“This is not just a commercial issue; it is a matter of fairness and responsibility,” the association said through its President Tan Kien Eng.

The statement struck a nerve — and not just in Malaysia. Across Southeast Asia, agency leaders have long navigated the same tension: delivering work on time while chasing payments that arrive anything but. For many, especially smaller independents, it’s less an inconvenience than an existential pressure point.

But is Malaysia an outlier — or simply the first to say out loud what the rest of Southeast Asia’s advertising industry has long felt?

For our latest feature under our Inner State series, we recently spoke with Anish Daryani, Founder, President Director and CEO at Moonfolks and President Director at Havas Moonfolks; Pradhana H. S., Chief Executive Officer at Volare Advertising Network; Yollie Viola, Finance Head at GIGIL; and Jeanne Go-Mendoza, Chief Financial Officer at Propel Manila, as their perspectives shed light on an issue that many say has quietly shaped the way agencies operate, survive, and grow across the region.

A regional problem

The consensus among the industry leaders is that this challenge is far from isolated. 

Volare’s Pradhana confirmed that longer cycles are a familiar reality in his market in Indonesia. 

“In recent years, some payment cycles have become longer than traditional 30-day terms, particularly within larger organisations that operate with more complex procurement and approval structures,” he said. “It is an industry dynamic that requires constructive attention to ensure long-term sustainability across the ecosystem.”

Meanwhile, Anish Daryani of Havas Moonfolks was careful to draw a distinction that often gets collapsed in the broader conversation. 

“Extended payment terms and payment delays are two separate issues altogether,” he said. In his experience, most clients in Indonesia are reasonably disciplined — paying as per the terms of payment (TOP) agreed in the contract — but the existence of extended TOPs in the first place still puts pressure on agencies to make a judgment call before they sign. 

“It is up to the agency to decide whether they can afford such high credit periods from the client, before they sign on the client,” he noted.

Propel Manila’s Jeanne affirmed that the strain is felt in the Philippines as well. “Longer cycles do tie up working capital and that’s a shared pressure for agencies across the region, ours included,” she said — though she was quick to add that the conversation needs to go deeper than the headline issue.

The operational reality for agencies

Whatever the cause, the downstream effects are consistent. Cash flow tightens, vendor relationships strain, and the pressure ripples outward well beyond the agency itself.

“Cash is the lifeblood of any business,” Daryani said. “Extended payment terms can put stress on an agency’s cashflow. It also affects vendor partners — production, tech, and others. It just doesn’t affect agencies, but the entire ecosystem.”

Pradhana echoed this, framing it in terms of the people-first nature of the business. 

“Extended payment cycles require agencies to manage cash flow and operational planning more carefully, especially for campaigns involving upfront commitments to media partners, production vendors, technology platforms, and talent resources,” he said. 

“As agencies are fundamentally people-driven businesses, maintaining healthy financial cycles supports continued investment in innovation, capability development, and service excellence for clients,” he added.

Jeanne offered a more granular view of where the operational pain actually originates. In her experience, the problem isn’t always a client refusing to pay — it’s that the administrative machinery surrounding payment is broken. 

“Approval and compliance processes have grown more layered on both sides — POs, service agreements, completion sign-offs — and the payment clock effectively starts much earlier in that chain than the invoice date suggests,” she said. The result: agencies absorb weeks, sometimes months, of invisible delay before a payment term even begins to count down.

How agencies are responding

Rather than waiting for the industry to self-correct, several agencies have built internal processes designed to reduce their exposure before payment delays become a crisis.

At GIGIL in the Philippines, Yollie points to vigilance at every stage of the billing cycle as the cornerstone of their approach. 

Key practices include sending invoices to clients within 24 hours of completion, conducting regular follow-ups on outstanding payments, and immediately looping in the accounts team once an invoice exceeds its agreed credit term. 

“Consistency in follow-ups is critical,” Viola said. “Delays are easier to address when they are managed proactively rather than reactively.”

GIGIL’s approach also emphasises a clean separation of responsibilities between finance and accounts — with finance managing collections and payment follow-through, while accounts maintains the client relationship and keeps conversations focused on partnership rather than transactions. 

“Regular, honest, and open communication builds trust with our clients,” Viola added. “This trust allows us to maintain strong relationships while also being firm and consistent in managing collections and payment timelines.”

At Moonfolks, discipline begins even earlier — at the client selection stage. “We get market intelligence before signing on a client and wouldn’t take on a client that has demonstrated poor credit history in the past,” Daryani said. “We have low tolerance for payment delays. If we have a client that is consistent with payment delays, we are not afraid to take hard calls.”

For Volare, the answer lies in financial governance and proactive client communication. “We focus on prudent cash flow management, diversified client portfolios, and structured project planning to reduce concentration risk,” Pradhana said. “For larger or production-heavy engagements, phased billing structures or project-based payment schedules often create a healthier and more sustainable framework for both parties.”

Jeanne’s prescription at Propel Manila targets what she calls the “silent runway” before invoicing. She advocates for shared service-level agreements that impose committed timelines on each step of the pre-billing process — from PO issuance to vendor onboarding to invoice acknowledgment. 

“None of these touch the headline payment term,” she said. “They target the silent runway in front of it — where 30, 45, 60 days actually hide. The same way we’d align with a client on a creative timeline, we can align on documentation turnaround.”

Rethinking the conversation

Perhaps the most pointed reframe came from Propel Manila’s Jeanne, who argued that the industry may be directing its energy at the wrong part of the problem entirely.

“The bigger story isn’t simply ‘clients paying late,'” she said. “It’s that approval and compliance processes have grown more layered on both sides — POs, service agreements, completion sign-offs — and the payment clock effectively starts much earlier in that chain than the invoice date suggests.”

Joanne’s argument is that the real time loss happens in the invisible runway before an invoice is even submitted. An unacknowledged invoice can sit in a client’s system for weeks before the official payment clock begins. Vendor onboarding that should have been completed at kickoff gets done post-delivery, stalling the billing process entirely. POs that should have been issued upfront arrive late, leaving agencies delivering work with no document to bill against.

Her prescription: shared service-level agreements that impose committed timelines on each of these steps. “None of these touch the headline payment term,” she said. “They target the silent runway in front of it — where 30, 45, 60 days actually hide. The same way we’d align with a client on a creative timeline, we can align on documentation turnaround.”

Should regulation enter the picture?

With the issue gaining visibility, the question of whether government or industry intervention is warranted has begun to surface. Opinions, however, are divided.

Daryani believes existing commercial contracts already provide agencies with legal recourse — but sees room for industry bodies to go further. 

Beyond regulations, he floated a more practical idea: “Industry bodies can certainly do more — like calling for better regulations on TOP, or creating a blacklist of regular defaulters to protect the industry at large.” 

He was also quick to credit 4As Malaysia for raising the issue publicly. “4As Malaysia has demonstrated exemplary leadership in this matter and deserve commendations for the same,” he said.

Pradhana takes a more measured stance on hard regulation, preferring industry-led frameworks over government mandates. “Rather than strict regulation, I believe the industry would benefit more from stronger standards, transparency, and shared best practices established through industry associations and market stakeholders,” he said. “Every market operates with different commercial realities, so maintaining flexibility remains important.”

A shared responsibility

What emerges from these conversations is not a simple villain-and-victim narrative. The issue is structural — shaped by procurement complexity, layered approval processes, and an industry culture that has, perhaps for too long, absorbed financial imbalance as an accepted cost of doing business.

But there are signs of a shift. Agencies across the region are pushing back — not loudly, but deliberately — through tighter contracts, sharper client screening, and more disciplined billing processes. Viola perhaps put it most plainly: “Nothing beats honest and open communication with clients.”

And with 4As Malaysia now putting the issue squarely on the industry’s agenda, the hope is that candour at the association level will translate into change at the contract level — for the benefit of agencies, their vendor partners, and ultimately, the brands they serve.

As Pradhana put it: “The strongest agency-client relationships are built not only on creative ambition but also on trust, transparency, and long-term sustainability.”

***

Whether through stricter internal processes, earlier commercial alignment, or broader industry advocacy, the path forward demands accountability from all parties. Agencies are not banks. But until the industry collectively treats fair payment as a baseline standard rather than a negotiating point, many will continue operating as though they are.

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The collaboration formed part of Asurion’s launch event for its newest Philippine site, which is expected to create around 2,000 local jobs. Held on 7 May 2026, the event brought together company executives, government representatives, and members of the local community.

Developed jointly by Asurion, GIGIL, and Metama, the “Career Glow-Up” experience combined interactive technology and live engagement to showcase career development opportunities at the company. More than 250 participants attended the event.

As part of the activation, attendees answered a questionnaire about their professional goals and aspirations. Their responses were then analysed and transformed into personalised digital magazine covers that simulated future versions of themselves based on potential career growth opportunities.

The experience also featured a runway installation lined with motion-activated neon lights. After walking down the runway, participants viewed their digital “glow-up” profiles on-screen, alongside headlines generated from their questionnaire responses. QR codes allowed attendees to download digital keepsakes, including photographs and recordings from the event.

The collaboration also highlighted how brands and agencies are using immersive technology-led experiences to communicate employer branding and recruitment messages in a more engaging format.

“We’re excited about the talent here and the role this team will play in helping us deliver great experiences for our customers around the world,” said Guru Gowrappan, Chief Executive Officer of Asurion. 

The company also said the Cebu facility strengthens its ability to support a growing global customer base. It also serves as the company’s sixth hub in the Philippines, joining its existing locations in Santa Rosa, Iloilo, Clark, Calamba, and Bonifacio Global City.

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The trend focuses on the evolving office ecosystem. In any given workplace, you’ll find the veteran who emanates “suit and tie” energy, and the newcomer sporting jorts who manages to be just as productive. Brands have leaned heavily into this contrast, highlighting how Millennials maintain a formal, polished corporate tone, while Gen Z communicates with a “main character” lightness, inflicting humor even in the most high-stakes deadlines.

From clothing lines to financial services, brands have jumped into the fray to see where they fit in the generational gap:

Memo, a fashion retail brand under Golden ABC, also bridged this gap:

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Philippine creative agency GIGIL, known for its viral antics, took the comparison a step further by compiling a per-brand take that showcased how different industries would sound if Gen Z took over the comms.

Beverage giants Zagu and CoCo Fresh Tea & Juice also took a fresh take on the trend:

Rural bank MariBank also cashed in on the craze:

Moreover, Lucky Me! by Monde Nissin Corporation stirred the pot on this trend:

Beyond the laughs, this trend marks a shift in Philippine marketing. By highlighting these differences, brands aren’t just selling products; they are validating the workplace experiences of their consumers. Whether you are the “Best Regards” sender or the “Slay” responder, brands are proving they speak your language—no matter which generation you belong to.

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Through its tech and innovation arm, GIGIL Metama, the agency launched activation as a response to the long hours typical of industry events, which often run from early morning to late afternoon and leave attendees fatigued.

GIGIL Metama developed “The GrindTM”, an AI-powered coffee dispenser that scanned participants’ eye bags and adjusted coffee strength based on detected levels of tiredness. The system delivered stronger brews, and the more pronounced the eye bags appeared.

Across the two-day activation, the machine dispensed unlimited cups of coffee and drew significant crowds, with attendees keen to see how the technology translated facial cues into customised drinks.

Moreover, the agency used the installation as an interactive demonstration of its artificial intelligence and creative technology capabilities, while also positioning it as a lead-generation initiative.

Following the activation, GIGIL Metama secured two global clients, The Magnum Ice Cream Company and Manulife Financial Corporation.

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Partnering with GIGIL, the film expresses gratitude to customers for their continued support since the brand’s launch, incorporating this idea into its campaign theme, “Unli-Salamat” (Unlimited Thanks), or unlimited thanks, reflecting both its brand name—meaning “Thank you for having Samgyeopsal”—and its approach to customer engagement.

Created in collaboration with Marius Talampas of Arcade Film Factory, the series highlights a culturally familiar Filipino trait of extending gratitude in increasingly expressive ways. The campaign combines humour with sentiment, focusing on the brand’s relationship with its loyal customer base.

“For 13 years, Filipinos have been unli-supportive, so we’re giving them unli-salamat — unlimited thank-yous — back,” says Hilarie Julio, Chief Executive Officer of Samgyupsalamat.

In local culture, expressions of thanks are often reciprocated and amplified, evolving into a light-hearted exchange of appreciation.

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Done alongside creative agency GIGIL, the campaign centres around a short film that tells the story of Isagani, an introvert who “literally turns into ice” during stressful moments. With the help of a resourceful friend, Isagani’s unusual condition is transformed into a mobile juice business, using the Koolit 65L to store and transport ice efficiently.

The film emphasises practical storytelling, showcasing the icebox’s durability, affordability, and mobility without the use of CGI or special effects. By turning a product benefit into a playful narrative, the campaign demonstrates how the Koolit 65L can support small and medium-sized businesses upgrading from traditional styrofoam containers.

The campaign relied entirely on practical filming techniques, with no CGI or special effects, focusing instead on showcasing the product’s mobility, affordability, and durability.

With the Koolit 65L, Orocan positions its icebox as a practical and entertaining solution for business owners looking to upgrade from disposable containers.

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The initiative demonstrates that fees do not simply go to the company but help fund programs that directly benefit drivers and their families.

The campaign also features a billboard that changes between day and night. During the day, the visual shows a Grab motorcycle with a stack of school supplies and a quote from a Grab rider: “Every order you place helps me send my child to school.” 

At night, the motorcycle’s headlight illuminates the supplies, casting a shadow of a student with a backpack. The imagery is designed to illustrate the real-world impact of each ride or delivery on families.

Moreover, the concept was inspired by Sito Guatno, a Grab rider who uses Grab’s programmes to support his children’s education. His story became central to the campaign, transforming the billboard into a symbol of aspiration and community support.

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Titled “Not For Sale”, the campaign centres on an offbeat film that draws on the idea that many of life’s first experiences can end in regret, often due to inexperience, bad luck, or poor timing. The campaign positions Una Apartments as a first home purchase that homeowners “will never regret”.

The film follows a man who enters a thrift shop where none of the items are available for purchase. The objects on display are revealed to be the shop owner’s past regrets, painful memories he has been unable to let go of.

As the narrative unfolds, the visitor takes the owner on a whimsical, Willy Wonka-style tour of Una Apartments, presenting the development as a thoughtfully designed first home built to endure.

Una Apartments is marketed as a sustainable residential development aimed at first-time homebuyers. The campaign forms part of Arthaland’s broader efforts to highlight sustainability and long-term value in its property offerings.

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Skyro provides flexible loans, targeting heads of households looking to purchase home appliances. For its latest campaign, the company teamed up once more with GIGIL, this time highlighting a uniquely Filipino twist: most billboards in the country are made of tarpaulin. The activation used the material as a playful medium to show what Filipinos no longer need to do now that appliance loans are more accessible.

The campaign features Skyro’s brand ambassador Dennis Trillo, depicted wringing out the tarpaulin on a giant billboard with the statement, “Mag-loan ka na kasi ng dryer” (“Get a loan for a dryer now”).

The billboard reportedly generated significant engagement, including hundreds of thousands of social interactions, increases in brand recognition and recall, and notable spikes in both in-store and online loan applications.

This is not Skyro and GIGIL’s first foray into playful outdoor advertising. In 2024, their billboards also went viral with messages such as “May naka-harang kasi, so kami na nag adjust” (“Something was blocking the way, so we adjusted”), which appeared to flexibly wrap around obstacles like electrical poles. The concept highlights GIGIL’s creativity while reinforcing Skyro’s brand positioning as a provider of flexible, accessible loans.

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The goal was simple for GIGIL: to underscore the value of Canva Pro. In ways, small-to-medium businesses (SMBs) can use Canva as a tool to reach new audiences. Yet as it unfolded, the trendjack instantly became a hit, for marketers—however big or small they are.

In this exclusive feature, MARKETECH APAC talked to Greggy Gregorio, GIGIL’s associate creative director, Raphe Ramirez, senior copywriter, and Riz Guico, art director, on how to transform one idea into an all-purpose brand toolkit.

How the ‘All Purpose Fonts’ blended creativity and culture

To begin with, GIGIL shared that the initial idea was to feature yet another social media sensation, Niña, who went viral for her “Sumakses ka eh!” (You became successful!) line, one that could easily prove that with the use of Canva Pro, anyone can be successful.

However, in an industry that is always vying for visibility, SMBs definitely would need a tool that could transform their materials into a standout. 

“The client was interested in the direction, and they ultimately suggested Kween Yasmin, the internet’s ‘All-Purpose Kween,’ known for her memes, singing, spoken word poetry, and her mango grahan business—she can do it all!” GIGIL shared.

From here, it was agreed upon that Kween Yasmin is the perfect personification for this concept. Yet, the agency declined to just make her a regular endorser, thus maximising her ‘All Purpose Kween’ title.

“In collaboration with Canva and Kween Yasmin herself, we turned her lovable persona into a complete brand kit—photos, font, emojis—to show our audience exactly how Pro can set their business up for success,” said GIGIL.

Completing the puzzle piece, Kween Yasmin herself, is also a small business owner.

“Kween Yasmin was the perfect choice, not only because she’s an SMB herself with her business ‘Kween of Mango Graham Special,’ but also because being dubbed the “All-Purpose Kween” aligns perfectly with Canva Pro, which is an all-purpose platform.” 

Blending functionality and fun

Beyond its humorous approach, GIGIL knew a common denominator amongst SMBs nowadays: that they heavily rely on social media and operate with limited budgets. Hence, are still needing visibility.

“Giving them access to these creative, attention-grabbing assets with Kween Yasmin could do just that. These assets had to be something Pinoys could enjoy and participate in, while also clearly showing what Canva Pro can offer,” emphasised GIGIL.

They added, “By staying true to both the brand and Kween Yasmin’s personality, the campaign hit a sweet spot that resonated with Filipinos.”

Following the traction the concept reached, GIGIL was able to identify an important realisation—that a lot of netizens, companies, celebrities, and brands are already Canva Pro users.

“We realized this because of how quickly they were able to join the trend – which you can only do, if you’re a Canva Pro user. Beyond it, we also got feedback as to how many other brands and agencies rushed to subscribe to Canva Pro, just to be part of the Canva and Kween Yasmin social media phenomenon,” explained GIGIL.

When asked if this accomplished their goal for the campaign, GIGIL remarked, “Our goal for the campaign was to create something that people would happily share and talk about, because ultimately, that’s what would help business owners be seen—and it would be all through Canva Pro.”

By merging a cultural figure like Kween Yasmin with tools that empower everyday entrepreneurs, this initiative underscored a larger truth: visibility doesn’t always require large budgets—sometimes, it simply requires ideas that people want to share.

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