About us

The Naïve Network is an Independent Creative Network specialising in marketing to Asia.

With a diverse range of talent, experience and skills we create communication ideas, experiences, and digital content to help clients who are marketing in Asia and advertising in Asia.

Our creative team helps clients communicate their Asian marketing stories across various media platforms, helping to grow brands and improve value.

Utilising creative marketing techniques we take a totally integrated, media-neutral approach to help clients reach their target audience with the right message.

And offer an experienced team of Asian-based experts to help clients solve their Asia marketing problems.

Client log-in

naïve tweets
Search our site

It’s All About Creating an Impression 

We were interested to see Ogivly & Mather touting their a new ‘Virtual Pilgrimage’ campaign for the Shangri-La, Lhasa Tibet recently, and proudly proclaiming that it had garnered a billion ‘impressions’.

Now a billion is a big impressive number, even in China which has more than its share of big impressive numbers.

So does that mean that a billion people clicked on the ad to "join the brand on a 'virtual pilgrimage' to Tibet", creating "epic" awareness for the hotel as the PR blurb put it? Well not exactly. We looked up what a digital impression is, and it turns out it’s got nothing to do with actually watching anything, or taking a virtual pilgrimage to anywhere.

Here’s what Bob Hoffman of Ad Contrarian fame had to say about impressions, in a piece subtly titled The Epic Screwing of Online Advertisers.

We think of an impression as one ad seen by one person. In the impossibly sneaky and perfidious world of online advertising an "impression" has nothing to do with either ads or people.

Instead, it has a definition that is so supremely full of shit that you have to be brain dead not to realise that it was created to confuse and deceive.

Here is the Interactive Advertising Bureau's (IAB) definition of an "impression":

“Impression’ is a measurement of responses from a Web server to a page request from the user browser.”

How's that for bullshit? In other words, a browser sends a message to a server to send it something, and that's called an impression.

It turns out that there’s also something called a viewable impression, which is defined as "those that are at least 50% visible to the user for at least one second." So if you manage to see half a frame for at least a second that’s counted as an impression… mmmmm.

The last word comes from the agency in a Campaign Asia piece on the video:

The agency said it could not provide business orientated metrics such as room bookings because as a new hotel there is no basis for comparison and attribution to this campaign would be difficult due to concurrent PR and media activities.

Still with a billion "impressions" who needs room bookings?


Baking Bread

A little bit of social media silliness for our good friends at Conkey's Bakery in Bangkok.


The end of the end of interruption is nigh?

Remember the ad gurus of a few years' ago who told us that interruption advertising was dead, and the future was about permission based marketing, conversations and engagement? 

These are typical quotes from the time. 

“The common opinion is that the age of interruption marketing is coming to an end.”

“People are not passive consumers of marketing messages any more.”

“In today’s world people buy advertising, not the other way round.”

Well the launch of the YouTube Thai channel this week was a reminder – not that we needed one – of how wrong they were.

While the corporate spin was all about encouraging and helping local talent, the launch was also aimed at the big advertisers, who can now swap those annoying little banners at the bottom for full screen ads, and force you to watch before your video begins. 

Yes there is a skip button, so you only have to endure the first 5 secs. For now. How long before YouTube introduces a 'premium' service for advertises that sees the skip button disappear?

Of course being interrupted by (mostly) intrusive, inane, crap advertising annoys us all, but who cares as long as there's a slim chance you might not hit the skip button after the obligatory 5 seconds of mandatory viewing.

Interruption is here to stay.


Horsing About

In a recent Campaign Brief post, Andrew Lok compared the traits of cats and dogs to the qualities required of agency people (dogs more fun, cats lethargic, etc).

As we enter into the Year of the Wooden Horse, we thought it might be apposite to see how agency personnel might look through an equine lens. So in the spirit of the season here’s our guide to the creative stable.

The Racehorse: A thoroughbred – at least in his own mind –, sleek and totally focussed on passing the winning post in first place. A real ‘look at me’ horse whose self image is of a white stallion galloping through the surf at sunset, possibly with a naked rider clinging to its mane. This is an animal that’s been bred to believe that he is special, and if he’s not trotting around the winner’s paddock come award’s season he’s likely to throw a tantrum. But this creature is also high maintenance, often sulky and sensitive, which doesn’t make him very popular with the rest of the stable. Not that he cares of course. Fawning management, desperate to maintain some sort of creative profile, colludes to keep him believing in his own legend.

The Stallion: Less focused than the racehorse, the stallion wants control and to be master of the herd. This is a horse that does a lot of snorting and stamping of hooves. Stallions tend to act more aggressively during the awards season, when they feel somewhat threatened by the racehorses. However, most of the time, he maintains his position by laying down scent-marking manure piles and urination spots to communicate his dominance as the numero uno.

The War Horse: Strong, dominant and often intransigent; this is a horse that you don’t want to get in the way of at full gallop. Management’s favorite for leading the team into battle. It’s not the smartest of animals but, nostrils flaring, and hoofs drumming it’ll bear down unflinchingly on any enemy. It’ll also run down anyone who gets in its way. However once its protective armour (management’s backing) is removed, it is revealed to be a much more timid beast that seeks to ingratiate itself with the rest of the stable. Not a horse to be trusted with the oats.

The Carthorse: A great docile creature assigned to haul the heavy loads. Often seen with its junior partner the pack horse, or assistant art director. Stolid, reliable, plodding and usually to be found toiling away on the agency’s less glamorous but more profitable accounts. This amiable animal is held in contempt by the preening racehorse for his willingness to work on accounts offering few creative opportunities, but for the same reason is generally liked by the rest of the herd. These horses are required to work extremely hard to make up for the indolence of the racehorses. Several charities now run sanctuaries where these noble animals can live out their last years in peace, instead of going straight to the knackers yard.

The Hack: A dying species with most having been put out to pasture long ago. But you can still occasionally find one in the dark corner of a bar, complaining that it’s all gone to pot, it’s not about ideas anymore and the kids these days haven’t a clue. These old nags can be entertaining for a while but are probably best avoided.

The Gelding: Every agency has at least one of these; otherwise known as the creative director.

The Filly: A dancing, prancing creature that can sometimes be a bit of a handful. Quite often found sniffing around the bottoms of the racehorses, with whom they like to hang around. Beware when feeding apples to these skittery creatures, as you are liable to get nipped in the process.

The Mare: Generally a calming influence on the herd and definitely too few of them in our creative departments. Our favourite animal by far.

The Bucking Bronco: Nobody wants to ride this one: up one minute, down the next with a mean kick. And woe betide anyone who finds themselves at the wrong end when he’s been nibbling at those funny flowers in the corner of the field again.

* Any resemblance to agency people we have worked with is purely coincidental.
** The word ‘he’ refers in all cases to he or she.


The Mad Men effect

Just when you thought nothing was deader than the advertising jingle, up pops a Cannes Grand Prix winner that Don Draper would be proud of.

Dumb Ways to Die has proved that there's life left in this ancient advertising form.

And if the praise being lavished on this particular campaign (not to mention the 52 million YouTube views) is anything to go by it's a form that's possibly about to make a big comeback.

Of course nothing is really new in this world, and it's good to see a tried and trusted technique being revived.

The only difference may be that today, Don Draper wannabes probably have to add a bit of digital sugar coating to sell such antediluvian concepts. So a jingle with a great bit of animation becomes a viral-video, linked to multi-platform digital media content, resulting in multi-touch-point engagement.

Are we jealous? You bet.

And we hope the trend continues. 

Who knows, next year we may even see the return of the print ad with body copy!