India Gate Basmati Rice is a leading packaged rice brand with over 40% market share in India, and campaigns historically targeted at women. However, the pandemic and subsequent lockdown saw a surge in the number of men participating in household activities, including cooking. India Gate saw potential in this behavioural shift to not only drive brand consideration, but to positively contribute to a wider conversation around gender stereotypes.

Many Indian urban households have domestic help for cooking and cleaning. However, lockdown and social distancing removed most of these from family homes, encouraging more men to get involved with general household duties.

At a time when audiences relied on digital connections, and digital and social channels were the key medium for engagement, we partnered with content studio, Blush, to help us build a narrative that would resonate with our target audience. Curated entirely from home videos, we created an ode to #MenAtWork, celebrating men for their role in breaking gender stereotypes.

In the absence of any scope to execute an on-ground shoot and create content during lockdown, we took a different approach by utilising user-generated content which also served to connect with the broader audience at a personal level. This was a pioneering approach by a brand in this category which is usually targeted exclusively at women, but which tapped into the opportunity to talk to men at just the right moment.

views in the first five days from the release date

engagement with Facebook retention rate of 23%

spike in brand mentions across social media

increase in "It's a Brand For Me" scores

Going further to break gender norms with #MenAtWork

Sebamed Clear Face Cleansing Bar was only available at chemists and mostly on a doctor’s prescription. USV wanted to make Sebamed a consumer brand and increase its accessibility by expanding distribution channels.

Toilet soaps is an extremely cluttered category in India with Unilever dominating the segment with brands including Dove, Lux and Pears. The task was to gain market share by positioning Sebamed as a soap for sensitive skin – an area where there was no direct competition - and to generate awareness with an impactful launch.

The toilet soaps category in India is largely promoted by Indian film celebrities with the promise of beauty and fairer skin. Sebamed wanted to launch its sensitive skin cleansing bar with a USP none of the competitor brands could claim – soap with a pH 5.5 - the optimal level for sensitive skin. This led to the launch of a campaign with the slogan:

‘Filmstars ki nahi, science ki suno (don’t listen to the filmstars, listen to science)’.

Our approach was to use guerrilla marketing with comparative advertising and to focus on building maximum reach, visibility and talkability before Unilever could reactively respond. The campaign was launched across TV, print, OOH and digital, directly comparing Sebamed to its competitor brands. Using TV planning tool BARC to understand competitor plans and strategies for the past 18 months helped us create a shadow plan which strengthened the comparative campaign.

With typical guerilla marketing tactics, the campaign launched with utmost secrecy on a Friday, allowing us to create some buzz in the market before Unilever went to court the following Monday. Sebamed was however allowed to continue with the campaign as the claims were based on scientific facts. Due to the high campaign visibility and talkability, Sebamed was quick to garner awareness among non-users and competition users.

Brand searches in the launch period

Impressions from the core female audience

of total awareness among non-users/competition brand users

Growth in sales

Sebamed cleansing bar was successfully launched in Jan ’21 into a highly cluttered soaps category using guerilla marketing tactics

Going further, faster than the competitors to capture market share

discovery+ wanted to win new subscribers by becoming known for its richly varied OTT service, not just its documentary-led heritage. Our analysis showed that paranormal programming was one of the top converting genres, achieving higher viewer engagement than almost any other vertical. We set out to make discovery+ famous for something other than its factual content, by finding paranormal fans in their entertainment haunts and daring them to discover more of what they love…

Our strategy was to ‘Hijack Halloween’. By eschewing traditional media strategies for a bit of drama, in order to win over a fickle audience, we were able to:

 paranormal fans to discovery+. We contextually placed TV advertising in paranormal programming to push viewers ‘in the moment’ over to the discovery+ platform. Extending to audio, we partnered with Spotify to create the ultimate Halloween playlist and, to gain the attention of theme park thrill seekers, we used OOH TV at Tulleys Halloween Shocktober Fest, providing a highly contextual placement amongst Halloween superfans.

 paranormal fans away from their daily grind. We ‘spooked’ our audience when out and about by dominating three underground stations with digiwall executions daring passers-by with an invitation to ‘Stream to Scream’.

 them to take up a subscription. We partnered with Bauer to run a ‘ghostly competition’ across the Absolute and Magic Breakfast shows, encouraging listeners to call in with their spooky stories. To drive subscription uptake, we used online video to amplify clips from the show across YouTube and Fandom, as well as high impact audience targeted display. Finally, we used Blis mobile geo-fenced activity to target people who had been exposed to the digiwalls, serving them with a subscription offer.

new entertainment subscriptions

of all adults reached

impacts on our Bauer partnership

social engagements

competition entries

clicks on our mobile geo-fenced activity

Daring to do more for discovery+ to win new subscribers

For the launch of Apex Legends Season 8 – EA’s first-person battle royale shooter game, Electronic Arts wanted to double their number of players in Japan. First person shooter games are a niche market within the country and EA set out to challenge audiences who were loyal to pre established brands and recruited m/SIX’s audience segment and granularity, to help.

We knew that 82% of our target audience were fans of manga and anime; widely popular and loved Japanese comics and animation and we decided to leverage this by elevating the character stories of Apex Legends.

We partnered with celebrated veteran mange/anime artist; Atsushi Ohkubo who brought the stories behind the Apex Legends characters to life. We then worked with IGN Japan to amplify Ohkubo’s artwork; the stories of the Apex Legends, across popular gaming websites in Japan. We also brought this outdoors with OOH placements of Ohkubo’s artwork placed within the iconic and heavily frequented Shibuya station.

We brought the stories of the Apex Legends to life, leading them to be loved as local legends.

Another crucial part of the campaign was running a UGC competition to engage the local audience and local gamers-come-artists. Five emerging illustrators helped launch the competition by reimagining the Apex universe using their own individual art styles, to inspire the gaming community.

The competition, alongside Ohkubo’s artistic reimagining's drove significant engagement leading to Apex Legends to trend on Twitter on the day of launch. 

We measured 99k+ social engagements, 150+ fan artworks, resulting in 194% more players in Japan with an increase of 53% of daily active users. 

By partnering with an established artist and inspiring gamers to unleash their creativity, we successfully attracted new audiences but also embedded Apex Legends into the market and the minds of our target audience. We went Further, Faster.

Immortalizing the Apex Legends into Local Legends

By shortening the market lifetime of a soon-to-be discontinued product, we unlocked further budget for Clarins thus creating a cross-sell opportunity across their brand portfolio.

Clarins frequently has to balance media support for competing products within its extensive brand portfolio. With minimal budget increase, our goal was to introduce a new product to market while securing "Double Serum" positioning as the #2 serum in the US.

Created a flighting and audience strategy that allowed each product to be uniquely featured while allowing the other to draft off its visibility

Maximised momentum and increased the value of media in the market through our flighting and audience hand-offs

Shortened the time in market, unlocking budget, and introduced serum ad engagers to the new eye product, thus creating a cross-sell opportunity to offset cannibalisation


Total Eye Lift was rated #6 eye treatment product in the US.

Total Eye Lift was rated #4 ‘best new product’ for Clarins based on revenue.


By going further, faster we were able to ramp up brand awareness and increase revenue.

Creating cross-selling synergies to boost Clarin’s success 

Target group marketing strategies were no-longer driving growth for the Toyota Yaris. A data analysis of segmented buyers however revealed untapped potential in “young, female, addicted to entertaining” and “in need of an experience” audiences. With TV losing appeal amongst this TA, events cancelled and the Yaris largely unavailable during the pandemic, mSix&Partners set about finding a fast, fun way to win new Yaris customers.

We began with Facebook (Meta), and targeting our “young, female, addicted to entertaining” and “in need of experience” audiences with an interactive live game show.

Hosted by high-reach influencers Sarah Lombardi and Riccardo Simonetti, the Toyota Yaris Why Stop? Challenge saw the two battle each other as viewers playfully discover the features of the new Yaris, with the opportunity to win the model for a year. The leads generated during the teaser phase were addressed again in the launch campaign.


3.3 million unique users within 2 weeks with a well above automotive benchmark CPL of €4.54

Over 60,000 viewers and >9,000 reactions within 1 hour of the conquest target group during the live show

66% women <35 and over 6,500 qualified leads within 2 weeks

Going further, faster to attract younger car buyers

Finding an edge in UK home broadband category marketing is virtually impossible. Charged with launching TalkTalk’s Future Fibre product, we knew dozens of other operators would have access to the same Openreach full fibre footprint, all competitively priced, and many with similarly well-known brands, many of whom were bigger and had the advantage of a high street presence.

We knew our prized early adopter upgrader audience would be heavy bandwidth users at home and on the go, streaming video, audio and using voice assistants more than most. We also knew that every other competitor would have the same data, so would be planning these same channels.

We realised it would be a race to bring TalkTalk’s offer to life, household by household, timed perfectly with Openreach’s upgrade rollout.

Creating a differentiated media strategy based on speed with a limited budget would take data, agility and focus.

We knew we needed to get to the right households, reach them faster and with disproportionately higher share of voice vs bigger rivals and with minimal wasted media.

We needed to turn one national media and creative brief into thousands of automated, integrated street-level activations.

, we cross-referenced every household in the UK for likely interest in Future Fibre, bringing a range of audience signals (such as household income/affluence, size of household, digital usage, age) into a single propensity score. We then filtered these using the physical availability of Future Fibre rollout.

we pushed GroupM’s new cross channel, hyperlocal technology, ‘Unmissable’, to its limit. This brought together street-level targeting to connected TV, audio, social, programmatic mobile and display, and Out of Home channels. We delivered all three core media objectives in concert: ‘Excite’ audiences about the new product, ‘Educate’ – about the product benefits, and ‘Convert’ – prospects to lead and sale. All three worked together to surround and personalise to hot prospect households more intensively than bigger budget, but slower moving competitors.

, for the first time we brought together targeting propensity map data, rollout map data, and inventory and conversion data from partners including Xaxis (programmatic audio, video and display), Finecast (connected TV) and Kinetic (OOH). This sped and automated ad delivery and fed a single client dashboard to track performance and unlock client budgets as each stage unfolded.

boost in ‘quality broadband’ perception

boost in purchase intent

boost of new customers in targeted areas

How TalkTalk Future Fibre Beat The Competition, Street By Street

Tango is a big brand with a small budget. Consistent underinvestment has led to an ageing out of their audience, with Gen Z perceptions of the Tango brand falling well below that of Millennial and Gen X audiences. Tango tasked us to tackle this trend, but with a budget of just £950k and 0.3% SoV, according to Britvic’s own data, the task became a little ‘awkward’...

With low SoV we chose to be single-minded in our focus. Tango is known for his boldness and wanted to associate themselves as the go-to drink for Gen Z when they found themselves in awkward situations – feeling awkward and awkward situations being an inevitable part of 18-24 yo life. Tango introduced brand character Tanguru as a way to help them regain control and identify a solution out of the awkwardness.

We bought media across Gen Z relevant environments that targeted and celebrated awkward moments, providing the perfect canvas for the Tanguru to fix Gen Z’s problems, and their perception of Tango to boot.

We played it smart in TV - buying Gen Z heavy programmes that are littered with awkward moments - Love Island, Naked Attraction and Gogglebox.

These 26 targeted ratings were supported with BVOD to ensure the hero AV asset could connect with our audience. We supplemented this by dominating two critical yet contrasting Gen Z hangouts – TikTok and chicken shops.

These were new environments for Tango, but we went all in; working with influencers to fix awkward moments and creating bespoke overlay assets with the Tanguru over some of TikTok’s most awkward viral videos. We also showcased some classic awkward moments in chicken shop D6s, supported with an all-out approach including takeaway boxes and branding the ‘Boss Man’. With all this media buzz, it would have been awkward if there hadn’t been any sales uplift, so we worked with Spotify to remind our audiences that the fuel to overcome awkwardness was available in Tesco, whenever they came within 300m of a Tesco store during our key lunchtime consumption moment.

uplifts in Consideration

growth in the Tango RSV in 2021

of Tango investment for 2022 in digital

Tango-ing Gen X with innovative buzz-generating tactics

Sooper, Pakistan’s best-selling biscuit brand, has been majorly reliant on TV for their campaigns. However, with TV viewership remaining stagnant, and digital and online video consumption exploding, EBM knew it had to take advantage of Pakistan’s changing media habitsand reappraise its media strategy for an upcoming brand refresh campaign.

mSix&Partners collaborated with the Google team to reach a significant amount of Sooper’s audience (m/f, age 25-44) via YouTube and GDN. By frontloading the campaign budget through Google Blast, and leveraging the combined strengths of CPM Masthead, TrueView CPM, bumpers and responsive display ads in a three-day audience takeover, we were able to accelerate our reach and benefit from a cost-efficient CPM.

79% of the available target group (12.3 million absolute users) were captured during the three days

5.6% uplift in awareness and 35% in ad recall

47% lift in search termed as best in class, resulting in a 1.5x increase in searches by people who saw the ad

Average CPM of the campaign was $0.67, 19% lower than the industry benchmark

With digital penetration increasing day by day, executing Groupm Pakistan’s first-ever digital-only campaign enabled us to innovatively reach new audiences. 

Accelerating brand awareness for the nation’s favourite biscuit 

Peek Freans popular chocolate-filled treat, Choco Lava, was seeing a decrease in sales and awareness month-on-month. With a core audience of 8-13 years olds, mSix&Partners was tasked with changing direction for the brand.

On analysing the brand and its core audience’s preference for digital, we chose to execute the brand owner’s – English Biscuit Manufacturers (EBM) - first digital-only campaign.Researching in detail our target group’s online behaviour, we divided the audience into four age categories, then identified the relevant mediums for each group. For example, 5 – 8 YouTube only, 9 – 12 YouTube and mobile games, 13 – 17 Fb, Insta, Spotify, Games, YouTube etc.

To create a more customised and engaging experience, we executed EBM’s first-ever director mix and industry-first multilayered gaming experience on the InMobi network. We also tapped into large portions of the sports and music audience by creating exclusive branding for Patari music and Spotify and for live streaming of the EPL on Tapmad. We also targeted the gaming centre of the SHAREit app. Overall, we were active across a broad range of platforms, reflecting our digital-only approach.

8% lift in purchase intent and 25% lift in ad recall on Google BLS

77% of ad recall followed an industry-first pulse survey on InMobi network

Campaign shortlisted for InMobi regional case study where we achieved 90% completion rate and a positive ad recall on Facebook BLS

16% uplift in on-ground sales during the campaign month, despite being an upper funnel campaign

With digital penetration increasing day by day, executing GroupM Pakistan’s first-ever digital-only campaign enabled us to innovatively reach new audiences. 

Adding more bite to Choco Lava’s brand performance 

At a time when smartphones have become a constant companion for today’s consumers, cameras are losing relevance. Instax is Fujifilm’s instant camera brand which was struggling to gain share in a declining category.

The Covid scenario made things worse, the brand was further losing relevance with the social distancing norms and limited occasions for usage. We wanted to make Instax a part of consumers’ life even through a difficult time.

The pandemic had conjured feelings of fear and anxiety, particularly amongst those affected and hospitalized. Caregivers also were behind their PPE suits and masks when they attended to the patients, which made the whole interaction severely impersonal.

We looked at how we could bring in a human touch to this interaction by integrating Instax into these moments. The central thought was around how Fujifilm Instax can play a significant role in ‘connecting hearts’ at a time when isolation of COVID patients brought in added anxiety of separation from their loved ones. This was done by putting the Instax printed picture on the PPE suits of the doctors thus connecting the patient and the doctor. This added a human touch between the patient and the healthcare worker relationship in a simple and unusual manner. 

hospitals reached in Delhi and Bangalore

total doctors/healthcare workers connected with 

total patients we reached

Fujifilm instax was losing relevance (even more so with the pandemic) and wanted to stay relevant by connecting meaningfully with its consumers during the pandemic.

Connecting hearts during the pandemic

Bank Negara (Malaysia’s Central Bank) set an ambitious target of increasing e-payment transactions per capita from 44 to 200 transactions by 2020. Despite some progress, Malaysia remains a cash-centric society. Research revealed three persistent barriers to e-payments: platforms were seen as providing a cumbersome user experience, not being secure, and not widely accepting e-payments. Hong Leong Bank (HLB) wanted to address these barriers and make the joy of going cashless a permanent behavioural change among 25-44 year old PMEBs.

We focused on accelerating e-payments through HLB’s official Digital Day – an annual initiative that encourages cashless transactions - and creating an engagement strategy to help Malaysians end their love affair with crumpled notes. We avoided dry ‘finance-speak'and using social media, search, video, KOLs, community seedings and online content writers, created a pathway to ‘breaking up with cash’ in three phases:

1. Revealing ‘other fish in the sea’. Before Digital Day, we built up anticipation that HLB was offering a wide range of products and services that would reward digital transactions traditionally done offline.

2. Helping them ‘find the right guy’. By partnering with comic artist, Ernest Ng, we added emotional warmth through light-hearted videos and memes. This showed consumers and merchants that there was an alternative ‘significant financial other’ besides cash. We also used popular Radio DJs as social influencers, supported by an army of micro-influencers to build buzz. Lastly, we used multivariate testing to matchmake and cross-sell digital banking products relevant to our audience interests.

3. Acceptance: ‘cashless is right for me‘. We established a multi-level retargeting strategy for all users, in every stage of the funnel by:

Tailoring messages and promos to encourage more cashless transactions

Cross-selling other digital banking products based on their browsing behaviour

Ensuring low interest-rate promotions and cashbacks to encourage card usage

Millennials reached

Total web visits 

Converted from cash to cashless

Increase in cashless sales

YouGov buzz score 

Video views

A fast-track strategy to end Malaysia’s love for crumpled notes 

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Industry-leading work across media, content and commerce that takes our clients Further, Faster.

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Industry-leading work across media, content and commerce that takes our clients Further, Faster.

Hijacking Halloween with discovery+

Electronic Arts

Clarins

Toyota

TalkTalk

Britvic & Tango

Peek Freans Choco Lava

Fujifilm India

Hong Leong Bank