164. Brand Stories: MARCA PIÑA SOY SAUCE (late 1940s)

MARCA PINA SOY SAUCE 2-Color Magazine Ad, 1966

One of the most popular soy sauce brands in the country—MARCA PIÑA Soy Sauce—began as a backyard business employing 10 people  in Marulas, Bulacan  back in the late 1940s. The soy sauce product was first sold in the small neighborhood, but demand for MARCA PIÑA increased simply through word-of-mouth, that National Soy Factory, the name of the small enterprise, had to step up their production to answer the growing clamor for the product.

MARCA PIÑA Soy Sauce was noted not only for its taste, but also its rich color, texture and aroma. After all, the company used only high quality soy beans and manufactured the soy sauce using advance food technology. Moreover, MARCA PIÑA was priced affordably.

Incidentally, the PIÑA or pineapple is a  symbol of welcome and hospitality. It is also a symbol of royal privilege, and the pineapple name and icon was used by other successful brands of food companies like Marca Piña Quezo and Marca Piña Hams. 

By the 1960s, the soy sauce was known nationwide, advertising actively in magazines and leading publications.

WATCH THE 2006 VERSION OF THE

MARCA PIÑA SOY SAUCE "PIÑARAP BOY" TVC 30S

Government legalities mandated that the word “National” should not be used for company names, so in 1973, National Soy Co., was rebranded as Balanced Food Corporation.

 

MARCA PINA SOY SAUCE Ad, 1961

It was in the 1970s that MARCA PIÑA Convey Advertising produce the now-classic “Piñakamasarap” TV ad that featured a young boy mouthing “Piñarap!” (who happened to be the son of the owner, Mr. Tian Sy) at the end of the commercial. 

MARCA PINA SOY SAUCE "PINAKAMASARAP Ad, 1965

The line caught on, and soon, everybody could recall and replay it—one of the most memorable advertising catchphrases to this day. To immortalize the unforgettable line that catapulted MARCA PIÑA to greater prominence,  Balanced Food Corporation adopted the name Piñakamasarap Corporation in 1978.

 

MARCA PINA SOY SAUCE "PINAKAMASARAP Ad, 1968

Today, Piñakamasarap Corporation produces not just soy sauce but other condiments and dips like MARCA PIÑA Vinegar, Patis, Sukang Puti, Oyster Sauce and Kubo Sukang Paombong. Many of these are exported the world over, enjoying the patronage of expatriate Filipinos who, then, as now, still call the MARCA PIÑA super brand-“Piñarap!”. As to the little boy who uttered the line in that classic as, he now sits as the chief executive of the renown food manufacturing corporation.

SOURCES:

http://www.pinakamasarap.com/about_us.html

Convey Advertising FB Page:

https://www.facebook.com/Convey-Advertising-Inc-249378005075156/

163. Creative Guild Print Ad of the Year 1990: PAMPERS “Wet Page”

Ace-Saatchi & Saatchi Creative Director Jimmy F. Santiago recalls the birth of the 1990 Print Ad of the Year, “Wet Page”, as substantially a bloody process. The client was,once again. Old friend procter & Gamble, and the product was PAMPERS, a disposable diaper. Since PAMPERS spent more money on television, the print ad was meant to be no more than a sustaining effort.

As I turned out,the oncept took forever to be born. The selling was simple enough, that PAMPERS kept babies drier, and TV had consistently followed the formula of showing smiling, contentedly dry babies. For print, however, client had already trashed dozens of ideas; moving the account to a different account group only resulted in more casualties.

One day, Santiago found himself sifting through piles of disapproved print ads when he came across a study of a bleeding page by art director Mario Monteagudo. “It was the same idea as drinking scotch while writing a love letter”, Santiago explains. “The more drunk you get, mas pumapangit ang writing mo---and the page would even get wet”.

Santiago wrote some copy with a pentel pn, wet it with water and his won saliva, and matched that “problem” page with a complementary “solution” ay-out minus the water damage but beaing the product logp and a few lines of descriptive copy. That became the ad that was presented  and eventualy approved by client. “We just recycled an old idea that had been missed by everybody.”

The “wet page” itself is a strikingly sloppy image. “A baby wearing cloth diaper sat on this page.’ Reads the copy, printed in grey text with the letters precariously dissolving. The word “baby” suffers the biggest damage, an almost indecipherable blob of smeared , “and he still didn’t like it”.ink. Which better ord to victimize indeed, than the ne closest to the target consumer mommy’s heart!

The ad appeared as a half-spread in newpapers, award-winning proof that it doesn’t pay to second-guess clients. “That’s what took us so long”, Santiago explains. “Everyone was expecting to be approved when they were disapproved.” Still, “Wet Page” did not quite win the battle; when the Procetr & Gamble general manager saw the ad, he instantly disliked it. “After it won a Clio citation, we brought the ad back to him”, Santiago recalls

CREDITS:

ADVERTISER: Procter & Gamble Philippines

PRODUCT: Pampers Disposable Diapers

AGENCY: Ace-Saatchi & Saatchi Advertising

CREATIVE DIRECTOR: Jimmy F. Santiago

COPYWRITERS: Finina Gatchalian/  Bingo Bautista

ART DIRECTORS: Bingo Bautista/ Mario Monteagudo

PRINT PRODUCER: Pirio Tatlongmaria

PRINT SUPPLIER: Micrographics, Inc.

STUDIO MANAGER: Ray del Rosario

ILLUSTRATOR: Elaine Lopez

Source:

Hnasa, Alya, ed. Uy, Butch. Perfect 10: A Decade of Creativity in Philippine Advertising, Published bt the Executive Committee of the Creative Guild of the Philippines. 1995.

162. Filipino Matinee Idols in THREE FLOWERS POMADE Print Ads, 1956-57

One of the most enduring  brands of brilliantine pomade was THREE FLOWERS, made by Richard Alexander Hudnut way back in 1915, an American perfumer and cosmetics maker based in New York, with a European office in Paris, France.

It was distributed locally in the Philippines by Edward A. Keller & Co. sometime in 1950 to capitalize on the growing hairstyle trend of the midcentury--pompadour, side parts, slick-backs and cowlicks—popularized by screen legends as Cary Grant, Elvis Presley, James Dean, and later, Sean Connery. THREE FLOWERS Brilliantine Pomade became a favorite grooming aid  to style hair and give it a good sheen and, subtle masculine scent.

The most handsome matinee idols of the 50s were tapped to become celebrity endorsers for THREE FLOWERS’ 1956-1957 print campaign that primarily ran in leading magazines.  Four print ads from this series are shown on this page, each with a testimonial from a chosen actor-model.

LUIS GONZALES, for THREE FLOWERS,1956

Luis Gonzales,  (b. 8 Aug. 1928/d. 15 Mar. 2012) was born Luis Mercado, and grew up I  Tondo.  The prolific actor made over 100 films with Sampaguita Pictures and he is bets known for his portrayal of Pres. Ferdinand Marcos in two propaganda-cum-drama films:  “Iginuhit ng Tadhana” and a“Pinagbuklod ng Langit” ("Heaven was Gathered", 1965). He was often paired with actress Gloria Romero. Of THREE FLOWERS, Gonzales says: “ Women love the masculine fragrance of THREE FLOWERS…so do I!”.

MARIO MONTENEGRO, for THREE FLOWERS, 1956

Mario Montenegro,  (b. 25 Jul. 1928/d. 27 Aug. 1988) aka Roger Collin Macalalag of Pagsanjan, Laguna, was a Fine Arts student of UP, and was discovered while helping build sets for films. In his teens, he also was a member of Hunters ROTC guerrilla unit that saw action in the war. He is best known for his period films that showed him as a swashbuckling hero. Montenegro, who married fellow actress Letty Alonso, says that he “prefers the finest to look my best: THREE FLOWERS”.

EDDIE ARENAS, for THREE FLOWERS, 1957

Eddie Arenas,  (b. 7 Jul. 1935/d. 31 Mar. 2003) was a featured actor of Sampaguita Pictures and made many films with actress Lolita Rodriguez, who eventually became his wife. Some of his notable films include “Ang Tangi kong Pag-ibig” (1955), Gilda (1956), “Busabos” (1957),”Tanikalang Apoy” (1959). Before his passig, he was last seen in the 2002 movie, “Mahal Kita: Final Answer”. Of the product, Arenas opines that “I always look my best with THREE FLOWERS”.

RIC RODRIGO, for THREE FLOWERS, 1956

Ric Rodrigo (b. 1931/d.?)  was born as Paul Albert Bregendahl, the son of a Filipina mother and a Danish father . He is  best-known for  his appearance in “Igorota” (1968), where he was hailed as Asia’s Best Actor. Other significant films include “Dahil sa Isang Bulaklak” (1967) and “Ina, Kapatid, Anak” (1979). A son from actress Rita Gomez, Ronald Bregandahl, also became an actor. “THREE FLOWERS gives my hair a healthy sheen that is admired by all my friends”, says the good-looking Rodrigo.

THREE FLOWERS was a consistent advertiser through the 60s, but fell out of favor with the rise of modern pomade sticks, gels and cream, and it was only in 1979 that the brand was resurrected with the memorable relaunche campaign conceived by Basic Advertising—‘Lalaking Disente’. Needless to say, all the actors that appeared in the print ads from way back 1956, all fitted that “lalaking disente” mold—thanks to THREE FLOWERS!

161. Casting Coup: J&J BABY FACE POWDER, “The Baby Is Now A Lady”, 1990

Johnson & Johnson has been a long-standing client of Ace-Saatchi & Saatchi (formerly Ace Compton) since 1959, with the Personal Products as well as the Feminine Care line as its key assignments. 1990 marked the year that J&J forayed into the Cosmetics field, targeting Teens as it’s point-of-market entry.

That year, J&J Philippines launched its JOHNSON’S FACE POWDER, which is actually a pressed powder version of one of its flagship products, Johnson’s Baby Powder. That became the take-off point to communicate the face powder’s merits and benefits to a new market. After all, Johnson’s Baby Powder had been in the Philippines for over 4 decades and had become a staple product for Filipino babies.

But, since the baby had grown older, shouldn’t there be a new product befitting her new stage in life? Thus—JOHNSON’S FACE POWDER.

The Saatchi creatives developed a campaign theme that would provide product continuity for Johnson’s powder products. This was articulated in the memorable campaign line—“because the Baby is now a Lady”.

The TV and Press campaign idea seemed simple enough—it starts with a close-up  of a Baby being splashed with  Johnson’s Baby Powder , followed by images of the baby growing older, in a series of smooth dissolves, literally growing before the viewer’s eyes. The last fade-in reveals the refreshingly beautiful  face of a teen-age girl, with the JOHNSON’S BABY POWDER product shot appearing beside her. As we follow the girl’s growing up process, the supers gently come in: “because the baby, is now a lady—JOHNSON’ FACE POWDER”.

It was a simple,  no-frills commercial, but with a powerful visual idea that relied on casting the right models. The search was on for 4 talents who would credibly portray different stages of growth—from a Baby, to a Moppet, a pre-Teen, and finally, to a Teen beauty. 

The exhaustive quest ended with the casting of four different models who appeared in a series of prints ads that ran on consecutive pages of a magazine. The same models also appeared in the launch TV commercial that would proved to be so successful, that it paved the way for the launch of a new, major teen line –JOHNSON’S TEEN ESSENTIALS.

But.. whatever happened to the 4 models in the commercial?  We wonder!

CREDITS:
ADVERTISER: Johnson & Johnson Phils. Inc.
PRODUCT: Johnson's Face Powder
AGENCY: Ace-Saatchi & Saatchi Advertising
CREATIVE DIRECTOR: Jimmy F. Santiago
COPYWRITER: Merlee Jayme
ART DIRECTOR: Melvin M. Mangada
CASTER: Flor Salanga