The campaign spotlights Original Source’s Mint and Vanilla & Raspberry bodywash variants, introducing a new tone of voice and positioning aimed at cutting through what the brand describes as category clichés in the body care market.

Rolling out across multiple out-of-home formats, the campaign leans into humour and simplicity, focusing on the product’s use of natural ingredients rather than exaggerated beauty tropes often associated with personal care advertising.

Jess Wheeler, Creative Director at SICKDOGWOLFMAN, said the campaign was designed to avoid the overly polished conventions commonly seen in the category.

“The skin and body care category is awash with clichés,” Wheeler said. “Original Source is a great, simple product that uses natural ingredients in all of its scents, so there’s no need for compensating with CGI rainforests or weird product names.”

Kate Hewitt, Brand Manager at Original Source, said the new platform reflects the brand’s focus on delivering a sensory experience built around scent and freshness.

“We are thrilled to be working with SICKDOGWOLFMAN to bring that to life with a refreshingly original tone of voice,” she said.

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In partnership with Carat Hong Kong, the integrated campaign highlights the tea’s refreshing and no-burden positioning, aiming to re-engage existing consumers while reaching new audiences with the introduction of the No Sugar Crimson Aroma Black Tea variant.

The out-of-home (OOH) execution spans Admiralty and Tsim Sha Tsui MTR stations, two of Hong Kong’s busiest commuter interchanges. At Admiralty, the campaign features a first-in-market, three-storey station takeover covering concourses, interchange corridors, and platforms. Sequential placements are used to guide commuter movement through the station, while light beam installations, described as “energy waves”, are designed to evoke a sense of refreshment and clarity.

At station gates, sound-enabled elements trigger an audio prompt of “KEEP GOING” as commuters tap in and out, integrating the campaign into daily transit routines. The activation is positioned as a brief moment of encouragement within the commute, reinforcing the brand’s core proposition.

Beyond OOH, the campaign extends into social media through KOL-led storytelling. Creators highlight everyday scenarios such as back-to-back food tastings, creative work blocks, and demanding schedules, positioning VITA Cold Brew No Sugar Tea as a quick, no-sugar refreshment option for staying alert throughout the day.

Naomi Chan, Business Director at Carat Hong Kong, said, “This campaign reflects how media can move beyond reach to create meaningful experiences within people’s daily routines. By embedding the idea within high-frequency commuter environments and pairing it with culturally relevant storytelling, we were able to deliver both scale and contextual relevance. This is key to building stronger brand connection and driving sustained impact.” 

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In a new recruitment campaign developed with McCann Singapore, the Navy is targeting the self-limiting beliefs that have long kept women from considering careers in defence, particularly in Singapore’s tightly structured and academically driven society.

Called ‘There Was a Time (When Nothing Was Too Crazy for Her)’, the campaign arrives as armed forces across Asia-Pacific face mounting competition for younger recruits, especially women, in labour markets increasingly shaped by tech, finance, and creator-economy aspirations.

The work draws from research commissioned by the Navy, which found that 82% of young women dismiss a Navy career because they believe it does not align with their passions, while 58% see the role as physically too demanding.

Rather than countering those assumptions with statistics or recruitment promises, the campaign leans into nostalgia. Through out-of-home placements, social content, and direct mailers, it depicts young girls in moments of uninhibited play—taking charge, making noise, and acting without hesitation.

The visual treatment resembles faded family photographs, deliberately evoking a version of childhood before social expectations began shaping ideas of what women should or should not pursue.

Singapore’s defence recruitment advertising has historically leaned heavily on patriotism, resilience, and elite performance. This campaign takes a notably softer route, reflecting how recruitment marketing across the region is evolving to compete not only for attention, but for identity alignment.

“We believe that the most effective recruitment work does not just showcase what’s on offer, but shifts how people see themselves in relation to it,” said Daniel Kee, Chief Creative Officer at McCann Singapore.

“Guided by McCann’s ‘Truth Well Told’ philosophy, this idea is powerful because it is rooted in a simple truth—that there is a version of every woman that existed before society placed limits on her ambitions,” Kee said.

“We wanted to reframe not only how women perceived the Navy, but the beliefs they hold about themselves,” he added. Kee said the campaign intentionally avoided a heavily informational tone.

“To do that, the work had to feel personal, rather than fact-driven. By grounding the campaign in the visual language of childhood memories—grainy, intimate, like old photographs from a family album—we wanted to meet women in a place that existed before any of those limits were learned, and encourage them to remember who they already are,” Kee further explained.

He also noted that the campaign idea was developed by an all-female creative team, which explained the reason why it feels “less like an advertisement and more like recognition.”

The campaign forms the latest chapter of the Navy’s long-running It’s Not Crazy, It’s the Navy recruitment platform, which McCann Singapore has worked on for the past six years.

This time, however, the focus is less on changing perceptions of the institution itself and more on confronting the internal narratives potential recruits may carry long before they ever consider enlistment.

The campaign is targeting female students across junior colleges, ITEs, polytechnics, and universities in Singapore.

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Called Lemma Integral, the platform aims to connect OOH media exposure with downstream digital engagement and business outcomes, enabling marketers to track and optimise campaigns across the entire funnel.

According to Lemma, the platform is designed to remove the traditional separation between upper-funnel brand awareness and lower-funnel performance marketing. By providing end-to-end visibility, Lemma Integral allows brands and agencies to plan, track, retarget, and optimise OOH campaigns with the same level of measurement and accountability commonly associated with digital advertising.

The company said the platform integrates planning, audience activation, measurement, and optimisation within a single dashboard. Through AI-powered analytics, the system identifies high-intent audiences based on real-world movement and behavioral signals and enables automated targeting across digital channels.

At the core of the platform is the proprietary Lemma Audience Graph, which is built using multiple non-personal persistent identifiers and enriched with third-party data sources. The company said the data infrastructure maps and profiles millions of audiences globally, enabling advertisers to connect OOH exposure data with digital actions such as website visits, app installs, and conversions.

Lemma said this approach enables what it describes as full-funnel attribution, allowing marketers to track how outdoor advertising contributes to measurable outcomes and return on ad spend.

Early campaigns using the platform have reportedly delivered measurable results, including app installs that were 1.5 times higher than planned, video through rates that were double the industry average, and up to three times higher return on ad spend compared with standard campaigns.

Andrew Fox, CEO of SuperJeweler.com and its sister company Hansa USA, said, “Brands today need media strategies that are both impactful and accountable. With Lemma Integral, we were able to integrate data-driven DOOH into our media mix and connect it seamlessly with digital channels. This helped us shorten the path from exposure to transaction and deliver significantly stronger returns. It’s a clear signal of how outdoor can evolve into a much more performance-driven channel for digital-first brands.”

Gulab Patil, founder and CEO of Lemma, added, “With Lemma Integral, we’re enabling marketers to move beyond fragmented campaigns and orchestrate a truly full-funnel strategy where OOH connects seamlessly with CTV, mobile, and the web. It’s about making every OOH impression measurable and impactful. AI runs on data, and programmatic DOOH generates it, making OOH a critical layer for brands building the next generation of AI-driven advertising”

Lemma said the platform is now available to clients across North America, the Asia-Pacific region, and other markets starting this month.

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The agreement will see the company design and implement a digital advertising platform across the airport’s precinct, which is expected to serve both domestic and international travellers once operations commence.

According to the airport operator, the project forms part of a broader infrastructure development aimed at supporting the rapidly expanding Western Sydney region, which is already considered Australia’s third-largest economy.

David Watkins, Co-Chief Executive Officer, JCDecaux Australia and New Zealand, said the partnership offers the company an opportunity to build a purpose-designed digital network within a newly constructed terminal.

“Western Sydney International is one of the most important infrastructure developments in Australia. This long-term partnership gives us the opportunity to design a premium digital airport network from the ground up, one that complements an architecturally significant terminal and delivers exceptional outcomes for brands.”

Max Eburne, Co-Chief Executive Officer, JCDecaux Australia and New Zealand, said the contract expands the company’s airport media footprint across the region and provides advertisers with access to airline travellers moving through Sydney.

“This win strengthens JCDecaux’s airport leadership across Australia and New Zealand and enables us to offer advertisers unrivalled access to Sydney’s airline traveller audience across our airport portfolio. As Western Sydney grows, WSI will become a critical gateway creating an exciting new platform for brands seeking scale, premium context and impact.”

The airport’s terminal was designed through a collaboration between several architecture firms, including Zaha Hadid’s firm, COX Architecture and Woods Bagot. It will initially accommodate up to 10 million passengers annually, with the capacity expected to expand over time.

Airlines that have already announced services to the airport include Qantas and Jetstar for domestic routes, alongside international carriers such as Singapore Airlines and Air New Zealand.

Simon Hickey, CEO, Western Sydney International Airport, said the collaboration will create new opportunities for advertisers to engage with travellers.

“We are delighted to be partnering with JCDecaux and for businesses and brands to harness this opportunity to deliver creative advertising assets to a diverse and highly engaged audience of domestic and international travellers at Sydney’s new 24-hour global gateway in the heart of one of the nation’s fastest growing regions.”

Under the agreement, JCDecaux will collaborate with the airport and launch partners ahead of the airport’s opening, offering brands early opportunities to establish a presence within the new travel hub.

The company said the advertising network will include digital assets across both internal and external airport spaces, structured under three product pillars: Connected Journeys, Iconic Impact and Immersive Experiences.

Connectivity to the airport is also expected to expand over time through new road infrastructure and metro links connecting the facility to Parramatta and the Sydney central business district.

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The campaign was implemented across 11 cities, utilising a combination of traditional outdoor formats, transit media, and high-frequency placements. In total, it covered over 850 media units, amounting to approximately 135,000 sq. ft. of display space. 

The campaign also targeted high-traffic corridors, main arterial roads, and prominent transit locations to ensure visibility among urban, affluent audiences.

The multi-format strategy aimed to maintain a consistent presence across key consumer touchpoints during daily commutes, supporting the premium positioning of the debit card.

Moreover, Platinum Outdoor operates as part of Madison World. The group manages several specialised brands within OOH, including activation-focused Madison Turnt, rural-focused Anugrah Madison, and retail-focused MRP.

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The initiative featured premium large-format billboards and digital screens positioned along major arterial roads and key urban corridors. According to the companies, the placements were designed to create a sustained and continuous presence rather than a series of isolated outdoor advertisements.

The campaign was also structured around sequential visuals placed along key commuting routes to create a takeover-style effect across daily travel paths. From daytime traffic to late-night journeys, the displays were intended to integrate the collection into the everyday urban environment.

Moreover, the ‘Radiance in Rhythm’ collection draws inspiration from modern women and centres on themes of confidence, self-expression, and individuality. Tanishq said the out-of-home execution was developed to reflect these attributes by situating the collection within familiar cityscapes and high-visibility public spaces.

Yuvrraj Agarwaal, chief strategy officer at Laqshya Media Group, said, “Natural diamonds are about legacy and authenticity, things that cannot be manufactured. We created an outdoor campaign that felt just as real and permanent. We didn’t just give Tanishq visibility; we gave them a presence that matched the magnitude of their ‘Radiance in Rhythm’ collection.”

Yuvrraj added, “The out-of-home campaign translates its individuality and craftsmanship into a strong, highly visible presence across key city landscapes, enabling the story of rare natural diamonds to connect with audiences in a direct, impactful way. The streets became their gallery. You can’t scroll past a skyscraper. We didn’t just place ads; we orchestrated a visual takeover. When you have a product as rare as natural diamonds, you don’t whisper; you make the city stop and stare.”

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According to the company, the installation is the first of its kind inside an Indian airport and features a top-curved design intended to create an immersive visual format for digital out-of-home (DOOH) advertising. The large-format videowall has been positioned in the baggage claim area, where passenger dwell time is typically higher.

This is Times OOH’s second major media installation at Manohar International Airport, following its introduction of a large videowall in the Departures terminal, which has been certified by the India Book of Records as the largest videowall inside an Indian airport.

Commenting on the launch, Rohit Chopra, chief operating officer at Times OOH, said, “Goa represents vibrancy, aspiration, and leisure—and this iconic new digital media reflects just that. It’s more than just a screen; it’s a storytelling canvas for brands to make a powerful first impression.”

Rohit added, “This launch marks a step towards the future of digital OOH, where technology amplifies creativity. This marquee digital innovation is the ultimate platform for brands that want to be seen, remembered, and talked about.”

Moreover, the videowall has been introduced during Goa’s peak festive and tourist season, a period that typically sees increased domestic and international passenger traffic. The final months of the year are marked by music festivals, events, weddings, and other large-scale celebrations, which contribute to higher volumes of premium travellers.

Beyond the festive season, Goa continues to attract leisure, business, and high-spending tourists throughout the year, supporting sustained footfall at the airport.

Over the past year, the airport has hosted several large-format and first-of-their-kind advertising campaigns, contributing to its growing profile as a launch destination for brands. AT the same time, the airport has increasingly positioned itself as a platform for brand-led innovations.

Speaking about the collaboration with the airport authorities, Chopra added, “Goa Manohar International Airport authorities have been an exceptional partner, consistently pushing boundaries in building historic media formats and campaigns for brands. Their innovation-first mindset has given us the opportunity to design landmark branding solutions for our clients.”

Chopra continued, “Goa Manohar International Airport is among the few airports to achieve such success in a short span, and the entire credit goes to the authorities for their unwavering support in ensuring that innovation begins at this airport.”

Since beginning commercial operations in January 2023, Manohar International Airport has handled 4.6 million passengers in FY25. The airport is connected to more than 19 domestic and six international destinations, offering links to major Indian cities and overseas markets, with Times OOH as its exclusive advertising partner at the airport. 

The company provides OOH media solutions across airports, metro systems, and street furniture in India and Mauritius.

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The campaign, executed by Posterscope India, was designed to support the product launch and extend the brand’s visibility across major metropolitan areas as well as Tier 2 and Tier 3 markets. It was deployed across key outdoor locations in cities including Mumbai, Delhi, Bengaluru, and Kolkata.

Commenting on the campaign, Imtiyaz Vilatra, CEO of Posterscope India, said, “With L’Oréal Paris Glycolic Gloss, we wanted to translate the shine and brilliance of the product into a visual experience that truly stands out in the urban landscape. The campaign’s innovative format and strategic placement ensured that the launch didn’t just capture attention it became a part of the city’s energy.”

The OOH rollout featured a mix of formats, including billboards, mall façades, bus queue shelters (BQS), and large-scale installations. Central to the campaign was a product cut-out installation highlighting the Glycolic Gloss range’s pink packaging, intended to draw attention to the new offering.

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Through the activation, commuters passing through Orchard MRT station can step into a prehistoric world through a cloud of fog that displays visuals from the upcoming film. The campaign comes ahead of the film’s premiere on July 2.

Launched on June 19, the fog screen technology aims to transcend traditional advertising by creating experiences, bringing innovation and creativity into the OOH scene.

The Jurassic World Rebirth installation runs until July 16 at the Thomson-East Coast Line, Orchard MRT.

Nicholas Yong, managing director of United International Pictures, said, “It’s not often that a media placement blurs the line between advertising and experience, and this activation offered just that. Our aim was to go beyond traditional advertising and create a moment that would stop people in their tracks.”

“We wanted to draw commuters into the world of the film—even if just for a few seconds—through something unexpected and memorable. And since this is a first-in-market activation, we’re even more excited to bring it to life. It represents a fresh and innovative way for us to connect with audiences, and it gives us a chance to do something a little different from the usual formats,” Yong added.

Muk Ho, client partner at WPP-Media-EssenceMediacom, commented, “This unconventional format stands out because it offers an immersive experience that traditional OOH can’t match. While most OOH spaces are one-dimensional, this format is dynamic and interactive, engaging audiences in a memorable way, which is crucial for a title like Jurassic World Rebirth. The Jurassic World is a universe that no one has ever experienced in real life. By creating this immersive OOH, we transport the audience to experience the World of Jurassic, before watching the movie on the big screen.”

Connie Tsui, general manager of Asiaray, said, “Asiaray’s introduction of the Fog Screen into the OOH media landscape is part of our broader strategy to create immersive and multisensory advertising experiences. This initiative is part of our broader “Offline and Online New Media Strategy”, which integrates physical media spaces with digital interactivity to create a seamless and engaging journey for audiences.”

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