SmileDirectClub, the tele-dentistry platform that connects customers to dentists or orthodontists in its network, wanted to go one step further in linking people with healthcare.
Sisters Chloe and Olivia Brookman, who had dreamed of creating something magical together since they were children, founded Olli Ella in 2010 with the goal of creating homewares, toys and apparel in a sustainable, environmentally conscious way.
Like many existing brands, Fight Gear Direct had reached a certain level that required shifting the focus from growing sales to sustaining sales. Yet a lack of focus in innovation across product categories or marketing and no real desire to continue growing an audience was holding it back.
With Covid shuttering businesses and driving down foot traffic, many, especially those in hospitality, were floundering as they grappled with the challenges of shifting to digital marketing to support online efforts.
If influencer marketing was the buzz of the last decade, then the creator economy is its successor, supercharged by growing ability for consumers to use social and digital platforms to directly connect with their own communities and audiences. But with such tools to now cut out the middleman, be it media company or advertiser, how do brands fit into this new creative puzzle?
Signet found itself facing the dual challenge of lifting customer sentiment and digital infrastructure capability in order to pursue growth.
As one of Australia’s oldest theatrical institutions, Theatre Royal Sydney might sometimes take its cues from theatre houses of New York and London, staging shows like Alanis Morissette’s Jagged Little Pill. But audiences could be surprised to learn this also extends to how it manages customer relations.
“While data is critically important for any decision making, what I’ve learnt is you need to be prepared to change the vision, take bold risks and be unapologetic in executing things differently,” Kristin Viccars says. “You must be comfortable with being uncomfortable.”
A lot of production this past year was done remotely or under severe Covid restrictions, meaning limited people on set or fully remote oversight. Rosemary Martin admits this was a little nerve wracking for her team at flybuys at times, but the results have spoken for themselves.
One of the unique aspects of the past year has been finding ways to keep team culture alive without forcing it in an environment of remote working.
For Anand Surujpal, one of the highlights of this year has been achieving all-time record market shares for Patties brands across retail channels. To make this happen, Surujpal and the team have embraced agility and continuously monitoring the external environment and then moving quickly to respond to opportunities.
It’s been a momentous 18 months for Carolyn Bendall, starting in a new CMO role in a completely new sector, while locked down and working completely remote for almost the entire time.
The past year has been one without near-term reference for Matt Fletcher and the Fitness First team. “This year, the playbook went out the window. It was not a year for iteration or rote,” he says.
In the past 18 months, Fiona Le Brocq has learned to manage the blending of work and home life. “I’ve presented differently as a leader, not just acknowledging the spontaneity of a less controlled environment but embracing it. I’ve openly shared personal moments of joy, fear, celebration and exhaustion,” she comments.
In the past year, Tara Heath and her team have faced massive change in health tech market conditions, requiring a significant shift in strategy across the Healthengine business. The pace and the need to align the team towards a new direction was critical to success.
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