Marketing Featured Southeast Asia

PH insurance brand behind award-winning ‘No Filter’ ad opts for no-frills sustainability campaign this time

Manila, Philippines – Local insurance provider Allianz PNB Life has launched its newest campaign for its commitment to sustainability entitled ‘Seeds of Tomorrow’. The digital short film, which is a much more straightforward approach than its previous awarded campaign ‘No Filter’, was made available for streaming on Facebook last June 23.

The insurance company had been recognised twice for its highly visual and engaging creative ad, ‘No Filter’, which launched in 2021. Developed by creative agency Gigil, the ad, currently at 800,000 views, was an eye candy with a ‘cause’, delivered through a jovial mood but provoking an all-important message that the polluted world can’t be ‘fixed’ with a filter–but that a policy from Allianz PNB Life can help. 

The insurance provider shared with MARKETECH APAC that the reason they decided to focus on a more literal approach this time with ‘Seeds of Tomorrow’ is that they needed “to go into detail” and show how Allianz is fulfilling that sustainability role in securing the future. The ad, sans the frills, shows different scenarios of how a good insurance plan can help build a better ‘tomorrow’ for oneself, family, and the environment. 

From the ‘Seeds of Tomorrow’ campaign

“We are proud of our ‘No Filter’ campaign because it firmly established via a creative approach that sustainability is in Allianz PNB Life’s DNA, that we believe that sustainability is a way to fulfil our company’s Purpose, which is ‘We Secure Your Future’,” said the company. 

The insurance provider added, “A more straightforward campaign shows our focus on sustainable food production, renewable and alternative energy sources, tree-planting, cycling (just like our award-winning Allianz Ride Safe campaign, which promotes healthy and sustainable transport), and even our partnership with the WWF for a foodshed that provides food to Filipino families. ‘No Filter’ showed creatively the ‘WHAT’, while ‘Seeds of Tomorrow’ shows the ‘HOW’.”

The company’s ‘Ride Safe’ bicycle campaign was created to encourage a healthier lifestyle among Filipinos while lessening the carbon footprint and pollution generated by transportation vehicles. 

“The [present campaign] ties in with our purpose of ‘We secure your future’, not just of our customers but of the communities we operate in. We want to highlight the importance of getting an insurance plan that can help build a better world,” commented its President and CEO Alexander Grenz.

In terms of what consumers can expect from its sustainability initiatives, the company said it will be continuing the said Allianz Ride Safe campaign. The company shared that there could be more cycling infrastructure in the future, but more than that, it is eyeing activities that will teach more Filipinos how to be bike mechanics. 

Other sustainability-focused activities aimed in the coming periods is its ongoing ‘Kaagapay’ (support) financial literacy seminars which aim to teach farmers, labourers, and other folks, who may not have access to proper financial education, how to properly manage their money so that they have funds for the future. 

Marketing Featured Southeast Asia

Netflix PH’s campaign for Money Heist Korea depicts the heist–quite literally

Manila, Philippines – To promote the online series ‘Money Heist: Korea – Joint Economic Era’, streaming platform Netflix in the Philippines has launched an outdoor campaign that depicts the show’s heist in a literal sense.

Mall-goers at the SM Megamall in the city of Mandaluyong in Metro Manila, as well as in TriNoMa, were surprised to see an outdoor installation where an armoured truck, seemingly stalled due to colliding with a street light post, is brimming with a lot of items and goods, including play money, boxes of Korean goods, among others.

‘Money Heist: Korea – Joint Economic Era’ is a South Korean television series which is based on the popular Spanish heist crime drama series ‘Money Heist’. The series depicts a hostage crisis situation set in a unified Korean Peninsula.

The campaign is made in collaboration with local creative agency GIGIL, who has long been known for making local campaigns for Netflix, with titles such as ‘All Of Us Are Dead’, ‘Trese’, and ‘Red Notice’.

Photo courtesy of SM Megamalls

Speaking to MARKETECH APAC, Netflix said in order to select what type of outdoor campaign they will execute, they always consider the uniqueness a series brings to its viewers.

“Things that get noticed get talked about, and things that get talked about are searched for–and in Netflix’s case, watched. This has been the underlying principle behind our campaigns for the brand. Conversation enables conversion,” Netflix said.

For this particular case, Netflix banked on Filipinos’ love for Korean-related products, and spun the campaign based on the series’ premise.

“Money Heist Korea is a spin-off of an already existing franchise (La Casa de Papel), so we did some research on what makes it different from the original. The answer was right under our noses–it’s Korean. While it has a similar plot, there are a lot of Korean nuances that give it its own distinct flavour. We deliberately leaned into its Koreanness, because not only did it make the Joint Economic Area special, it also made it fit well with Filipinos–after all, we are fans of Korea’s products, content, and culture. If it’s Korean, then it’s probably worth giving attention to.”

When asked as to why they think outdoor campaigns still matter, Netflix told MARKETECH APAC that one of the best ways to create a digitally-led campaign is to engage with the audience in real-life, then bring the experience to their devices.

“There’s a different kind of magic when you experience something first-hand, and getting to experience this for yourself (which you once just saw on-screen) compels you to share it, and convince others to experience it for themselves, too,” they concluded.

Marketing Featured Southeast Asia

Netflix PH goes all-out ‘survival mode’ in campaign for ‘All Of Us Are Dead’

Manila, Philippines – Following the success of the hit South Korean TV series Squid Game, a new thriller series has been released by popular streaming service Netflix, titled All Of Us Are Dead, in January this year. The series, based on the webtoon Now At Our School, is a coming-of-age thriller series that revolves around the story of high school students who are caught up in a zombie infection in their school, forcing them to improvise school equipment to protect themselves from a hoard of zombies.

With the rising popularity of said series, as well as banking on the previous success of several South Korean TV series on the platform, Netflix Philippines launched its very first local campaign for this year, with the aid of independent creative agency GIGIL.

In an exclusive interview with MARKETECH APAC, Jeano Cruz, creative director and head of social at GIGIL, stated that the underlying thought for this local campaign is through a mix of the series’ survival theme, light moods during the episodes, and the fact that the characters are going through their adolescence. For the agency, this allowed them to implement more comedy and romance themes in between the suspense and thrill of a zombie apocalypse story.

Moreover, Cruz told MARKETECH APAC that part of the creative process for this campaign is to bank on the emotional attachment among Filipino adults: nostalgia during their high school days.

“We believed every Filipino adult could relate to one another because of what they went through in their formative years: from being in a high school barkada (buddy/friend), to studying the same lessons in high school, to experiencing the same student lives everyone else was experiencing across the country,” he stated.

The first blow: ‘Knowledge is weapon’

One of the first brand activations Netflix Philippines did was releasing a 2-minute film, centred around the humour of utilising your school knowledge to survive in the middle of a zombie apocalypse. The twist? The film is done in retro 90s fashion, and delivered like old educational shows such as ABS-CBN’s ‘Sineskwela’ that discussed science-related topics catered to kids.

Another interesting facet utilised in the film is the host of said film, a supposed cameo of the late Ka Ernie Baron, a well-beloved Filipino TV presenter, weatherman, and inventor. He is known for his show Knowledge Power, where he discusses educational topics about science, health, history among others.

The film, aptly called Knowledge is Weapon, begs the question of why is it that when we were in high school, we were taught concepts that we never really needed in everyday life. Turns out, it was all in ‘preparation’ for any impending zombie apocalypse.

“In back and forth sequences between All Of Us Are Dead and the program, we’re shown the things we can do to plan an effective survival strategy during this outbreak. Whether that may be using a diorama to plan an exit route, growing a mung bean to have a direct food supply, or using the ‘maglalatik’ dance (a Filipino folk dance) to effectively distract a zombie from using our crush as a meal—the application of our knowledge goes beyond the four walls of a classroom,” Cruz noted.

As part of that film activation, GIGIL’s campaign for Netflix Philippines was also accompanied by TikTok influencers demonstrating how they would apply their own high school learnings in a zombie apocalypse, a ZSAT or the Zombie Survival Assessment Test which tested the population’s survivability by how well they remembered high school lessons in the context of a zombie invasion, and an actual Zombie Survival Kit using only school supplies.

The second blow: Memeifying through billboard activations

Another facet of the All of Us Are Dead local campaign is through billboards promoting the series. The twist? GIGIL transformed the usual billboards that accompany a Netflix Philippines launch into meme billboards that carry with it a ‘core memory’ for every Filipino who went through high school.

Cruz further told MARKETECH APAC that they are always looking for ways to help their clients achieve their objectives. He added that their clients wanted All Of Us Are Dead to penetrate pop culture through executions that connect with audiences and help the title be talked about for days even after the series release on the streaming platform.

“It’s the first time anyone brand’s done this in the country. Our clients at Netflix allowed a language that was born online, memes, to live in the real world through their billboards nationwide. This allowed their All Of Us Are Dead campaign to connect to even more people who see these billboards everyday, and create a virtuous cycle where photos of the billboard are uploaded to social media and then people online talk about them more,” Cruz stated.

He further explains, “By using memes as billboards for the first time, we connected to Filipino audiences nationwide on a new emotional level because we’ve tapped into their ‘core memories’ about their high school lives.”

Speaking about their general work relationship with Netflix, Cruz noted, “We love working with our clients Daphne Ng, Cass Wong, and especially Stef Pajarito, a fellow Filipino at Netflix, who always pushes us to create never-been-done-before marketing campaigns in the Philippines that allow the Netflix brand to connect with Filipino audiences better. They are always bold in their directions and are collaborative with the agency in creating ideas that might otherwise be rejected in other companies. He would always tell us that sometimes our ideas are so stupid that’s why he loves it, and it’s his spirit that has given birth to viral campaigns by GIGIL for Netflix.”

Some of GIGIL’s past work for Netflix Philippines included promotions for series such as Trese, Squid Game, DOTA, To All The Boys I Loved Before, Red Notice, among others.

Marketing Featured Southeast Asia

4As Philippines suspends creative agency GIGIL’s membership

Manila, Philippines – The Association of Accredited Advertising Agencies of the Philippines or known as 4As Philippines has announced the suspension of local creative agency GIGIL’s membership, slated for one year.

This follows after the agency came under fire with the campaign they made for medical-aesthetic clinic Belo Medical Group.

According to 4As Philippines, said ad was found to be in violation of certain terms in their association’s code of ethics.

The ad, titled ‘Pandemic Effect’ features a woman watching a barrage of news while her appearance changes: the skin under her eyes darkens, gets acne, grows facial and body hair, and gains weight. As the ad draws to a conclusion, the woman in focus receives a call from her friend, and catches up with one another.

The ad closes off with the tagline ‘Tough times call for beautiful measures’, alongside a line to encourage customers to book an appointment with Belo Medical Group.

Following the ad release, many netizens have criticized the ad, stating that it was ‘tone deaf’ and body-shamed women in the middle of the pandemic.

Both Belo and GIGIL have taken the ads out of their social media channels by 10 August.

In a statement regarding the 4As Philippines suspension, GIGIL posted on Facebook, “We acknowledge that alongside the unexpected thinking that comes with our work, we must always be mindful of sensitivity and respect.”

They added, “We also assure that this does not in any way hamper our ability to represent and deliver work for clients. Our business continues.”

MARKETECH APAC has reached out to both GIGIL and Belo Medical Group for additional comments.

GIGIL has been known for creating humorous and tongue-in-cheek campaigns for brands such as Julie’s Bakeshop, Unioil, and Allianz. They are also responsible for multiple campaign drives for Netflix Philippines as part of the promotion of the Filipino-based occult series ‘Trese’.

Marketing Featured Southeast Asia

This ad by a local PH fintech involves farmers, carabaos, and explaining loans

Manila, Philippines – In another case of ‘weird ads you enjoy’, local-based finance app DiskarTech recently launched a new spot alongside agency Katok, the new agency affiliated with well-known independent creative agency GIGIL, to promote its loan services–in the most tongue-in-cheek way possible.

Titled ‘Utang Ni Tatang’ or translates to ‘The Old Man’s Debt’, the comedy-themed ad features two farmers, where one of them asks the other if he can loan him some money. When he refuses, a sudden turn of events takes place as a DiskarTech agent emerges from—we kid you not—a carabao or a water buffalo. As both farmers stare in awe and confusion as to what they just witnessed, the agent begins his pitch of the various loans users can avail on their app.

The ad, which as of this writing, has now been viewed over 4 million on Facebook alone, speaks to the company’s aim to be more inclusive to Filipinos, including their intended launch of the app in the Cebuano language, and sooner other Filipino languages.

“We needed to create a product that is easy, simple and relatable to Filipinos. The Diskartech app is in Taglish in order to break the comprehension barrier, and allow banking newbies to navigate it with ease. It’s a financial inclusion super app that allows every Filipino to save, borrow, pay, and even purchase microinsurance and telemedicine services complete with livelihood opportunities,” said Lito Villanueva, executive vice president and chief innovation and inclusion officer at RCBC.

DiskarTech is one of the latest initiatives from Filipino banking institution RCBC, launched last year.

“With DiskarTech users spanning across all the 81 provinces, and over 70 percent of which are from rural areas, we are committed to continue to bring the unbanked or underserved Filipino into the banking fold,” Villanueva added.

Marketing Featured Southeast Asia

Allianz PNB’s campaign pokes on sustainability issue, urges one to ‘look under’ the filter

Manila, Philippines – In its latest spot demonstrating how we should look deeper into the lenses of sustainability nowadays, insurance company Allianz PNB Life has released a new spot alongside creative agency GIGIL highlighting the symbolism of ‘filters’ and the illusion of seeing our environment from a ‘filtered’ perspective.

The campaign kicks in with what seems to be a normal fun campaign, complete with colorful filters and upbeat music, but the more you look into it, you realize the stark reality these filters hide. From a sewer pipe disguised as releasing ‘rainbow streams’, to factories releasing ‘glittered smoke’ to a crab plastered with a ‘cutesy eye filter’ where in reality, the animal is suffering due to the plastic and mask trash it is pulling.

The thought-provoking film leaves viewers with the message that the world can’t be fixed with a filter, but they can help make it better with a policy from Allianz.

Allianz’s latest campaign truly lives up to its tagline, “Confidence in Tomorrow.” As of 2020, Allianz has already invested over ₱420.2b in renewable energy projects, and protected over 49 million vulnerable people in Asia, Africa, and Latin America through various sustainability initiatives.

In a statement to MARKETECH APAC, Gino Riola, chief marketing officer at Allianz PNB, stated, “Allianz PNB Life strives to build a sustainable future for Filipinos. Through ‘No Filter,’ we want to prove that even though the planet can’t be fixed instantly, we can help make it better. At Allianz, we work together to protect you and the planet.”

Such a statement is also supported by Alex Grenz, CEO at Allianz PNB, who told MARKETECH APAC that beyond readying Filipinos for the future with quality health and life insurance, they wanted to make sure they can look forward to it too.

“From going digital to supporting sustainable businesses, each step by Allianz is always directed towards a safer and greener future,” Grenz added.

Speaking about the creative process of the campaign, Leslie Cua, associate creative director at GIGIL told MARKETECH APAC that they were single-minded in communicating how Allianz is the insurance that cares for us and the planet. She also added that since this is about the environment and sustainability, they wanted something poignant and thought-provoking, yet they wanted to do it in a way that people haven’t seen before.

“By using filters people see on social media and applying it to what’s happening in our environment, we’re able to give perspective and drive that feeling of wanting to do something to make the world better. Since Allianz is serious about sustainability, taking out a policy from the company will really help in protecting our environment,” Cua concluded.

Main Feature Marketing Southeast Asia

READ: A timeline of Netflix PH’s ramped-up campaign for occult series ‘Trese’

Manila, Philippines – A well-known occult classic in modern Filipino literature, and dark fantasy and crime horror comic series ‘Trese’ received more hype when streaming platform Netflix announced it as part of a new original series stemming from Asia on 8 November, 2018. Originally penned by Budjette Tan and illustrated by Kajo Baldisimo, the series debuted last 11 June, with six episodes officially released on the streaming platform.

The anime-influenced TV series follows the story of Alexandra Trese, a healer-warrior who plays the role of a mitigator between the real world and the supernatural one. She is often summoned by the police to solve paranormal cases within Manila, the capital of the Philippines. Throughout the series, Trese faces various entities and challenges within the paranormal world, all of which are based on Philippine paranormal folklore.

On the days leading to the debut, the Philippine arm of Netflix worked constantly on a slew of campaigns to promote the series, all embodying the paranormal theme that awaits for newly-found fans and viewers to enjoy.

‘Vandalized’ by the supernatural?

On 6 June, Netflix Philippines posted several photos on their social media pages, begging the question ‘What kind of monster would do this?’, to which the pictures depicted the promotional banners and billboards for ‘Trese’ to be seemingly destroyed and vandalized with phrases such as “Siyudad namin ito! Layas!” (This is our city! Get out!). Even the digital out-of-home advertising (DOOH) for ‘Trese’ also ‘glitched’, bearing the aforementioned phrases. 

Soon, netizens took notice of the pictures, and noted various instances across the country, from Metro Manila, Batangas, Cebu, and Davao.

Said ‘vandalism’ act is one of the marketing ploys created by local-based independent creative agency GIGIL, who played upon the story’s lore of monsters who are constantly taking over key cities in the fictional background of the storyline.

“Our billboards all over the country started getting vandalized, apparently protesting Trese’s arrival. Social media, and the actual media, went into a frenzy. We turned Trese into a huge national moment, and ultimately giving this for Pinoy – by Pinoy – about Pinoy title the recognition it deserves, all in time for Independence Day weekend,” said Stef Pajarito, country marketing manager at Netflix Philippines, on his LinkedIn post.

The following day, 7 June, Netflix Philippines ‘unveiled’ the culprits of the ‘vandalism’ by sharing videos which are purportedly ‘shared’ by organic social media accounts. The videos ranged from a ‘tiyanak’ (a Filipino mythological vampire creature that takes the form of a child or toddler) or a ‘manananggal’ (a Filipino vampirical creature taking the form of a winged creature, in which the upper torso is only present). Turns out, said ‘videos’ were also produced by GIGIL for Netflix Philippines.

A ‘not-so-live’ concert experience

The primary soundtrack of ‘Trese’ titled ‘Paagi’ was composed by well-known Filipino indie pop band Up Dharma Down or more known as UDD, and popular for tracks such as ‘Tadhana’, ‘Oo’, and ‘Hiwaga’. And in tribute to the upcoming debut of the first episode of ‘Trese’, Netflix Philippines and GIGIL collaborated in launching a virtual concert experience, which was streamed exactly thirteen minutes before the debut.

Due to the existing protocols in the country regarding large-scale gatherings, the virtual concert campaign was launched with the premise that audience members upload their videos on the website The twist on this campaign is that the submitted videos are recorded using the Instagram filter provided by the QR code on site, which transforms the videos into ‘ghost-like’ edits, an allude to the paranormal nature of the ‘Trese’ series.

The ABS-CBN, BusinessWorld, and The Philippine Star campaign tribute

One of the well-known fictional organizations in the ‘Trese’ franchise is the media network ABC-ZNN, which is a play on the real counterpart, Philippine media conglomerate ABS-CBN.

On 11 June, Netflix Philippines launched another marketing stunt campaign that seemingly plays on the incident that ‘Trese has taken over ABS-CBN’. In the pictures, the facade of the ABS-CBN Broadcasting Center was draped with the logo of the ABC-ZNN, covering the metallic logo of ABS-CBN which is prominent in the building.

The same was also done with the facade of ABS-CBN’s ELJ Communications Center in Quezon City, which also shone the words ‘TRESE’ spelled by the window lights, as another tribute for the debut episode of ‘Trese’.

Other media outlets also showed their support for ‘Trese’, with broadsheet dailies BusinessWorld and Philippine Star publishing a front-page report narrating an incident of a ‘dead white lady’ or a well-known paranormal entity in Philippine horror who are commonly wandering souls, on Balete Drive, a well-known street in the Philippines to which the tale of the ‘white lady’ is more popular. Said fictional newspaper story alludes to the first episode of ‘Trese’ where one of the main characters, a policeman by the name of Captain Guerrero, discovers the incident, and the first scene where Trese is first introduced to crack on the case.

‘The biggest campaign we’ve ever done’

Speaking about the execution of the project, GIGIL Senior Art Director, JR Bumanglag, stated that they knew from the very end of their briefing with the client that they wanted ‘something to pop out’, yet the challenge remains: how do you bring an animated series to ‘life’?

“We realized that, as ‘Trese’ is coming, everyone is excited. It’s a [series] that every Filipino can be proud of, there are places on the show that people [will recognize]. But as everyone was excited, Trese’s enemies on the show weren’t. So how do we give them that voice and how do we [make people feel like] the monsters were real? So we used the billboards as the venue to express that idea,” Bumanglag stated.

Meanwhile, Nova Novido, account manager at GIGIL, expressed the large scale of the project, noting it is the agency’s biggest project to date.

“I’m pretty sure that our team is very ‘gigil’ and we wouldn’t stop here. But there will be future campaigns that will hopefully be as grand or even grander as Trese. But at the moment [the Trese campaign] is one of the biggest things we’ve done [so far] and we’re really proud of it. The attention that this has caught in public, [and I’m proud] that our team was able to produce it for such a well-loved comic series and Netflix,” Novido stated.

In its first week, Trese made it to Top 1 position in Netflix Philippines, and Top 10 in 19 other countries on Netflix. The show practically took over Philippine social media, as it has been trending online and receiving overwhelming praises from fans. On Twitter alone, it was the Top Trending Topic for a week.

Marketing Featured Southeast Asia

This PH NGO’s latest campaign encourages failing students to rediscover their love for learning

Manila, Philippines – In an attempt to break the norm of failing grades equates to the end line of learning, Philippine-baed educational non-government organization Silid Aralan, Inc. (SAI) has partnered with local-based independent creative agency GIGIL to launch a new campaign to encourage academically-challenged students to rediscover their love for learning.

Titled ‘75under75’, the campaign encourages students who have a grade line of 75 and below to join their Ground Zero Program, an educational strategy that customizes their education to their passions, hobbies, and learning style, as well as immerse in supplemental learning methodologies that make underachievers excellent in school.

‘75under75’ draws comparison to well-known lists like from Forbes and Fortune where they publish their most influential and impactful achievers under the age of 40 and so on. For SAI, they would like to focus their resources on helping low-performing public school students, who are the bulk of the student population.

For SAI Founder and Chief Motivation Officer Arcie G. Mallari, uplifting the lives of children and their families requires “malasakit” and excellence. “Poor performing students, especially those who are from underprivileged communities, must be empowered to become not only achievers in school but more importantly productive citizens of our nation,” said Mallari. 

He explained that when education stakeholders work together, transformation in the lives of students happen. 

“Working with children, parents and partners for more than 10 years taught us the importance of having a common goal and of continuously innovating the way we implement our programs,” Mallari added.

As the submission of entries ended last 12 May, the students will be selected to a final list of 75 by a board of judges composed of: Diosdado M. San Antonio, DepEd undersecretary for curriculum and development; Ivan Henares, assistant professor at the University of the Philippines; and Reynaldo Antonio Laguda, president at Philippine Business for Social Progress.

Various individuals from the private sector will also join in the board of judges as well, from Smart Telecommunications, ABS-CBN and Monark Equipment.

Marketing Featured Southeast Asia

Unioil’s ‘mockumentary’ reminds one need not go too far to save the environment

Manila, Philippines – In a move to merge quirky relevancy to millennial viewers and communicate the brand’s messaging, Philippine oil company Unioil has tapped the talents of independent local creative agency GIGIL to launch a new campaign depicting a ‘mockumentary’ on saving the environment.

Titled ‘You Don’t Have To Go That Far’, the ‘mockumentary’ follows the quirky story of Bart, an environmentally-conscious person who takes his vision ‘seriously’ by storing all of his farts in jars. For him, he earlier learned that our farts, which contain the harmful gas methane, can be bad for the environment.

The ‘mockumentary’ continues with a slew of moments Bart would pause to fart into his prepared jars and place them in a cabinet with other farts he stored. As light-hearted the campaign is, Unioil stresses in the latter part of the campaign that we don’t need to go far in our endeavor to save the environment, and instead paying patronage to environmentally-safe products, like Unioil’s line of clean fuels, is already a meaningful step forward.

The latest spot by Unioil echoes the company’s vision to be more environmentally-aware through its ‘Doing Our Part’ campaign back in 2018, where they vowed to encourage Filipinos to make a difference in society through the small, everyday actions and responsible decisions they make, including the decision to choose a cleaner fuel.

Speaking about the campaign, Jake Yrastorza, managing partner at GIGIL told in an interview with MARKETECH APAC that they are proud of this recent campaign and are quite optimistic that it will create a positive difference for the brand—and its customers.

“Unioil is currently a challenger brand in the Philippines. But they are the oil company that’s probably the most serious with regard to its commitment to the environment and sustainability. However, to communicate a rather serious message to its target audience-the millennials-we all agreed that we needed to make it funny and light so they’d sit up and notice,” Yrastorza stated.

On a similar note, Jeano Cruz, associate creative director and head of social at GIGIL told MARKETECH APAC as well that they admire their client’s willingness to ‘bravely embrace the younger audiences’.

“The creative team just shared to them how millennials and Gen Z’s now really go out of their way to live out their beliefs. We just added a creative magnifier on that insight. Thanks to their risk, their film is now helping them stand out in the gasoline category that just keeps on looking like each other everyday,” Cruz stated.

An independent local creative agency, GIGIL has been well known to create quirky and tongue-in-cheek ad campaigns such as those of local soft drink brand RC Cola and plasticware brand Orocan.

Marketing Featured Southeast Asia

Local PH bakeshop’s campaign a humorous take on dealing with ageist ‘tita’ shamers

Manila, Philippines – As the company celebrates its 40th anniversary, Filipino bakery Julie’s Bakeshop has launched a new campaign with local-based creative agency GIGIL, centered around the theme of dealing with ageist remarks toward middle-aged women, or the so-called ‘tita shamers’ – tita being the Filipino equivalent of an aunt. 

The campaign opens as two titas are seen doing exercises in a gym. They are then mocked by a man who begins to blurt out discriminatory remarks such as telling them that the aerobics section is on the other side of the building, or chiding them to take care of their manicured nails, as well as mocking them to take their prescribed medication. Then Auntie Julie, the face of Julie’s Bakeshop, enters the scene and ‘kneads’ the man to become dough and then baked into bread.

Ending with a message of #StopTitaShaming (#StopAuntieShaming), the campaign aims to remind that that despite being relatively in their 40s, the titas are still capable of doing things, just like how Julie’s Bakeshop is committed to baking fresh bread after 40 years since its establishment in 1981.

“When you say ‘Auntie,’ it doesn’t automatically mean you’re talking about women who are stuffy and formal. Aunties can be cool and very dynamic. Our founder, Mrs. Julie Gandionco, was already in her 50s when she decided to start her own bakeshop. Now it’s grown to a network of more than 450 stores all over the Philippines,” said Marc San Juan, national marketing head of Julie’s Bakeshop.

To date, the film has garnered more than 1.8 million views on their Facebook page alone, with 20k shares across the platform.