Synergyzer

Home Blog Page 51

Music for Everyone

0

SANNA MALIK: What is Spotify’s business model for a price-sensitive market like Pakistan?

CLAUDIUS BOLLER: Looking at our structure, our Freemium model enables us to create value propositions at different stages in the user lifecycle. First, we introduced our free service to listeners in Pakistan and later, we layered the various subscription offerings on top of it. Users can subscribe to premium membership by linking their debit or credit cards to their accounts. Alternatively, we also provide the option to pay-by-mobile through exclusive local direct carrier billing partnerships with Jazz, Telenor, Zong and Ufone.

Once a user signs up, personalization begins on our platform. We ensure that our users get access to our service from any device they use throughout the day, which also increases engagement and retention. This leads to growth in our advertising business as well as higher average revenue per user. With the increase in engagement, we can increase subscription growth, whether it’s a free user who moves to our Individual Premium plan or Student plan or a Premium user who upgrades to Family and Duo plan. We also have Premium Mini in Pakistan, where users can pay upfront one with no auto-renewal.

This is how we increase our monetization and subscriber base over the different lifecycles of our listeners in the markets we operate in. With this risk-free approach for our users in Pakistan, Spotify creates a funnel toward setting up a subscriber base that will continue.

SANNA MALIK: For Pakistani customers, Spotify has fixed the price for an individual package at Rs. 299 for its premium version. How did you decide on this price?

CLAUDIUS BOLLER: We adapt our pricing to each market of operation. Before we launch, we do our due diligence to understand the habits, culture and ecosystem of any market we are about to enter. As a result, our prices align with local prices and expectations, and are optimized to grow the monetization for artists.

SANNA MALIK: What is Spotify’s USP?

CLAUDIUS BOLLER: We are building a platform that has all the ingredients to be one of the most innovative and creative platforms in the world. Spotify is built on three essential foundations that continue to differentiate us and drive our long-term strategy. We create a unique and exclusive listening experience for every user through personalization. With the advent of technology and constant innovation, we have developed some powerful recommendation algorithms in the world of audio, all working towards one simple yet hard thing – delivering listeners the right music at the right time. We like to say there are 422 million different versions of Spotify – every listener gets their own experience.

Our second differentiator is ubiquity. Our goal has always been to make Spotify available to everyone on any device. In the last four years, we have grown from a few hundred partners to over 2,000 with integrations spanning everything from wearables such as watches to cars and kitchen appliances. With 28% of all new registrations from these partners (up from 14% in 2018), ubiquity is a key driver of new users to our platform.

Lastly, our free, ad-supported tier combined with our premium subscription tier makes us stand out in the eyes of our listeners. By allowing listeners free access, Spotify builds a funnel towards establishing a large and growing subscriber base. We have been able to expand into new markets because of our low price of entry; over a span of four years, we have gone from 65 markets to 183.

SANNA MALIK: Spotify’s Monthly Active Users grew by 19% to 433 million across the world according to the Spotify Second Quarter 2022 Earnings Report. How did that impact earnings?

CLAUDIUS BOLLER: We are incredibly pleased with our performance in the first quarter of 2022. Our business exhibited strength and resiliency. Nearly all of our key metrics surpassed guidance, led by MAU and Subscriber outperformance and healthy revenue growth. Our revenues depict that we are deeply connecting with our listeners and achieving the objectives we’ve set for ourselves. For Q2 2022, our revenues grew by 23% year on year, amounting to €2.9 billion. Looking at the breakdown, premium subscription revenue increased by 22% from the previous year, with the total amount being €2.5 billion, while advertising-supported earnings stood at €360 million after growing 31% year on year.

SANNA MALIK: Tell us about Spotify Charts and based on what metrics do these charts get populated on Spotify Charts?

CLAUDIUS BOLLER: Spotify Charts is a distinctive offering that is powered by listeners themselves. It is a symbolization of the love and attention that fans pay to their favourite artists, serving as a medium to highlight how they connect with the music they love. As the music industry, especially in Pakistan diversifies, Spotify Charts aims to become an opportunity to celebrate melodies and artists touching the hearts of Pakistani fans. We generate the chart stream numbers using a formula that protects our charts’ integrity and ensures all users’ voices are reflected. This means that not every stream on Spotify is eligible for Charts. Depending on streaming behaviour, some songs may have few chart-eligible streams than others.

SANNA MALIK: What are SoundTrap, SoundBetter and Spotify for Artists services?

CLAUDIUS BOLLER: SoundTrap is one of our premium services that offers capabilities of a full professional recording studio in the cloud, giving artists a powerful way to collaborate. If you are a songwriter in Pakistan, you can lay the groundwork for a track and kick it over to a producer in Japan and finish it in real-time with SoundTrap capabilities. SoundBetter is a place for networking, where musicians, sound engineers and songwriters can come together for interactive collaborations and generate potential melodic masterpieces.

Spotify for Artists allows artists to manage their profile and get profound insights about their music and audience data, pitch new music to playlists and highlight key songs, concerts and playlists with Artist Pick. In addition to this, we have our Artist and Label Partnership team hosting several masterclasses explaining to artists how they can use this powerful tool to understand their fans better and have a successful career in music.

SANNA MALIK: How are these masterclasses conducted?

CLAUDIUS BOLLER: We host virtual and in-person masterclasses for artists. Masterclass events take creators through our artist tools and features to help them learn more about Spotify for Artists. In addition, we also answer any questions artists may have about Spotify and use the opportunity to showcase success stories from other markets that may inspire them in Pakistan.

SANNA MALIK: Pakistan’s music industry has always been in a questionable state, with musicians hardly ever able to make music their bread and butter in Pakistan (unless they achieve global fame). Does Spotify aim to address that in any way? How?

CLAUDIUS BOLLER: We believe in nurturing artists globally, and in every market where we are live. In 2021, recorded streaming revenue alone (across all services) was higher than the entire industry’s revenue from all forms of recorded music for each year (2009 through 2016). When the music business hit its low point in 2014, it generated $14.2 billion from all parts of the recorded industry (streaming, physical sales, sync, downloads, performance rights). In 2021, recorded streaming revenue alone exceeded $16.9 billion — with Spotify paving the way.

We paid music rights holders more money than ever in 2021: $7+ billion, up from $5+ billion in 2020. That’s more than double of what we paid out in 2017 ($3.3 billion) and represents a big part of the $30 billion we’ve paid to rights holders since our founding. Even adjusting for inflation, that $7 billion total is the largest sum paid by one retailer to the music industry in one year in history — including any single retailer at the height of the CD or digital download era. These figures depict an evolving industry where our platform plays a leading role in allowing artists to live off their art sustainably.

Our music teams’ strategies ladder up to two primary goals: making a unique and superior music experience for fans and creating a more open and valuable ecosystem for artists. Artists trust us and want to work with us because we help and take an active role in achieving their dreams and partner with them on thinking outside the box, working together to help them succeed through programs like Fresh Finds Pakistan and Equal Pakistan. We are unlocking the ability of any Pakistani artist to connect with listeners everywhere. Today, we have 422 million users worldwide, and the opportunities for Pakistani artists are tremendous. Furthermore, we provide a unique set of free resources that enable artists to get their music to right fans at every stage of their careers. And we’re also building solutions for artists and fans while growing new profit lines for artists and Spotify.

SANNA MALIK: What are Spotify’s plans ahead for the Pakistani market?

CLAUDIUS BOLLER: Our focus is to continue building our platform and make it a place that fosters innovation for both creators and listeners. Spotify is the world’s most popular audio platform and our goal is to continue leading the music revolution through the best in-app and offline experiences.

We have been in Pakistan for a little over a year and we are incredibly pleased with the opportunities we have unlocked in the market for local creators; from launching EQUAL Pakistan, a programme that highlights Pakistani women artists such as Arooj Aftab, Mehak Ali and Hadiqa Kiani to the world, to launching Charts – a curated performance indicator powered by fans. To bringing in Fresh Finds to the Indie creators, our efforts have always focused on giving users the best experiences and creating possibilities for creators to make a living off their art. Earlier this year, we partnered with Coke Studio as their official music streaming platform and also launched an official Coke Studio hub that kept our global listeners connected with Coke Studio’s classic and new hits from Season 14.

So, expect even bigger and bolder plans from us. More Pakistani creators will be celebrated on a global stage.

 

Claudius Boller joined Spotify in 2017 and has been instrumental in planning the audio streaming platform’s entry into South Asia. Boller boasts 20 years of strategy, commercial, and music industry experience covering a wide variety of sectors including technology, digital media, and entertainment. Previously, he was Vice President of Digital and Business Development at Universal Music Group, where he helped develop the company’s strategy in MENA and brought Dubai’s operation and business to life.

REVIVAL IN PROGRESS OR RIP?

Pakistan Advertising Association (PAA) was created by advertising professionals in 1973, to act as a representative body for Pakistan’s advertising agencies. The purpose of establishing the trade association was to give a voice to its member agencies and to align industry stakeholders to effectively deal with challenges faced by the advertising industry. This way, PAA plays the role of bridging the gap between different trade bodies including the key ones – All Pakistan Newspapers Society (APNS), which represents publications including newspapers and magazines; the Pakistan Broadcasters Association (PBA), which represents the electronic and digital media including TV channels, radio stations and online platforms; and Pakistan Advertisers Society (PAS), which represents clients or advertisers.

PAA has a strong history which includes hosting the first-ever Ad Asia held in Pakistan in 1989. The association stayed inoperative for over a decade, yet the advertising fraternity revived it again in 2017. There is still a long way to go for the association, as Sarmad Ali, President – APNS and Managing Director & President – Jang Media Group & Geo News says, “I strongly feel that PAA has to establish itself effectively and it needs to evolve into a stronger organization so that it can represent the advertising industry effectually.”

Establishing PAA

To establish PAA as an effective trade organization for the advertising industry, PAA office bearers do have their priorities. The current Chairman, Jamal Mir, who is also MD & CEO – Prestige Communications, highlights a number of areas that he feels need immediate attention.

“At the PAA, need to put our own house in order first. As a priority, I feel that the PAA Secretariat needs a tremendous upgradation to enable it to become more effective. These include one, appointing an effective Secretary General, well acquainted with advertising professionals and PAA stakeholders as well as other industry associations – someone who would be able to put our issues on the table and our stake in the ground. The second priority is to develop a team that is robust, responsible and responsive: meaning, we need the right members on board; we need a diverse representation from traditional, digital, and media agencies; we need a team that can pull its weight in terms of knowledge, experience, ideas and policy proposals towards driving a larger vision for this industry. At the same time, I believe we do need to define some rules and regulations that all of us will follow in terms of our working structure, and then perhaps divide responsibilities or assign specific committees so that we can be more focused on the end output.”

Beyond these, Mir’s priorities include developing selection criteria for advertising agencies that would want to be members of PAA. Back in the heydays of PAA, an agency would be gauged for membership eligibility based on its accreditation with APNS. According to Senator (r) Javed Jabbar, this would signify minimal financial stability and credibility of the agency in question. “The experience and reputation of the proprietors or the heads of agencies, along with the perception prevalent in the industry about the agency and its services would also play a role.” According to Mir, another specific requirement that was there back then was that agencies vying for membership must have five credible clients in their portfolio.

Currently, clear guidelines and criteria need to be developed and implemented so that only those agencies that fulfill set criteria are awarded PAA membership. If we want to be taken seriously as an industry, it is important that there is clear differentiation in terms of the kind of support PAA offers its member or prospective member agencies, versus those who do not fulfill the criteria to become PAA members.

Another important part of the PAA charter is defining the structure of the industry. It is important that proper business listings and documentations be done to ensure all businesses within the industry are available on a list that can be made accessible by PAA to the industry, other associations and stakeholders. To properly document the industry, it has to be structured in terms of full-service agencies, creative hotshops, allied creative services, suppliers etc. with businesses clearly identified according to the services they are providing. Again, it needs to be clearly defined which of these businesses will come under the PAA ambit with proper criteria laid out. In this case, advertising professionals are of the opinion that since our industry is in our infancy, only those advertising agencies, media planning & buying houses and PR agencies should be allowed to become members of the association that have similar business models, mode of work, requirements, challenges, industry stakes etc.

One other particular challenge that has been on the agenda of subsequent PAA chairmen as well as association members is protecting the financial interests of advertising agencies. This challenge is extremely multi-tiered with numerous problems along the way that have to be dealt with. From delayed payments where clients keep extending the credit period to agencies being blacklisted for not paying the media on time to clients switching agencies without settling pending bills of the previous agency, the issue continuously threatens the survival of advertising agencies, and while a payment mechanism is there, there is no surety that advertising agencies will get paid. On the other hand, the electronic and print media ensure that they are paid on time by agencies using the blacklisting mode of getting payments. Yet, the mechanism very easily falls apart when it comes to payments intended to agencies, which is to be done by clients.

Even though the issue cripples agencies’ operational capacity; they are divided on their individual interests on this one, and hence no blanket mechanisms have been derived from the industry body standpoint to get stakeholders to adhere to. A number of agencies have gone out of business over the years due to spiraling media and supplier dues. Although faulty business mechanisms as well as the price-sensitivity prevalent in the industry were also to blame, it was defaulting clients that put the last nail in the coffin for such businesses.

Mir sums this up with challenges that are a part of the agency-client partnership, “or more aptly the lack of it”. He says, “Some years ago, agencies and clients enjoyed a more symbiotic and partnership-based relationship. But now there is a stark inequality in the dealings between both parties. In fact, the industry has in part allowed itself to be demoted and discounted, thus lending clients an upper hand. This has led to constant pitching, delayed payments, unsuitable pricing and commissions, inadequate briefs or clarity on projects, and an unwarranted high handedness which goes well beyond the axiom ‘the client is always right’.”

Jabbar seconds him, “In price-sensitive circumstances, like those that we are experiencing currently within our industry, better industry norms can be promoted and safeguarded if advertising agencies heads are committed to professional ethics and values. They also need to demonstrate leadership by engaging with clients with determination and confidence, while retaining their respect.”

To deal with such challenges, it is important that there are policies devised at the PAA level that give blanket approval to the association to allow agencies to negotiate as an industry.

DEVELOPING INDUSTRY HR & ALIGNING STAKEHOLDERS

Yet, leadership is a learnt trait, and our industry has a major requirement to up-skill all those who make it the robust business that it is. According to Mir, advertising is a sophisticated knowledge-based profession and human resources are its biggest asset. Also, the requirement for up-skilling is not just limited to people in advertising, rather those representing the brand side need to be educated just as much on ad agency processes. “We also need to clear misconceptions about advertising agencies that get embedded in the client-agency interface and become a mindset issue.”

Qamar Abbas, Executive Director – PAS, seconds him, “PAS and PAA need to work on areas like standardizing the pitch process, developing skillful resources and making the business equitable for all partners.”

Currently, there is a major gap in terms of exchange of learnings within the industry; there are hardly any workshops – there were a number of them being held by PAS, yet ever since COVID-19 came about such sessions have been on the halt; plus there are hardly any documented knowledge resources online that the industry can access that can provide self-paced learning opportunities – again PAS has taken the initiative to provide local and international case studies and knowledge-based articles on its website, yet it may require a lot more effort to bring the industry’s talent at par with international standards, considering that the practitioners who need to be trained and motivated are across the board, at different points in their career.

Talking about PAA’s efforts back in the day, Jabbar highlights, “A major contribution to improving industry skills was the significant increase in interaction with advertising practitioners from other Asian countries and reviewing advertising of other countries. We did this by regularly participating in events such as AdAsia every two years and by arranging for periodic reviews within Pakistan. A number of agencies had affiliations with international networks so the process of observation and skill enhancement was already taking place within those agencies and their overseas networks.”

According to Mir, “We need to have more joint workshops with other bodies or cross-functional collaborations, where there can be discussions and engagement with advertising and branding professionals, especially those who have had international exposure; to inspire and inform those new to the field and those wanting to learn more.”

Compared to the rest of the industry, PAS is actually several steps ahead. Abbas points out that the society’s major focus is on trainings, workshops and conferences. Also they have paved the way for Pakistani agencies to participate in global competitions including the Cannes Lions International Festival of Creativity and Spikes Asia Festival of Creativity. “This serves as a great motivator and provides an amazing learning experience. We see these awards as another strong and well-established initiative that will help raise the standard of marketing communications and its practitioners. We have been successful in showcasing our work internationally and also aide in getting people from Pakistan to enter international jury’s, which in itself is a great learning experience”, says Abbas. “However, these are the areas where PAS is working alone and PAA’s collaboration will synergize our efforts as this benefits both, the clients and the agencies. Agencies need to understand that they need to step up the game and change the way they have been operating and see trainings and learning initiatives as investments. We can encourage advertisers to play their part, but they also need to see that agencies collectively are willing to make this investment. These efforts cannot be single-sided, and agencies need to show their commitment as well. I strongly feel that PAA can partner with PAS and play a crucial role in this area.”

It’s not just PAA and PAS that industry professionals want to see aligned and working together. Rather measures to take quality-enhancing initiatives will only work if all industry stakeholders are onboard to carry these out jointly. Also, if international standards are to be implemented, then it has to be done across the board by all trade associations, be it PAA, PAS, APNS or PBA. Sarmad Ali talks about an APNS – PAA joint committee that has been functional since the 80s, even though it has not been very active lately ever since PAA became inoperative. “We have been working very closely with PAA in the last few months and it is important that the committee collaborates to ensure proper systems are in place and the interests of the advertising community are safeguarded.” He further says, “I have also proposed a joint committee of the APNS, PBA, PAA and the Pakistan Advertisers Society (PAS), where they jointly address issues that are being faced by the advertising and media ecosystem.”

Abbas seconds him, “PAA is one of the most major stakeholders of the industry. If we need to raise the bar of marketing communications and focus on creativity and media innovation that leads to effectiveness, it is important that PAA and PAS work closely together. We need to firmly believe in partnerships rather than having a client-vendor relationship.”

CAN WE EXPORT OUR CREATIVE SERVICES?

Taking the discussion, a step further, since PAA, as an association representing the advertising industry has much to do to structure itself and the industry, is there any possibility that the advertising sector is represented internationally so that we can earn export earnings in the future? While this seems to be a long shot, yet there are steps that can be taken to promote our industry for the recognition that it deserves. Like Jabbar said, the interaction with advertising practitioners from other Asian countries was a major step in this direction. Yet it is important that the advertising sector is given due recognition by the Pakistani government first. He elaborates, “Advertising has a universal multimedia relevance. To give it the recognition it deserves within the government circles, it is important that it receives robust and sustained advocacy by PAA, by agency heads in their personal capacities as well as by advertisers, who have the biggest stake because it is their money and it is in their interests that advertising benefits from government policies. The media also has an obligation to promote such advocacy; rather media owners owe this to advertisers and ad agencies because they receive advertising revenue from them only.”

Talking about concrete steps that can get Pakistani advertising noticed in the international sphere, he says, “Commercial advertising has a direct connection with economic activity. Internationally, in whichever countries Pakistan’s other sectors including services, industrial or even agriculture; are already marketing their products, theoretically the opportunity is there to export the creative and professional skills of Pakistani advertising practitioners. What is important is that they should be able to maintain the level of quality and content relevance that is expected by that particular market.”

He further explains, “There are several examples of Pakistani practitioners with the capacity to create content that meets and even exceeds international standards and this has been recognized through the awards they have gotten, other successes achieved etc. So, in addition to any effort that a more empowered PAA can do, it is up to each export-oriented sector and export-oriented enterprise that has a goal to brand itself overseas, to provide the necessary opportunity and support to advertising agencies in Pakistan to produce creative content.”

A REALITY CHECK

PAA has a lot to shoulder, starting with building its own institutional capacity. Effectively safeguarding the interests of its members, aligning industry stakeholders and helping improve business volumes of advertising agencies does seem to be a rather long list of challenges that the association has to work on. In such a situation, it is on the association members to prioritize strengthening the industry over personal business interests by working collaboratively and collectively, taking constructive action and supporting shared goals which will help make the industry go a long way. A reality check by Jabbar very much summarizes what PAA and our industry is up against.

“I want to emphasize that advertising agencies are the most vulnerable part of the advertising chain since advertisers and media dominate and control that chain. It is only in long-established and stable economies that professional associations are able to sustain investment in building their own institutional capacity, and even they have their problems. Hence, during my time PAA did not – or was not able to – develop its own internal institutional and human resource capacity to be able to help improve the business practices or the business volumes of its members.”

Can the current PAA develop on learnings from the past and build itself up and the industry? Let’s wait, contribute and see.

Synergyzer’s Annual Edition is OUT!

Revival in Progress or RIP?

An indepth analysis on why PAA has failed to be an effective trade organization for the advertising industry so far?

Industry experts voice their opinions on what PAA needs to do to establish and evolve itself into a stronger organization.

  • Ahmed Jamal Mir, Chairman, PAA & MD and CEO, Prestige Communications, on how he wants to develop PAA as an effective trade organization for advertising industry
  • Senator (R) Javed Jabbar on what made the PAA the force that it was, the Pakistan Advertising Congress 1979 and AdAsia Lahore 1989
  • Sarmad Ali, President, APNS & MD and President, Jang Media Group & Geo News, talks about APNS’ relationship with advertising agencies and PAA
  • Qamar Abbas, Executive Director, PAS, talks about society’s efforts to uplift the creative quotient of the Pakistani marketing industry
  • Iram Tanweer, Director General, Press Information Department, on how PID is working to facilitate advertising agencies and media
  • Sabene Saigol, CEO, Red Communications Art, on the importance of investing in human resource development and the need for a credible industry mechanism

 

OTHERS

  • Tracking the Client-Agency Relationship – Marketing professional, Sunil Gupta, talks about the PAS Relationship – Tracker that measures and evaluates the performance of the partnerships between marketing teams and their agency partners.
  • Music for Everyone: Claudius Boller, Spotify’s MD for Middle East, Africa and South Asia, on Spotify’s success in Pakistan and how the platform plans to support and promote local talent
  • The Evolving Storyteller: Zaheeruddin Ahmed, CEO, ID Creations, about his first upcoming film ‘Chikkar’, the establishment of Dareechay Films and finding new paths
  • Driving Digital Transformation – Asif Aziz, COO, Jazz and Rizwan Fazal, Head of Marketing, Jazz, on their professional journeys, Jazz winning five Effie Awards this year, and policy interventions to accelerate the Digital Pakistan vision.

 

ALSO,

POND’s Taps into Hydration Category

Getting Better with Age: Charting the 160-years journey of Murree Brewery

Mobilink Microfinance Bank Turns 10

MARKETING MATADORS: The Success Story of Bulls Eye DDB

SIUT’s Tribute to their ‘Not so Rich’ Donors

Bionic Films Rebrands

Kenwood Introduces eSmart Plus, eLuxury Series

Kenwood, in the month of May, launched two campaigns: for their flagship air conditioner series ‘Kenwood eSmart Plus’ and the newly launched voice-controlled air conditioner ‘Kenwood eLuxury, with an aim to create awareness about their new features and how they are revolutionizing the air conditioner segment in Pakistan.

According to Sheeraz Faseeh, Marketing Manager, Kenwood, the company has been running the eSmart air conditioner campaign every year for the past five years and has even bagged awards for it, “however, the objective this year was to re-enforce the ‘top of mind’ recall for our flagship series through continuation of its clutter-breaking campaign.”

He adds that Kenwood has been the first brand to introduce a Smart air conditioner in the market with its eSmart series, which is currently called the eSmart Plus series. The USP of this air conditioner is that it can be controlled through your mobile via an app. Other than this, the air conditioner also comes with inverter technology. The energy efficiency ratio (EER) 4.0, is up to 75% energy efficient and has big indoor and outdoor units.

Kenwood eSmart Plus

The brand believes quality and innovation have been the two key features of Kenwood air conditioners, which has made them stand out among the competition. The brand has always been associated with innovation in Pakistan’s air conditioner market, first by introducing smart air conditioners through eSmart series and now by recently launching their voice-controlled eLuxury series. “Another reason that people prefer Kenwood air conditioners over other brands is because the company takes care of the after-sales services by offering four-years PCB card warranty and ten-years compressor warranty to customers,” he says.

Due to the uniqueness of its offering, Faseeh says there are no direct competitors for Kenwood’s eSmart Plus air conditioners, however, they do see competition coming from Japanese and South Korean brands.

According to the brand, Kenwood air conditioners though are generally price competitive, there are certain series like eSmart Plus, which are priced slightly higher than competing brands because of their unique features. “Also, in recent times, due to inflation and a sharp rise in fuel prices, the price of all products, whether commodities or white goods, have gone up and remain unstable,” he adds.

Kenwood eSmart Plus

The current prices for different variants Kenwood eSmart Plus conditioners are: Rs 117,000 for 1 Ton; Rs 175,000 for 1.5 Ton and Rs 205,000 for 2 Ton respectively. The brand’s target audience for air conditioners is SEC A and B.

For both eSmart and eLuxury series, the brand released 360-degree marketing campaigns across all mediums; news, entertainment, and regional channels as well as radio, digital, and OOH. There were two TVCs released for Kenwood eLuxury and one for eSmart Plus air conditioners and both campaigns featured Kubra Khan and Usman Mukhtar – the two actors who were earlier seen together in the popular HUM Network Production titled  ‘Hum Kahan key Sachay Thay’, and were praised for their on-screen chemistry.

Kenwood eSmart Plus

In the TVCs, the couple is shown in various domestic situations, which are relatable as well as funny and which lead to the product role and highlight the new features – similar to those showcased in Kenwood’s earlier campaign featuring Nawazuddin Siddiqui and Ayesha Khan.

Answering a question on why the brand did not choose the same couple for their recent campaign as well, Zaheeruddin Ahmed, CEO, ID Creations (the creative agency for the campaign), says Kenwood is not about a face or a celebrity but about a feel and mood. “Definitely Nawaz has got fan following and impact on a different level and we could do one more round with him, but apart from political reasons, we needed to eventually bring the change for the sake of the brand.”

Kenwood eSmart Plus

According to Zaheeruddin, the duo was selected because they had recently done a drama together and were popular among the masses. “I was shooting a feature film with Usman and found him very versatile. When the scripts were written for the ad, we found him a perfect fit for this and they both did it very well,” he adds.

The response to the campaigns according to Zaheer and Faseeh has been amazing and very positive, because they believe people love simple and creative ideas, coupled with good performances. “They both pulled it off very well,” they agree.

Kenwood eSmart Plus

The TVCs had the same viral effect that all Kenwood ads have had earlier. The results in terms of conversions and sales also reflect a positive upward trend.

As for their upcoming launches, Faseeh says the industry they operate in requires that they keep launching new products every year. Apart from the eLuxury air conditioner series launched this year, Kenwood has also launched another Inverter air conditioner series called eComfort Plus, that has introduced the gear change feature into the market, allowing customers to choose between three power options. In the refrigerator category, Kenwood has launched its inverter series refrigerators that are up to 60% energy efficient. The campaign for refrigerators was aired earlier in March, this year.

Going forward, Faseeh says there are many exciting plans in store for the brand. During the second half of the year, the focus shifts onto other categories like washing machines and kitchen appliances. Therefore, there are other activities the brand has planned which will be revealed in due time. Apart from this, Kenwood is also focusing on e-commerce. “We feel that online sales will be a big contributor to our sales in the coming future,” he says.

Samsung Pakistan Showcased Its Knox Business Solutions, New Galaxy Z Series, Multi-device connectivity, Neo QLED 8K & Premiere at ITCN, Asia’s Biggest Technology Expo!

Samsung made a big splash in Karachi this week as they showcase the technological innovation at ITCN, from the 24th till the 26th of August 2022. ITCN is the biggest tech festival of Asia, happening in Karachi which is a unique platform that provides an opportunity for the entire tech ecosystem of Pakistan to gather under one roof. This event provides a comprehensive platform to showcase solutions with the use of best technology and innovation.

Samsung, the number one tech company in Pakistan, has set up their experience-zone at the expo to display their devices & enterprise security solutions to thousands of potential buyers and consumers. The experience zone focused at the Samsung Knox solutions, latest flagship phones; Galaxy Z Flip 4, and Galaxy Z Fold 4 along with Neo QLED8K, Premiere & multi-device connectivity experience.

Samsung

samsung

Knox Suite is an all-in-one package that includes Knox Platform for Enterprise, Knox Mobile Enrollment, Knox Manage and Knox E-FOTA. Knox Platform for Enterprise provides defense-grade security and management features meeting the most stringent security requirements and standards. Whereas the Knox Mobile Enrollment provides the most automated and efficient way to make device enrollment easier for both IT administrators and device users. Knox Manage monitors and manages a fleet of devices remotely and secures corporate data across multiple operating systems and the Knox E-FOTA remotely controls OS version on devices without end-user interaction, enabling seamless update to fully tested version on time.

Samsung

Samsung believes that software isn’t enough, though, so Samsung builds security into the hardware of Galaxy devices as well. The most recent development on that front is the Knox Vault, which combines a Secure Processor with a Secure Memory Chip, which keeps sensitive information separate from the rest of the device. This feature makes Samsung devices stand out from its competitors, by providing the best-in-class Knox technology.

Samsung

Samsung Samsung

Latest Samsung Galaxy Flagship phones have also been displayed at the experience-zone and were the center of attraction for the consumers. The Galaxy Z Fold4 does a lot in one hand with its 6.2-inch Cover Screen. In both hands, the 7.6-inch Main Screen makes it your ultimate do-more device. And when you need to go hands-free, simply set it down, find a good angle and leave it there while you get more done. Galaxy Z Flip4 is a powerful and innovative fashion accessory alongside being a smartphone. The device is compact when folded, making it more pocketable and reminiscent. Z Flip4 is crafted to go truly hands-free – doing more without ever opening the phone. Great for business or social experiences.

Samsung

Samsung also displayed its Freestyle projector, which is equipped with a built-in smart TV experience, premium 360 sound, and HDR10 compatibility. It’s designed to bring a cinematic viewing experience, anywhere. It boasts an adjustable 180-degree cradle stand to project your favorite content from a variety of angles on different surfaces. Another amazing device, the Premiere was also flaunted at the expo that uses a laser light source to offer a dramatic home cinema experience that will make you feel like you’re in a theater. You’ll get precise color accuracy, a super wide color gamut, and exceptional brightness on max 120-inch screen space. It can even play HDR10+ content. The Samsung Premiere, Get ready for a whole new home cinema experience. No matter where you sit, the 120-inch wide screen immerses you like no other, while crystal 4K resolution gives your eyes the incredibly crisp images and optimized color expression they deserve. See all the subtleties revealed in every scene.

Samsung

Samsung’s 2022 Neo QLED features Eye Comfort mode, which automatically adjusts the screen’s brightness and tone based on a built-in light sensor and sunset/sunrise information. As the ambient light changes, the screen will gradually reduce the amount of light and offer warmer tones, adjusting the blue light levels accordingly. This allows for a more comfortable viewing experience at night by reducing the blue light which may affect one’s sleep quality.

Samsung

Samsung Pakistan is also showcasing their unique and amazing multi-device experience through which it aims to deliver the best interconnectivity of its Samsung devices; television, buds, watches, tablets, phones, and monitor screens. Samsung Pakistan is targeting its customers by providing them the advantage of a divergent product lineup.

At the booth, famous techies and multiple renowned people were spotted trying out the innovative products and Knox business solutions.

 

Samsung Samsung

 

Sarsabz Kahani launches ‘Khaki Desan’

The nostalgic memories of our mothers opening rustic family trunks and taking out hand-knitted khaees and dariyan made from indigenous cotton and proudly setting those up for guests have become a thing of the past. However, to try and revive this lost cultural heritage and tradition, Sarsabz Fertilizer recently released the second episode of its Sarsabz Kahani web series titled, ‘Khaki Desan’, which focused on the true story of Jugnu Mohsin, a renowned entrepreneur and public figure, who realized the dearth of good quality local cotton and the dying breed of Khaki Desan which nobody was striving to preserve.

Sarsabz Kahani’ is a strategically-driven initiative which highlights inspirational true stories of farmers (men and women) passionately fond of their motherland and the cultural heritage it possesses. It is a tribute to their bravery and resilience of their hard-work and to the pivotal role they play in the national food security and the economic uplift of our country.

Khaki Desan – named after a local breed of cotton which was popularly grown in the past, especially in the subcontinent particularly in the rural communities to make hand-knitted khaees and dariyan – is a purpose-led initiative between Sarsabz Fertilizer (a brand of Fatima Fertilizer) and Jugnu Mohsin. The series focuses on the decline of cotton production in Pakistan which is detrimental to our economic stability.

According to Rabel Sadozai, Director Sales and Marketing, Fatima Fertilizer, “We believe in promoting marketing initiatives that are purpose-led and that help establish a better understanding of the broader issues faced by our society, which directly impact our economic and social fabric.”

The Khaki Desan campaign, she says, has a multifaceted quality to it. Firstly, it helps bring attention to the important issue of cotton’s recent decline in production. Secondly, it highlights the crucial significance of cotton for our country’s economic revival as well as community support.

In the good old days, the cotton harvest season was celebrated with great festivity and fervour across the cotton belt, which is now mainly sugar cane and rice, dotted with abandoned cotton ginning mills and scattered housing societies. Sadozai believes, keeping in view the recent decline in cotton production and the preference of farmers for harvesting other crops to earn a better profit, the Khaki Desan campaign appeals to the relevant stakeholders in our government to consider formulating a clear policy that favours the revival of cotton production.

Sarsabz Kahani launches 'Khaki Desan'

Jugnu Mohsin – a leading Pakistani woman enterepreneur, politician and journalist realized the scarcity of good quality local cotton in the country and the inevitable death of Khaki Desan and decided to intervene. Hence Fatima Fertilizer decided to collaborate with her to harvest the finest crop of Khaki Desan cotton with the purpose of creating an exceptional quality of khaddar, a hand-spun and woven cotton cloth.

Fatima Fetilizer also extended unravelling financial assistance to Jugnu Mohsin in setting up a training centre under the name of ‘Haveli Crafts’ in Sher Garh, Okara District, with an aim to re-engage and empower a community of thousands of rural women in the centuries-old craft of cotton spinning and weaving.

(Sarbsabz Kahani’s first episode ‘Nazo’ also highlighted a similar brave woman from Sindh, who sacrificed a great deal to protect the piece of land she called home. She battled dacoits and personally fought off several attempts on her agricultural land – often armed with just a single Kalashnikov – while also managing to raise four children and ensuring that her land remains productive and profitable.

Fatima Fertilizer also holds the honor of proposing to celebrate Pakistan’s first-ever official Kissan Day on December 18, 2019 which was officially recognized and endorsed by the Government as well.)

According to Fatima Fertilizer, such campaigns that have a purpose or a strong social message are highly celebrated nowadays since they resonate strongly with a large audience due to their cultural relevance and the social and economic insight they offer. They address broader issues faced by society and work towards bringing positive change through instilling realization and influencing its target audience positively.

The downfall in cotton production is currently a major issue, attributed to several factors including environmental changes, cotton crop’s competitive loss in comparison to other major crops, particularly sugarcane as well as inconsistent policy support. As per the Pakistan Bureau of Statistics, in the past 10 years, cotton production has almost halved from 13.6 million bales in 2011/12 to about 7 million in 2020/21. Cotton crop yield is faced with many challenges including a significantly reduced crop area, inconsistent gas supply to fertilizer plants resulting in limited availability of locally produced urea, and increasing cost of farm inputs for an already burdened farmer due to high market inflation.

The State Bank of Pakistan (SBP) has reported that the crop area of cotton has significantly reduced to 2.2 million hectares, the lowest since FY82, which has also severely affected the crop’s overall yield and production.

Furthermore, there are also issues of pesticide adulteration, which means the pesticides available are either adulterated or too expensive for farmers, increasing their cost of production and putting the cotton crop at a severe vulnerability against threatening pest attacks. Poor quality of seeds is an added challenge that hampers the revival of cotton production.

Lastly, Pakistan Kissan Ittehad (PKI), a representative body of Pakistani farmers, raised concerns in March 2022 over the issue of tractor shortage and other farm machinery in the market which negatively affected cotton sowing and wheat harvesting at that time.

Fatima Fertilizer has been actively engaged in promoting awareness about these challenges, and the company is actively working on the agenda of helping modernize the country’s agricultural sector by forging international alliances, as well as promoting technologically driven solutions to help farmers overcome their current challenges, such as Sarsabz mobile app, to educate farmers on useful topics related to farming and how to access the market and financing; Sarsabz Assan, to facilitate all Sarsabz dealers with convenient online stock booking, monitoring, managing and giving quick payment gateway solutions to save time and effort; and Electronic Bank Guarantee for Sarsabz dealers, that supports green solutions to protect the environment and efficiently steps away from the traditional stamp paper-based bank guarantees to a completely digital Swift code based transaction.

However, the company believes that more should be done at the government level to increase the production of cotton, such as reducing the farm input costs to increase the cultivated area and offering more subsidies to make fertilizer accessible so that farmers can utilize it for better yield.

“There should be increased research spending on developing high-quality seed varieties to combat water scarcity and pest attacks, policies to support cotton farmers to allow them to earn a good return on their investment so that those who have converted to sugarcane or rice can revert back to cotton harvesting,” says Sadozai.

She also stresses on the involvement of the textile sector in making this policy and they should be encouraged to not just be a sourcing hub for global brands but to market their own brands around the world, proudly claiming them to be made from the finest Pakistani cotton.

Sarsabz Kahani’s both short films were promoted on traditional and digital media on Eidul Azha.

Earlier, in March 2022, Fatima Fertilizer also hosted a special panel discussion at the Pakistan Pavilion of Expo 2020 Dubai with the purpose of celebrating exceptionally inspiring Pakistani female farmers. The protagonist of Sarsabz Kahani’s first short film, Nazo Darejo, was also invited as a guest panelist at this event whereby she narrated her inspirational story to an international audience.

Going forward, the company is producing a third episode of Sarsabz Kahani, which will highlight a story related to Kabadi, a cultural sport of Pakistan which is most popular in our rural areas, especially amongst the farmers community.

“Sarsabz Kahani is a perfect example of a marketing campaign which is based on the human values of empathy, care and long-term commitment to its adopted purpose, hence we, through this platform and its short films, will continue to speak to a wider audience in the country to amplify these tributes,” concludes Sadozai.

SIUT Pays Tribute To It’s ‘Not So Rich’ Donors

The Sindh Institute of Urology and Transplantation (SIUT), on completion of its 50 years in 2022, released an inspirational campaign. Instead of focusing on their patients and their treatments, this time the hospital highlighted the role of donors – who donated little but regularly – in making SIUT the success it is today. The TVC released for the campaign recounts the story of one of them.

According to Saima Saleem, Creative Director and Filmmaker, Azad Films, she learned about this particular donor while sitting in SIUT’s accounts department one day. While going through the records, the team discovered a donor who had been donating PKR 1.50 every month to SIUT for decades without fail. Although he had stopped donating for a few years now, she found the insight interesting.

Though the SIUT could not find any information on the donor, “because, firstly people who donate usually do it anonymously, and on many receipts, we find written ‘Allah ka Banda’ or Aik Musalaman’. Secondly, since this particular person began donating during the 70s, there was no way we could track him since we did not have mobile phones or Facebook back then,” she says.

They also discovered that his last few donations were given through deposit slips, “and we know the banks charge deposit fee, which would have been more than the donation amount, so, what piqued our curiosity was not the money he gave every month but his commitment to the cause and this is what prompted us to make him the subject of the TVC and also pay tribute not only to him but hundreds of similar donors like him we found in the records, who donated PKR 100/150 or PKR 300 regularly for several years,” she adds.

“Philanthropy is usually associated with people who are rich and who give away great sums of money to charities, however, this gentleman and others like him prove that despite your difficult circumstances, you can still support a cause and do it consistently,” says Dr. Anwar Naqvi, Professor of Urology and a founding member of SIUT.

Hence the team decided to spin the story around the unknown yet not so rich donor, using the insight that it’s the common people who are building SIUT to mark SIUT’s fifty years.

In the TVC, the role of the donor was played by the veteran actor, Talat Hussain, with Wahaj Ali playing the grandson. Saleem says the team chose Talat Hussain because he had been visiting SIUT for some time and Dr. Adeeb Rizvi, Founder and Director, SIUT, suggested discussing the idea with him first. “We were looking for someone similar his age, and we did consider Rahat Kazmi or someone similar from the past, but we thought it would be easier to discuss it with Talat sahab first since he was visiting SIUT. Also, although not working anymore, no one doubts Talat sahab’s talent,” she remarks.

Talat Hussain readily agreed to do the role. Although frail and at times forgetful, Saleem says Jami (Jamshed Mahmood), CEO, Azad Films and the director of the TVC handled Talat sahab very sensitively.

Fortunately, there are various SIUT buildings that depict different eras of Karachi. All locations shown in the TVC are of the hospital and its neighborhood – one of the oldest areas of Karachi. However, the challenge was to show the 70s era and SIUT’s initial years, the people and how it functioned.

“Our OPD building is over a hundred-years-old and we converted its first floor to an eight-bed ward, and ensured that we hid SIUT everywhere, because at that time SIUT did not exist. We also somehow managed to find old beds”, said one of the SIUT staffers.

The TVC was shot in three days. Saleem says since it was not a commercial project, the budget was limited and it could not be extended beyond three days, hence everything had to be planned beforehand and efficiently so as not to waste any resources.

“We realized that the money being spent on this campaign could have been spent on treating several patients, and this realization motivated us to work as diligently as we could. Jami came daily to do his research and locked his shots, which we later transformed into the TVC.”

She further says it was a tremendous team effort since everyone including Jami, Wahaj, Talat sahab, Abida Parveen as well as Coke Studio, came together and volunteered for a good cause and none of them charged a single penny. Mariam Azmi, stylist, Independent Films also volunteered and provided the right wardrobe for people to depict that era.

Dr. Irfan Rizvi – Dr. Adeeb Rizvi’s son – played the role of the young Dr. Rizvi of the 70s.

The campaign was shared on all mediums including TV, radio and digital and according to the team, the response to the campaign has been exceptional. “Whoever watched the TVC, said it brought tears to his/her eyes and that it was very emotional. Moreover, and most importantly, the campaign also had a positive impact on the donation. “The older generation is well-acquainted with SIUT and its services, but it was refreshing to see people between the age bracket of 25-40 also donating this year. They are now also looking at SIUT as an institution to serve,” says Saleem and adds that this is why the team chose Talat sahab and Wahaj because we wanted to bring all generations together to carry forward SIUT’s mission.

SIUT’s unique model – a government-community partnership, where doctors are the chain in the middle and enablers for both to come together – is replicated today by various other charities and trusts.

Although their forte remains urology and transplantation, today, under its roof, SIUT provides all services for patients from ophthalmology, neurology/psychiatry, dental, gastroenteritis, pulmonary etc.; with gynecology as its recent addition. It caters to patients from across the country and outside. Their expertise and specialization is acknowledged internationally and teams from around the world visit SIUT regularly for trainings including doctors from UK, Italy, Switzerland, Nepal, Sri Lanka, Sudan and Somalia. “This is because there are so many services, and here the volume of patients they are exposed to, helps them gain experience in a shorter amount of time. We deal with two to three transplant surgeries on a daily basis,” says Dr. Naqvi.

Apart from the hospital, SIUT also runs an educational institute, and all the hospital staff is trained in-house. The institute offers a four-year course in Nursing as well as Technologies (lab-tech, operation theatre, radiology etc.) free of cost to all its students. The educational institute also houses Pakistan’s first bio-ethical training center, affiliated with WHO.

SIUT is also running its robotic surgery and training center, where over a thousand surgeries have been performed. Terming it the ‘the surgery of the future’ Dr. Naqvi says the excellent magnification and precision of robotic instruments enable human surgeons to perform surgeries efficiently. There is less blood loss, limited risk of infections and shorter stay at the hospital for patients.

Going forward, SIUT is working on setting up their campus in the Education City Karachi, on a strip of land linking National and Super Highway and building a children’s hospital, where all issues related to children will be tackled, including transplant, cardiology, nephrology etc.

Mobilink Microfinance Bank turns 10

ANUSHA ZAHID: How has Mobilink Microfinance Bank Limited (MMBL) evolved over the past 10 years?
GHAZANFAR AZZAM: The microfinance sector has witnessed phenomenal growth in the past few years, primarily because a major proportion of Pakistan’s population consists of middle or low-income strata with no access to formal financial solutions. On the other hand, technological advancements have led to evolving market needs for accessible and affordable financial services for the unbanked. MMBL, over the past decade, has been committed to fostering financial inclusion through various offerings. The Bank has introduced multiple innovative and customized digital and financial initiatives, such as digital onboarding of customers, self-service banking through the DOST App (available on both iOS & Android), Website Internet Banking, the Women Inspirational Network (WIN) program, and the Humqadam program to provide employment opportunities to the differently-abled, etc.

While addressing the challenge of having more people financially included, MMBL also contributed a publication, ‘9 Point Agenda for Financial Inclusion’ that focuses on facilitating access to financial capital to all segments of the society, especially women, Small and Medium Enterprises (SMEs), and farmers. The policy document comprises recommendations for various stakeholders such as financial institutions and regulators that can support the vision of making Pakistan financially inclusive.

ANUSHA ZAHID: Who is your target audience? And how has it changed over the last decade?
GHAZANFAR AZZAM: MMBL strives to include the 100 million unserved and underserved individuals under the umbrella of financial inclusion.

As of today, the Bank has over 40 million registered customers, including 15 million monthly active digital wallets. This number is steadily increasing every day, maintaining our position as the largest digital bank in Pakistan.

Our target audiences are farmers, low-income households, women, differently-abled individuals, small businesses, and anyone and everyone who needs small loans to diversify and expand their businesses, even in the remotest parts of the country. With the ever-growing rate of mobile phone penetration in the country, it is more evident than ever that people crave, above all else, the convenience and swift access that comes with digitized financial services.

ANUSHA ZAHID: In your opinion how important has been the role of Fintech in speeding up financial inclusion in the country?
GHAZANFAR AZZAM: Without a doubt, microfinance institutions and Fintechs have played a key role in speeding up financial inclusion. Fintechs have not only revolutionized the banking sector in Pakistan, but they have paved the way for introducing new and innovative digital financial solutions aimed at improving user experience and expanding outreach. With the help of affordable and accessible financial services, Fintechs facilitate middle and low-income households to enhance their financial condition and improve their overall standard of living. It is safe to say that Fintechs are proving to be a game-changer for promoting financial inclusion. Furthermore, with the digitalization of the global financial industry kicked into high gear during the pandemic, we introduced customised and innovative digital financial solutions to ensure that we provide our customers with the best possible services.

ANUSHA ZAHID: What is MMBL’s competitive advantage?
GHAZANFAR AZZAM: Women constitute over 49.9% of Pakistan’s total population, and the country cannot flourish without their active participation in the economy. Therefore, including women in the financial ecosystem is the need of the hour, and MMBL is dedicated to uplifting women and women-owned businesses through easily accessible and exclusive digital financial solutions, tailor-made for them.

More than 20% of MMBL’s borrowers comprise women, and our target is to increase this percentage to 25% in the coming years to ensure inclusive and balanced growth.

ANUSHA ZAHID: How do you reach out to rural clients?
GHAZANFAR AZZAM: With 105 physical branches and a widespread network of over 180,000 branchless banking agents, MMBL has expanded its footprint across the country. Moreover, we have recently introduced digital onboarding of customers, digital payments and processing of loan applications made accessible via our DOST app, which helps us reach our target market even in far-flung areas. Our self-service banking channels, phone, and WhatsApp helplines are available 24/7 to assist customers on the go.

ANUSHA ZAHID: Have you introduced any new banking products on your 10th anniversary?
GHAZANFAR AZZAM: In our 10th year of operations, we have introduced digital onboarding of customers, DOST Code (a USSD service), DOST Muhafiz (an e-health insurance service), and an array of other products and services, all with the same aspiration to financially include more and more people in the coming days across the country. We are constantly partnering with like-minded organizations to broaden the horizon of our services and maximize outreach across the country so that millions can benefit through value-added services and features. Our recent collaboration with Digit will let MMBL customers buy subsidized feature/smartphones with DOST app pre-installed to start banking right away.

ANUSHA ZAHID: MMBL has retained a ‘positive outlook’ as per PACRA within the microfinance industry. What do you think are some of the factors behind this success?
GHAZANFAR AZZAM: MMBL is the only microfinance bank in Pakistan – and one of only two in both the microfinance and commercial industry – to consecutively secure a “Positive Outlook” credit rating from Pakistan Credit Rating Agency (PACRA) for two years. A critical factor behind MMBL’s success is the digitalization and diversification of its products and services portfolio and our customer-centric approach, enabling us to lead the digital banking sphere.

ANUSHA ZAHID: How do you gauge the success of MMBL?
GHAZANFAR AZZAM: Serving over 40 million customers, including 15 million-plus monthly active mobile wallets, MMBL is continuously striving to promote financial inclusion, to empower all, especially SMEs and women. In 2021, we trained 500+ women entrepreneurs nationwide on financial literacy and business fundamentals. In addition, MMBL’s Bint-e-Hawwa is a unique offering aimed at financially empowering women from all fields and backgrounds. Within a year of the product launch, the Bint-e-Hawwa deposits and saving accounts recorded over Rs183 Million, while over Rs3.5 million was disbursed. Such numbers are very encouraging, and they challenge us every day to cater to this segment even more in the coming years.

Moreover, the quarterly reports issued by the Pakistan Microfinance Network (PMN), the national association for retail institutions in the microfinance industry, have also highlighted some of our key indicators as a market leader in digital banking.

ANUSHA ZAHID: How have your marketing strategies evolved? Which mediums did you use earlier, and which ones are you utilizing now to market your products?
GHAZANFAR AZZAM: Customer outreach is one of the oldest, simplest, and most effective marketing strategies, which helps educate the masses and create awareness about our diverse product portfolio. Other than the traditional marketing media mix, which includes television, radio, newspapers, etc., we are also capitalizing on the power of social media and digital technologies to reach our target market.

ANUSHA ZAHID : What would you say the major challenge is when it comes to marketing microfinance products? How has it changed with time?
GHAZANFAR AZZAM: The main challenge of marketing microfinance products is the lack of financial awareness and consumer trust. Financial literacy plays a critical role in creating awareness and educating the masses on being truly empowered. It helps reduce any misconceptions about financial products or services and the safety of their hard-earned money. This factor has improved over time as our target audience is more informed via social media and other communication channels, where best banking practices and safety alerts are shared continuously to enable them to use more and more financial products and services without any fears and doubts.

ANUSHA ZAHID: What are some of the opportunities for the microfinance sector in Pakistan and could you give a few suggestions that could help the sector realize its potential?
GHAZANFAR AZZAM: Opportunities are specific to regions and depend on the stage of development of the microfinance sector in the area. The most crucial challenge is to overcome barriers that hinder our goal of delivering accessible financial services to Pakistan’s unbanked population. Lack of access to financing creates an opportunity in itself. Our goal is to provide premium financial solutions coupled with value-added services to the marginalized segments of society and fill the market gaps that have existed for decades.

ANUSHA ZAHID: What are MMBL’s growth plans for the next five years?
GHAZANFAR AZZAM: The future holds a lot of potential for microfinance as business and technology continue to evolve. Given the prospects, we have set ourselves ambitious targets of expanding our customer base and banking portfolio, using the power of digitalization in all key business operations.

We will continue with our efforts to enable and empower communities, including individual borrowers, women, and SMEs (operating in agriculture, farming, retail, and technology services, etc.) with the introduction of more and more customized digital financial products and services. We will continue to build partnerships to bundle value-added services in our overall goal of promoting financial inclusion for all. Lastly, we will continue to invest in and develop our incredible MMBL family in expanding their skill sets to adapt to the changing business requirements to help scale our operations effectively and efficiently.

POND’S Taps into Hydration Category

One of the household names in the skincare industry of Pakistan and one of the oldest serving brands in the skincare and moisturizing category across the globe, POND’S recently launched ‘POND’S Light Moisturiser’ a non-sticky formula infused with vitamin E and glycerin, which gives users a non-oily yet hydrated skin throughout the year – “bina chip chip soft skin”. 

Talking about the new launch, Ramsha Kazmi, Brand Lead, POND’S (Unilever), the brand has a solid growth trajectory and is now the leading brand in the hand and body category, as well as face cleaning sub-category and has an eight percent share in the skincare category. However, she adds that 70% of the skincare category in Pakistan constitutes face creams which are more focused towards ‘brightening’ – this is the biggest demand space today. 

Following a re-evaluation of the demand space conducted in Pakistan, Kazmi says there are spaces outside of ‘brightening’ that are attractive and growing. According to her, hydration is globally the biggest demand space in face creams, growing across markets, and is the number two demand space in South Asia and in Pakistan. Hence, there is an opportunity for POND’s to grow in this category. “POND’S has a heritage and equity in moisturization, with its lotion and cold cream legacy, thus POND’S aims to lead the light moisturization and hydration trends in Pakistan,” she says.

 

 

The target market for the recently introduced POND’S Light Moisturiser is younger women as they tend to prefer lighter sensory formulae which can be easily used throughout the year. The product is launched in one SKU, a 75g tub, priced at Rs. 320. The packaging colors and format have taken cues from moisturization and hydration to incorporate shades of teal and blue. 

The competition for this product is all lightweight formulations in the market such as Nivea Soft. 

Kazmi says the product has been garnering positive product feedback as an all-season daily moisturizer, by driving the relevance of its non-oily, light sensory formula. The brand has an integrated marketing plan to reach consumers at all relevant touchpoints. “This launch aims to tap into the fast-growing-all-year-round moisturization segment. This has been incorporated in our TVC which brings POND’S Light Moisturiser to every household in Pakistan,” she adds. 

The campaign for the new product took off with the new POND’S girl (Yumna Zaidi) in playful communication. The launch was also marketed on digital, OOH, and in stores all across the country. 

Going forward, Kazmi says POND’S product philosophy will imbibe not just the functional promise but also complement the emotional engagement the brand wants to have with its audience through the venture into this new demand space. 

“POND’S aim to bring disruption in mass moisturization through a completing proposition, based on strong relevant consumer insights as well as trendy innovations and formats,” says Kazmi.