Polo Mints: Snow Stamp
Advertising Agency: JWT, London, United Kingdom
Executive Creative Director: Russell Ramsey
Creative Director: Russell Ramsey/Jason Berry
Copywriter: Phillip Meyler/Darren Keff
Art Director: Phillip Meyler/Darren Keff
Archive for June, 2010
LG Mobile Phones: Romance Novel, Mystery Novel, Management Book, Chick Lit
Advertising Agency: Y&R, Jakarta, Indonesia
Executive Creative Director: Sachin Ambekar
Creative Director: Ahmad Fariz
Copywriter: Gloria Martie
Advertiser’s Supervisor: Halim Astono
Account Manager: Wolga Satyanto
Account Supervisor: Hendra Suryakusuma
Art Director: Yerry Indrajaya
Illustrator: Flora Marcella/Budiman Raharjo
Photographer: Handri Karya/Heru Suryoko/ Alex Reagan
Typographer: Yerry Indrajaya
Nissan: Pole, Cow, Hydrant
Advertising Agency: Lew’Lara\TBWA São Paulo, Brazil
Chief Creative Officer: Jaques Lewkowicz
Executive Creative Director: André Laurentino
Creative Director: Felipe Luchi/Manir Fadel/Luciano Lincoln
Copywriter: Marcos Almirante
Advertiser’s Supervisor: Carlos Murilo Moreno
Account Manager: Alexandre Baroni
Account Supervisor: Fabricio Takahashi
Producer: Marcos Pedra
Art Buyer: Giuliano Springhetti/Alessandra Sarilho
Art Director: Marcelo Rizerio
Illustrator: Marcelo Rizerio
Chocolate With Whisky: Funny Baby
Advertising Agency: Dentsu, São Paulo, Brazil
Executive Creative Director: Felipe Cama/Alexandre Lucas
Creative Director: Felipe Cama/Alexandre Lucas
Advertiser’s Supervisor: Nicolas Galland
Planner: Flavia Faust
Account Manager: Fabio Britto/Tiago Lara
Producer: Ricardo Lopez
Art Buyer: Ana Luiza Rodrigues
Art Director: Adriano Alarcon
Photographer: Rogerio Miranda/ Cadu Maya
Other Credits: Vice President: Niki Tsuji
CNN Turk: Camera Man
Advertising Agency: DDB&CO., Istanbul, Turkey
Creative Director: Karpat Polat
Copywriter: Orhan Gazi Kandemir
Account Manager: Ela Gokkan
Account Supervisor: Asli Haymana
Art Director: Koray Sahan
Photographer: Bora Subakan
Andes: Teletransporter
Advertising Agency: Del Campo Nazca Saatchi & Saatchi, Buenos Aires, Argentina
Executive Creative Director: Maxi Itzkoff
Executive Creative Director: Mariano Serkin
Creative Director: Javier Campopiano
Copywriter: Patricio Del Sante
Art Director: Carlos Muller / Bruno Tortolano / Juan Pedro Porcaro
Agency Producer: Adrian Aspani / Camilo Rojas / Patricio Martinez
Production Company: Primo (Primo)
Editing Company: Cinecolor (Cinecolor)
Music Company: Supercharango (Supercharango)
Director: Primo (Primo)
Photographer: Leandro Fillol
Executive Account Director: Lorena Pascual (Del Campo Nazca Saatchi & Saatchi)
Booth Designer: Ad Production (Ad Production)
THE SITUATION: Men love going to bars to drink beer with friends. THE PROBLEM: Girlfriends. They hate it when men go to bars to drink beer with friends. THE SOLUTION: ANDES TELETRANSPORTER. Soundproof booths placed in the main bars of Mendoza, Argentina. These booths have a sound panel that recreates different environments to get men out of the bar without leaving it. THE RESULT More happy men at bars, less broken up couples.
Supor: Non-Stick Pans
Brief: Break through the clutter of an already very crowded marketplace to build awareness for Supor’s premium range of non-stick pans.
Develop: A spectacular event using a giant wok and in-line skaters dressed as prawns, pork, eggs, carrots and fish, was set up outside shopping malls in Shanghai China.
Success of the promotion with both client and consumer including some quantifiable results: A rise in sales of 20% in the selected Shanghai malls has led to plans being made to take the event into 2nd and 3rd tier cities across China.
Why the method of promotion was most relevant to the product or service: The food skaters flew up and down a ramp constructed inside the wok to demonstrate the non-stick surface.
Advertising Agency: Leo Burnett, Shanghai, China
Executive Creative Director: Gordon Hughes / Amanda Yang
Creative Director: Forest Young
Copywriter: Amanda Yang / Donna Dong
Art Director: Gordon Hughes / Amanda Yang / Forest Young
Illustrator: Dicky Lui
Typographer: Lin Wei-jin / Handsome Wong
Designer: Sean Qu / Lin Wei-jin / Handsome Wong
Photographer: Eric Dang / Nicholas Siau
Donation Appeal: Umbrella Bags
Advertising Agency: Grey, Hong Kong
Executive Creative Director: Keith Ho
Creative Director: Keith Ho/Ray Lam/Keith Lo
Copywriter: Keith Lo/Joshua Wongtony Chan
Account Supervisor: Erica Ho/Bonnie Chan
Producer: John Lo/Wong Ying Ying
Art Director: Ray Lam/Ciff Luk
Illustrator: Ciff Luk
Typographer: Ken Yau
English Translation of Main Headlines:
Umbrella Bag “Bucket”
It takes half a day for people living in China’s arid regions to get this amount of clean water.
Umbrella Bag “Cup”
People living in China’s arid regions call this pure water.
Umbrella Bag “Bowl”
In China’s arid regions, a child gets less water than this in a day.
Description of Ambient execution: Drinking water in the dry Northwest China comes from little rainwater in water cellars. However, people in Hong Kong take clean water for granted and never pay attention to the problem. We wanted to use a small scale outdoor ambience to raise public awareness on this plight and ask for donations. We created umbrella bags with pictures of bucket, glass and bowl at the bottom and placed them in shopping malls, where people might donate more. As rainwater was filling up umbrella bags, message that drops of rainwater could quench in Northwest China come across. Donations increased enough to build more than 5,300 water cellars in 2009, benefitting over 20,000 people.
Toyota iQ: iQ Font
Advertising Agency: Hapiness, Brussels, Belgium
Creative Management: Karen Corrigan/Gregory Titeca
Creative Director: Gregory Titeca
Account Director: Pascal Kemajou
Creative: Tom Galle
Creative: Ramin Afshar
Head of Art: Cecilia Azcarate Isturiz
Software Developer: Zachary Lieberman
Brief: Toyota launches the new iQ, a compact car that combines sleek design and cutting edge technology. Our briefing was to communicate the unique agility and perfect control of the iQ in a relevant way to a target group of 18-35 year old urban people. We want to reach the communities that fit the iQ’s core values: design, technology and automotive. We need a concept that can merge these three strong online communities.
Creative Execution: The Toyota iQ is the first car in the world to create an entire font. The iQ created a free-for-download tool for the form/function loving crowd, which is iQ’s primary market. The making of the video was posted on Vimeo, with a direct link to download the iQ font for free on the Toyota website, where people were also invited to book a test drive. We spread the making over 3 phases. At first, in an online PR strategy, we targeted highly influential and contextual environments, in automotive, design, and technology. Then we activated a broader environment. And finally the viral spread took place.
Creative Solution: To demonstrate its incredible agility, the new Toyota iQ was the first car in the world ever to create an entire font from A to Z. To make this project happen, we collaborated with: – Zach Lieberman, pioneer in interactive art. Color tracking software developer. – Pierre and Damien, from Pleaseletmedesign, a type and graphic design studio. Font designers. – Professional pilot Stef van Campenhoudt, European champion of GT3 racing. Font driver. All together, they created the iQ Font. The making of video was posted on Vimeo, with a direct link to download the iQ Font for free on the Toyota website, where people were also invited to book a test drive.
Results: More than 6 000 blog posts on leading design, technology and automotive blogs. More than 15 000 tweets in the first two weeks. Thousands of posts on other social media, like digg, facebook, tumblr, delicious… More than 600 000 views of the making of video. More than 2 000 000 page views on blogs and online newspapers. Free media coverage in magazines and newspapers. More than 24 000 font downloads from the Toyota website. 2 345 test drive demands. All this with 0 euro media investment.
Water Safety Nz & Royal Nz Coastguard: Live Rescue
Advertising Agency: DDB, Auckland, New Zealand
Art Director: Matt Swinburne
Writer: Brett Colliver
Group Executive Creative Director: Toby Talbot
Deputy Creative Director: Regan Grafton
Account Executive: Sarah Burilin
Account Director: Libby Weston-Webb
Agency Producer: Tania Jeram
Creative Director: Daniel Wright (Tribal/DDB)
Interactive Designer: Steven Leong (Tribal/DDB)
Senior Developer: David Vaughan (Tribal/DDB)
Developer: Rowan Oulton (Tribal/DDB)
Senior Account Manager: Tim Cullinane (Tribal/DDB)
Editor: Steve Gulik
Brief: New Zealand’s coastline is almost as long as the USA’s. We have more recreational boaties in the water than anywhere else in the world. Unfortunately, we also have more reckless, irresponsible, and intoxicated boaties than anywhere else. With little government funding, the New Zealand Coastguard is forced to patrol this vast area with just 75 boats. Their volunteers are often faced with the futile task of finding a needle in a haystack. We wanted to show the country how tough this can be for the Coastguard and why they need support.
Creative Execution: When you combine the New Zealand Coastguard’s lack of government funding with the enormity of their task and the inexplicably naïve attitude that the New Zealand public has towards ocean safety, we needed to give them a wake up call. The live rescue event was a very relevant way to do this as it gave the public first hand insight into what Coastguard volunteers are up against. It gave the country a reality check that put an end to their misguided complacency, and made them realise that the Coastguard need their help and support.
Creative Solution: So we let them experience it. We capsized a boat, stranded 4 people in the ocean, and challenged New Zealand to find and save them, in the world’s first live-rescue event. At 1810, real time POV TV and radio spots put viewers into the shoes of a Coastguard volunteer in a rescue operation to find the missing boaties. The direct response TV and radio drove people online where they found themselves in a search plane simulator racing against the clock in real time. A GPS locator fed the live position of the real capsized boat into the simulator.
Results: Thousands of virtual volunteers soon realised they were faced with a hopeless situation. 1.8% of those who took part in the mission were successful. 98.2% were not. The live event captured New Zealand’s imagination and was covered by the country’s leading news networks. It left people with the sobering reality check that if they had been one of the missing people they would have had less than a 2% chance of survival. It proved that the Coastguard need all the help and support they can get. A 20% increase in visitors to the Coastguard website led to a staggering 900% increase in online donations.
Child Soldier Donation Appeal: Child Soldiers
Describe the brief from the client: The use of child soldiers is common in many countries. Our client Ohne Rüstung Leben (Life Without Weapons) wanted to raise attention about this problem and to collect more donations.
Creative Execution: For all adult German males the military draft notice is a dramatic experience. In this letter, they are ordered to serve in the army. Everyone knows the specific look of the letter – we designed our mailing in this typical style. So it raises attention – even before the letter is opened. The fact, that the own young children of our target group are ordered to perform military service, guarantees a very emotional effect and a high involvement for the problem.
Creative Solution: When young German males become adult, they get a letter to serve in the German army.
Our idea: Original looking military draft notices are being sent out to families with small children (8-14 years, selected by an address provider). The children are ordered to perform military service, including suicide missions and rapes.
Our message: Unthinkable in Germany. Reality in other countries. Help us stop the use of child soldiers – with your donation. Ohne Rüstung Leben e.V., www.kindersoldaten.eu
Describe the results in as much detail as possible. Our direct mailing has been sent to approx.14.000 German households of our target group (families with small children). 855 of these people (6.1%) decided to donate, overall approx. 5,300 Euro. Furthermore 95 people decided to join the organisation Ohne Rüstung Leben e.V. (no membership fee).
Advertising Agency: Jung von Matt, Hamburg, Germany
Creative Director: Philipp Barth
Creative Director: Holger Oehrlich
Art Director: Stephanie Wiehle
Designer: Nana Poehner
Copywriter: Lars Wagner
Copywriter: Matthias Hess
Copywriter: Carola Beck
Copywriter: Jens Frank
Account Supervisor: Susanne Vanselow
Account Supervisor: Lisa Daugs
Account Supervisor: Denise Winter
Agency Producer: Anja Geib
Editor: Robert Jedam
Guitars: Smash
Advertising Agency: Hakuhodo, Tokyo, Japan
Creative Director: Jin Saito
Copywriter: Hidenori Sakai
Art Director: Kentaro Harano
Creative Producer: Shoko Akutagawa
Web Production: Answr
Event Production: Tyo Production
Brief: To make K’s JAPAN, a small guitar company famous as a cool rock guitar brand. They had no name value and people were not enthusiastic about rock like they used to be in the golden era because other music like hip-hop became just as popular. K’s JAPAN needed to expand its consumers to those who are not core rock fans.
Creative Execution: Instead of creating a normal advertisement, we developed to sell an extreme product to excite people and engage them with K’s JAPAN. We made a guitar born-to-be-destroyed, SMASH!!! SMASH is meant to be destroyed in its structure, function, recycle system and price, needless to say it can be played as a normal guitar. It is an extraction of the rock spirit, “Destroy to Create!”-Destroy rigid systems to create a new world. With this spirit, we aimed to attract not only rock fans but also people wanting to breakthrough the stress of recession. Then, we advertised SMASH with viral movie, flyers, posters, launching event and experience event. TV, websites, magazines and radio picked up SMASH as exciting news, creating free publicity.
Creative Solution: We developed an extreme guitar for the following 4 reasons:
Reason 1: Because our promotion was in form of a real product, SMASH directly delivered K’s JAPAN’s rock spirit “Destroy to Create” as a direct experience of playing and smashing.
Reason 2: The rock spirit “Destroy to Create” embodied by SMASH, attracted not only rock fans but also people fed up with recession.
Reason 3: We made people and media come to us without using media fee.
Reason 4: Because SMASH was a performing tool, as people played SMASH in the media and liveshows, these performances automatically expanded K’s JAPAN’s advertisement.
Results: K’s JAPAN’s sales went up 400% in Mar. 2010 compared to Mar. 2009. $3 million worth of free publicity with 0 media fee. K’s JAPAN became no.1 search-word in one of Japan’s biggest search engine, goo.
No.1 sales ranking at Amazon’s new instrument category. No.1 topic in Japan’s biggest SNS, mixi, more talked about than Olympics and ipad. No.1 in “Things I Want Ranking” in MONO, the most issued shopping magazine. Marty Friedman, ex MEGADETH commented on SMASH as an ideal rock guitar. Bounce rate of SMASH’s website hit 1.5%. MTV did a 1 week program on our event. Media used SMASH in various ways which expanded SMASH’s recognition. For example, used in a music video, topic on business news, subject for an iphone application and as a weapon in a pro-wrestling match.
IKEA Store: Facebook Showroom
Agency: Forsman & Bodenfors, Gothenburg, Sweden
Media Agency: Mediaedge:cia
Photographer: Lennart Sjöberg
Advertiser’s Supervisor: Sara Zakariasson (IKEA)
Brief: In the autumn of 2009 we were asked to engage people in the opening of the new IKEA store in Malmö, Sweden. It had to be something that could live its own life, create a ripple effect and extend the news about the new store beyond the borders of Malmö.
Creative Execution: The execution made sure that the thing that actually made people spread the word about the new store in Malmö actually was IKEAs products (in this case the new showrooms in the brand new store). The entire campaign is driven by IKEAs products and the generated conversation about them. As the bearer of the content we used an extremely well established function on the worlds largest social network. The combination really made people eager to participate and for everyone who participated the word spread to all of his/her friends. Describe the creative solution to the brief/objective. We decided to take advantage of an already existing, widely used forum; Facebook. First we created a Facebook profile for IKEA Malmös store manager, Gordon Gustavsson. We then kidnapped the most popular function on Facebook; photo tagging. As the store was built and showrooms completed, we uploaded pictures of them to Gordons photo album. The first person to tag their name on a product, won it. Thanks to Facebooks built-in functions, the pictures spread to hundreds and thousands of people. Through the newsfeed, profile pages and links posted by users. Describe the results in as much detail as possible. Since the launch of the campaign Gordons profile has spread across the globe and he is now friends with people from all over the world. IKEA Malmö has been talked about all through the internet and thousands of blogs have posted showroom pictures when writing about the campaign. Tweets about the competition poured in from all directions. To summarise, IKEA Malmö conqured all major social media sites with one smart competition on facebook. After the competition ended Facebook changed their terms and conditions to rule out a re-run of the campaign.
Nokia Navigation Service: World’s Biggest Signpost
Brief: The target audience was drawn from two groups;1) people with Nokia phones who yet haven’t started using the navigation services inside their phones 2) people who just wouldn’t consider Nokia a provider of navigation solutions. The Objective was to raise awareness and increase the use of Nokia’s navigation services, both on handsets and online. Thye strategy was to get people to actually start thinking about navigation, and especially navigation on phones. So we had to create something fun, something that made navigation relevant even when you’re in your own neighborhood.
Creative Execution: The Direct aspects of the idea was to get the people on the streets to take up their phones and text a location to the signpost or use the navigation service to drop a pin on the map.
Nokia doesn’t create content. Nokia is an enabler for others to create and share content among each other. We created a giant interactive installation but it depended on people’s engagement to become interesting.
The signpost and Nokia’s navigation service were integrated, so everyone who interacted with the campaign also interacted with the product. Driving the main objectives; trial and increased use.
Describe the creative solution to the brief/objective.
Solution: We decided to ask people for their favorite places, and let them share them in a quite unprecedented way. Execution: We started out with one of the simplest navigation tools around, the signpost and turned it into a giant interactive installation; a 50 meter tall, fully automated beast. People could submit a location to the signpost through text messages or by dropping a pin on the online map. And within moments the signpost turned to display the direction and distance to that location.
Results: Due to the massive response, a “two-queue” system was implemented where the SMS entries were given priority whilst the online entries were shown when possible. Every slot during the two week period was filled with SMS entries and entries from the online map. A third of those who interacted with the campaign continued using Nokia’s navigation services. And the amount of users of Nokia’s navigation services increased with 129% (main objective). In some markets visits to the campaign website exceeded targets by 1500% and visits to product pages (point of sale) soared 270% over targets in select major markets.
Advertising Agency: Farfar, Stockholm, Sweden
Executive Creative Director: Jon Dranger
Creative Director: Erik Norin
Copywriter: Carl Fredrik Jannerfeldt
Art Director: Tomas Jonsson
Head of Strategy: Niku Banaie (Isobar)
Account Directors: Marten Forslund/Christian Nord
Account Managers: Marie Persson/Louise Stenborg/Ulrika Hojgard
Flash: Robert Jarvi/Bjorn Uppeke/Mikael Ring
Creative President: Matias Palm Jensen
Mobile Application Production: (Starcut)
Event Production: (Mission)
Strategy: (Isobar)
Programming: David Looberger (Stockholm Code Group)
Walkers Crisps: Sandwich
Advertising Agency: Abbott Mead Vickers BBDO, London, United Kingdom
Brief:In research, British people told us a packet of Walkers crisps makes their lunchtime sandwich more exciting. But, less than one in ten eat crisps at lunch. We decided to change people’s lunchtime behaviour by proving a simple point – that any sandwich is more exciting with Walkers. And we do mean any.
Creative Execution: Our online films received 1.6 million complete views, which means Britain watched 3 million minutes of content showing how Walkers made Sandwiches more exciting. Sandwich generated £3.2 million worth of media coverage. For the first time, Walkers were given space in the sandwich aisles of Britain’s major supermarkets, helping sell an extra 1.5 million packets of crisps. And we gave the people of Sandwich a day they will never forget.
Creative Solution: Believe it or not, there’s a quiet, little village in England called Sandwich. To prove Walkers can make any sandwich more exciting, we planned a series of surprise events to turn the village of Sandwich into the most exciting place in Britain. The events delighted local people, captured the attention of the nation, and became the focus of a massive social media campaign.
Describe the results in as much detail as possible. Our online films received 1.6 million complete views, which means Britain watched 3 million minutes of content showing how Walkers made Sandwich more exciting. Sandwich generated £3.2 million worth of media coverage. For the first time, Walkers were given space in the sandwich aisles of Britain’s major supermarkets, helping sell an extra 1.5 million packets of crisps. And we gave the people of Sandwich a day they will never forget.
