Bridging the Gap with Elise Meng: Connecting Creatives and Brands
As a "cultural connector" and senior creative strategist at Publicis Groupe Japan, Elise Meng brings a magnetic blend of insight and strategy to the bustling Tokyo creative scene.
Drawing on her experiences as a Chinese-Australian, she navigates the intricate world of East Asian brand engagement, helping global brands resonate deeply with local audiences.
From crafting culturally rich campaigns to bridging emerging communities with brands, Elise tells LBB how cultural fluency and innovative strategy can build authentic connections — even in a market as fast-paced as Tokyo.
LBB> You describe yourself as a 'cultural connector.' How do you balance this role with the demands of a senior creative strategist in such a fast-paced environment like Tokyo?
Elise> Tokyo, like many Asian cities, has so many budding creatives who are serious about experimenting and reinventing their interests. While they continue to stretch the limits of creativity, I help bridge the gap between emerging communities eager to grow and brands seeking cultural relevance. It’s a dynamic dance, ensuring everyone benefits from this cultural exchange.
LBB> How has your experience living between cultures as a Chinese-Australian in Tokyo influenced your approach?
Elise> My background as a Chinese-Australian with first-gen immigrant parents is so common in Australia that it almost feels overplayed. However, the influence of Australia’s cultural diversity has had an immense impact on my time working in Tokyo. Growing up around so much ethnic diversity allows me to see everything first from a community POV: how can I help and empower every community I collaborate with?
LBB> In your work as a cultural researcher, what trends are you currently observing in the East Asian market that Western brands might not yet be aware of? What are the trends in the region you’re expecting to see take off in the next year?
Elise> I’m having a lot of fun right now seeing a portion of Asia reject the Western view on social and cultural relevancy and, in turn, see Western audiences turn towards Asia for inspiration and creativity. There’s a stronger focus on domestic artistry, where people are embracing their cultural power, and I’m excited to not only witness this but to live it.
LBB> Could you share more about your recent Instagram campaign for Crocs and how you collaborated with a J-rock band? What were the key insights that led to its success?
Elise> Crocs Japan is a client that encourages us to play freely to find the best ways of engaging people online, and this ethos really shone through in this campaign. In Japan, Summer is synonymous with J-rock, a genre that is all about celebrating your individualism. Crocs also encourages this trait through personalisation with its Jibbitz charms, 26 colours, and CAYA attitude.
The idea of live-streaming a popular J-rock band called SHISHAMO was so obvious to us that we were surprised that Crocs has never interacted with J-rock music before (cRock- get it? Ha!). With the rise of live-streaming in Japan and the rising cost of live music experiences, we brought SHISHAMO to their fans directly from the devices they already know and love as a way of celebrating individuality and the joy of summer with Crocs.
LBB> How do you see technology – like AI, generative art, and AR – influencing future social campaigns?
Elise> In the early 2000s, Japan was seen as ‘futuristic’ due to its embrace of technologies that create alternative realities and artificial intelligence, which was evident in its arts, entertainment, and pop culture. Now, the West is catching up, incorporating these ideas into social campaigns to imagine new kinds of brand experiences. They’re imagining: "What would life be like if this brand had its own universe?"
Meanwhile, Japan is taking the next step: bringing the imagined brand experience into real-life spaces, which allows the Japanese audience to become immersed in the ad instead of watching it. Brand experiences are increasingly infiltrating people’s lives and spaces with 3D billboards as one example found globally; Nintendo's recent Alarm clock, Alarmo, is another – a product that is sensitive to movements and reactions. I’m expecting to see more of these real-but-not-real spaces come to life and be documented on social to create brand experiences that are more relevant to everyday life.
LBB> If you could change one thing about the industry, what would it be and why?
Elise> The industry in East Asia remains traditional and age-obsessed. Despite my experience, a barrier that I continue to face is the ‘you’re too young to…’ sentiment. My goal is to help create spaces in our industry that empower young creatives who truly understand contemporary platforms to spark disruptive ideas regardless of age.
LBB> You’ve recently been selected as a mentee in the LIA 2024 Creative LIAisons program. What have you brought back to your work in Japan through this mentorship?
Elise> I’m insanely grateful for the LIA 2024 Creative LIAisons program, which set me up with two incredible creative legends, Carren O’Keefe and Marielle Wilsdorf, to learn from and guide me through the industry.
Since linking up, I’ve been reminded of why I enjoy staying in this fast-paced industry despite its demands and strict Japanese culture. I love seeing the ideas my teams and I work on getting that cultural tick of approval by their respective communities – like, “yes, this project is extremely relevant to me, and the team behind it has fully understood my experience completely”… for me, this is the ultimate accolade. I’d like to provide that layer of reassurance and enjoyment for what we do, which Carren and Marielle have given me, to other creative strategists in future.
