Virginia Hyland has broken her silence on her departure from Havas, sharing her pride in her accomplishments in her time with the holding company, as James Wright, CEO of Havas Creative Network ANZ, has been appointed to take on the role of Havas Group CEO ANZ.
Mediaweek spoke with Wright about Hyland’s departure, stepping up to the new role, market dynamics and his vision for growth in the year ahead.
A positive parting: Virginia’s legacy at Havas
Hyland’s exit from the holding co last week follows the completion of the buy-out period after the acquisition of her independent agency, Hyland Media, in 2020.
Hyland said of her departure: “I want to thank Havas for welcoming Hyland Media and our clients into the fold. It’s been a privilege to work alongside so many creative, driven, and talented people across the local and global network.
“I’m incredibly proud of what we’ve built together. To my teammates—thank you for believing in our shared vision as a challenger agency to Dare to be Different.
“To our valued clients—I wish you continued success as you navigate the exciting future of data, tech, and AI. It has been my personal pleasure to be part of your journey, some for as long as 25 years.”
After selling her independent agency to the French holding company, she took on the role of Managing Director, Hyland Division.
She worked alongside the agency’s senior leadership team of the time, Mike Wilson, Chairman, Havas Media Group ANZ and Matt Houltham, CEO, Havas Media Group ANZ and played a pivotal role in shaping Havas Media AUNZ.
Wright on Hyland: ‘She’s finished her earn out of her business and wish her the very best with whatever her next steps are.’
Hyland is the current Deputy Chair of the Media Federation of Australia (MFA) and is a well-regarded media industry leader, collaborating with the wider Havas Village.
Under her leadership, Havas Media secured major new business wins, including Red Bull, Perfetti, Uniting, Tourism Fiji and Retail Food Group.
Hyland also led the successful launch of Havas PLAY and CSA (Data, Tech & Analytics) and played a key role in the acquisition of Hotglue in August 2024 to strengthen both Havas Media and Havas PLAY’s Melbourne presence.
Wright shared with Mediaweek that he had been in conversations with Hyland over the past few weeks and months about her exit.
“We’ve got into a positive and progressive place. She’s finished her earn out of her business and wish her the very best with whatever her next steps are.”
The Group also extended its thanks to Hyland for her contribution and impact on the agency.
“Havas values her energy and commitment during her time and wish her the very best as she plans to take a well-earned break for the remainder of 2025.
“Havas Media Network will confirm future leadership announcements in due course, including the recruitment of a new Media CEO who will report to Wright.”
Stepping up and shaping Havas’ future
Wright, who has been with Havas for the past 14 years, is stepping into the Group CEO ANZ role after returning to Australia in 2023.
He oversaw the global Havas PR Network in Australia and New York. Under his leadership, the local Creative Network developed and extended its footprint in creative, PR and publicity, Public Affairs and Health.
He will also continue to drive transformation as Global CEO for Havas Red and Global Chair of the Havas PR Network, based in Sydney.
“Now we can create it all in one leadership team. There are huge opportunities as we move to even more aggressively integrate our village offering across creative media, health, PR, public affairs, publicity, events, brand experience, and technology and AI, which we’ve been heavily focused on in the last two to three years.”
Wright noted that he develops all the agencies around three Cs – culture, creativity and commercials.
“We are a business, and so we need to make money, but we want to do it by being the best place you’ve ever worked and doing creative work that makes other agencies jealous.”
Financial goals and launching jealously inducing creative work aside, Wright acknowledges that Havas’ different agencies have been doing a lot of work in its creative strategy for the last 18 months.
“I think we’re starting to reap dividends from that, both in the work and the clients we’re attracting. The clients are trusting us with our ideas and places we want to take them.”
Wright also noted that the hard work is also being done in Havas’ media agencies. He said: “I think we come at briefs perhaps slightly differently and with a bit more of a challenging mindset than perhaps some of the bigger holding groups.
“So, I really enjoy that challenge and clients seem to be enjoying it, too, and certainly have been trusting us with some interesting approaches to their business challenges.
Wright: ‘It’s a big market for Havas, and it’s an important market for Havas, and we’ll continue to invest and develop as you would expect from a progressive business and holding company.’
Future-ready: How Havas plans to stay ahead
In a fast-paced industry, Wright said he has no plans on cutting corners on strategy and creative.
“I think that’s where we want to continue to invest,” he said.
“We are seeing a juniorisation across all the agencies in whichever marketing discipline it is. We need to maintain a superior level of excellence in both our creative and strategic approaches.
“We want to continue to invest in that, but we also want to continue to invest in the technology, AI and data capabilities.
“I sit on the global leadership team that is looking at this. I think Australia is a great market for accessing those technologies.
“Clients are hungry for it and they want to learn about it. We want to showcase all of that capability and the work that we do here. Watch this space in the next year or two.”
AI is steadily embedded into the Havas ecosystem after announcing last year, at Cannes, its investment of €400 million in data, tech and AI over the next four years as part of its global strategy and operating system, Converged.AI.
Wright noted senior stakeholders of the agency are in AI working committees, and agencies have been adopting the technology, from ideation, copywriting, project management and workflow efficiency.
“The opportunity there is endless. I always believed that AI would make you better, but we always need to be better than AI,” he added.
Navigating challenges while seizing new opportunities
For Wright, Havas has had a “fairly resilient 18 months” despite a tough year for the agency’s clients and a dip in consumer confidence as a result of the cost-of-living crisis.
“This year, it’s been quite resilient in the first six months. It remains a tough market. It’s not getting easy, but it’s certainly getting easier, and I see some green shoots for the second half of the year.”
“It’s not the land of milk and honey, of course, there are always challenges. But with that, there are as many opportunities as there are challenges.
“We’re profitable and are growing. We’d like to grow faster and stronger, and that’s what we plan to do now as a holistic village.
Looking ahead to 2026, Wright predicted a better outlook with a growing economy.
“Higher levels of consumer confidence, interest rates coming down and hopefully clients’ wallets opening up further.”
Wright noted that as a Group, Havas wants to be a place where the best talent thrives in their work and where clients go for great strategy, creative and ideas, both from a media and creative perspective.
“For Havas Media specifically, we want to grow. We want to develop our footprint further. We plan to make further investments in people and the market here in Australia.
“It’s a big market for Havas, and it’s an important market for Havas, and we’ll continue to invest and develop as you would expect from a progressive business and holding company.”
Wright noted that Havas has made several acquisitions and talent hires over the last four years, and it has become “a market we feel very confident in.”
“When you’ve got fantastic talent, you can start to do fantastic work. If you can do fantastic work with fantastic talent, you should be a commercial success.”
Top image: James Wright and Virginia Hyland
Steve Sos has exited from his role as Managing Director APAC for Vevo after five years with the company.
Replacing Sos is Tim O’Connor, Head of Sales APAC.
In a statement to Mediaweek, Vevo spokesperson said: “Tim O’Connor, has been promoted to lead Vevo’s APAC operations, following his successful tenure as Head of APAC Sales.
“Steve Sos is no longer with the business, and has left to pursue other interests. We thank him for his important contributions and wish him well.
“With Tim’s extensive experience his appointment ensures strong continuity for our clients and partners across the region.”
Sos began with the music video network in 2019 as Managing Director AUNZ before being promoted to oversee the APAC region in 2022.
Prior to joining Vevo, he worked at music discover platform Shazam, starting as Regional Sales Director in 2013 before stepping up to VP Asia Pacific in 2015. Sos’ last role at Shazam was as Managing Director of Asia Pacific.
He has previously held senior roles at News Corp, Fairfax, MCN and Mobile Embrace Limited.
Vevo spokesperson: ‘With Tim’s extensive experience his appointment ensures strong continuity for our clients and partners across the region.’ Pictured: Tim O’Connor
O’Connor was promoted to Head Of Sales for the Asia-Pacific region earlier this year alongside Blair Kelly who was promoted to Group Sales Manager and Alex Trumble as Senior Sales Manager.
Their appointments marked an important milestone for Vevo as it continues to expand its presence across the broader APAC region.
Under O’Connor, Kelly and Trumble, Vevo aims to work closely with clients, agencies and brand partners to deepen commercial relationships, drive innovation in premium video solutions and accelerate the music video network’s growth across key South East Asian markets.
Top image: Steve Sos
Australian Performance PR platform Linkby has today announced that it has raised $15 million in Series B funding. The round was led by Volition Capital, a Boston-based growth equity firm making its first Australian investment.
Linkby uses premium editorial to aid consumer brands drive growth. It connects advertisers with over 600 publishers, which includes Mediaweek Australia. The company has a focus on content-driven campaigns with measurable results for its clients.
It boasts a client base of more than 3800 consumer brands, including Charlotte Tilbury, Beyond Meat, Skechers, Free People, Skyscanner, T-Mobile, and Lululemon. These clients are serviced by teams in the US, UK, and Australia.
In a conversation with Mediaweek, CEO & co-founder Chris Wirasinha spoke about the growth of the business in North America.
“55% of Linkby’s revenue currently comes from the US market and it’s been growing by as much as 100% YOY in recent months. There’s a team on the ground across the US and Canada and we’ll be doubling it to more than 40 people in the coming months. We currently have an office in New York which is the HQ of our US operations,” Wirasinha said.
To help facilitate this growth, Linkby co-founder and CRO Adrian Fagerlund will relocate to New York.
Linkby co-founders Chris Wirasinha, Andrew Chak, and Adrian Fagerlund.
The investment in Linkby by Volition Capital has been earmarked to grow the US go-to-market team and accelerate product development. The company reports that the roadmap includes features to help advertisers identify the best publisher partners, streamline campaign setup, and allocate budgets toward outcomes like conversions, awareness, or traffic.
“The funding will see Linkby also grow our local Australian engineering and product teams which will help to build out the next phase of Linkby’s Performance PR recommendation engine,” Wirasinha said.
Wirasinha told Mediaweek that Performance PR is more mature in the US market than it is locally, but “we’ve found that everywhere we go in the world the need to make PR outcomes more measurable and performance focused has resonated strongly. Linkby continues to see wide adoption amongst forward thinking PR agencies who see Linkby as a new tool in their tool belt that gives their clients more control over their coverage”.
AI is a key consideration of the business, as it is with most companies now. The team at Linkby report that the investment will empower it to be at the forefront of Generative Engine Optimization (GEO) and emerge as a leader in the next era of search.
“Taking the millions of datapoints we’ve collected from working with over 3,800 brands, 600 publishers and creating over 42,000 features which we’ll then feed into a machine learning model powered by AI to help our brands create the most effective campaigns possible,” Wirasinha said.
Prior to co-founding Linkby, Wirasinha previously co-founded high-profile Australian media brand Pedestrian.tv. In 2018, the business was acquired by Nine Entertainment.
If Adolescence star Owen Cooper wins his Emmy nomination for Best Supporting Actor in a limited/anthology series or TV movie, at just 15 years of age, he will be the youngest male winner of an acting Emmy. At the other end of the spectrum, if 77 year-old Kathy Bates wins Best Actress in a Drama for her role on Matlock, she will be the oldest in the category.
They are just some of the many actors, writers, directors, and other TV industry tradespeople up for nominations at the 2025 Emmy Awards, which were announced overnight in Los Angeles.
While Netflix’s Adolescence is a favourite to win, with 13 nominations, the most-nominated show is the ongoing Apple TV+ drama Severance. The Adam Scott-led peculiar drama led with 27 nominations. Close behind was HBO Max’s Adolescence challenger The Penguin, a spin-off from the film The Batman, with 24 noms and HBO’s island dramedy The White Lotus, which had 23 noms.
The majority of nominated programs are available to stream on-demand on local subscription and advertising-supported services. The nomination breakdown, as represented by local streamers:
7Plus – 1
SBS On Demand – 1
10 – 3
BINGE – 6
Stan – 14
Netflix – 26
Disney+ – 32
HBO Max – 41
Apple TV+ – 44
Voting for the Emmy Awards concludes on 27 August, with the awards staged on September 14. A local broadcaster has not yet been announced for the telecast, but last year it was broadcast on Foxtel and streamed live on BINGE.
Traditionally, the Creative Arts Emmy Awards, which celebrates the work of the below the line craftspeople, is not broadcast on television. It takes place on the 6-7 September.
Among those nominated for Emmy awards given out during the Creative Arts ceremony was Australian production Love on The Spectrum from Northern Pictures. It was nominated for:
• Outstanding Casting for a Reality Program – Cian O’Clery, Sean Bowman, Emma Choate
• Outstanding Cinematography for a Reality Program – Dave May, Cian O’Clery
• Outstanding Directing for a Reality Program – Cian O’Clery
• Outstanding Picture Editing for an Unstructured Reality Program – Leanne Cole, Rachel Grierson-Johns, Gretchen Peterson, John Rosser
• Outstanding Unstructured Reality Program
The complete list of nominations for the 2025 Emmy Awards:
Best Drama Series
Andor – Disney+
The Diplomat – Netflix
The Last of Us – HBO Max
Paradise – Disney+
The Pitt – HBO Max
Severance – HBO Max
Slow Horses – Apple TV+
The White Lotus – HBO Max
Best Comedy Series
Abbott Elementary – Disney+
The Bear – Disney+
Hacks – Stan
Nobody Wants This – Netflix
Only Murders in the Building – Disney+
Shrinking – Apple TV+
The Studio – Apple TV+
What We Do in the Shadows – BINGE
Best Limited or Anthology Series
Adolescence – Netflix
Black Mirror – Apple TV+
Dying for Sex – Disney+
Monsters: The Lyle and Erik Menendez Story – Netflix
The Penguin – HBO Max
Best Television Movie
Bridget Jones: Mad About the Boy – Australian cinema release
The Gorge – Apple TV+
Mountainhead – HBO Max
Nonnas – Netflix
Rebel Ridge – Netflix
Best Reality Competition Program
The Amazing Race – 7Plus
RuPaul’s Drag Race – Stan
Survivor – 10
Top Chef – BINGE
The Traitors – 10
Best Talk Series
The Daily Show – BINGE
Jimmy Kimmel Live! – Not available locally. Clips are on YouTube.
The Late Show With Stephen Colbert – 10
Best Scripted Variety Series
Last Week Tonight With John Oliver – HBO Max
Saturday Night Live – BINGE
Best Actor in a Drama Series
Sterling K. Brown, Paradise – Disney+
Gary Oldman, Slow Horses – Apple TV+
Pedro Pascal, The Last of Us – HBO Max
Adam Scott, Severance – Apple TV+
Noah Wyle, The Pitt – HBO Max
Best Actress in a Drama Series
Kathy Bates, Matlock – Paramount+
Sharon Horgan, Bad Sisters – Apple TV+
Britt Lower, Severance – Apple TV+
Bella Ramsey, The Last of Us – HBO Max
Keri Russell, The Diplomat – Netflix
Best Supporting Actor in a Drama Series
Zach Cherry, Severance – Apple TV+
Walton Goggins, The White Lotus – HBO Max
Jason Isaacs, The White Lotus – HBO Max
James Marsden, Paradise – Disney+
Sam Rockwell, The White Lotus – HBO Max
Tramell Tillman, Severance – Apple TV+
John Turturro, Severance – Apple TV+
Best Actor in a Limited or Anthology Series or Movie
Colin Farrell, The Penguin – HBO Max
Stephen Graham, Adolescence – Netflix
Jake Gyllenhaal, Presumed Innocent – Apple TV+
Brian Tyree Henry, Dope Thief – Apple TV+
Cooper Koch, Monsters: The Lyle and Erik Menendez Story – Netflix
Best Supporting Actress in a Drama Series
Patricia Arquette, Severance – Apple TV+
Carrie Coon, The White Lotus – HBO Max
Katherine LaNasa, The Pitt – HBO Max
Julianne Nicholson, Paradise – Disney+
Parker Posey, The White Lotus – HBO Max
Natasha Rothwell, The White Lotus – HBO Max
Aimee Lou Wood, The White Lotus – HBO Max
Best Guest Actor in a Drama Series
Giancarlo Esposito, The Boys – Prime Video
Scott Glenn, The White Lotus – HBO Max
Shawn Hatosy, The Pitt – HBO Max
Joe Pantoliano, The Last of Us – HBO Max
Forest Whitaker, Andor – Disney+
Jeffrey Wright, The Last of Us – HBO Max
Best Guest Actress in a Drama Series
Jane Alexander, Severance – Apple TV+
Gwendoline Christie, Severance – Apple TV+
Kaitlyn Dever, The Last of Us – HBO Max
Cherry Jones, The Handmaid’s Tale – SBS On Demand
Catherine O’Hara, The Last of Us – HBO Max
Merritt Wever, Severance – Apple TV+
Best Actress in a Comedy Series
Uzo Aduba, The Residence – Netflix
Kristen Bell, Nobody Wants This – Netflix
Quinta Brunson, Abbott Elementary – Disney+
Ayo Edebiri, The Bear – Disney+
Jean Smart, Hacks – Stan
Best Actor in a Comedy Series
Adam Brody, Nobody Wants This – Netflix
Seth Rogen, The Studio – Apple TV+
Jason Segel, Shrinking – Apple TV+
Martin Short, Only Murders in the Building – Disney+
Jeremy Allen White, The Bear – Disney+
Best Supporting Actor in a Comedy Series
Ike Barinholtz, The Studio – Apple TV+
Colman Domingo, The Four Seasons – Netflix
Harrison Ford, Shrinking – Apple TV+
Jeff Hiller, Somebody Somewhere – HBO Max
Ebon Moss-Bachrach, The Bear – Disney+
Michael Urie, Shrinking – Apple TV+
Bowen Yang, Saturday Night Live – BINGE
Best Supporting Actress in a Comedy Series
Liza Colón-Zayas, The Bear – Disney+
Hannah Einbinder, Hacks – Stan
Kathryn Hahn, The Studio – Apple TV+
Janelle James, Abbott Elementary – Disney+
Catherine O’Hara, The Studio – Apple TV+
Sheryl Lee Ralph, Abbott Elementary – Disney+
Jessica Williams, Shrinking – Apple TV+
Best Guest Actor in a Comedy Series
Jon Bernthal, The Bear – Disney+
Bryan Cranston, The Studio – Apple TV+
Dave Franco, The Studio – Apple TV+
Ron Howard, The Studio – Apple TV+
Anthony Mackie, The Studio – Apple TV+
Martin Scorsese, The Studio – Apple TV+
Best Guest Actress in a Comedy Series
Olivia Colman, The Bear – Disney+
Jamie Lee Curtis, The Bear – Disney+
Cynthia Erivo, Poker Face – Stan
Robby Hoffman, Hacks – Stan
Zoë Kravitz, The Studio – Apple TV+
Julianne Nicholson, Hacks – Stan
Best Actress in a Limited or Anthology Series or Movie
Cate Blanchett, Disclaimer – Apple TV+
Meghann Fahy, Sirens – Netflix
Rashida Jones, Black Mirror – Netflix
Cristin Milioti, The Penguin – HBO Max
Michelle Williams, Dying for Sex – Disney+
Best Supporting Actor in a Limited or Anthology Series or Movie
Javier Bardem, Monsters: The Lyle and Erik Menendez Story – Netflix
Bill Camp, Presumed Innocent – Apple TV+
Owen Cooper, Adolescence – Netflix
Rob Delaney, Dying for Sex – Disney+
Peter Sarsgaard, Presumed Innocent – Apple TV+
Ashley Walters, Adolescence – Netflix
Best Supporting Actress in a Limited or Anthology Series or Movie
Erin Doherty, Adolescence – Netflix
Ruth Negga, Presumed Innocent – Apple TV+
Deirdre O’Connell, The Penguin – HBO Max
Chloë Sevigny, Monsters: The Lyle and Erik Menendez Story – Netflix
Jenny Slate, Dying for Sex – Disney+
Christine Tremarco, Adolescence – Netflix
Best Writing for a Comedy Series
Quinta Brunson, Abbott Elementary – Disney+
Lucia Aniello, Paul W. Downs, Jen Statsky, Hacks – Stan
Nathan Fielder, Carrie Kemper, Adam Locke-Norton, Eric Notarnicola, The Rehearsal – HBO Max
Hannah Bos, Paul Thureen, Bridget Everett, Somebody Somewhere – HBO Max
Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory, Frida Perez, The Studio – Apple TV+
Sam Johnson, Sarah Naftalis, Paul Simms, What We Do in the Shadows – BINGE
Best Writing for a Drama Series
Dan Gilroy, Andor – Disney+
Joe Sachs, The Pitt – HBO Max
R. Scott Gemmill, The Pitt – HBO Max
Dan Erickson, Severance – Apple TV+
Will Smith, Slow Horses – Apple TV+
Mike White, The White Lotus – HBO Max
Best Writing for a Limited or Anthology Series or Movie
Jack Thorne, Stephen Graham, Adolescence – Netflix
Charlie Brooker, Bisha K. Ali, Black Mirror – Netflix
Kim Rosenstock, Elizabeth Meriwether, Dying for Sex – Disney+
Lauren LeFranc, The Penguin – HBO Max
Joshua Zetumer, Say Nothing – Disney+
Best Directing for a Comedy Series
Ayo Edebiri, The Bear – Disney+
Lucia Aniello, Hacks – Stan
James Burrows, Mid-Century Modern – Disney+
Nathan Fielder, The Rehearsal – HBO Max
Seth Rogen, The Studio – Apple TV+
Best Directing for a Drama Series
Janus Metz, Andor – Disney+
Amanda Marsalis, The Pitt – HBO Max
John Wells, The Pitt – HBO Max
Jessica Lee Gagné, Severance – Apple TV+
Ben Stiller, Severance – Apple TV+
Adam Randall, Slow Horses – Apple TV+
Mike White, The White Lotus – HBO Max
Best Directing for a Limited or Anthology Series or Movie
Philip Barantini, Adolescence – Netflix
Shannon Murphy, Dying for Sex – Disney+
Helen Shaver, The Penguin – HBO Max
Jennifer Getzinger, The Penguin – HBO Max
Nicole Kassell, Sirens – Netflix
Lesli Linka Glatter, Zero Day – Netflix
Seven in ten advertisers and agencies using retail media have increased their investment in the last twelve months, according to the IAB Australia Retail Media State of the Nation 2025 Report.
The report, now in its third year, draws from data gathered in an industry survey conducted in June 2025 across 161 senior advertising decision makers across retailers, media agencies, agency trading desks, creative agencies and advertiser brands.
Of the buy side respondents, 66% were from advertising agencies and 34% from brands. Information was also collected from 19 retailers with a retail media offering in place.
The findings cement retail media advertising as an integral part of holistic media planning.
According to the report, 77% of advertisers and agencies work with three or more retail media networks, up from 58% last year.
Number of retail partners media agencies and advertiser are working with
However, as the sector scales, brands and agencies are seeking more transparency and consistency, along with better data access, consistent metrics and unified measurement frameworks across retail networks.
The Report found that investment in retail media activity now comes from a mix of fully reallocated budgets (35%) and new budgets (19%).
Brands reported increasingly shifting their spend away from trade marketing and traditional media advertising, while agencies were reallocating budget from social media and digital display budgets.
Advertisers continue to express frustrations with lack of clear, standardised performance metrics across networks. ROAS was identified as the most important metric sought by 78% of agencies and brands, while incremental sales measurement was the second at 71%.
The leading barriers to investment in retail media were found to be demonstrating ROI (38% of brand advertisers) and measurement and reporting limitations (30% of agencies).
Use and consideration of retail media advertising amongst agencies using retail media advertising
“Retail media is gaining momentum, but we’re now at a pivotal stage where structure and collaboration are essential,” Gai Le Roy, CEO of IAB Australia, said.
“To fully unlock the potential of this channel, the industry needs shared frameworks, clear measurement principles and greater transparency across networks.
“As we’ve seen in other maturing digital channels, establishing consistency is what allows innovation to scale. That’s where the IAB and its members can play a critical role.”
Lachlan Brahe, Chair of the IAB Australia Retail Media Council and Commercial Director at Epsilon, said: “Moving into its third year, this report demonstrates growth and enthusiasm for retail media whilst reminding us where we, collectively, need to lift our game.
“With Retail Media becoming a staple for brands, there remain challenges for advertisers to navigate and adapt to fragmented systems and metrics.
“Further education is essential to support advertisers in understanding how best to leverage new formats and channels to achieve objectives and to compare performance across networks.”
IAB Australia Retail Media State of the Nation report’s additional findings:
• Retail media is no longer confined to major supermarkets and marketplaces, with financial services and tech companies, as well as loyalty platforms entering the space.
• Retailers are diversifying their media offerings and formats, with 85% seeking to enhance their measurement offering over the next twelve months, and 77% looking to expand the ad products and channels offered.
• The predominant objective for retail media activities is increasing sales according to 83% of agencies and advertisers, while 76% cite increasing purchase intent or action. By contrast retailers reported they believe influencing customers across the entire purchase funnel is the top opportunity.
• Agency planning and strategy teams are restructuring to integrate retail media, while retailers are hiring additional resources.
• On-site search or sponsored products are the most used retail media advertising products, increasing 21 points this year, with on-site display and in-store digital signage also highly used. Off-site extensions powered by retailer data has increased by 19 points.
IAB Australia’s Retail Media Council includes members from Adobe, Afterpay, Amazon, Aus Venue Co, Broadsign, Cartology, Coles, Criteo, David Jones, Diageo, Endeavour Group, Google, WPP Media, Hatched, Hearts & Science, Involved Media, Kinesso, MarsUnited, Meta, Metcash, Microsoft, Moloco, Monks, OMD, oOh!media, Publicis Groupe, PubMatic, Scentre Group, TechMedia, The Trade Desk, TWCM Health, Uber, Uncommon People, Vudoo, WooliesX, Yahoo, Zenith, and Zitcha.
Australians remain active online shoppers in high numbers as they broadening how they find and evaluate products, the IAB and Pureprofile Australian and New Zealand Commerce Report 2025 found.
The research is based on an industry survey conducted with 1,000 Australian and 850 New Zealand online shoppers aged 18 – 70 who have shopped online at least once in the last twelve months.
It examined how consumer attitudes, behaviours and expectations are influencing shopping and commerce trends in Australia and New Zealand.
The report found that while cost-of-living pressures have eased slightly, shoppers remain highly value-conscious with 72% of consumers are cutting back on non-essential items, down from 75% in 2024.
The report also identified major generational differences across online shopper behaviour and expectations, particularly around convenience, reward, sustainability and transparency, resulting in variations in how consumers discover brands and source products.
Across product discovery sources assessed, online shoppers used an average of 4.8 touchpoints, with online search, retailers own stores and content, shoppers’ personal connections, other consumers and social media being some of the most important sources.
The breadth makes it critical for marketers to consider using a multi-channel strategy and loyalty programs to deepen their engagement in the competitive market.
Search continues to be the top discovery tool overall, particularly for over 50s (64%).
For millennial and gen z online shoppers, social media and influencers are key to how they find products to buy with 75% having discovered brand information from an influencer or content creator that they follow. Retailer owned assets and content were also identified as increasingly important.
“Retailers and marketers must review their distribution and investment strategies to ensure they show up wherever their audience is seeking inspiration,” Gai Le Roy, CEO of IAB Australia, said.
“Brand discovery is now happening across a growing number of environments, from social scrolls to second-hand marketplaces.”
Martin Filz, CEO of Pureprofile, said: “People are getting smarter about how they shop. They want value, but increasingly that means something different to different groups, whether it’s free shipping, finding unique pre-loved items, or discovering a brand via a TikTok creator.
“Marketers need to stay on top of these audience behaviours and motivations to think more holistically about what value looks like and where their audiences are making those judgments.”
Transparency in data usage and consumer understanding of the data exchange is critical, according to the report.
The IAB and Pureprofile report found that while 75% of online shoppers are aware that their personal data is used for targeting advertising, 73% remain concerned about how retailers use their data.
It also found most consumers are open to sharing information when there’s a clear benefit with 93% of online shoppers saying they are willing to share personal data in exchange for tangible rewards like discounts, free delivery, loyalty points or cashback offers. However, they demand clear communication and trustworthy handling of their data.
IAB and Pureprofile’s report found:
• Free shipping thresholds (61%), easy and free returns (57%), and fast shipping (40%) rank as very important retailer offerings.
• 48% of online shoppers say real-time product availability information is very important along with 41% who rate real time delivery tracking as very important, underscoring the rising expectation for immediacy and responsiveness.
• Younger online shoppers place greater importance on retailers having fast shipping options (same-day, next-day, 2-day) with 48% of 18-29s rating fast shipping as important, compared to 40% of all online shoppers.
• There are a range of different types of loyalty programs that are identified as valuable to online shoppers. 86% of online shoppers find free to join loyalty or rewards programs valuable, with 36% finding them very valuable.
• 4 in 10 Australian online shoppers (41%) have increased buying second-hand goods over the last few years.While 48% say sustainability is a reason for this increase, saving money (74%) is the predominant motivator.
• While purchasing ethical and sustainable brands is important to 50% of shoppers, only 36% are willing to pay more, highlighting a tension between values and price sensitivity.
• Marketplaces and supermarkets dominate the retail landscape, however online stores of traditional retailers, food delivery, subscriptions and purchasing directly from social media platforms are also thriving.
This is the fifth annual Commerce Report for the Australian market and the second year for New Zealand.
The Association for Data-Driven Marketing and Advertising (ADMA) has appointed AI researcher Dr Sage Kelly as its new Regulatory & Policy Manager.
Her appointment comes as the organisation increases its focus on AI, privacy, and data governance in marketing.
Dr Kelly will work with ADMA CEO Andrea Martens and the regulatory team to guide policy positions and provide support to members on key issues such as AI governance, data privacy, and consumer trust.
She brings experience across digital marketing, psychology, and AI ethics. She previously worked in digital marketing at Network 10 before completing a PhD at QUT on how people make decisions about emerging technologies.
Martens said: “We’re thrilled to welcome Sage to the ADMA team. She brings an incredible wealth of experience and a unique combination of industry insight with deep expertise in AI ethics, governance, and human behaviour – grounded in rigorous research on how customers actually respond to emerging technologies.
“As AI becomes increasingly embedded in marketing practices, we’re committed to providing marketers the clarity and confidence they need to navigate these complexities and innovate responsibly.”
Dr Kelly said of her new role: “I’ve seen firsthand how fast technology outpaces regulation, and how critical trust and transparency are in helping people engage with new systems. Marketers have a powerful role to play in shaping that trust. I’m excited to help bridge the gap between evolving technologies, public expectations, and regulatory frameworks in a way that supports both innovation and accountability.”
Markerters and AI: The findings from ADMA’s 2025 State of AI in Marketing
Her appointment coincides with the release of initial findings from ADMA’s 2025 State of AI in Marketing Survey, which highlights the growing use of AI in marketing and a gap in formal training.
The survey, released on World AI Day (July 16), found that 77% of marketers use AI tools at least weekly while 52% are using it daily.
Meanwhile, 13% have received formal AI training and 84% want a best-practice framework to guide responsible AI use
The ADMA survey found the most common uses of AI include content generation, ad copy optimisation, and tone refinement.
It also noted that 79% of marketers are optimistic about AI’s impact on marketing effectiveness, despite concerns around content quality and creativity.
Kelly said of the survey: “The survey results clearly show that AI adoption is now mainstream, but the lack of formal training is concerning.
“Equipping marketers with the right skills and understanding is essential to promote responsible AI use and maintain consumer trust. I’m excited to help drive ADMA’s mission and support the industry’s ongoing development.”
Andrea Martens: ‘ADMA will continue to build the tools, insights, and frameworks our members need to lead with confidence.’
Martens added: “Sage’s appointment couldn’t be more timely and relevant. As our latest research shows, AI adoption is accelerating while formal training remains limited – reinforcing the urgent need for expert guidance and capability-building to help marketers maintain trust and compliance.
“ADMA will continue to build the tools, insights, and frameworks our members need to lead with confidence. We’re excited to share more of this journey at the ADMA Global Forum in September.”
Dr Kelly’s appointment to the role marks the first step in a broader ADMA strategy focused on AI capability, industry guidance, and workforce development.
The full results from the AI survey will be presented at the ADMA Global Forum in Sydney on September 9.
Top image: Dr Sage Kelly
Connecting Plots has launched its digital and media offering to be led Inez Zimakowski in the role of Head of Digital & Media.
She brings more than a decade of experience to the role spanning in-house and agency roles across the fashion, automotive, and retail sectors, including Hyundai, Oroton and Edge.
Her remit will include building a holistic performance and media offering for the agency, encompassing full digital and media audits, analytics and reporting, campaign and always-on media implementation, CRM strategy and deployment, website UX and customer experience.
“What excites me most is how these guys are putting media, data, and creativity together seamlessly and driving results,” Zimakowski said.
“Joining a creative-first agency like Connecting Plots gives us the opportunity to shape high-performing media from the start, not just at the end. It means better outcomes, smarter efficiencies, and greater agility for our clients.”
Zimakowski’s appointment follows the independent creative comms agency’s recent expansion into PR and earned media with the appointment of Katie Eastment as Head of PR in April and complements the growth of the specialist social and influencer offering a.glo, headed up by Kent Pearson.
Phillips: ‘For the right types of clients, the full service offering we’re building will be the perfect fit.’ Left to right: Tom Phillips, Sophia Kang, Inez Zimakowski, Dave Jansen
Connecting Plots’ integrated offering now delivers a seamless blend of creative, strategy, social, earned, production and media solutions all under one roof.
“Our mission is to grow our clients’ businesses through truly connected brand experiences. Owned and paid channels are a critical piece of that puzzle,” Tom Phillips, CEO & Co-Founder of Connecting Plots said.
“With Inez leading our digital and media capability, we’re now able to better shape end-to-end solutions that deliver business impact to our clients.”
“For the right types of clients, the full service offering we’re building will be the perfect fit,” Phillips said.
“We’re proving that by smashing down the silos between strategy, creative and media who can build and then live optimise campaigns and creative to nail the objectives in a much more cost efficient way.”
“On the flip side, we’re doubling down on our collaborative partnerships with other media agencies – keeping media thinking as core to our approach, same as we’ve always done,” he added.
Top image: Inez Zimakowski
Australia’s out of home (OOH) industry recorded net media revenue of $363.6 million in Q2 2025, a 19.36% increase from $304.6 million in the same period last year,
The Outdoor Media Association (OMA) reported the digital Out of Home revenue accounted for 76.3% of total year-to-date revenue, up from 74.5% a year ago.
“The continued double-digit growth of Out of Home demonstrates the industry’s critical role in today’s media mix,” Elizabeth McIntyre, OMA CEO, said. “With OOH delivering the strongest ROI across major media channels, it’s no wonder that we’re seeing sustained investment and confidence within our industry.
“Our members continue to give back with this year being the sixth annual RSL partnership.
Over 4,600 assets nationwide displaying the That’s the ANZAC Spirit campaign and reaching over 8.3 million Australians. Since 2020 our members have donated over $35 million in advertising value towards the RSL’s national commemorative campaigns.”
Last month, OMA reported a 16.13 per cent rise in net media revenue for Q1 2025, reporting $334.1 million, up $287.7 million for the same period in 2024. At the time digital OOH (DOOH) revenue, accounted for 75.6% of total net media revenue year-to-date, up from 74.2% per cent this time last year.
The OMA membership also continues to grow with Stream Outdoor joining the association as a new member, adding digital billboard inventory across key Australian locations.
As a media-owner member, Stream Outdoor contributes premium digital billboard inventory to the OOH network, delivering high-impact advertising solutions in key locations across Australia.
Chris Perera, Stream Outdoor Director, said: “Joining the OMA aligns with our commitment to elevating Out of Home through innovation and collaboration.
“We’re excited to work alongside industry leaders to help shape the future of OOH and deliver meaningful outcomes for brands and communities alike.”
Top image: Elizabeth McIntyre
The Independent Media Agencies of Australia (IMAA) is supporting the ACCC’s demands for urgent regulatory changes to Australia’s digital media platforms.
This follows the release of the competition watchdog’s final Digital Platforms Inquiry report after its five-year inquiry.
The ACCC recommends broad reforms to strengthen competition and introduce measures against unfair trading practices across the economy.
The IMAA is backing many of the ACCC’s recommendations, including:
• Support for regulation and platform designation, with the introduction of “upfront” rules to stop anti-competitive behaviour before it occurs. This would include designating dominant platforms like Google, Meta and Amazon with clear conduct codes.
• Transparency and accountable conduct in the ad tech supply chain, particularly increased transparency in the Google ad tech stack, fair access to data and inventory, and greater scrutiny of self-referencing practices and bundling services. This would allow indies to compete more fairly and offer greater transparency to their clients.
• A clampdown on dark patterns and consumer manipulation, with a crackdown on subscription traps, hidden fees and manipulative UI/UX design and fake reviews in retail and marketplace ecosystems that damage trust in the broader digital landscape.
• Continued monitoring of emerging risks in areas like generative AI, when used to manipulate pricing, media recommendations or create misinformation, cloud computing, gaming and retail marketplaces to ensure innovation does not come at the cost of competition.
IMAA CEO, Sam Buchanan, said all the recommendations would help create a fairer, more transparent and competitive digital ecosystem.
“As Australia’s largest media industry body, we believe that meaningful reform must prioritise transparency, consumer trust and fair access, especially for the independent sector, which continues to deliver agile, accountable and innovative solutions for Australian businesses. We look forward to working with the government and regulators to ensure the reforms don’t just tame the giants but empower the indies,” he said.
“The ACCC’s recommendations align closely with the challenges our members face daily in dealing with powerful digital platforms, whose commercial practices too often disadvantage independent agencies and their clients. Independent media agencies often face systemic disadvantages competing against platforms and large holding groups with preferential access and pricing. Clearer rules level the playing field.
“Independent agencies are critical to the health, diversity and innovation of the Australian media and advertising industry. We encourage the Federal Government to act swiftly on the ACCC’s recommendations and ensure that upcoming reforms prioritise transparency, accountability and equitable access, giving all agencies, regardless of size, the opportunity to compete on a level playing field.
“The IMAA stands ready to engage constructively with government, regulators and industry stakeholders to help shape a regulatory framework that protects consumers, supports innovation and ensures a vibrant, competitive digital ecosystem for the future.”
The IMAA is also backing the ACCC’s call to continue and expand the Digital Platform Regulators Forum (DP-REG), which brings together the ACCC, ACMA and eSafety to coordinate digital platform regulation.
The IMAA, representing independent media agencies, has consistently pushed for fairer competition, greater transparency, and better access to data and inventory across the industry.
The final report marks the conclusion of the ACCC’s five-year Digital Platform Services Inquiry.
The ACCC said stronger laws are needed to protect consumers and businesses from ongoing harmful practices across digital platform services.
Gina Cass-Gottlieb, ACCC Chair, said: “Digital platform services are critically important to Australian consumers and businesses and are major drivers of productivity growth in our economy.
“While these services have brought many benefits, they have also created harms that our current competition and consumer laws cannot adequately address. This is why we continue to recommend the targeted regulation of digital platform services is needed to increase competition and innovation and protect consumers in digital markets.”
Top image: Sam Buchanan
The Real Housewives franchise is heading to the UK capital, with Hayu confirming The Real Housewives of London will debut exclusively on the platform from Monday, August 18.
The 10-part series marks the first original commission by Hayu and the 30th entry in the long-running franchise. Episodes will drop weekly, culminating in a reunion hosted by comedian Katherine Ryan.
Among the cast is Australian expat Juliet Mayhew, returning to screens alongside Amanda Cronin, Karen Loderick-Peace, Juliet Angus, Panthea Parker, and Nessie Welschinger. Together, they’ll navigate London’s social scene, balancing business ventures, family life, and long-simmering personal tensions.
Produced by UTAS UK Productions (Made in Chelsea), part of Universal Studio Group, the series promises a blend of glamour, ambition, and conflict.
Meet the cast
Juliet Mayhew
Juliet Mayhew
An Australian native and former Miss Galaxy Universe, Juliet is now living in one of Chelsea’s most desirable neighbourhoods. Married to ‘Tiggy’, with whom she has two teenage children, she is a former actress turned creative producer. She is a committed philanthropist and specialises in hosting immersive events through her successful event planning company – catering to some of the world’s most elite clients. She shares a close friendship with Caroline Stanbury (The Real Housewives of Dubai).
Juliet Angus
Juliet Angus
Chicago native and now a resident of West London, Juliet initially captured hearts as a cast member on Ladies of London. A social media influencer, global brand partner, stylist, and former fashion publicist, Juliet has carved out a reputation as a tastemaker on both sides of the pond.
Amanda Cronin
Amanda Cronin
A fixture on London’s elite social scene, former model turned entrepreneur Amanda has close ties to Meredith Marks (The Real Housewives of Salt Lake City) and Dorinda Medley (The Real Housewives New York City).
Karen Loderick-Peace
Karen Loderick-Peace
A former cast member of The Real Housewives of Jersey, Karen and her husband Jeremy, former chairman and owner of West Bromwich Albion F.C. share three children and own five luxurious properties across London, Jersey and Barbados. She is currently preparing to launch her own fashion label, reflecting her passion for style and design.
Panthea Parker
Panthea Parker
Known for her high-society lifestyle and formidable social circle, Panthea has embraced a life of glamour, having been on the Mayfair scene since the ‘90s, partying with A-listers.
Nessie Welschinger
Nessie Welschinger
Born and raised in London, Nessie shares her Chelsea family home – and a 500-year-old estate in the Cotswolds — with her husband Remy and their three children. A former Global Head of Equity at Schroders, she now runs the renowned Chelsea Cake Company, boasting high-profile clientele including Queen Elizabeth II.
Brisbane digital marketing agency Cymbal has appointed Christa Muller to lead its organic social media and influencer marketing services as Senior Account Manager.
She brings more than eight years of experience in digital marketing and brand strategy, most recently spending three and a half years at agency, With Christie Serhan.
Muller has worked on multi-platform campaigns across fashion, lifestyle, and property sectors.
At Cymbal, Muller will oversee content, influencer, and social media accounts in fashion, retail, beauty, and lifestyle, including clients Chevron Renaissance, IDA+S Collection, and new account Alcove Southport.
Cymbal has grown from a solo operation at its founding in September 2023 to a four-person team in under two years, driven by client retention and demand for strategic social media marketing.
Sarah Hall: ‘Her (Muller) leadership across key client accounts means we can keep growing across both paid and organic marketing in a sustainable, strategic way.’ Pictured: Sarah Hall and Christa Muller
Sarah Hall, Cymbal Founder and Director, said: “This next chapter for Cymbal is all about doubling down on what we do best – strategic, creative, and results-driven social media.
“As our clients increasingly engage us across multiple services, Christa’s appointment brings senior oversight to the organic and influencer space, allowing us to continue scaling with purpose.
“Her leadership across key client accounts means we can keep growing across both paid and organic marketing in a sustainable, strategic way.”
The agency’s services include paid and organic social media, influencer marketing, content creation, and email marketing.
Hall added: “When it comes to organic and paid marketing, creative has become one of the most powerful, if not the most powerful, drivers of success,” said Sarah Hall.
“With the rise of AI and changing platform algorithms, what matters most is the ability to create high-impact, platform-native content that’s guided by performance insights and actioned through creativity.
“Where traditional performance agencies stop at the data, we use it to inform and shape standout creative that actually moves the needle. Cymbal has become known for optimising in real time, without losing the creative spark.”
Top image: Christa Muller
According to aap, the article in question, which ran earlier this month, tracked Lehrmann’s move to the Apple Isle.
His lawyer, Zali Burrows, told the Hobart magistrates court that Smith and a photographer tailed Lehrmann on a dirt road “dangerously,” arguing the episode not only crossed a line professionally but worsened her client’s mental health.
The Aussie-born chef had earlier revealed he was part of the same external investigation that found misconduct claims against co-host Gregg Wallace.
But, as Nadeem Badshah and Michael Savage report in The Guardian, that review, run by law firm Lewis Silkin on behalf of production company Banijay UK, upheld a 2018 complaint about Torode’s alleged use of “highly offensive” language.
Rochelle Marinato, who runs Pilates World, says the takedown hit both her personal and business profiles, despite the clip in question simply showing three dogs looking out a window.
But as Lauren Forbes reports for Sky News Australia, the image didn’t feature any humans, giving zero context for the ban.
As Josh Taylor writes in The Guardian Australia, the comments, which ran unchecked for 16 hours, were traced back to what xAI called “deprecated code” overly influenced by user posts.
X is challenging a 2023 notice from Julie Inman Grant’s office demanding answers on how the platform handles terrorism and violent extremism material.
As Imran Rahman-Jones reports on the BBC, creatives were quick to raise the alarm, interpreting vague legal language as giving WeTransfer the green light to use their files to train machine learning models.
The company has now clarified it does not use AI to process or train on user files, nor does it sell data to third parties.
The meeting, described as “introductory,” took place shortly after Wells stepped into the portfolio, and not long before reports surfaced suggesting YouTube for kids might be facing a ban, a move long pushed by TikTok.
As Oscar Godsell writes on Sky News Australia, while TikTok has been banned from government devices due to national security concerns, Wells’ office defended taking the meeting, calling the platform a “key stakeholder” in shaping social media safety legislation.
As Tess Bennett writes in The Australian Financial Review, in a new submission to the Productivity Commission, Schneider argues the tech is essential for curbing retail crime and protecting staff, especially as incidents of aggression and theft continue to rise.
The push follows a ruling by Privacy Commissioner Carly Kind, who found Bunnings had breached privacy laws by using facial recognition without customer consent between 2018 and 2021.
According to John Buckley in Capital Brief, Schwartz Media, Mamamia, ACM, Crikey’s Private Media and Junkee are among those who’ve inked new agreements, though several publishers have reportedly seen the dollar figures shrink.
The move comes as the Albanese government continues to drag its feet on updating the News Media Bargaining Code, the legislation designed to force tech giants to pay for journalism.
The fashion retailer is still sitting on more than 50 unfilled roles at its Melbourne HQ and quietly packing up shop in key locations like Sydney’s QVB and Melbourne’s Armadale.
As Eli Greenblat and Ben Wilmot write in The Australian, the company’s flagship Pitt Street Mall is also on the chopping block once the lease wraps in 2028.