In connection with the release of the film “Mary Poppins Returns” slated for 19 December, Havas Media and the RMB (through its creative team F.L.A.S.H.) have put in place a unique creation for Disney featuring the talented Belgian performer Loïc Nottet.

The latter made quite an impression on Dancing with the Stars in 2015, in particular because of an unforgettable rendition of the famous song “Supercalifragilisticexpialidocious” taken from the 1964 film Mary Poppins.  It is only natural then to wish to bolster the media campaign for the release of  “Mary Poppins Returns” by The Walt Disney Company with flamboyant content that capitalizes on the performer’s talents in an original clip.

For Ariane Verrier, Content Marketing Manager at The Walt Disney Company, “In terms of results, Havas Média and F.L.A.S.H. have managed to create creative native content in line with the current marketing trends, with a TV and digital campaign as well as short and vertical formats shared through the social media of Loïc Nottet, the film’s ambassador. The cooperation by and between all these parties managed to achieve the standard of quality we expect at Disney.”

It was obvious for the agency that the traditional media presence had to be bolstered for the release of the film: “Mary Poppins brings to mind fond memories for many people, often through singing and dancing. In cooperation with the F.L.A.S.H. team we wanted to mount a different action that would enable a new generation to create its own memories in turn. As our discussion progressed, Loïc Nottet emerged as the clear choice,” Patricia Lo Presti, Account Director, and Claire Bossard, Account Manager, point out.

It is just as important to underscore that the production was led by Mais Gaté, in consultation with Loïc Nottet, Vangarde Music and Disney Belgium, in partnership with Edificio, an event and cultural heritage firm.


Facebook : https://www.facebook.com/L0oiicNottet/videos/713413775709075/




Dans le cadre de la sortie du film « Le retour de Mary Poppins » prévue le 19 décembre prochain, Havas Media et la RMB, au travers de son équipe créative F.L.A.S.H., ont mis en place pour Disney une création unique mettant en scène le talentueux artiste belge Loïc Nottet.

Ce dernier a marqué les esprits dans l’émission Danse avec les stars en 2015, notamment grâce à une performance inoubliable sur la célèbre chanson « Supercalifragilisticexpialidocious » tirée du film Mary Poppins de 1964. Quoi de plus normal, lorsque The Walt Disney Company sort le film « Le Retour de Mary Poppins », que de vouloir amplifier la campagne média au travers d’un contenu haut en couleur faisant appel aux qualités artistiques de l’artiste via un clip inédit.

Pour Ariane Verrier, Content Marketing Manager chez The Walt Disney Company, « Au niveau du résultat, Havas Média et F.L.A.S.H. ont réussi à créer du native content créatif répondant aux tendances marketing actuelles, avec une campagne TV et digitale ainsi que des formats courts, verticaux, partagés via les réseaux sociaux de Loic Nottet, ambassadeur du film. La collaboration entre toutes ces parties a respecté le gage de qualité à la hauteur de nos attentes chez Disney »

Côté agence, il est apparu évident qu’il fallait amplifier la présence média classique pour la sortie du film : « Mary Poppins évoque de beaux souvenirs à beaucoup de monde, et ce souvent au travers du chant et de la danse. En collaboration avec la cellule F.L.A.S.H., nous souhaitions mettre en place une action différente qui permette à une nouvelle génération de se créer à son tour ses propres souvenirs. Au fur et à mesure de nos discussions, Loïc Nottet est devenu une évidence», précisent Patricia Lo Presti, Account Director et Claire Bossard, Account Manager.

Il est aussi important de souligner que la production a été menée par Mais Gaté, en concertation avec Loic Nottet, Vangarde Music et Disney Belgique, en partenariat avec Edificio, société évènementielle et culturelle à caractère patrimonial.

Facebook : https://www.facebook.com/L0oiicNottet/videos/713413775709075/

Global cart abandonment rate is 77% for Q3 2018

SaleCycle has revealed that the average global cart abandonment rate for Q3 2018 was 76.9%.

In terms of sectors, cart abandonment was highest for travel sites during this period, with a rate of 81.1%. Conversely, fashion sites saw the lowest with an abandonment rate of 73.5%.

SaleCycle has also delved into the past few years of data to see if there are any significant trends. Interestingly, however, it found that abandonment rates haven’t really changed that much since 2015. While the rate has been as high as 78.4% and as low as 74.3%, it has typically remained around the same range overall.

salecycle stats

Havas Village Brussels is looking for Talented Kids


After a successful and inspiring year of 2018, the Brussels Havas Village is currently looking for the following profiles:

  • Social writer with some nerdy traits
  • Audiovisual Manager
  • Account Manager
  • Art Director
  • Copywriter
  • Content Manager
  • All-Round Graphic Designer
  • Front-end Developer (freelance)

If you are a motivated, enthusiastic, and engaged professional, contact Havas HR: angela.tache@havasmg.com.

Demanding a Better Ad Experience

One-Quarter of US Internet Users Block Ads, 2016-2020 (millions, % change and % of internet users)

Many consumers are frustrated with the advertising component of their media consumption experience—including on digital channels. A significant share in the US are saying no to ads, citing intrusive placements, annoying formats and simply too many messages.

source: https://www.emarketer.com/content/demanding-a-better-ad-experience?ecid=NL1002

Is ad blocking still a problem?

One in four US internet users say they block ads, which is equivalent to more than 70 million people. The growth in ad blocking has slowed significantly, but it is still rising, and the same frustrating ad experiences that have driven consumers to block ads continue to be a problem.

How is the digital media ecosystem fighting ad avoidance?

Publishers, advertisers, agencies and other partners believe that relevance is the best weapon in a digital marketer’s arsenal. Consumers are more receptive to ads for products and services that they might actually want, and will be less annoyed if the messaging makes sense for them and is timely. That’s the theory, at least.

Will relevant advertising satisfy digital media consumers?

The one problem with relevance is that it can creep consumers out; 2018 has been a year of consumer backlash, as users are concerned with how their data is being used to target them. While consumers are more receptive to relevant ads, they still don’t like being tracked.

What else can advertisers, publishers and their partners do about consumer annoyance at advertising?

Advertisers can take various steps, like ensuring better frequency capping and messaging based on customer lifecycle. The industry may also be moving toward lighter ad loads, at least in some channels.


Spotify’s 2018 Holiday Ads Are Out, and They Know Just What Playlists You Made


Spotify’s out-of-home advertising campaigns have become a much-loved source of holiday cheer over the past few years. Always witty, the ads scrape the streaming music service’s wealth of user data and package the findings into snackable comic headlines—celebrating, while also sometimes lightly mocking, what our collective listening habits say about us.

source: https://musebycl.io/music/spotifys-2018-holiday-ads-are-out-and-they-know-just-what-playlists-you-made-year?fbclid=IwAR3v1_Lgghus6bFdABNcxZb3tAeGQrC0YVCLSjxyik1oqqsebVBRTzwjWx4

The brand calls the campaign “Wrapped,” and the 2018 version just went up Wednesday morning.

This year’s batch of ads focuses heavily on playlists, and also gives podcasts some visibility too. Check out some of the ads below.


“Part of our creative process is to think about the cultural moments, tensions and oddities that defined 2018 and then see how music and podcasts helped people respond,” says Alex Bodman, global executive creative director at Spotify. “That’s why this year we decided to focus on Playlist creation; it’s one of our features that allows people to get highly creative. The fact that users give the playlists such hilarious names or use them to comment on broader cultural trends, only makes the material richer.”

The campaign is a global one, with more than 350 unique ads, many of them specific to a local market. Over 50 artists, including Ariana Grande, Post Malone and Shakira with Maluma, will be featured in the campaign, representing each market’s most popular musicians. The out-of-home, digital and social ads will hit countries including Australia, Brazil, Canada, Colombia, Denmark, France, Germany, Indonesia, Mexico, Philippines, U.K. and U.S.

“Our annual ‘Wrapped’ ad campaign is a true embodiment of our proposition as a ‘platform for discovery,'” says June Sauvaget, Spotify’s global head of consumer marketing. “Our users have come to expect the year-end ‘Wrapped’ campaign year after year, and are eager to see how their interactions on Spotify connect to what is happening across the global Spotify community. At the same time, it serves as a large-scale ‘thank you’ to our listeners for their collective impact in shaping the platform throughout the year while further solidifying our place in the global cultural lexicon.”

Below, check out ads from the 2017 and 2016 “Wrapped” campaigns.

2017 ‘Wrapped’ ads
2016 ‘Wrapped’ ads

Spotify “Wrapped” 2018
Global Executive Creative Director: Alex Bodman
Creative Directors: Dan Brill, Alexandra Sobiecki, Rajeev Basu
Global Brand Design Director: Rasmus Wangelin
Senior Art Director: Erik Herrström, Martin Berggren, Tal Midyan
Art Director: Steven Conaway, Angeline Toh
Designer: William Oswin
Senior Global Brand Director: Alexandra Tanguay
Senior Brand Manager: Christine Andren, Lauren Solomon
Creative Strategy: Zach Pentel, Nathan Doiev
Director of Integrated Production: Belinda Lopez
Senior Producer: Natalie Espinosa
Integrated Production: Jenna Alchin, Kenzie Tankersley, Andon Espeseth
Global Marketing Strategy & Planning: June Sauvaget, Neal Gorevic, Manu Orssaud, Krista Scozzari
Head of Global Media: Scott Marsden
Global Media Manager: Sarah Schlein
Global Head of Artist and Label Marketing: Marian Dicus
Head of Artist Marketing, International: Madeleine Bennett
Head of Artist Marketing, North America: Rosa Asciolla
Data Science: Race Archibold, Margot Kurfess, Ellion van Buskirk, Sidra Ahmad

The State of Attribution (source: e-marketeer)

Despite how much marketers prioritize attributionmany gaps in their efforts remain.

Crediting a purchase is a key part of many marketing campaigns. But data quality issues, the complexity of cross-device campaigns and marketers’ reliance on outdated attribution models have hindered them from more accurately linking a specific piece of marketing to sales.

source: https://www.emarketer.com/content/five-charts-the-state-of-attribution?ecid=NL1002

In an April 2018 survey of 2,274 performance marketers in the UK and US by Tune and Acceleration Partners, first-click and multi-touch attribution were used by a similar number of respondents. Together, first- and last-click models were used by nearly seven in 10 respondents.

What Attribution Models Do Performance Marketers in the UK and US Use? (% of respondents, Apr 2018)<img class="cb-widget-chart_placeholder" src="data:;base64,

Two-fifths of the 237 business-to-business marketing professionals worldwide that Adweek Branded and Dun & Bradstreet polled in September 2018 said they use multichannel attribution. An additional 44% of respondents said they planned to implement multichannel attribution within the next year or two.

Which Data-Driven Ad and Marketing Tactics Are B2B Marketers Worldwide Using? (% of respondents, Sep 2018)<img class="cb-widget-chart_placeholder" src="data:;base64,

More than half of the 468 senior marketing leaders worldwide surveyed by Kantar in August 2018 said that multi-touch attribution is one of the biggest gaps in their marketing research. No other marketing research tool—including conversions, brand effectiveness and media measurement—was perceived to have as many gaps.

Research Tools Used vs. Biggest Perceived Gaps for Senior Marketing Professionals Worldwide, Aug 2018 (% of respondents)<img class="cb-widget-chart_placeholder" src="data:;base64,

Some marketers are taking more control over their attribution by bringing it in-house. Among the 119 media decision-makers from US brands that Advertiser Perceptions and the Interactive Advertising Bureau (IAB)surveyed in April 2018, return on investment attribution was the programmatic initiative most frequently brought in-house. Nearly half of the respondents said they in-housed attribution.

Current and Past Programmatic In-House Initiatives According to US Media Decision-Makers, April 2018 (% of respondents)<img class="cb-widget-chart_placeholder" src="data:;base64,

Some marketing channels are easier than others for assigning attribution. In a June 2018 survey of 226 worldwide marketers and research subscribers by Ascend2, content marketing was considered the most difficult channel to analyze for attribution. Email marketing attribution was rated as the easiest.

Which Digital Marketing Channels for Marketing Attribution Are Easy vs. Difficult to Analyze for Marketers Worldwide? (% of respondents, June 2018)<img class="cb-widget-chart_placeholder" src="data:;base64,