In his new role, Yong will oversee the group’s people, clients, and growth strategy across China, reporting to Chris Reitermann, Chief Executive Officer of WPP Greater China.

His responsibilities include leading the group’s operations across advertising, digital experience, social, influence, and public relations, while strengthening collaboration across its agency portfolio, including Ogilvy and Grey. Both agencies will continue to operate independently while working more closely across capabilities and client engagements.

Chris Reitermann commented,“I have had the privilege of working closely with Yong for 15 years and have seen firsthand the leader he has become. His strategic vision, integrity and unwavering commitment to our clients and people have earned him the trust and respect of colleagues and clients alike. His appointment reflects our long-term commitment to developing leadership from within and empowering proven talent to make an even greater impact. 

He added, “It gives me immense pride to see Yong step into this role, and I have every confidence in his ability to lead The Ogilvy Group China into its next chapter of growth. I look forward to continuing our partnership as we create even greater value for our clients.” 

Yong joined Ogilvy in 2011 and most recently served as president of Ogilvy Advertising China. He brings experience in brand development, client management, and business leadership, having spent more than a decade with the organisation.

He holds an MBA from Harvard Business School and has been involved in leading client and agency growth initiatives during his tenure at Ogilvy.

Commenting on his promotion, Yong said, “I’m honoured to take on this expanded role and deeply grateful for the trust placed in me. What has always distinguished Ogilvy is our ability to combine enduring expertise in brand thinking, creativity and integrated capabilities to help clients grow.”

He added, “As I take on this broader group leadership responsibility, I look forward to working closely with our teams across Ogilvy and Grey to strengthen collaboration, unlock new opportunities for our clients, and create an environment where our people can do the best work of their careers.” 

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Developed by Ogilvy for the Department of Health, Disability and Ageing, the “Could This Be Perimenopause?” campaign highlights common but often misunderstood symptoms associated with the transitional life stage for women, including sleep disruption, brain fog, sudden sweats, anxiety and fatigue. 

The campaign also encourages women to recognise potential signs of perimenopause and address common misconceptions while seeking evidence-based information, support, and treatment.

“The silence around perimenopause and menopause has carried a real cost. We’ve had decades of confusion, misdiagnosis, and suffering that women simply didn’t need to face alone,” said Fran Clayton, Chief Strategy Officer of Ogilvy.

“Our goal wasn’t simply to raise awareness, but to reframe the experience. This campaign finds women in that 3am moment, wide awake, wondering if they’re losing their mind, and says: we see you, this is a thing. Not to wrap it in a bow. Just to say it has a name, and there’s support if you know where to look,” she added. 

Running through the end of 2026, the campaign will be rolled out nationwide across television, BVOD, out-of-home, social, audio and digital channels, while targeting women aged 35 to 55 and broader audiences including younger women, healthcare professionals and support networks through a dedicated online information hub.

The Ogilvy-developed creative platform forms part of a wider communications program led by the Department of Health, Disability and Ageing in collaboration with agency partners including Fiftyfive5, Universal McCann, Fenton, Cultural Perspectives, Carbon, and Hall & Partners. 

The initiative is also supported by a dedicated campaign website at health.gov.au/perimenopause, providing evidence-based information, treatment guidance and access to support services for women navigating perimenopause and menopause.

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The campaign centres on a short film following the fictional life of Ryan, a young man whose descent into drug abuse leaves relationships fractured and futures abruptly altered. 

Three accompanying teaser films expand the story through the perspectives of his mother, girlfriend, and best friend—shifting the lens from the addict to those left carrying the emotional debris.

In Singapore, where anti-drug campaigns have long leaned on hard deterrence and zero-tolerance messaging, the softer but more psychologically charged approach marks a notable shift. 

The city-state continues to enforce some of Asia’s toughest narcotics laws, even as regional authorities grapple with rising synthetic drug flows and youth exposure across Southeast Asia.

Beyond the screen, the campaign moves into physical space through “The Library of Stories, Unfinished”, a three-day public exhibition at Suntec City from 15 to 17 May. 

Visitors walk through staged room sets—including a café, stadium, and dining room—where actors recreate memories overshadowed by addiction and loss. 

Guests are encouraged to speak with performers, ask questions, and sit within the discomfort rather than observe it from a distance.

The installation also includes sections featuring real-life accounts, research material, and regional case studies examining the broader social fallout linked to narcotics. 

Another segment explores the motivations of former drug dealers, while an ASEAN-focused section examines prevention and rehabilitation efforts across the bloc.

“It is our endeavour to present the gravity of the drug issue truthfully, from the effects of abuse on an individual to how loved ones and the wider community are affected,” said Audrey Ang, Director of Communications at CNB.

Ang emphasised, “Our selection of content for the pop-up library, from biographies to news articles, is curated to help visitors understand this. The campaign narrative itself explores the complex emotions victims of drug abuse may experience, and presents these through participatory interaction with live performers on set.”

“Through ‘Stories, Unfinished’, we hope to help Singaporeans reflect on the profound impact that drug abuse has and on our role as conscious members of society too,” she explained.

For Ogilvy Singapore, the assignment was less about awareness than emotional proximity—a difficult balance in a market saturated with public service messaging.

“Public education messages are often communicated through facts, warnings or enforcement. They can sometimes be heard but not deeply felt,” said Troy Lim, Group Creative Director at Ogilvy Singapore.

“With ‘Stories, Unfinished’, we wanted to create an experience that shifts audiences from passive awareness to emotional understanding by showing not just what drug abuse does to a person, but what it leaves unresolved for everyone around them. By unfolding the story across film, social perspectives and physical space, we hope to make that ripple effect more immediate, human and lasting,” he added.

The exhibition opens with free admission before travelling to Singapore heartland locations between 23 May and 27 June, extending the campaign beyond the glass towers of Marina Centre and into neighbourhood spaces where public outreach often lands hardest.

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The remit, led by Ogilvy China in coordination with local market teams, covers Europe, Latin America, the Middle East & Africa, and Asia-Pacific. It will focus on centralising and coordinating Changan Automobile’s global digital communications across markets.

The appointment comes as Changan advances its “Vast Ocean Plan 2.0″, which targets doubling overseas sales to 1.5 million units by 2030 as the automaker continues to scale its international footprint.

Under the partnership, Ogilvy will be responsible for managing and aligning the brand’s global social media presence and website operations, drawing on its international network and local market expertise to support multi-market execution.

The agency will implement its “One Team, One Platform, One Process” operating model to streamline coordination across strategy, content production, localisation, and digital publishing.

The model will also integrate data and AI-enabled tools across planning, creative development, and content workflows, aimed at improving consistency and efficiency across Changan Automobile’s global digital channels.

The partnership reflects Changan Automobile’s efforts to strengthen the structure and coordination of its international digital communications as it expands outside China.

Chris Reitermann, CEO of WPP Greater China and CEO of Ogilvy APAC and Greater China, said, “Ogilvy is honoured to partner with Changan Automobile on its global brand ambitions. Building a successful international brand comes down to three things: a clear and consistent core identity, localisation that truly resonates in each market, and continuous optimisation driven by data and technology. Backed by WPP’s and Ogilvy’s worldwide networks and AI capabilities, we will help Changan Automobile build a brand that is globally consistent, locally relevant, and built to grow.”

Jack Yin, President of Ogilvy One China, added, “We are grateful for Changan Automobile’s trust and excited to support its next phase of global growth. Our end-to-end approach connects research, creative, content, and performance optimisation through a single AI-powered operating model, ensuring every market receives consistent, high-quality brand communication. That’s how we deliver measurable business growth at scale.”

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The film titled, Some Traditions Aren’t Passed Down, They’re Rubbed In, directed by BAFTA-winning filmmaker Savanah Leaf, centres on a scene repeated across households for generations: a parent or grandparent applying petroleum jelly to a reluctant child.

First released in Kenya on April 8, the campaign has quickly gathered traction, crossing more than 1 million views on launch day and surpassing 11 million views across Vaseline East Africa’s platforms. 

The rollout will extend to social channels globally, encouraging audiences to share their own stories under the #AllYouNeedIsVaseline tag.

Created by Ogilvy Singapore alongside VML South Africa, the campaign leans into what marketers often overlook: the small, repeated acts that shape emotional connection over time.

“For anyone who grew up with a grandmother, mother, or dad rubbing Vaseline onto their skin, it was never just about moisture; it was an act of care, protection, and love,” said Nathalia Amadeu, Global Brand Director for Vaseline at Unilever. “By tapping into these shared cultural memories, this campaign honours that legacy, continuing to build Vaseline as a brand rooted in culture and deeply human at its core.”

The film itself traces a shift in perspective—from resistance in childhood to understanding in adulthood—set against an ironic soundtrack that undercuts the tension of the moment. What begins as discomfort lands as recognition.

“The most touching stories are often the ones people actually live through but never think to talk about,” said Nicolas Courant, Chief Creative Officer at Ogilvy Singapore. “‘Love Hurts’ is a ritual shared by millions across the world, yet it has rarely been told. By focusing on this one specific real-life experience, we turn an everyday moment into a story that people everywhere can resonate with.”

Produced by Park Pictures London and Whitecoat Productions, the campaign underscores a broader shift in brand storytelling.

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Developed with Ogilvy Singapore for Unilever, the “Vaseline Originals” range reframes the brand from product manufacturer to collaborator—drawing directly from ideas first shared by its online community.

The rollout puts two early creators front and centre. Jen Chae, known online as @frmheadtotoe, whose brow-taming hack dates back to the blogging era, and Lauren Luke, an early YouTube figure behind a Vaseline-based primer technique, have both inspired products now on shelves.

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A post shared by Jen Chae • 채수경 (@frmheadtotoe)

Their ideas have been translated into the Vaseline Brow Tamer and the Vaseline All-In-One Primer & Highlighter Jelly, respectively—each explicitly crediting the originators as part of the launch.

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A post shared by Lauren Buxton (@laurenluke_panacea81)

Nathalia Amadeu, Global Brand Director for Vaseline at Unilever, said, “For years, creators have been reimagining what Vaseline jelly can do, often without recognition. This campaign is about giving credit where it’s due: acknowledging, celebrating and rewarding the people behind those ideas. More than a campaign, it signals how we want to build going forward with our community, not just for them.”

Nicolas Courant, Chief Creative Officer at Ogilvy Singapore, said, “We started with a simple creative provocation: what if the best ideas were never in the boardroom, but already in people’s bedrooms and everyday routines? We traced how Vaseline was being used in culture back to its origins and found the OG creators who had been shaping these hacks long before they became mainstream.”

Courant added, “Vaseline Originals is a move from ownership to stewardship, honouring our OG content creators by sharing our success with them.”

The numbers point to a wider shift. More than 3.5 million posts tied to Vaseline-related hacks now circulate online, reflecting the brand’s unusual status as both staple and canvas for experimentation.

Aanchal Sethi, Asia Managing Director for Unilever at Ogilvy Singapore, said, “Vaseline Originals represents a deliberate strategic shift in how we build this brand, moving from validating what the community creates to actively shaping and developing ideas inspired by them. The commercial signals have been unambiguous: products selling out in minutes, demand scaling with every drop.”

Sethi further underscored, “But what this campaign confirms goes beyond a single launch. It shows that community-led innovation isn’t just culturally resonant. It’s a growth engine. This is how Vaseline stays relevant for the next generation, and how we intend to keep building.”

More creator-inspired products are expected to follow, as the brand continues its search for the original voices behind widely shared hacks—turning what was once user-generated content into a pipeline for product development.

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In a statement, an Ogilvy spokesperson said, “Ogilvy has made the decision not to participate in the upcoming creative RFP for IBM. We are immensely proud of our 32-year partnership, a tenure nearly unrivaled in this industry.”

“Together, we have built one of the world’s most iconic brands through campaigns that defined eras of technological progress. While we have chosen not to move forward in this process, we celebrate our shared history and wish the IBM team continued success,” it added.

MARKETECH APAC has also reached out to IBM for comments.

Ogilvy’s recent work with IBM was for its global brand campaign “Let’s create smarter business”, which highlighted its approach to applying emerging technologies to help enterprises boost productivity, efficiency, and agility.

In 2024, Ogilvy and IBM celebrated 30 years of their partnership at 3 World Trade Center in New York, celebrating iconic campaigns for IBM over the years, including “Solutions for a Small Planet,” “E-Business,” “Smarter Planet,” “Watson,” “Think,” and the latest, “Let’s Create.”

The partnership between Ogilvy and IBM began in the 1994 as the agency handled IBM’s corporate branding, internal communications, and B2B marketing. These included print and trade campaigns promoting IBM’s hardware and software solutions to enterprises. Back then, IBM’s decision to consolidate its entire advertising account with Ogilvy was valued at $500 million.

In 2008, IBM–together with Ogilvy–launched its “Smarter Planet” campaign, which positioned IBM as a driver of social and business progress using technology, and showcased how IBM technology helps cities, healthcare, infrastructure, and energy systems.

Around the late 2010s the partnership evolved to highlight IBM Watson, its AI solutions, and Cloud technology, including “Designed for Data”, which visually represented complex cloud infrastructure.

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Prior to joining Ogilvy Thailand, Boonyanate served as chief creative officer at BBDO Bangkok, where he helped the agency secure major pitches including Samsung Consumer Electric, LINE, and the Tourism Authority of Thailand. Over the course of his career, he has also received numerous industry recognitions, including accolades from Cannes Lions and One Asia.

“We are incredibly excited to welcome Pete Thasorn Boonyanate to lead our creative charge. Pete’s fresh perspective, dynamic leadership, and unwavering commitment to pushing creative boundaries perfectly align with Ogilvy’s ambition for the future,” said Jiravara Virayavardhana, chief executive officer at Ogilvy Thailand.

She added, “We extend our deepest gratitude to Gumpon Laksanajinda for his extraordinary 25 years of dedicated service. His creative passion and instrumental role in shaping Ogilvy’s legacy have set an incredibly high bar for excellence, driving us to be a top player not just in Thailand, but across Asia Pacific.”

On his appointment, Boonyanate commented, “It’s an immense privilege and an exciting challenge to now lead the creative team here. My focus will be on fostering a culture of brave ideas, where talent thrives, and where we consistently deliver groundbreaking work that not only solves business problems but truly shapes culture and sets new benchmarks for effectiveness and innovation for our clients.”

According to the agency, Boonyanate’s appointment is expected to strengthen Ogilvy Thailand’s position as a creative powerhouse while further enhancing its capabilities in brand building, digital transformation, and integrated marketing solutions for clients.

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Developed by Ogilvy, the hero film pairs Australia’s unofficial anthem Waltzing Matilda with high-intensity footage of the squad grafting through training sessions and match play. 

The creative reframes what it means to “waltz”, setting the song’s lighter tone against the side’s pressing game, discipline, and steely match temperament. 

Danielle Chapman, managing partner at Ogilvy Melbourne, said, “When ‘Til It’s Done was first launched several years ago, it became unmistakably linked to a team that captured the nation’s attention and imagination.”

The line ‘Til it’s Done’, which echoed across the stands during the FIFA Women’s World Cup Australia & New Zealand 2023, returns as the campaign’s spine.

“And as they head to another international challenge, we wanted to ensure that [the] same support could be garnered in a creative approach that used this highly successful, long-term sports brand position in a way that also felt new,” Chapman underscored.

Josh Murrell, group creative director at Ogilvy Melbourne, added, “Waltzing Matilda has long been associated with a carefree spirit, and this film uses that contrast to redefine what it means to “waltz” with the Matildas, setting the song’s lightness against the discipline and intensity behind the team’s preparation.”

Titled ‘This is how we Waltz – ’Til it’s Done’, the spot was filmed at polytec Stadium in Gosford during a two-match friendly series against trans-Tasman rivals New Zealand in November 2025. 

Martin Kugeler, chief executive officer of Football Australia, said, “This campaign draws on the team’s namesake, ‘Waltzing Matilda,’ as a nod to the resilience, determination and bravery people see in this team. We hope it encourages Australians to get behind the CommBank Matildas as they once again play a major tournament on home soil.”

The campaign kicks off this week across TV, BVOD, social, and OLV, as the Matildas look to carry momentum into the continental showdown.

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The campaign, titled “See Games Equal”, seeks to highlight sports that typically receive limited media attention compared with football and basketball, which have long dominated coverage in Vietnam and across much of Southeast Asia. As part of the initiative, Nestlé MILO is featuring athletes from sports such as sepak takraw, jujitsu and pencak silat on its product packaging for the first time.

For decades, MILO’s green packaging has prominently featured mainstream sports, reflecting their popularity among young consumers. Under the new campaign, the brand has repurposed that space to showcase athletes from lesser-seen disciplines, with the updated packs rolling out nationwide in Vietnam.

To launch the initiative, Ogilvy Vietnam and Nestlé MILO organised a green-screen shoot involving more than 30 child athletes from across the country, representing a wide range of sports. According to the companies, the shoot was conducted without scripts or staged performances, capturing the athletes performing their sports, with the resulting images incorporated into MILO packaging.

The campaign also departs from standard brand guidelines by allowing participants to wear their own training attire, a move intended to reflect the authenticity of each sport. A film associated with the campaign aired during SEA Games football matches, a period of peak viewership, and is currently running across major television networks and cinemas in Vietnam.

As the SEA Games continue, Nestlé MILO said it plans to extend the initiative nationwide, giving more children from different sporting backgrounds the opportunity to appear on its packaging.

Le Bui Thi Mai Uyen, business executive officer of Nestlé MILO Vietnam, said, “At MILO, we believe that no matter what sport kids choose, they can grow from it. Every effort deserves to be celebrated. The same MILO green pack that inspired generations of football and basketball players will now become the source of energy and inspiration for the next Ju-Jitsu or Woodball athletes.”

Meanwhile, Tra My Nguyen, managing director of Ogilvy Vietnam, commented, “Generations of Vietnamese kids have started their mornings with a MILO green pack in hand. Now, they’ll see their own sports proudly displayed on the packs they’ve grown up with. And who knows, one of the young athletes MILO featured today could become tomorrow’s SEA Games or even Olympic champion.”

Tran Ngoc Thanh, a Vietnamese tug of war athlete competing at SEA Games 33, said, “When I learned about this campaign, I was deeply moved. Our sport (tug of war) has grown through a long, quiet journey – self-funded and self-sustained. It wasn’t until See Games Equal that we finally felt seen.”

Creative duo Thy and Vu from Ogilvy commented, “Sport becomes equal only when we see all sports as equal. The SEA Games include some of Asia’s most beautiful and culturally rich sports that simply don’t receive enough love. This campaign gives them the spotlight they deserve.”

Beyond the current SEA Games, Nestlé MILO Vietnam said it plans to continue integrating a wider range of sports into its packaging, positioning its green pack as a long-term platform to promote sporting diversity and recognition among young athletes in the country.

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