At the heart of the work is the Always Night XXL pad, reintroduced with a softer topsheet that’s gentler on skin, while still offering the extended back coverage and superior absorbency Always is known for. It’s a product designed to give women peace of mind through the night, no matter how they move.

But this campaign goes beyond product features. It taps into a broader emotional truth: that physical comfort and emotional confidence go hand in hand. That’s why the campaign was designed not just to tell women about Always Night XXL, but to meet them at the exact moment they need it.

As part of the activation, Always partnered with Noon Minutes – the UAE’s fastest delivery service – to ensure women could access night pads when they need them most, even at odd hours. Live across the UAE and delivering thousands of products 24/7 in under 15 minutes, Noon Minutes’ collaboration with Always blends product innovation with on-demand service to offer real support when it matters most.      

The campaign, developed by Leo Burnett Beirut, launched across social media platforms with a focus on Instagram, using short-form videos and posts to raise awareness and prompt conversation. Nora Achmaoui was brought on board as the face of the campaign. A well-known and relatable voice among women in the region, her participation helps highlight the universality of nighttime period anxiety, and the need for better solutions.

With over two decades of experience in advertising, Tarek has worked across Egypt, the Levant, North Africa, and the GCC, managing a broad portfolio of brands including Vodafone, Ariel, Pampers, Trident, SODIC, Emirates NBD, ExxonMobil, Majid Al Futtaim, and Almarai. This role marks his return to Publicis Groupe Middle East, having previously led regional mandate for Cadbury’s chocolate portfolio during his time at Saatchi & Saatchi.

As Business Lead, Tarek will focus on driving growth for clients through integrated business solutions, tapping into the full breadth of Publicis Groupe’s capabilities under the Power of One model. His mandate aligns with the growing demand for smarter, more connected brand thinking as businesses gear up for the opportunities emerging under Saudi Vision 2030.

Currently based in the Eastern Province of the kingdom, Ali brings close to two decades of experience across the MENA region, having worked with over 100 brands in industries spanning automotive, FMCG, tech, aviation, and beyond. His career includes senior leadership roles at agencies and startups, and a portfolio featuring clients such as Mercedes-Benz, UNICEF, Samsung, and Nestlé.

Ali has led marketing transformation efforts, regional launches, and campaigns that delivered measurable business impact. His career is also marked by a series of regional firsts, including the first Arabic Discovery page on Snapchat with Layalina and the first TikTok brand collaboration in Jordan for UNICEF.

In his new role, Ali will also focus on strengthening Leo Burnett’s client relationships, growing its strategic offering, and championing talent across the board.

Publicis Groupe said on Tuesday morning that it is combining its Publicis Worldwide creative agency network with Leo Burnett to create a new global brand, Leo.

A statement announcing the change emphasized that the merger is not about efficiency, a common rationale behind agency mergers in recent years, and is instead a response to the evolving needs of the market and a desire to elevate the creative product overall.

“I have never believed that creative efficiency should mean fewer brands and fewer operations,” said Arthur Sadoun, CEO of Publicis Groupe, in a release. “It is about big ideas from creative minds that are nurtured by a strong agency culture, to have an impact on our clients’ business. In today’s world, it is also about more collaboration and more access to capabilities.”

“This is not an efficiency play,” added Carla Serrano, global chief strategy officer of Publicis Groupe, in an interview with Campaign UK. “It’s about exponential creativity—bringing together human ingenuity and the potential of AI to tackle today’s complex business challenges.” (Campaign is PRWeek's sister business media outlet at Haymarket Media).

While the new network, which Publicis is describing as a “constellation," will include 15,000 employees in 90 countries, Canada is one of the few markets, along with Paris and London, where Publicis’ creative agency will remain in the market. Leo Bunett will rebrand as Leo, and Publicis will become part of the larger Leo network, but continue to operate as Publicis in Canada.

Aside from conflict challenges — Leo Burnett works on Bell, while Publicis has Rogers, for example — the decision to treat Canada differently from other markets reflects the strength of the two agency brands, each with a different offering, said Andrew Bruce, CEO of Publicis Groupe Canada, who will also become chair of Leo North America.

Leo Burnett, with about 165 employees, has always been known as a creative focused agency able to match up against the country’s top indies, while Publicis, especially in recent years, has grown into a “modern marketing machine” with creative at its heart but supplemented by CRM, production, big data, innovative tools and nearly 1,000 employees.

“They're very different culturally and it just made sense that we keep these two distinct,” said Bruce.

“Arthur’s obsession was that everything we do has to be beneficial to our clients,” he added.

“[W]hen we have two strong brands in [Canada], why would we put them together and create issues, when the intention is to create benefit.”

In the U.S., Leo Burnett is based, and has most of its employees, in Chicago, while Publicis Worldgroup is based in the traditional advertising epicentre of New York. That office will be rebranded as Leo, but otherwise there will be no layoffs as the New York and Chicago offices work together and tap into the global network.

Globally, the new Leo will be co-led by Marco Venturelli and Agathe Bousquet, who successfully led Publicis Conseil to the Cannes Lions 2024 Agency of the Year award. The pair of co-presidents will oversee the new network’s creative output, and will work alongside chief strategy officer Gareth Goodall, while Bruce will oversee Leo North America.

At a regional level, the HR, finance and IT functions have been operating on shared systems, reflecting the company’s Power of One model. The transition aims to maintain the structure without disrupting existing teams. The new network features a redesigned logo that represents the union, merging the iconic Leo Burnett name with the Publicis Groupe's lion emblem.

MSL is Publicis Groupe's primary PR network.

The change is not a reaction to what other agency holding companies, most recently Omnicom and IPG, have been doing, said Bruce, but is part of a strategy that Sadoun has been implementing over a number of years, during which the holding company has surged to No. 1 in the world.

“Arthur has done some very brave things, which have proven to be exactly what our clients needed as time went on,” said Bruce, pointing to the roll-out of Marcel, which led to the contentious decision to skip Cannes in 2018, and the bold commitment to expand its data services and offerings.

Bringing Leo Burnett and Publicis together creates a new global giant and signals that creativity remains at the core of Publicis Groupe.

“We always have to be pushing for better. And so when you look at your global creative footprint, we have beautiful creative agencies all over the world. But if we're trying to stitch together and really assemble a creative brand that can solve a client's global needs, we felt that we were stronger, and we put ourselves in a better place with this coming together,” said Bruce.

The industry has seen other such “coming togethers” in recent years, with storied agency brands like JWT and Y&R disappearing, even as critics have asked how businesses that claim to value and protect their clients’ brands can have such little regard for their own.

Omnicom Group is also in the process of acquiring rival IPG. Interpublic's PR firms include The Weber Shandwick Collective and Golin, while FleishmanHillard, Ketchum, Porter Novelli and other firms are a part of Omnicom PR Group.

But Bruce does not believe either brand is going away. Publicis will live on at the very top of the holding company, and the legacy of the Leo Burnett (the man) lives on in the new brand

“It's a way for us to pay total respect to our brands and to manage that portfolio, as opposed to merge and kill…in a way that creates a lot more clarity, and really puts together a powerful global creative brand built on the back of Leo Burnett,” said Bruce. “We believe so much in that brand, we’re putting the name on more and more and more doors.”

It’s the Cannes Lions. It’s a big deal, a privilege, an honor, and a responsibility. I am thankful and very grateful to the hundreds of people I’ve worked with over my career – every individual who has played a role in my journey to this position today. Everyone I've ever collaborated with to create a good piece of work is a part of this moment with me today.

In the image above – Kalpesh Patankar, Chief Creative Officer at Leo Burnett Middle East

We know you've been on various jury panels – but the responsibilities of a Cannes Lions Jury President are bigger than that. How are you planning on preparing for the same?

I have always approached every opportunity to be on an awards jury, as a responsibility. Thousands of creatives from around the world entrust the handful of people on that jury to recognize their ideas and pick them to be celebrated as some of the best work in the industry. Being Jury President is just about taking that responsibility a step further – and making sure that I can be the truest champion of truly great work in the room, and serve as the guide rails for picking the best work with the right context, fairness, and objectivity.

As someone who's always been at the helm of creating outstanding campaigns, how do you think the definition of creativity has evolved in MENA's advertising industry?

Be it in the MENA region, or anywhere else, the definition of creativity hasn’t evolved – and never will. Creativity is bigger than the advertising industry. Creativity is the act of having an idea, and then putting in the work – the craft and the love – to give that idea its ultimate expression, in the best form of it that you’re capable of. In the MENA advertising industry, that still holds. Creativity, at the heart of it, is still about having a powerful idea. The way that idea is executed and brought to life may have evolved through the emergence of new technologies, AI now, and so much more – but across it all, it’s the Idea & Craft that elevates work and has the power to give it a few extra moments of attention in a constantly scrolling & swiping world.

The region has been doing exceptionally well on various global platforms – Cannes being the World Cup of the industry is no exception. What are you expecting from the region at Cannes this year?

Onwards and upwards – as they say! Every region has its recognizable style – be it the roundabout twists and turns of Thai advertising or the Super Bowl-esque grandeur of North American advertising. I’m looking forward to our region further establishing that recognizable 'personality' for the work that represents us as a culture, and a creative community. I want the world to see that distinct 'MENA' advertising. Beyond that, I am also eager to see more representation at the festival, from jury roles and festival attendees to the work being submitted and recognized. I would love for more Grand Prixes to be bagged by work from the region, putting the region right up there at the forefront of things when it comes to creativity and technology.

As Jury President, what criteria will you prioritize when evaluating entries from around the world, and how do you intend to ensure a fair and balanced judging process?

While the idea will always be the ultimate criterion, the sub-text also matters. There are hundreds of pieces of work coming from across the world – each one representing the culture, realities, and nuances of its region. All those diverse tonalities expressing creativity in their own unique way, teaching us something new, and opening our eyes to fresh perspectives – for us to then decide, which one has the potential to become the next benchmark for the world. Can the world adopt a craft technique from Japan, an innovative solution from Latin America, or an entertainment format from India? And then, there's also the fact that we live in conflicted times. We have to keep in mind sensitivities, socio-economic climates, and so much more. It all factors in to ensure that there is a balanced and fair process for our judging.

What are the challenges you're expecting to face as the Jury President? How do you strategize to overcome them?

A jury room is a collection of creative stalwarts from around the world, and from across various creative industries. It's important to understand their perspectives, keep their background as context, and consciously navigate all their unique points of view to ultimately ensure that the right work is being championed. And when it comes to work as well, there's a fine line to be towed. We all know it's no cakewalk to sell big, bold campaigns to global name brands, and it's important to recognize that when celebrating big work that has managed to overcome the challenges to see the light of day. But at the same time, it's critical to ensure that the smaller entrants, the new startups – don't get swept aside or overshadowed by the scale of the big campaigns. Once again, it comes down to celebrating great ideas, and everything else will fall into place.

How do you believe your cultural background and experiences in the MENA region will influence your approach to judging creativity on a global scale at Cannes Lions?

Throughout my career, I have worked across the Indian sub-continent, Singapore, Asia, UAE, KSA, and MENA, and have had the good fortune to be working with global as well as local brands and wonderful creatives from around the world. So my cultural background, experience, and influences span across multiple continents, countries, and cultures. The privilege of having had such opportunities and exposure, allows me to understand the nuanced processes and challenges involved in creating work across different markets – and it has always played a role in helping me connect with the work while judging it.

Finally, how do you plan to leverage your position as Jury President to elevate the visibility and recognition of creative talent from the MENA region within the international advertising community?

Becoming the Jury President for Craft – from the MENA region – is the first step to recognition for the region's work and craft. We're already there and this opportunity is a recognition of the trust that the global industry has in the Middle East's creatives. But at the end of the day, my responsibility will be to champion the best ideas and the best work, irrespective of where they come from. I do sincerely hope though, that my representation as the Jury President will serve as inspiration to more creatives from the region to push for the best and achieve everything they dream of.

Why did you choose this career path?

I didn’t choose advertising because I saw Mad Men or an amazing ad that inspired me. I chose it because of my passion for fine arts and my desire to pursue a [career in] creativity. I saw advertising as a space where I could put my creativity to good use.

How did you land this job?

My plan was to become an art director, but my career took a different turn when I got an opportunity to join strategy at FP7 McCann Dubai. Five years later, I was offered a role at Leo Burnett by the same people who hired me as a junior strategist.

How do you compare your work life vs what you imagined it would be?

Very different from an art director, to say the least! But much better than I imagined. I miss Photoshop but I love the fact that, as a strategist, I get to do both – think client business and be creative, finding creative solutions to real business problems for my clients.

What do you wish you had been told before you started working?

As a fresh creative graduate, I lacked confidence in my strategic knowledge and was scared to express my opinion, always worrying I would sound stupid. I wish someone had told me that it’s okay to not know or lack experience; that no one expects you to know everything at first.

What is the best thing someone could tell you about your work?

The best thing to hear from your colleagues/clients [is] “It’s daring, it’s scary, it’s uncomfortable” – this means I did something different. But the best thing from people outside of the industry is when the work gets shared and talked about, which means it’s made an impact.

What is the worst thing someone could tell you about your work?

The worst thing to hear about my work is that it’s uninspiring. Coming from a creative background has helped me in this, as I first judge the work I do myself and, if it doesn’t inspire me, how can it inspire the creatives?

What’s the most valuable lesson you have learned at work so far?

One of my mentors once told me, “Work for experience, not money.” Six years later, it was the most valuable advice – I chose to stay where I’d get the best experience instead of going from agency to agency for more money and bigger titles, and the rest followed.

Who’s your role model?

I don’t have a role model, but I believe there is something to learn from every person – good or bad. You learn what you want and don’t want to be like, and who I am today is the sum of every individual I have worked with throughout my career.

If not this, what would you be doing?

Helping people in need. I’m very happy that I get to do that in advertising too. A recent campaign I worked on for Home Centre, “The Homecoming,” [was] the first initiative by a brand in the Middle East to challenge the cultural taboo and [promote] adoption in the region.

What do you see yourself doing in 10 years?

Honestly, there’re a few ways this could turn out.

1. I’m a CSO and still a killer strategist.

2. I pursue my art, and I’ll know how to advertise my brand.

3. I open a nonprofit organization and, you guessed it, I will advertise it too. Ambitious? Yes. Impossible? I think not.

The 30 Under 30 ranking was first published in Communicate's Q1 2023 print issue.

In addition, Leo Burnett was honored as the Network and MENA Agency of the Year, becoming the only agency in the region to claim these titles at both Dubai Lynx and MENA Effies. A similar feat was achieved by Saatchi & Saatchi as it was named #2 Network and MENA Agency of the Year at both these awards. Meanwhile, Starcom was named the Media Agency of the Year and Prodigious received the Lynx Palm Award.

The Groupe earned 11 Grand Prix awards across a broad array of disciplines, formats, and platforms ranging from Creative Commerce to Healthcare, Direct to Social & Influencer, and Mobile to Digital. 

Here is the breakdown of the Grand Prix won by Publicis Groupe: 

With formats varying from active learning experiences (such as competitions) to running courses and speaker workshops, these programs were also developed in different ways.

Here is what you need to know about these initiatives and what they aim to achieve.

• Malek Ghorayeb, Chief Creative Officer at Publicis Communications Levant, for Adopt a Creative, run in collaboration with the Lebanese American University School of Design.
• Nada Abi Saleh, Business Lead at Leo Burnett Beirut, for Bridge-the-Gap, created by the Bridge-the-Gap Training Center and supported by Publicis Groupe.
• Christopher Nehme, Associate Business Director – Communications at Leo Burnett Beirut, for the Lebanese American University Case Competition (LACC), created by the LAU School of Design and supported by Publicis Groupe.
• Carol Hanna, Director- HR Business Partner Levant at Publicis Groupe, for the Publicis Groupe Creative Academy (PGCA), created and run solely by Publicis Groupe.
• Sara Harake, Senior Manager – Talent Acquisition at PGD ME&T, for the Publicis Groupe Delivery Academy (PGDA), created and run solely by Publicis Groupe.

How would you describe the program that you’re representing?

Malek Ghorayeb – Adopt a Creative. What better opportunity for any student to grow than being adopted by a mentor? A real mentor specialized in their field and working at the #1 network in the region? We created this program with a specific purpose: to give everyone an opportunity to be coached, helped, and taught by a professional.

Nada Abi Saleh – Bridge-the-Gap. The Bridge-the-Gap Training Center has upskilling as its core focus mission. It has recently launched “The Career Blueprint for Graphic Designers” masterclass, a free 10-day course that targets designers [aged] 20-28 who want to transition from struggling creatives to creative professionals. [It helps] them learn how to apply personal branding strategies to develop, improve, and promote their professional image, while showcasing their skills to prospective employers [and] clients, and/or creating new income streams. Leo Burnett Beirut moderated two masterclasses out of four.

Christopher Nehme – Lebanese American University Case Competition. LAUCC is a student-led initiative that Leo Burnett has been partnering with since its inception in 2018. It’s a competition designed to nurture innovation and analytical skills among top Lebanese undergraduates from all universities across Lebanon.

Carol Hanna – Publicis Groupe Creative Academy (PGCA). As the creative industry evolves continuously, there’s a need for new and creative talents to drive innovation and inspiration. While academics provide them with the foundations of knowledge and skills, a real-life experience in a creative agency propels them in an environment where they are challenged to put that knowledge into practice, push their creative thinking, and be challenged on their ideas with a framework that is specific to our industry.

Sara Harake – Publicis Groupe Delivery Academy (PGDA). PGDA is a ground-breaking program that demonstrates our commitment to developing talent within the digital and performance marketing Industry. [It] equips candidates with in-depth knowledge, hands-on training, and close mentorship, positioning them to fulfill entry-level roles within our Hub. It’s a tailored initiative that maps aspiring candidates in the field with potential opportunities [ and] is designed to nurture bright minds in Lebanon and beyond.

How was this program created? How does it work?

Malek Ghorayeb – Adopt a Creative. The idea started with a light bulb. While looking at portfolios of young [applicants], I reached out to Carol Hanna, HR Business Partner Levant, and told her we [needed] to support students with their work at university and prep them for a reality check. The idea of “adopting a creative” emerged and we reached out to many universities. Lebanese American University (LAU) jumped on the occasion.

Every year, we select two to three students from a pool submitted by the LAU Design faculty and match them with senior creatives. The mentor and the student set up weekly meetings to review the student’s final-year project and the magic happens.

Nada Abi Saleh – Bridge-the-Gap. The project was developed by the late Rudy Kamel, a passionate educator and creative at several MENA advertising agencies, as a means of addressing the issues that young graphic designers face, such as mass exodus and competition for jobs. The project challenges them to reflect on their aspirations, experiences, and the jobs/clients they are seeking. They must rebrand their LinkedIn profile to reflect their “new” brand identity and story, as well as produce a brand deck that serves as their personal pitch to a prospective employer.

At the end of the course, participants get the opportunity to network and pitch themselves to the guest speaker, who’s an industry professional.

Christopher Nehme – Lebanese American University (LAU) Case Competition. The competition is designed to challenge participants to solve real-world business problems in a collaborative and competitive environment, and is structured across six stages and three rounds of qualifications to reach the final event.

After undergoing a screening, participants go through a mentorship program and a workshop training period with all partners, including Leo Burnett. The final stage consists of the partners creating a brief to be answered by the participating teams in three days. The finalists get to pitch their proposals directly to the partners for a chance to win a prize. In our case, the reward is their enrolment in the Publicis Groupe Creative Academy (PGCA).

Carol Hanna – Publicis Groupe Creative Academy (PGCA). Our PGCA was launched eight years ago to bring together future advertisers in an immersive one-month experience, allowing them to work on real projects for existing clients in a healthy competition environment.

They are grouped in teams, representing the various capabilities of an integrated creative one, and are coached by a business and a creative lead. They are briefed on the agency workflow, campaign development process, and planning. Throughout the month, our leads prepare them for the final presentation which takes place with the client and the agency leadership team.

They also enhance their soft skills and learn how to lead, collaborate, argument, and present to a professional audience, ensuring a well-rounded preparation for their upcoming professional life stage.

Sara Harake – Publicis Groupe Delivery Academy (PGDA). The program came to life in 2019 with the primary goal of supporting our huge staffing needs [across] all areas and verticals within our Digital Marketing Hub.

PGDA is gatekept by the Head of PGD from a strategic perspective and brings onboard the best talent [team for] a smooth and pleasant experience. Our leads are profoundly invested in monitoring, assessing, and nurturing candidates.

Upon completion of the program, successful candidates become certified and are considered for full-time roles after [an] internal assessment from both technical and behavioral perspectives.

The PGDA also equips mentors and trainers with the skills to share their knowledge, monitor progress, and shape new minds, creating a community of well-rounded professionals that contribute positively to the digital marketing industry.

Which goals does the program aim to achieve?

Malek Ghorayeb – Adopt a Creative. Feedback is given with a coaching approach, directing, guiding, pushing ideas or executions to another level [in] a constructive discussion.

From being “lost” in the first two sessions to “Can I stay with you all my life,” students get a reality check and often fall for the industry. Under no circumstances do we make them feel like students. They feel the effect on their work, on the way they start doing the work, and most importantly on the importance of crafting.

It’s a beautiful initiative that benefits both sides. The students get free coaching sessions on real university projects based upon which they will be assessed by their instructors during their final year. We started this initiative six years ago [and] to date, four ‘adopted’ students landed their first job with Publicis Groupe.

Nada Abi Saleh – Bridge-the-Gap. Most graphic design students can create but are they able to land their dream job? This course allows participants to better market themselves and be ready to face a fierce and competitive professional environment.

Christopher Nehme – Lebanese American University (LAU) Case Competition. Overall, the LAUCC provides participating students with an opportunity to develop their problem-solving skills, showcase their abilities, and gain exposure [to] potential hiring professionals. The desired outcomes include the development of critical skills among students, preparing them for the transition from academic to professional life. This program also provides a platform for companies to identify and recruit top talent and make a positive social impact in the Lebanese community.

Carol Hanna – Publicis Groupe Creative Academy (PGCA). The thriving community of young Lebanese creatives is characterized by a strong sense of collaboration and innovation, and constantly explores new forms of expression. They are also persistently defying the harsh environment they live in and ride on their own creativity and entrepreneurship to design an environment they want to live in. You can imagine the wealth of ideas that can emerge when you bring together creative souls from diverse backgrounds, and leverage their expertise and authenticity to create a unique aesthetic that resonates with local and international audiences.

As a group, we are committed to fostering and cultivating that community of bright creative minds and developing the next generation of talents in Lebanon. The PGCA is meant to nurture that new generation and give them a chance to learn from experts, while opening up for them exposure, development, and recognition opportunities. The academy is today our primary source of recruitment for entry positions in our creative agencies.

Sara Harake – Publicis Groupe Delivery Academy (PGDA). In alignment with our mission to create opportunities that meet our staffing needs, this initiative has evolved from a short-term solution into a thorough educational program that is now recognized globally within Publicis Groupe.

Today, it not only provides a bench for our current and future roles but also fosters knowledge sharing, internal education, exposure, retention, and drives growth. The initiative has been driven by our long-term vision and aligns perfectly with our goals while significantly contributing to our talent pipeline in all our markets.

We take great pride in our agility and ability to stay up to date with the latest industry trends and practices within our PGDA. Working closely with the Education Team, our dedicated facilitator, and our leads, we ensure that the PGDA remains relevant and effective, being the primary source for entry-level roles in all markets. By continuing to grow PGDA and developing top-tier talent, we are excited to witness the remarkable achievements of our candidates and the positive impact they will have in the digital and performance marketing industry.

Vicky is recognized as one of the most awarded Business Leads in the region with over 16 years of experience managing valuable portfolios for clients in the UAE and internationally. These include Emirates NBD, Dubai Duty-Free, Dubai Tennis Championship, Babyshop, Home Centre, Cathay Pacific, Sony, Toshiba, Carrier, and Swatch Group. His work has been recognized at all major awards shows with accolades at Cannes Lions, One Show, D&AD, Loeries, MENA Effies, Dubai Lynx, Spikes Asia, LIA, AdFest, ANDY, CLIO, and AME Awards.

Nathalie Gevresse, CEO of Publicis Communications UAE said, "We are thrilled to welcome Vicky to Leo Burnett. His deep knowledge of the advertising industry and passion for delivering results make him the ideal candidate for this role. As a natural leader, Vicky will be mentoring talent towards better collaboration while driving growth for our clients and for Leo Burnett.”

Vicky's expertise will be instrumental in leading cross-functional teams across the agency with a view to creating a seamless approach under Groupe’s ‘Power of One model’. He is committed to sustaining business profitability and long-term growth while ensuring the quality of strategic and creative output.

“While I am a firm believer in a strong relationship being the bedrock of any agency-client dynamic, I think that continuous nurturing of that relationship into a successful and long-lasting partnership is of paramount importance, said Vicky Kripalani, Business Lead, Leo Burnett. “And the only way for agency leaders to do this is by always staying ahead of ever-evolving business landscapes. As clients navigate new challenges in a changing world, our role is to guide them with best-in-class tools, technologies, and talent. And at Publicis Groupe, the unique 'Power of One' business model equips all of us to do just that – by consulting them as true partners, beyond just scopes of work and specialisations."

 ‘Dirty Laundry,’ a powerful campaign by NGO ABAAD and multi-disciplinary artist Remie Akl, created by Leo Burnett, took a bold take on silencing and shaming rape victims.

Leo Burnett Beirut's Razan Mneimneh, Manager Communications, and Rana Khoury, Executive Creative Director, along with Ghida Anani, Founder & Director at  ABAAD, explain how this unique piece of work came to life, how important it was to strike the right tone, and why the fight continues.

'Dirty Laundry' doesn't mince words but, poetically, asks for accountability. How did you strike the right balance to engage viewers (and stakeholders) without alienating them?

Razan Mneimneh. As Arab women, we already impose so much self-censorship on ourselves (and possibly even the women around us) that it’s hard to think of a reality that’s not as daunting and exposed as 'Dirty Laundry:' not allowing ourselves to go on late night walks, being very careful with the personal stories we share with our neighbors, and of course, all the not-so-pretty things that can go on sometimes behind the scenes [and] that we keep under the radar.

I think this is why we find so many supportive comments by Arab women on the film. It just feels too familiar, it’s a reality we can’t escape, no matter how much we try to run away from it. And I’m so thrilled it resonated that way with viewers.

Rana Khoury. I think creativity and poetry are a reflection of reality as ugly as it may be, yet in words that are much more insightful and that can move a human to the core. Viewers and stakeholders are first humans engaged in today’s reality, and our main objective with this film is to pass on a real emotion to be able to trigger change. Once you feel the pain, the need for accountability becomes evident.

How to identify the right timing and tone to broach such critical, society-changing issues and assess how receptive the environment will be?

R.M. This is such a delicate topic that I think we’re continuously trying to dissect and figure out. We knew for sure we had to launch the video after the holiday season, for example, because that would have meant people wouldn’t be as emotionally prepared to digest a piece of content this powerful and harrowing. You would think we would’ve figured it out by now and gotten it down to a numerical equation, but I really do believe that when it comes to vivid descriptions of material this sensitive, the best approach is to evaluate the conversations happening in real time around you, and cross your fingers before you jump head first.

R.K. In a country going through a major crisis like Lebanon, bringing women’s rights to the forefront of people’s priorities is definitely very challenging. Yet, the strategy is to find the contextual elements that will not make your campaign alien to its environment but without compromising on the boldness of its message.

What other challenges did you face creating this campaign and how did you address them?

R.M. Although I’ve reported on sexual assault in the Arab world multiple times in the past, it was my first time working this closely with survivors, hearing their stories first-hand, and experiencing the lingering underlying heaviness that comes with knowing the law does not protect these women the way it should.

Besides, it was only a year ago that ABAAD launched #PriorityToo, urging women to speak out and seek help after noticing that the number of calls to the hotline was significantly lower amongst a crippling economic and living crisis in the country. And in many ways, the majority of women in the country are still struggling from these same issues. But we wanted to bring their concerns to the spotlight, the way we always have.

We wanted both lawmakers and the public to pay attention to the absurdly short sentence rapists get. And we wanted to fight the notion that a family’s dignity and honor are connected to a woman’s body, all while incorporating 'Dirty Laundry, Not Your Honor; webisodes, and the protest in front of parliament under the umbrella of #NoShameNoBlame. Although it seemed out of reach at first and difficult to incorporate, we found that all three elements fell perfectly under the notion of liberating raped voices, telling these women that they don’t have to bottle their stories up forever, and that justice is their right.

R.K. I think the main challenge when dealing with such a harsh topic and meeting real-life survivors is to also protect ourselves as a team, the influencers and the artists we work with, the directors, etc. because it’s practically impossible to keep a distance like you do for a shampoo ad, for example, where you can stay focused on the campaign objectives.

The other challenge is to minimize the backlash for a campaign that deals with sexual assault in a society and a world where rape victims are still shamed and where the topic is still a source of violent debate.

And maybe the most important challenge is to be up to the promise you have signed up for, in this case forcing accountability and changing a law.

How was 'Dirty Laundry' received and how do you manage the aftermath of such a campaign?

R.M. The video garnered over a million views on Instagram the same day it was posted. But what was most surprising to me was the plethora of positive and supportive comments, most notably from Arab women themselves, who echoed the sentiment conveyed through the lyrics, repeating lines in the comment section, and advocating for a serious sentence for a serious crime through and through.

That’s not to say that the burden falls on survivors to speak up so we can achieve real systematic change. It’s merely a reflection of the absurdity of having a rapist get the same jail sentence as someone who attempted robbery or signed a blank check in Lebanon; all the while, the survivor suffers in silence for fear of tarnishing the family’s honor if she reports the criminal.

And thankfully, the sentiment was clearly conveyed. Our hashtag going viral on Twitter and getting the attention of politicians and lawmakers certainly did help. 8/10 parliament blocs have already pledged to make the necessary amendments to the law once parliament is able to pass laws. This was always our ultimate goal.

R.K. In terms of numbers, engagement, and media coverage, I think it’s mind-blowing. But taking the time to read every comment, every message we received that affected someone’s life, that helped someone to speak up or seek justice, anywhere in the world, definitely sends a message that we are doing something right. 

Ghida Anani. 'No Shame no Blame' (with 'Dirty Laundry' being an activation in it) was very well received by the audience, mainly because our messaging was based on facts and real human stories of women being sexually assaulted by men. When people hear survivors sharing their own personal stories, public opinion usually accepts the ideas behind our campaign much faster, although it’s a super sensitive topic, especially in Arab societies where families try their best to hide these crimes because for them, it’s a direct attack on the family’s honor.

This campaign addresses the issue of sexual abuse in Lebanon, but ABAAD is active across the MENA region. How important is it to adjust the discourse depending on the country you want to consider?

G.A. In ABAAD’s campaigns, the human stories are from Lebanon, and all the facts are from Lebanon, but the messaging usually targets the whole MENA region. ABAAD operates in countries all over the Middle East and North Africa, and our discourse that has to do with women and girls is almost the same in all these countries.

Messaging in Lebanon is usually bolder than [in] countries like Jordan and Egypt, mainly because some other societies don’t accept speaking so boldly about sexual assault, no matter how innovative and creative the messaging is and the way we present it; so, we try to focus on keeping the same message but changing the delivery and presentation. The notions of honor and dignity exist everywhere in the MENA region and not just in Lebanon, which is why we see many other countries adopting our campaigns with very minimal changes.

How does 'Dirty Laundry' falls within ABAAD's general strategy to drive societal change?

G.A. ABAAD has been launching and executing campaigns for a long time, and our theory of change is a very clear and integral part of our mission. We do believe that change happens when we tackle all needs. Since its establishment, ABAAD has worked on providing direct services, providing safe spaces and shelters for women and survivors of gender-based violence and sexual assaults, in addition to the awareness work at the community level, and the advocacy campaigns and lobbying with stakeholders and lobby makers. For ABAAD, it is very clear what we need to change and how.

Of course, a huge part of our mission is achieving tangible change; that also goes for every other NGO in Lebanon considering we focus on lobbying and coming up with engaging campaigns to change public opinion, and the support of society is an essential part of what we do so they can accept and actually embrace this change.