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An N U Al R Ep O R T 2018 Annual Report
ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1. -
SMARTIES South Africa 2020 Shortlist
Finalists LeadClientBrand EntryLeadOrganisation 01) Marketing : Brand Awareness #PEPcares PEP SA Mindshare Cape Town Add Hope From Anywhere KFC Mindshare South Africa Breaking the Traditional Tradition FOOD LOVER’S MARKET Mark1 Celebrate Everything Tinkies Hellosqaure Christopher Africa & DStv Content Discovery Multichoice/DStv Content Discovery Christopher Humthem Huletts Gorilla Hygienica Unilever Digitas Liquorice In Sync With Sho Madjozi Stayfree® Johnson & Johnson King James Group Kirsten Landman's Road to Dakar Ryobi Retroactive Mazda A Century of Soul Mazda South Africa Mindshare Finalists LeadClientBrand EntryLeadOrganisation My Kreepy Teacher Kreepy Krauly Retroviral and Panther Punch Nando's - Keeping our community hot Nando's Nando's NIVEA #TakeExtraCare NIVEA Mobitainment (with Carat, 13th Floor) Pre-Loved Love Songs Gumtree Retroviral TOASTIE - FIND YOUR SARMIE SOULMATE MARMITE, BOVRIL, REDRO, PECKS ANCHOVETTE Yonder Media Vodacom ShakeUp Summer Vodacom South Africa Ogilvy & Mather YouTube Masthead Makes KFC Chicken Fly KFC Mindshare South Africa 02) Marketing : Lead Generation / Direct Response / Conversions Aromat Comedy Club Season 2 Unilever Aromat PHD Media Bespoke Banking Nedbank Digitas Liquorice Breaking the Traditional Tradition FOOD LOVER’S MARKET Mark1 Cando Pioneers Nigeria Nampak Bevcan Silverstone Solutions / YBR Castle Buy The Nation a Beer 24H Referral Campaign Castle Silverstone Solutions / Vizeum Checkers disrupts South Africa's grocery retail market with its game- The Shoprite Group of Companies The Shoprite -
Absolut Vodka Appoints Ogilvy As New Lead Agency
Mar 19, 2021 12:10 UTC Absolut Vodka appoints Ogilvy as new lead agency Absolut Vodka, one of the most iconic spirits brands in the world, has appointed Ogilvy as its new global lead agency. Ogilvy’s remit will include global strategic and creative duties for the brand, focusing on its lead market priorities, with the ambition to accelerate its leadership position. The Swedish vodka is recognized as a leading premium vodka brand, associated with promoting progressive values since its inception in 1879. The brand is well-known throughout the industry for its sound commitments in terms of sustainability. By applying its one source, one community approach, Absolut emphasizes its origin and close connection to the area that surrounds the distillery, which is one of the world's most energy efficient. An important part of Absolut Vodka's strong heritage is also the brand's creative advertising, through decades of collaborations with fashion designers and artists including Jean-Paul Gaultier, Andy Warhol, Tom Ford, Keith Haring, Stella McCartney and Anne Imhof. Ogilvy was awarded the business after a competitive pitch with an undisclosed roster of global agencies that was led by Tad Greenough, Global Chief Creative Officer, with support from the Observatory International, based in London. Tad Greenough, Global CCO Absolut said: “Absolut has an incredible legacy of creating extraordinary and unexpected communications, of being a cultural provocateur. As the brand continues to see tremendous momentum globally, we wanted a network partner that can deliver the strategic and creative excellence that Ogilvy has demonstrated time and time again.” Andy Main, Ogilvy’s Global CEO, said: “Ogilvy is proud to be chosen by Absolut, a globally iconic brand, to be their creative partner for growth. -
2017 Agency Family Tree
2017 GLOBAL AGENCY FAMILY TREE TOP 10 WPP OMNICOM Publicis Groupe INTERPUBLIC Dentsu HAVAS HAKUHODO DY MDC Partners CHEIL BlueFocus (Revenue US 17,067M) (Revenue US 15,417M) (Revenue US 10,252M) (Revenue US 7,847M) (Revenue US 7,126M) (Revenue US 2,536M) (Revenue US 2,282M) (Revenue US 1,370M) (Revenue US 874M) (Revenue US 827M) OGILVY GROUP WPP DIGITAL BBDO WORLDWIDE PUBLICIS COMMUNICATIONS MEDIABRANDS DENTSU INC. DENTSU AEGIS NETWORK HAVAS CREATIVE GROUP HAKUHODO HAKUHODO MDC PARTNERS CHEIL WORLDWIDE DIGITAL Ogilvy & Mather ACCELERATION BBDO Worldwide Publicis Worldwide Ansible Dentsu Inc. Other Agencies Havas Worldwide Hakuhodo Hakuhodo 6degrees Cheil Worldwide BlueDigital OgilvyOne Worldwide BLUE STATE DIGITAL Proximity Worldwide Publicis BPN DENTSU AEGIS NETWORK Columbus Arnold Worldwide ADSTAFF-HAKUHODO Delphys Hakuhodo International 72andSunny Barbarian Group Phluency Ogilvy CommonHealth Worldwide Cognifide Interone Publicis 133 Cadreon Dentsu Branded Agencies Copernicus Havas Health Ashton Consulting Hakuhodo Consulting Asia Pacific Sundae Beattie McGuinness Bungay Madhouse Ogilvy Government Relations F.BIZ Organic Publicis Activ Identity Dentsu Coxinall BETC Backs Group Grebstad Hicks Communications Allison + Partners McKinney Domob Ogilvy Public Relations HOGARTH WORLDWIDE Wednesday Agency Publicis Africa Group Initiative DentsuBos Inc. Crimson Room FullSIX Brains Work Associates Taiwan Hakuhodo Anomaly Cheil Pengtai Blueplus H&O POSSIBLE DDB WORLDWIDE Publicis Conseil IPG Media LAB Dentsu-Smart LLC deepblue HAVAS MEDIA GROUP -
Diary of an Ad Woman OAAA Turns
David M. Rubenstein Rare Book & Manuscript Library association’s inaugural meeting in 1926. Additionally, 2011 marks the 15th anniversary of the OAAA Archives at the Hartman Center. The original collec- tion comprised over 250 linear feet (200,000 items) and included information on the history of the Winter 2011 industry; poster creation and maintenance technology; Vol. 17 No. 2 trade organizations; photographs; and materials OAAA Turns 120 relating to the cultural and regulatory environment. This important archives was processed with a grant IN THIS ISSUE: The Hartman Center joins with the Outdoor from the National Endowment for the Humanities. Advertising Association of America to celebrate its Over 30,000 images from the OAAA Archives, News & Notes 2 120 years of service as the out-of-home advertising another from the OAAA Slide Library and from two industry’s largest professional organization. other collections are available in the ROAD (Resource New Acquisitions In 1891, a group of outdoor advertising companies for Outdoor Advertising Description) 2.0 database, and Guides 2 banded together to form the Associated Bill Posters’ funded by a grant from the National Historical Association (ABPA), an organization whose primary Publications and Records Commission (NHPRC). JWT in aims were to promote the industry and to establish To learn more visit: http://library.duke.edu/ Switzerland 3 standards of professional practice. One of its first digitalcollections/outdoor_advertising/. acts was to collectively refuse to post materials To celebrate these mile- Looking Back: deemed offensive in the public eye—items such as stones in the history of outdoor Pan Am 3 lurid theater and movie posters and ads for burlesque advertising, the Hartman revues. -
The Operational GC: Don’T Let FOMO Make Your Success a No-Go
The Operational GC: Don’t Let FOMO Make Your Success a No-Go Technology, Privacy, and eCommerce 1 / 11 2 / 11 Behind-the-scenes As GCs of high growth companies with limited legal headcount, we have seen the tremendous force multiplier that technology can bring to the law department. Unlike many software purchasers, however, we have also seen what goes on behind-the-scenes in tech sales because we have worked for companies that produce and sell enterprise software. There is often a major disconnect between how technology is marketed and what is actually delivered. The goal of this article is to help you become a savvier consumer of technology for your law department. The FUD problem People who work in the software industry are familiar with a marketing tactic: FUD, or Fear, Uncertainty, and Doubt. In many industries, large players will do whatever it takes to keep out more innovative upstarts. The software field is no exception. A popular strategy for incumbents is to market the promise of forthcoming technology that does not quite exist, thereby sowing uncertainty and doubt in the mind of customers considering a competitive option and fear among would-be innovators. Often this strategy works perfectly for the incumbent, at the expense of the ever-waiting customer, who ultimately receives either a subpar product offering or perhaps something so soft that it should be named vaporware rather than software. Companies that wait for a promised future product from the giant incumbent are betting that the incumbent somehow possesses superior skills at solving problems due to its budget and the market share of its legacy offerings. -
INFORMATION to USERS the Quality of This Reproduction Is
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMZ films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter &ce, while others nuy be from any type of computer printer. The quality of this reproduction is dependent upon the qualityof the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the origina!, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell ft Howdl Infbnnatioa Company 300 North Zeeb Road. Ann Aitor MI 4SI06-I346 USA 313/761-4700 «00/321-0600 THE PRICE OF DREAMS: A HISTORY OF ADVERTISING IN FRANCE. 1927-1968 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Clark Eric H ultquist, B.A., M.A. -
Managing In-House Agency Creative Content and Legal Concerns
MANAGING IN-HOUSE AGENCY CREATIVE CONTENT AND LEGAL CONCERNS J U LY 2 019 TABLE OF CONTENTS BACKGROUND AND METHODOLOGY ........................................... 3 KEY FINDINGS ............................................................................. 4 1. CREATIVE CONTENT CONCERNS ........................................ 4 2. LEGAL CONCERNS .............................................................10 CONCLUSIONS .......................................................................... 13 ABOUT THE STUDY PARTNERS ..................................................14 2 | Managing In-House Agency Creative Content and Legal Concerns BACKGROUND AND METHODOLOGY The 2018 ANA report, “The Continued Rise of the In-House Agency,” found that in-house agency penetration is rising and workloads are increasing. • 78 percent of ANA members have an in-house agency in 2018, versus 58 percent in 2013 and 42 percent in 2008. • For 90 percent of respondents, the workload of their in-house agency has increased in the past year, including 65 percent for whom the workload has increased “a lot.” As advertisers continue to expand bringing advertising services in-house, it is important for them to understand and deploy best-in-class practices to manage in-house agency creative content and legal concerns. The ANA partnered with the Boston Consulting Group and Reed Smith on this initiative. The findings are informed by qualitative interviews with ANA members and industry experts (conducted in first quarter 2019) and a quantitative survey of ANA members (fielded in March 2019). There were 111 survey respondents, and their demographics consist of companies with in-house agencies of various sizes and budgets: • Staff Size: 40 percent of survey respondents have staffs of 25 people or less, 36 percent between 26 and 100 people, and 24 percent greater than 100 people. • In-House Agency Budget: 50 percent of survey respondents work at organizations which had an 2018 annual U.S. -
Annual Report & Accounts 2019
ANNUAL REPORT & ACCOUNTS 2019 WHO WE ARE WPP IS A CREATIVE TRANSFORMATION COMPANY. WE USE THE POWER OF CREATIVITY TO BUILD BETTER FUTURES FOR OUR PEOPLE, CLIENTS AND COMMUNITIES. STRATEGIC REPORT Covid-19 2 Chief Executive’s statement 3 At a glance 8 Our business model 9 Investment case 10 Where we are 12 The market 14 Our strategy 16 Delivering on our strategy 18 Jeremy Bullmore’s essay 48 Remembering two industry greats 50 Financial review 52 Sustainability 58 Assessing and managing our risks 80 CORPORATE GOVERNANCE Chairman’s letter 94 Our Board 96 Our Executive Committee 98 Corporate governance report 100 Sustainability Committee report 107 Nomination and Governance Committee report 108 Audit Committee report 109 Compliance with the Code 112 Compensation Committee report 114 FINANCIAL STATEMENTS Accounting policies 140 Consolidated financial statements 147 Notes to the consolidated financial statements 152 Company financial statements 182 Notes to the Company financial statements 185 Independent auditor’s report 187 ADDITIONAL INFORMATION Taskforce on Climate-related Financial Disclosures 196 Other statutory information 198 Five-year summary 201 Information for shareholders 202 To learn more see Financial glossary 204 wpp.com Where to find us 206 WPP ANNUAL REPORT 2019 1 STRATEGIC REPORT COVID-19 The coronavirus pandemic has touched all our lives. At WPP our first priority is the wellbeing of our people and doing what we can to limit the impact of the virus on society. Our second is continuity of service for our clients. We have thrown ourselves into achieving both objectives. To ensure the safety of employees and We have also modelled a range of revenue When we come through the current to help reduce transmission, we moved declines resulting from the pandemic and, situation, the world will have been changed to a global policy of managed remote in the most extreme scenarios tested, in ways that we cannot fully anticipate yet. -
2019 Creative Agencies New Business League
2019 CREATIVE AGENCIES NEW BUSINESS LEAGUE Global / Feb 2019 ESTIMATED ESTIMATED YTD RANK THIS RANK LAST OVERALL YTD No.of AGENCY RECENT WINS WIN REVENUE RECENT LOSSES MONTH MONTH REVENUE Wins (USD $ m) (USD $m) Mercedes Benz China Retainer , MillerCoors (Cape Line, Redd's 1 1 BBDO 29.0 29.0 45 Apple Ale) US AOR , Remy Martin China Pfizer China, Nestle (Content Studio) L.P.N DEVELOPMENT THAILAND 2 8 Ogilvy China, Confidential Consumer 21.3 20.1 60 AOR Goods Brand China, Maxus China 3 2 Johannes Leonardo Volkswagen US 20.0 20.0 1 Dickies US Project, Grub Hub US, 4 6 Havas Worldwide 14.5 14.5 16 Bel Brands Global Refinitiv Global, Singapore Airlines 5 3 TBWA 12.5 12.5 6 Global, Gatorade Global HPB Singapore, Ohmyhome 6 22 Publicis 11.9 DS China 11.8 35 Singapore Audi-Branding China, Yili-Yousuanru 7 4 Leo Burnett 11.2 Abbott - baby nutrition China 10.4 40 China, CarDekho.com India Geely China, Kabrita China, Porsche 8 7 Saatchi & Saatchi China Retainer, Yili International 9.7 Mondelez India 9.6 16 China TerryWhite Chemmart Australia, 9 9 VMLY&R Australian Defence Force Recruiting 8.6 8.6 36 Australia, Nature Bounty US Barclays UK, Audi UK, Volkswagen 10 12 BBH 8.0 8.0 3 UK Huawei China, Mercedes-Benz 11 10 Digitas China Project, Heineken China 7.8 7.8 20 Retainer 12 5 Deutsch Reebok Global 8.0 Target US 7.5 1 Skyworth TV China,Yinji Holiday 13 23 McCann Worldgroup Resort China, Opel Europe, Magnet 7.9 WINIX 5.9 29 Kitchens UK, Columbia Sportswears 14= 25 MediaMonks Avon Global digital content creation 5.0 5.0 1 Brixton Finishing School -
2020 Preliminary Results
11 March 2021 2020 Preliminary Results Resilient performance: further recovery in Q4; net debt down to £0.7 billion; share buyback to start immediately. Well positioned to grow in 2021, in line with guidance Key figures – continuing operations +/(-)% +/(-)% £ million 2020 reported1 LFL2 2019 Revenue 12,003 (9.3) (7.3) 13,234 Revenue less pass-through costs 9,762 (10.0) (8.2) 10,847 Reported: Operating (loss)/profit (2,278) n/m3 - 1,296 (Loss)/profit before tax (2,791) n/m - 1,2144 Diluted EPS (p) (243.2) n/m - 68.24 Dividends per share (p) 24.0 5.7 - 22.7 Headline5: Operating profit 1,261 (19.2) (17.2) 1,561 Operating profit margin 12.9% (1.5)pt* (1.4)pt* 14.4% Profit before tax 1,041 (23.6) - 1,363 Diluted EPS (p) 59.9 (23.3) - 78.1 * Margin points Full year and Q4 financial highlights ◼ FY continuing operations reported revenue -9.3%, LFL revenue -7.3% ◼ FY LFL revenue less pass-through costs -8.2%; sequential recovery since initial lockdowns: Q2 -15.1%, Q3 -7.6%, Q4 -6.5% ◼ Q4 LFL revenue less pass-through costs by major market: US -6.2%, UK -7.4%, Germany -0.8%, Greater China -12.1%, India -8.9% ◼ FY headline operating margin 12.9%, down 1.5pt on prior year as cost savings of over £800 million offset the majority of the revenue decline; H2 headline operating margin +0.5pt ◼ Reported loss before tax impacted by £3.1 billion of impairments (£2.8 billion goodwill, £0.3 billion investment and other write-downs) ◼ Net debt at 31 December 2020 £0.7 billion, better than expected and down £0.8 billion year-on-year, reflecting continued strong working capital and cash management 1 Percentage change in reported sterling. -
Albion Arts Corridor, Cultural Economic Development Strategy
Albion Arts Corridor Cultural Economic Development Strategy Prepared for the Town of Wakefield Prepared by the Metropolitan Area Planning Council June 2017 Acknowledgements The Albion Arts Corridor Economic Development Strategy was made possible through a District Local Technical Assistance grant, a Planning for MetroFuture Technical Assistance grant, and arts and cultural planning resources from the Barr Foundation. MAPC Staff worked with the Town Administrator, Town Planner, and the Albion Cultural Exchange Committee to provide professional planning and technical assistance. This project was made possible through the enthusiastic participation of a number of individuals in Wakefield who were either interviewed, participated in a focus group, filled out the online survey, or gave us feedback and insight through their participation at the October First Thursday, November Community Forum, or December Holiday Stroll. A special thanks to the Albion Cultural Exchange Committee, whose members served as an Advisory Committee to this project. In addition to providing feedback and insight throughout the project process, the committee also helped to facilitate a number of outreach activities, provided invaluable local knowledge and insight, and were critical to making this project a success. Town of Wakefield Board of Selectmen Paul R. DiNocco, Chairman Peter J. May, Vice-Chairman Mehreen N. Butt Edward F. Dombroski, Jr. Brian Falvey Anthony Longo Ann Santos Albion Cultural Exchange Committee Christopher J. Carino, Chairman Kathy Frey, Secretary Joy Schilling Mike Salvatore Adam Pinkney Doug Henning Tasha Schlake Festel Town of Wakefield Town Administrator Stephen P. Maio Town of Wakefield Town Planner Paul Reavis 1 Preface The Town of Wakefield received a technical assistance grant from the Metropolitan Area Planning Council to work on a cultural economic development strategy for Downtown Wakefield with a particular focus on Albion Street.