Polman gambles on sustainability paying off

December 7, 2010

Paul Polman, chief executive of Unilever, is either a very wise or foolish man. At this stage it is difficult to tell which. All we can say is that he has embarked on a courageous and momentous enterprise.

Ogilvy & Mather, which recently won Unilever’s multi-million pound corporate development account from Fallon, will shortly unveil details of the company’s 10 year sustainability strategy – Polman’s brainchild – to a largely unsuspecting public.

We’ve heard a lot about companies commitment to the mantras of corporate social responsibility – the Triple Bottom Line (3BL) of People, Planet and Profit. But frankly not much action, since Marks & Spencer’s milestone Plan A initiative in 2007. Polman’s plan is a lot more ambitious than M&S’s – and a lot more risky in the open-handed commitments it makes to supporting causes that may boomerang on core corporate objectives of profit and brand share, if mishandled.

To give the flavour of the plan’s ambition, it commits Unilever to source 100% of its agricultural-sourced products sustainably; to halve the environmental footprint of all its products – not just at the manufacturing stage, but from suppliers through to consumers; and to tangibly benefit the health of 1 billion people. All this in ten years. Even Polman admits he does not know how it’s going to be accomplished – yet.

The measure of the risk is this. Unilever is a major public company dependent upon the goodwill of institutional investors and their financial advisers. These people deal in quarterly earnings assessments, not ten-year plans based upon ‘idealistic’ notions. There’s still very little appetite in the City for the “Planet” element of the 3BL. So far, so good for Polman’s reputation: he has delivered 6-quarters of uninterrupted earnings growth. For now, they’ll humour him. But what happens if, at some future date, ‘Planet’ gets in the way of ‘Profit’?

Similarly marketing and brands. Polman has taken the visionary step of placing marketing, communications and Unilever’s sustainainability policy in the hands of its chief marketing officer, who for the first time is a board-level executive. That certainly advances the cause of joined-up strategy at the highest level. But it may give Keith Weed, the CMO in question, a few headaches when he comes to reconcile the consumerist ethic with a creed which is, in some respects, anti-consumerist.

There’s more in my Marketing Week column this week, not least some speculation on why Polman is prepared to take such an enormous gamble with his hitherto unblemished career.

About these ads

Crowdsourcing – here to stay, but no threat to the special relationship says Weed

October 26, 2010

And the winner of Unilever’s crowdsourcing ad initiative is: Melody of Skin for Vaseline, by Japanese film-maker Ryoko Kwanishi.

Earlier this year, incoming Unilever cmo Keith Weed set agency teeth chattering by announcing a co-creation competition with Mofilm to source the public’s best ideas for 13 of its most sacrosanct brands. Was this the beginning of the end for the agency world as we know it, asked more than one anxious Cassandra?

Not really, on present showing. Admittedly, there are some really nice pieces of film, but rarely are they brilliantly insightful. The winner won precisely because it was a genuinely new idea: according to Weed, its “campaignability” across other media than television was an important factor in the final decision. See for yourself here:

So what are the implications of the experiment? Well, BBH – long-term partner with Unilever on the Lynx brand –  and other roster agencies need not worry about packing their bags just yet. In an exclusive interview with Pitch, Weed expresses considerable irritation with the above-mentioned Cassandras. Critics are simply missing the point, he says. It’s only natural that Unilever should be in the front line of creative experimentation, because it always has been. “It produced the first black and white ad in the UK, the first colour ad. We’re the first brand on iAd … We are the second largest advertiser in the world. If we can’t experiment with stuff and push out into new territory, then who can?” Good point.

What Weed fails to tell us is whether the crowdsourced ads will actually see the light of day, as opposed to provide valuable PR. But the clear implication is that crowdsourcing could play a valuable, if supplementary, infilling role. “It takes many months and hundreds of thousands of pounds to make a 30-second television ad and you certainly cannot afford that model to fill up the hunger for video that exists. We are trying to find ways to create content that is engaging but also economically viable.”

So no one in adland need worry about their P45 just yet. It’s a timely shot across the bows all the same. Stay sharp.


PD James Thompson onslaught kills off BBC private sector marketing experiment

October 13, 2010

Spare a thought for BBC director of marketing, communications and audience Sharon Baylay, who leaves next year – and not entirely of her own volition.

The axing of her position is a monument to the ineptitude of director-general Mark Thompson in front of a microphone. It was preordained from the moment that he allowed himself to be kebabed on the skewer of a little old lady’s forensic interviewing technique.

Cast your mind back to December 31st, 2009. PD James, the little old lady in question, was guest-editing the Today programme. I don’t know whether Thompson had a premonition he was going to be that morning’s toast. He certainly acted like a fox lamped by headlights when the crimewriter and former BBC governor moved in for the kill.

In her cross-wires were the 37-plus BBC employees who – inexplicably in her view – earned more than the prime minister. Thompson attempted to bat it off by justifying the salary of then BBC1 controller Jay Hunt, with her £1bn budget. But James was having none of this. She was not talking of Hunt and her kind, she said. Who were all these over-salaried bureaucrats with not a shred of creativity in their make-up? And in particular, this clan of clones with marketing and communications in their title, paid for by the taxpayer? Why, the litany is endless: there’s a director of marketing, communications and audiences on £300,000, and a director of communications on £225,000 – doesn’t he do what the other person’s supposed to do? Then there’s a director of brand and planning, a director of audiences… And so on. It begins to sound like an extract from the script of Yes Minister, only it’s for real.

At first sight, Baylay seems an identikit fit for an “over-salaried” bureaucrat. Her basic salary is £310,000 and her pedigree is not the BBC but Microsoft, where for 15 years she played a competent but fairly faceless role in a number of managerial positions, culminating in general manager of online services. But that’s to look at the appointment, which happened in May 2009, in the wrong light.

Baylay is less a techno-mandarin than the last of series of expensive imports from the private sector who have swelled the power and importance of the marketing function within the BBC. The first marketing director in any meaningful sense was Sue Farr, who had a background weighted more towards advertising than brand management. But that was no bad thing: in those days marketing, which was much more lowly in the BBC hierarchy than it is today, was largely about on-air ads, such as Perfect Day. Farr had another, unofficial, role. She was the publicly acceptable face of director-general John Birt, a skilful if robotic strategist and not someone you’d particularly want to invite to dinner.

Farr came a cropper with the advent of Greg Dyke as Birt’s successor in 2000. Dyke, probably the most successful and certainly the most popular d-g in recent times, suffered from no such interpersonal skill inhibitions as his predecessor. He wanted a “real” marketer who would oversee not only the BBC’s content and PR operations, but be at the heart of its audience research as well. And he eventually alighted on Andy Duncan, with his classic fmcg background at Unilever.

The early success of Duncan, reflected in the take-off of Freeview and his subsequent promotion to chief executive of Channel 4, set a precedent. It was reinforced by his successor, Tim Davie – once again equipped with impeccable fmcg credentials, this time Pepsi-bred. The difference between Davie – who moved on to become the BBC’s director of audio and music – and his successor Baylay really amounts to sector emphasis. At a time when media is ever more interactive and internet-driven, it made sense to appoint someone steeped in digital experience. And where better to look than Microsoft, which had been closely involved with the BBC in the development of the iPlayer?


Debenhams brushes off the past, Burgess loses his Local Jewels, Loaded is spent and Foster’s will get funnier

August 23, 2010

Four thoughts on a week spent away:

1. Debenhams has irrevocably hitched itself to the voguish positioning of “natural beauty” pioneered by Unilever’s Dove – with its decision to bannish “air-brushed” fashion models. The department store has been making a number of gestures in this area recently – for example, using a size 16 and a disabled model. But this latest initiative looks definitive.

Debenham’s rallying to the cause raises some embarrassing issues for other elements of the fashion industry which, shall we say, have been less forthcoming on the permissible limits of artifice in projecting an advertising image both unrealistic and unattainable. L’Oréal, for instance, seems entirely comfortable with lightening the skin pigment of rock star Beyoncé Knowles. And let’s not forget the vexed case of Cheryl Cole’s preternaturally bouncy hair extensions, which featured in an Elvive campaign. The Advertising Standards Authority gave Cheryl a clean bill of health. But I cannot help thinking this was a wrong call, out of step with the times. What Dove and Debenhams are doing is the thin edge of a wedge fast being driven into a post-production fixated fashion industry.

2. Now Unilever’s “Local Jewels” really have lost their setting. The departure of Matt Burgess, UK managing director of Marmite, Peperami, Pot Noodle, Bovril and Slim-Fast, seemingly brings to a painful conclusion Unilever’s interesting Chrysalis project, which was formally dissolved last month. Like its architect James Hill, Burgess has moved elsewhere in the organisation. Details remain sketchy, but he would – lucky man – appear to be assuming responsibility for integrating the Radox, Brylcreem and Sanex brands offloaded by Sara Lee into Unilever’s skincare division. Not without a last hurrah, however. The crowd-sourced Peperami ad, described in greater detail by Louise Jack on Pitch, may not be to everyone’s taste. But it’s a wake-up call to agencies.

3. IPC’s willingness to dispose of Loaded, a nineties best-seller, is a reminder of how much the lad’s mag phenomenon has been butchered by the internet. According to the most recent Audit Bureau of Circulations figures, Loaded lost over 26% of its circulation in the last year. That may be a disaster, but it’s by no means a unique one. FHM, now owned by Bauer Media, lost about 18%; while the weeklies Zoo (Bauer again) and Nuts (IPC again) plunged 22% and 17% respectively. From Phwoar! to Uh-ah! in less than 20 years.

4. While on matters laddish, was I alone in being underwhelmed by Adam & Eve’s first stab at refashioning the Foster’s campaign? To the untutored eye, it looked very much like a seamless continuation of the hackneyed stuff that has been pouring out of M&C Saatchi these past few years. Where was the simple Big Idea the client claimed had won A&E the account?

Now we know. Simple, but brilliant. One-off remakes of some of our best-known laddish comedies – Alan Partridge and the The Fast Show have been mentioned – using where possible the original writers, producers and stars; all inexpensively posted on the internet. And all intended to build on Foster’s title sponsorship of the Edinburgh Comedy Awards and Channel 4 comedy. Let’s see how the idea catches on.


Why Don Draper won the Dove brief

August 3, 2010

Unilever has come up with a cute but controversial “hommage within an hommage” advertising blitz – featuring six of its power brands – in the latest series of Mad Men, which is now airing in the USA.

Like the series itself, the ads recreate a fictional early Sixties hot shop; in this case SmithWinterMitchell. Each episode stars two of its principals, copywriter Phil Smith and art director Tad Winter, wrestling with a campaign brief for, in succession, Dove, Breyers, Hellman’s, Klondike, Suave and Vaseline.

Neat, eh? And there’s more. The ads (devised by WPP’s Mindshare Entertainment) subtly underline the deep brand heritage. “The featured brands are prominent today and were popular in the 1960s, when Mad Men is set,” suggests a Unilever spokewoman, quoted in Ad Age.

So far, so good. The controversial bit is that viewers and the blogosphere don’t seem to like them very much. Some have deprecated the prelapsarian style of the pitch – and contrasted the first ad, featuring Dove, unfavourably with the cutting-edge modernity of the Real Women theme. Others have juxtaposed the “fake” production values of the ad mini-series with the exquisite realism of the content surrounding it.

It’s true, the ads are corny compared with the programme they mimic. But somehow I don’t think anyone at Unilever, Mindshare, or indeed AMC (the cable station that broadcasts Mad Men) will be losing sleep over the criticisms. The big irony of the ad soap opera – featuring Don Draper, Roger Sterling and sundry curvaceous size-16 “role models” – is that it doesn’t attract much advertising. In 2009, it earned under $2m ad revenue – according to Kantar – a performance barely exceeded in the previous two seasons. But then, it’s a highbrow drama that doesn’t attract much of an audience either. Some 2.4 million people tuned into the fourth-season premiere on July 25; and that’s a lot better than previous seasons’ viewing figures. Then again, each of the 12 or 13 episodes apparently costs over $3m to produce. In short, if Sterling Cooper Draper Pryce really were an ad agency – rather than a lovingly recreated fictional prism of WASP society before the Fall – it would have gone bust by now.

All of which rather misses the point of the programme’s existence and what Unilever is doing advertising in it. For AMC, it’s a halo product, a loss leader that encourages advertisers to buy into the schlock inventory that attracts mass audiences. For Unilever, it’s a cut-price opportunity to get itself talked about by America’s chattering classes. Sadly for Unilever, we in the UK will never be able to judge how much of an adornment or annoyance the ads really are. TV rights over here are held by the BBC.

Here’s a link to the Dove campaign. I particularly like the bit at the end, where the two admen – having been given the brief on a platter by their “Peggy Olson” secretary – reward themselves with a round of golf. Now that really is a period touch.


Cookeing the media-buying goose

July 9, 2010

Outrageous indeed. I couldn’t agree more with IPA director-general Hamish Pringle’s take on Thomas Cooke’s contribution to an increasingly acrimonious global media-buying debate.

The travel operator is reported to be demanding a £1m signing-on fee at the conclusion of its £30m media review – in addition to “a reduction in agency fees currently paid” and “a minimum 10% saving through consolidated media buying” stipulated in the original brief for the 3-year contract.

And yet, the Thomas Cooke affair is only the most egregious example (to date) of a ripple of client practices which are causing stupefaction in media agency circles. It’s the way the world is going.

The principal bugbears in the debate are Unilever and Reckitt Benckiser. It is no coincidence that they are, respectively, India’s number one and number two advertisers. India, land of the cut-price call centre and the $2,500 Tata car, is after all where most of the low-cost action is to be found these days.

By way of background, read (if you haven’t read it already) a column by Les Margulis, an American media veteran – 22 years at BBDO. Promisingly entitled ‘When to walk away from an energy-sucking client’, the content below the headline does not disappoint. It’s a withering diatribe aimed at Rahul Welde – VP of media at Unilever for Asia, Africa, Middle East and Turkey – in particular, and cheapskate clients in general.

What (apart from an arrogant manner) had Welde done to deserve this opprobrium? About a month previously in a keynote speech encompassing the future of advertising, he had had the temerity to suggest that “marketing is all about brilliant ideas”. And one of them, apparently, is screwing down agencies, creative as well as media, to zero costs – if necessary by posting the brief on the internet and doing a bit of on-the-cheap crowdsourcing. See also George Parker on “Vindaloo Rat” and Jim Edwards at bNet.

Reckitt has stoked this controversy to fever-pitch by going one step further. Allegedly, it plans to charge each of the participants in a pitch for its Indian media-buying business up to $10,000. The suggestion has so upset the Advertising Agencies Association of India that it is advising member agencies not to pitch.

This bit may be a storm in a tea-cup, as I am assured by those in a position to know that RB has not actually asked for money (or is that just wiser-after-the-event back-pedalling?). Even so, the proven terms could scarcely be considered lenient: the “winner” will have to rebate volume discounts paid by media owners as well as offer compensation for any drops in TV ratings.

Which brings me back to Thomas Cooke’s modest contribution to the “media, it’s just a commodity” debate. What puzzles me, given that media agencies are being awarded virtually zero compensation these days, and are expected to indemnify the client against loss, is this: how does anyone make any money? It’s certainly not on the overnight interest rate. And yet media agencies continue to queue up and be plucked.

As for Thomas Cooke’s proposal, my only surprise is that it didn’t come from Ryanair first. Now that really would be “rapacious”, to use one of Michael O’Leary’s favourite words.


Why Unilever’s Chrysalis was no butterfly

July 5, 2010

“Odd” was how one highly placed Unilever source described the food, toiletries and detergent giant’s decision to scrap its innovative Chrysalis unit after only two years. Odd indeed: its disappearance is as enigmatic as its existence in the first place.

Chrysalis was a kind of wholly-owned incubator, in which Unilever stored some of its most treasured “local jewels”, such as Marmite, Pot Noodles, Peperami, Slim-Fast and Bovril. Altogether, there were 14 of them, stretching across 3 markets: Germany, France and Britain. These brands had one thing in common. Their quirky, national character possessed almost no transborder appeal. On the other hand, put together, they added up to a £500m business – no small change.

Unilever never made the rationale of Chrysalis entirely clear, leaving journalists and City analysts to fill the vacuum with speculation. Unilever’s one categorical utterance on the subject was that the brands were not for sale. Which the City boys (such as Citigroup) took to mean the exact opposite.

Look at the company’s strategy, One Unilever, they said. It’s all about multinational power brands such as Axe/Lynx, Persil, Dove and Wall’s. What possible role could tiddly, if charismatic, brands like Marmite have in this? By way of justification, they pointed to various strategic disposals the company had been making around the world: Boursin in France, a Brazilian margarine company here and an American detergent company there. Second, they pointed to an inherent contradiction in running these highly localised brands out of a central organisation based in Rotterdam; meaning Chrysalis must be a short-term expedient. And third – the clincher – Unilever had deliberately segregated its minor brands into two categories. There were those – like Colman’s mustard and PG Tips – that remained in the main Unilever fold and then the rest – the black sheep so to speak – which had been hived off into Chrysalis.

So much for that theory: all the black sheep have now been herded back into the main fold  – under the name of Incs (Incorporated Businesses) – leading Investec analyst Martin Deboo (for one) to conclude ruefully that rumours of a sell-off were overcooked.

I’m not so sure. The obsession with a brands sale seems to have arisen from a partial misunderstanding of Chrysalis’ purpose in the first place. By the same token, its dissolution cannot be regarded as a guarantee the brands will remain in the long-term ownership of Unilever.

First, the creation and purpose of Chrysalis. Admittedly, in the past, these brands might have ended up in the hands of private equity companies. But by 2008, the date of Chrysalis’ origin, such funding was already becoming very tight. At one level, the unit was clearly intended to keep them financially afloat. It was equally apparent, however, that – put in the hands of semi-detached entrepreneurial managers – Chrysalis would serve as a nifty brand laboratory whose lessons could be imported into mainstream Unilever culture.

The man chosen to lead this alternative operating model was James Hill, who had a considerable track record behind him as first chairman and md of Lever UK, the Unilever detergent arm, and subsequently senior vice-president marketing operations Unilever Europe.

Whether under Hill’s leadership these 14 brands actually made significantly more money for Unilever I have no idea (but some doubts). More evidently, his brands did succeed in making a lot of positive media noise for big, boring Unilever and embarked on some interesting experiments.

Marmite is a good case in point. During Hill’s stewardship, the brand name has finally passed into the English language as a metaphor of sharply contrasted appeal. Marmite led the way (well, co-led it with HMV) in pioneering temporary “pop-shops”. These exploited high-profile retail premises left fallow by the recession to merchandise 100 Marmite-branded products, including food, clothes, art and even Christmas boxes.

I seem to remember Marmite also made skilful use of its brand personality to keep itself front of mind during the late, long-drawn-out, election with a “Love Party versus “Hate Party” campaign featured on a specially devised website, http://www.marmitenewsnetwork.com.

The Marmite campaign soon amassed some valuable political capital when Nick Griffin, leader of the BNP, decided to do some passing off of the “Hate Party” – complete with hijacked Marmite logo – in his own political broadcast. Threat of legal action by Unilever not only forced a humiliating climbdown by Griffin, but caused him to lose his irreplaceable webmeister in the media furore that followed.

Enough of Marmite. Let’s also consider Peperami. The sado-masochistic salami brand created a bit of a sensation last year when its group marketing manager, Noam Buchalter, fired Lowe – its agency of 16 years – and solicited members of the public to come up with ideas for the next ad campaign. Crowdsourcing, as it is called, is increasingly trendy these days – a kind of marketing analogue of social media. Walkers used it to some effect recently when coming up with a new crisp flavour. What’s far less usual is to fire one’s ad agency in the process. This heinous act sparked an explosive debate in creative agency circles, the gist of it being that Unilever is a cheapskate, seeking to circumvent agency fees with inexpensive ideas sourced through the internet which achieve, at best, tepid success. We have yet to judge, in Peperami’s case. More importantly, however, the Peperami crowdsourcing episode was a first for Unilever which succeeded in capturing the attention of new chief marketing officer Keith Weed. One of Weed’s first initiatives on taking over from Simon Clift earlier this year was to approve a crowdsourcing drive for 13 of Unilever’s biggest brands, including Wall’s, Lynx and Dove involving the same $10,000 “bounty” for the lucky winner.

Weed has subsequently felt the need to back-pedal, and reassure agencies, on the issue of crowdsourcing. In an interesting and wide-ranging debate with WPP ceo Sir Martin Sorrell at Cannes (where Unilever was declared Advertiser of the Year) he had this to say:

“In general, I’m not going to use crowdsourcing as a substitute, with the exception of Peperami.” Consumer-generated ideas, he added, are merely a way of allowing Unilever to “pilot and test things”.

Which brings me to why Chrysalis was eventually ditched. At the beginning of this year, James Hill moved to another Unilever job, that of chairman of Italy. Buchalter has also quit, to become a consultant. It would be easy to surmise ‘writing on the wall’ here. I doubt that is the case, however. There is an exactness about Hill’s two-year term that suggests this was a valued Unilever “lifer” taking up a new turn of duty. More likely the closure has come about because the new top management team, led by ex-Procter & Gamble executive Paul Polman, couldn’t see Chrysalis’ long-term relevance. Indeed, Weed specifically referred during the Cannes debate to Polman’s decisive influence in making lines of communication with the consumer simpler and more direct. A complex hybrid operating system, and a business culture licensed to be irreverent, may have had no place in his thinking.

Does the dissolution of Chrysalis matter? In the short term, no. Matt Burgess, formerly managing director of Chrysalis UK, remains in charge of the Marmite, Bovril, Pot Noodle and Slim Fast brands as md of the new “integrated” unit Incs. I suspect, however, that some of the fizz has come out of the laboratory idea, that the future of the brands will be more pedestrian, and their value more meticulously cost-accounted.


Interpublic’s solution to Lowe London? A Wall of money

April 19, 2010

Who will put Lowe London out of its misery? The loss of its principal accounts seems an everlasting litany. To Stella Artois, John Lewis and Nokia N-Series should also be added the Beck’s account. All that’s propping Lowe London up is international business from Unilever (barring Peperami, which went last year) and Johnson & Johnson. According to Nielsen, 2009’s already depleted billings of £91m shrank to a minuscule £53m.

How to attract top talent in such circumstances – the talent that will draw in vital new business? It’s a vicious circle, from which there are only two ways for a once famous agency to extract itself. Call it a day, as Lowe alma mater CDP did long after it should have. Or buy something that will enthuse new talent and new enthusiasm.

Not surprisingly, it is the latter course that Lowe Worldwide chief Michael Wall has embarked upon. Evidence of his enthusiasm and determination may be deduced from approaches to Creston plc (owner of Delaney Lund Knox Warren); Rapier; and Dye Holloway Murray. So far, it would seem, the overtures have been unrequited. But we should not underestimate the charm of a man with an open cheque book in these straitened times; nor the forcefulness of someone who has managed to persuade cash-strapped Interpublic to cough up.


The truth about Simon Clift’s exit from Unilever

March 23, 2010

We all know that Simon Clift, chief marketing officer of many years’ standing at Unilever, is stepping down. What’s less apparent is whether the imaginative, regenerative campaigns associated with his tenure are also on the way out. Clift inspired or was responsible for, among others, Dove Real Women, the award-winning Axe/Lynx campaigns and Persil’s Dirt is Good.

There are some reasons for supposing campaigns such as these may be casualties as new Unilever chief executive Paul Polman tightens his grip on the organisation and cements in place a new top team. Polman, in a move unprecedented in Unilever’s history, was parachuted in over stiff internal competition to fill the role somewhat over a year ago. Immediately he came from Nestlé, but the important thing to remember is his 27 years of experience at arch Unilever rival Procter & Gamble. He’s a marketer, Jim, but not as Unilever knows it.

Some commentators see the hidden hand of P&G training in accelerated product extensions and more emphasis on “moment of truth” style promotional advertising since Polman’s arrival. They surmise that action-oriented Polman – who has had a fair degree of success so far – was unsympathetic to Clift’s subtler, slow-burn approach. They detect a more dictatorial, metrics-driven attitude to agencies, which bodes ill for “open source” creativity.

But that view is by no means universal. One former Unilever employee (who will remain nameless, but spent 15 years at the company) sees Polman as a breath of fresh air, sweeping away the cobwebs of “nepotism and empire building”. “The fact was,” the source tells me, “Unilever never was a meritocracy and every move had to be ‘sponsored’ by a corporate elder. Clift epitomised this culture more than anybody.”

So two very different perspectives on the Clift era. Further insights (on a strictly confidential basis) very welcome. In the meantime, there’s more on Polman cracking the whip and changing the guard in this week’s magazine column.


Polman picks Weed as Clift successor with turbo-charged communications role

March 5, 2010

Congratulations to Keith Weed, who has just been appointed Simon Clift’s successor as global CMO at Unilever.

In fact, there’s a little more to it than that. Weed’s actual title is chief marketing and communications officer. Which means that in addition to Clift’s former responsibilities, ranging from strategy down to marketing communications appointments, Weed will also have PR under his belt.

Paul Polman, the Procter & Gamble-bred chief executive of Unilever, has made no bones about this representing an elevation of the marketing function at the company: “This is the first time Unilever has had a CMO at the top table and is a key step to having a sharper consumer focus in the company.” All of which might seem a little hurtful to Clift, whom many of us had supposed was pretty near the top table himself. One thing he did not have, it seems, was the ear of the chief executive – or not this one at least.

Weed, 48, is – like Clift – a Unilever lifer. An engineering graduate, he joined Unilever in 1983 as a trainee and is currently executive vice president of home care, oral care and water. He’s well known and liked in the industry and was president of the Marketing Society for three years from 2003-06. In his spare time he’s also a non-executive director of Sun Products Corporation and Duchy Originals.

The fact that Polman has picked an insider would seem further proof that the rift between Clift and Polman was personality-driven rather than something precipitated by differences of opinion over “strategy”.


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