices around the world.

HIGHSNOBIETY, JUNE 2020

__6 brand lessons from Michael Jordan's The Last Dance
Platform13's Leila Fataar reflects on takeouts from docuseries smash.__

The 1990s were, for me, one of the most influential periods of culture. Growing up mixed race in apartheid South Africa, black American culture of the 90s was the "dream", from the golden age of hip hop to the rise of sportswear as fashion, when sports such as basketball were much more popular than football. 

The Last Dance is a runaway hit, seen not only as a sports documentary but as an important cultural series with multiple lessons for building brand awareness, equity and growth. According to ESPN, the docuseries averaged more than 5.6 million viewers per episode during its run and is pulling in nearly 13 million viewers an episode from on-demand viewing while on Netflix; the numbers hit 23.8 million at the last count. 

Here are my main takeouts from the show.

__Lesson 1: Diversity breeds success__
Michael Jordan is definitely the star of the series, with his basketball skills earning him the uncontested title of the GOAT. For me, coach Phil Jackson embodies contemporary leadership, truly understanding the roles of each team member, setting each up for success in their own way, matched to their own characteristics, and ensuring that the diverse mix of talent and personalities worked together to dominate the courts. 

__Lesson 2: Playing the long game at the speed of culture__

The early release on ESPN in the US and Netflix internationally engaged the core audience by filling a void for sports fans, as sports season was in effect cancelled, and sneakerheads. In a perfect stroke, the docuseries attracted a new and wide global audience at a time when everyone was home. Stories of resilience, perseverance and unseen footage served to entertain and uplift people while the world was feeling low. Nostalgia and commentary flooded people’s feeds through shared and earned media, driving further intrigue and interest from people who had no previous interest in either basketball or sneaker culture.

__Lesson 3: Representation matters__

Culture is the stuff of life, a reflection of reality and a connector of communities. This experience has always underpinned my way of working and are the key pillars of the Platform13 manifesto. Jordan and the Chicago Bulls weren’t just a basketball team, they were a global phenomenon in an age without social media. In the 90s, for what felt like the first time, people who looked like us started to make massive impact across colour lines, cultures and generations. This was important to move things forward.

__Lesson 4: Challenging convention for category leadership__

Even in the face of resistance from Jordan, the legendary partnership with Nike went ahead. This long-term investment by a brand in a then "emerging" sports star was forward-thinking – rather than using Jordan as merely an endorser, like Gatorade or McDonald's did, Nike quickly created an entire product line for him and the Jordan brand was born in the mid-80s. Identifying true cultural voices and collaborating with them in new and brave ways over a long period of time builds deep brand equity, fame and ultimately ongoing sales. Throughout that time, as with any brand, there are ups and downs in "relevance", but according to Forbes, the Jordan line does approximately $3bn in annual sales compared with Yeezy, which was expected to top $1.5bn in 2019.  

__Lesson 5: Cultural credibility for long-term value__

Jordan is a sports icon, a brand and a product. His long-term Nike partnership is a masterclass in cultural marketing – finding a unique intersection between brand, community and culture to occupy. The Air Jordan, like the Converse All Star, Vans Old Skool and Adidas Superstar or Stan Smith, is a badge of cultural legacy, especially for those of us who understand the back story and its impact on culture and community. The docuseries is re-energising for us and provides an opportunity to educate a new generation.

Together, Jordan and Nike transcended from sports into culture and entertainment, with moments such as the Spike Lee ad and endorsement from rappers and the music world, and became an iconic shoe with a living active icon. Post-retirement, the Jordan legacy continued into 2020 through meme culture, with style cues still present in luxury sportswear brands such as Fear of God, collaborations with Dior and cultural movers such as Ghetto Gastro and Melody Ehsani, plus the effervescent support of everyone from Jay-Z to Billie Eilish. Wearing Jordan product says something about you.

__Lesson 6: Brand storytelling drives brand growth__

Authentic and compelling storytelling, delivered to the audience at the right time, in the right channel (Netflix during the pandemic) and on the right timeline (in this case, a weekly docuseries to drive excitement and conversation), will always drive hype around a product and can ultimately result in short-term sales. According to Complex, Jordan sales as a whole are up 40% compared with the previous month on StockX since the premiere. The company has also seen spikes in traffic of 68% on average to its Air Jordan pages every Sunday, coinciding with the release of new episodes.

The pandemic is a rare opportunity for future-thinking brands to captivate a switched-on audience by making cultural relevance a growth driver, creating impact for target audiences by working with cultural voices and building cultural leaders.


CAMPAIGN MAGAZINE, MAY 2020

As the lockdown eases, KFC steps up advertising and shifts messaging

KFC is back on TV across the U.K. and Ireland this week after it pulled ads last month while all its restaurants were temporarily closed. More ads are being bought across more channels now, however, as more than half of its 960 restaurants are set to be opened by the end of the week. 

KFC has borrowed imagery from its fans’ fairly mixed attempts to cook their own version of the fried chicken while its restaurants were closed. A small number of fans started sharing their attempts in the days after the closures before KFC co-opted it using the #RateMyKFC hashtag. The advertiser’s agency Mother then used the most conspicuous creations in a TV ad where the advertiser thanks fans but explains they can stop now that its restaurants are delivering to people’s homes via services like Just Eat, Deliveroo and Uber Eats. 

“For us, advertising remains a crucial part of the overall communications strategy and so we’ll be looking at the back end of the year for when we get back those originally planned levels,” said Jack Hinchliffe, marketing director at KFC UK and Ireland. 

Despite this stance, Hinchliffe isn’t committing to any long-term media plans just yet. Indeed, 90 days is the new long term for many advertisers. Half of them have cut their planning horizons in half, and are only committing to media less than three months out, according to an Advertiser Perceptions study of 151 marketers.

The decision to focus on delivery was a “big shift” in messaging for KFC, said Hinchliffe. 

Restaurants across the globe have pivoted to a delivery model as nationwide lockdowns have kept diners at home. Those orders have softened the impact of the lockdowns for KFC in the U.K.and Ireland where sales have accelerated in recent weeks, said Hinchliffe. Sales at stores open for more than a year fell 8% at KFC in the first quarter ended 31 March. 

“We’ve seen for some time that delivery has been growing for us as our customers look for more convenient and easier ways to access food and it’s been a key growth channel for us over the last year, said Hinchliffe.”

KFC’s ad is emblematic of two big challenges advertisers are trying to nail as lockdowns ease: the first is messaging and how they show empathy in a way that can’t be construed as profiteering during a crisis: the second challenge comes down to producing ads at a time when people still need to enforce social distancing. 

“Even when total lifting happens, behaviors and attitudes may be changed for good,” said  Leila Fataar, founder of cultural marcomms company Platform 13. “Life inside the new guidelines means evolving spaces for brands to be both useful and enjoyable — all need to be taken into consideration in the coming months.

It’s an opportune time for advertisers like KFC to increase their spending. The cost of advertising has dropped across media, from TV to digital where there are fewer advertisers to drive up competition. TV ad costs have plummeted by as much as 50% in the U.K., according to the Advertising Association’s Warc Expenditure Report.

DIGIDAY, MAY 2020

The sequin-clad crowds are not gathering in their thousands in Coachella Valley, California, in April. São Paulo will not welcome Lollapalooza Brasil. There is no Snowbombing in Austria and Kendrick Lamar won’t be headlining Glastonbury.

This is the year that festivals came to an abrupt halt, postponed or cancelled across the globe due to the Covid-19 pandemic.

But in the gaping void lies a chance to innovate and an opportunity to inspire an audience desperate to gather in fields once more and lose themselves in the music. Brands have a chance to show their commitment to artists while sating the needs of fans and creating platforms to connect communities.

Campaign spoke to experience creators and culture makers about the prospect of a summer without festivals.

__Leila Fataar
Founder, Platform 13__
Music and live entertainment is so ingrained in British culture – we love it. But for us at Platform13, culture is the stuff of life, a reflection of reality, a global connector of communities. That reality is clear: Covid-19 will affect everyone, from Beyoncé to your pub band. It is the leveller and will challenge the live experience like never before.

In recent years, digital platforms such as Spotify, SoundCloud, YouTube and Boiler Room have been indispensable in scaling music distribution and exposure, but you can never take away from the festival, club or live environment experience. The British also have a long and varied heritage of creating music culture through adversity and limitation, such as niche-to-now-mainstream genres like punk, grime, jungle, house and even rock. It may be through this difficult and unprecedented time that artists find a different creative voice and message and new ways for their music and that live experience to be delivered. 

But there is a more urgent and immediate need – of survival in a collapsing industry. This can only be done if the behind-the-scenes companies – brands, streaming platforms, record labels, big management and publishing companies – come together to work hand in hand with the artists and community impacted and find ways to change the way they they work together. Create short-term rescue packages and, medium term, new ways to pay and financially support artists and their teams (production companies, stylists, content creators etc).

And, more than ever, us fans really need to support our favourite artists with our money. And for live entertainment, especially for independent venues and promoters, postponement rather than refunds would be essential. 

Brett Booth
Partner, Urban Nerds
We know a lot of music fans and followers live for the weekend, when they can let their weekly worries off to the sounds of the moment. But even more thrive on the spike moments of the summer, when the highlights of the year and potential lifelong memories are forged. We’re talking about the day parties, festivals and international music-based trips and tourism.

A summer without festivals will be surreal for fans, but more importantly the ability of music artists and supporting creatives to still be here, with us, doing what they do in summer 2021 will rely on a different kind of "fan support".

Donations, paid digital engagements, merchandise orders, bandcamp purchases and opportunities like Mixcloud Select, where you can directly subscribe to music-based content creators, could be a great way to support these hard-hit creatives that could really use our help getting through the months ahead.

Never stop supporting. Think about how we can hire these grassroots creators of culture into digitally, remotely briefed and executed opportunities on brand-based and commercial work that pivots and perseveres in this testing time.

George Bartlett and Charlie Lindsay
Creatives, Truant London
So summer is officially over. From Coachella to Glastonbury, the cancelled crusty love fests would have been an obvious hotbed of corona contamination. But it’s not all doom and gloom.

We might just be heading for the best festival on record. One that the entire country, if not the world, will be a part of. 

The music industry’s currently haemorrhaging billions. This will, without doubt, create opportunity. Right now, someone somewhere is working out how to replace the festival as we know it. This could be the dawn of a new age of post-contagion music events.

Think about it – no more trekking miles to see your favourite band. Experience any live act from the comfort of your sofa. No more queuing for entry, drinks or pungent Portaloos. 

Adversity has always been a breeding ground for creativity. Just look how Italy came together with balcony choirs. Let’s go one further. Sofa raves. Kitchen EDM. Living-room trap. Garden-shed grime. Let’s take garage back to the garage. You can still throw up in your wellies and sleep in someone else’s underwear. You just don’t have to navigate through a sea of mud or stagger out of a baking hot tent. 

A new type of festival is coming to you this summer. It may not be quite what we expected, but it could end up spreading faster than the virus that inadvertently created it. So, what should we call this domesticated festival inspired by a virus… In-Fest?

Alex Wilson
Head of content, Amplify
As music events and festivals start to disappear from the summer of 2020, so too does the promotional opportunity for hundreds of emerging artists. Without these key platforms, we as an industry need to pivot and work hard to ensure we aren't losing a whole generation of new music and talent. 

As an agency, we continue to develop and bolster our innovation and live broadcast offering, but some of our existing campaigns can evolve as content-first offerings that continue to answer the challenge they were created for. For example, Dr Martens has tasked us to consider how their culture platform can continue to support emerging talent during this time, when now more than ever artists need that support. Potentially to such a degree that it's now not just about supporting new music – but saving it.

Campaign Magazine, April 2020

Is it time for cultural relevance to drive growth?

A #stayhome interview with Leila Fataar, Founder of Platform13

Amid the COVID-19 outbreak, we are checking in with members of our creative community to discuss how they are faring, their new working realities and the ever-shifting face of creativity.

In this interview, Leila Fataar (Platform13) discusses how her business is adapting to the new reality brought upon the coronavirus crisis, the rising importance of culture-led planning and how Platform13 uses its channels to bring together the creative community. 

How's Platform13 adapting to the COVID-19 outbreak?

​Platform13 was built to flex and move at the speed of culture for ourselves and our clients. Our global networked business model means we quickly and easily curate the right teams according to the territory, category, community and culture the brand wants to be or is part of - on both the thinking and do-ing side of things - so luckily it's business as usual for us.

Managing teams in the context of self-isolation can turn into a cumbersome task. How are you dealing with it?

​From inception, we have had the ability to work from anywhere; for us, there is a seamless transition between virtual and IRL ways of working. Self-isolation doesn't mean disconnection, but its definitely an adjustment for people and companies. This is the fastest mobilisation of remote working that's ever been seen. Think people are getting used to it now.

How do you see creativity changing in the next year?

This unprecedented time has meant that brands/companies have had to dig deep and think about those 'purpose-led' statements or stance they took - you can see the difference with those who truly LIVE it and those who used it as only a marketing 'campaign'. This is truly the time where corporate and consumer comms will intersect - something I have personally championed for a while now. I hope brands/companies finally make cultural relevance a growth driver, create plans with a culture-first approach to add value to their communities, target consumers and to build cultural leaders. For me, creative has always reflected cultural shifts and its respective resonance - how does your target audience want to receive your message? Is your message relevant to them? How does creative shift from brand out to culture in.

How should creatives adapt to this new reality?

​ Be creative :)

How can creative businesses assure clients that they can still meet their needs despite the current lock-down?

Creative businesses need to be flexible and adaptable to client need, and creative needs to respond to consumer needs - this hasn't changed. What has changed is how we do that. That's what each business has to figure out for themselves.

You recently launched a new Instagram account on Brand Activism amid the outbreak. What inspired you to do so and how do you intend it to develop?

I actually launched it over a year ago. It's a personal project on the belief that brands (and by that I mean big companies, crews, collectives and even individual people) can make positive impact. I am an eternal optimist. We have really seen this come to life, with so many stories that we have had to revert to putting all the good news up on the @brand_activism Instagram stories, archived in our COVID-19 highlights. Very very uplifting in this time.

Are you are aware of any other resources or initiatives helping our community at this time?

We are launching a new Platform13 initiative on our Instagram @platform13_ this week. We believe our community is stronger when we learn from each other. At P13 we get tons of requests for advice on careers, industries, managing difficult times in your career, how to get to the next stage, etc. We understand a career journey can be tough and challenging. But we believe you never fail; you either win or learn. So, while we have had this temporary pause, we have created INSIDE TRACK. Each week, we'll be asking new insiders - people who know the ups, downs, successes and failures in their fields - to provide practical advice to the questions our community always wanted answering. Questions are submitted, and our insiders will share their insights, pass on their knowledge, answer questions with practical advice from their own experience, providing a valuable resource at this challenging time.


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