(TrendHunter.com) It’s not often that I admit this but I have a certain affinity for small town kitschy paraphernalia and these accessories by Southern Heidi Belle are quaintly desirable.
All Southern Heidi…
Agency holding companies established trading desks to leverage their collective size and buying power.
But that hasn’t stopped some small agencies from launching their own digital trading operations. Case in point: Interpublic’s Campbell-Mithun has decided to build its own trading desk rather than buy separately through IPG Mediabrands’ Cadreon.
The objective? To streamline the planning and buying process and allow deeper integration of data from Campbell-Mithun’s retail and CPG clients, which is becoming more important in the digital ad buying process than data purchased from third parties.
Arena has been awarded the £15 million consolidated European media planning and buying account for Betfair, following a pitch against Mindshare, Manning Gottlieb OMD and Starcom.
Advertising Agency: The Marketing Store, São Paulo, Brazil
Creative Director: Rodrigo Allgayer
Art Director / Illustrator: Levy Mota
Copywriter: Paulo Vasconcellos
Photographer: Leopoldo Nakata / Rede Globo
Planner: Roberto Sandrin
Planner Director: Albano Neto
Additional credits: Michelle Dias, Dianna Fogaça, Felipe Uzum, Antonio Godoy, Rogerio Baron, Diana Kurpjuweit
Published: April 2013
Intemperance comes in many flavors, and SLO Down Wines has pairings for all of them. The California winemaker has rolled out three irreverent ads (from Harvest Films director Baker Smith and Arcade Edit's Paul Martinez and Dean Miyahira) about how well its Sexual Chocolate wine goes with group sex, horse role playing and bong rips, respectively. There's some light parody of insufferable wine-chat ("It's the deep red of a … really red thing"), but they don't spend too much time dwelling on it, and I'm glad they committed to the weird direction these ads went in. Well, except for the part where I saw Brandon Allen in a thong. I may need a glass of wine to throw in my eyes after that. Credits below.
CREDITS
Client: SLO Down Wines
Campaign: Goes Great With ?
Spots: "Threesomes," "Equestrianism," "Horticulture"
Production Company: Harvest Films
Director: Baker Smith
Executive Producer: Bonnie Goldfarb
Head of Production: Niko Whelan
Producer: Leslie Owen
Editorial Company: Arcade Edit
Editors: Paul Martinez and Dean Miyahira
Managing Partner/EP: Damian Stevens
Executive Producer: Nicole Visram
Online: Airship Post
Music: Critical Mass
Composer: H. Scott Salinas
Sound Design/Mix: Tobias Enhus
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Only original replacements play in perfect sync with your Audi.
Advertising Agency: Verba, Italy
Executive Creative Directors: Luca Cortesini, Michelangelo Cianciosi
Art Director: Daniel Cambò
Copywriter: Giovanni Adamo
Illustrator: Mozart Italia
As you may have hard, Abercrombie & Fitch CEO Mike Jeffries doesn’t like un-cool, un-popular and, based upon the sizes they carry (or don’t carry), people with larger frames. Well, at least women with larger frames as the store does not carry XL or XXL sizes or pants over size 10. Reportedly, the brand evens burns damaged clothing rather than donating it to charity.
In a 2006 interview with Salon, Jeffries said, “…we want to market to cool, good-looking people. We don’t market to anyone other than that. In every school there are the cool and popular kids, and then there are the not-so-cool kids. Candidly, we go after the cool kids. We go after the attractive all-American kid with a great attitude and a lot of friends. A lot of people don’t belong [in our clothes], and they can’t belong. Are we exclusionary? Absolutely.”
The seven year old comments became (were manufactured into?) a minor kerfuffle this week when Business Insider referenced the comments in an article that mentioned Robin Lewis, CEO of The Robin Report and author of the book The New Rules of Retail. Lewis referred to Jeffries telling Business Insider, “He doesn’t want larger people shopping in his store, he wants thin and beautiful people. He doesn’t want his core customers to see people who aren’t as hot as them wearing his clothing. People who wear his clothing should feel like they’re one of the ‘cool kids.'”
Of course, the whole thing turned into “Jeffries hates fat people.” Now that may or may not be true but Abercrombie & Fitch isn’t commenting just fueling the notion that, yes, it doesn’t want larger women shopping at its store or less-than-cool people wearing its clothing.
That may be about to change following a just-launched online campaign that directly attacks A&F’s distase for less-than-perfect people. LA-based writer Greg Karber has created a video that encourages people to donate their A&F clothing to local homeless shelters and share the fact they did so on Twitter with the hashtag #FitchTheHomeless.
In the video, which is filled with snarky anti-Abercrombie & Fitch commentary, we see Karber visiting a Goodwill store in search of A&F clothing (he doesn’t find much) and then travelling to Skid Row to give the clothing to the homeless. The video, which is nearing one million views, closes with Karber urging people to raid their closets (and their friends’ and neighbors’ closets) for Abercrombie & Fitch clothing all with the aim of making A&F “The World’s Number One Brand of Homeless Apparel.”
Of his work, Karber told Mashable, “I was really upset by the Abercrombie & Fitch CEO’s comments, and I wanted to do something to turn that negative energy into a positive social good.”
Whether or not this makes any kind of dent in Abercrombie & Fitch’s shining suit of elitest armor — quite unlikely — it’s yet another shining example of how easy it has become for “regular people” to command the media for a few days and alter public opinion (or at least call attention to an issue)
The Limited Edition KIT KAT White was so popular, they were running out fast. The challenge for JWT, Sydney was to make the love for the product outlast the product itself, to promote talkability of the brand. We created The Final Fifty: 50 unique pieces of poster art made from the last 50 bars off the production line. Each one was hand crafted by renowned illustrator Mike Watt, who turned the melted chocolate from the final bars into preserved timeless works of art that were showcased online and in an exhibition.
Advertising Agency: JWT, Sydney, Australia
Executive Creative Director: Mark Harricks
Creative Director: John Lam
Art Director / Copywriter: John Koay
Illustrator: Mike Watt
Photographer: Matt Townsley
Director: Jesse Mcelroy
Head of print production: Trent Henderson
Published: April 2013
Advertising Agency: DoubleYou, Barcelona, Spain
Creative Director: Jesús Revuelta
Copywriter: Ximo Villalba
Art Director: Dani Requena
Designer: Marta Torredeflot
Client Services Director: Jordi Pont
Account Director: Luis Ortiz
Account Manager: Álvaro Rojo
Production Manager: Daniel del Amor
Interactive Director: Sara Mayoral
Interactive Front-End developer: Nahuel Scotti
Java Developer: Just Canals
Multimedia: Mauricio Pellegrinetti
Published: June 2012
There was a time, all the way back in April, when the Internet was outraged at actor/director Zach Braff. You see, after seeing Veronica Mars fans quickly pony up over $2 million to turn the cult 2000′s TV show into a movie, Braff figured he’d turn to the same platform, Kickstarter, to get his next film project funded.
This caused a lot of butthurt, especially on social media, where complaining is an art form of sorts. “But, @ZachBraff is a multimillionaire,” tweeted the world in unison. “Why should people be give the rich #Garden State douche their hard earned money to make a second #douchetastic film?” Comedian Tim Heidecker took the complaining to the next level, actually tweeting Zach Braff a one-page script about his douche-y idea. This was all fun for a while, but despite the Internet outrage, Braff’s Kickstarter investors already raised more than he needed for the movie, and everyone stopped caring. Well, almost everyone.
Starting today, the guys behind the website Screen Junkies (featuring that “brand rapper” former Deutsch LA copywriter dude Jason Pickar) have turned to Kickstarter competitor IndieGoGo to start “Don’t Back Zach Braff.” The campaign discourages people to donate to Zach Braff’s movie, despite it already being funded last month and everyone moving on to more important things like Angelina Jolie and the How I Met Your Mother season finale. With $10,000, Screen Junkies will take out a full-page ad in the print edition The Hollywood Reporter discouraging the people to give money to Zach Braff’s already funded project which, even if it wasn’t, would still be a waste of money, because you’d be making a media buy in The Hollywood Reporter and this isn’t 1954. With $200,000 Screen Junkies pledges to make whatever this is into even more of an exercise in futility by buying a full-page ad in (hold onto your butts) Entertainment Weekly.
Yes, of course they’re doing all of this ironically and the purpose of stopping celebs from crowdfunding their future vanity projects. After all, when has doing things solely for the sake of irony not led to great ideas? Donate here, or, you know, you could not let whatever Zach Braff or other Hollywood folks are doing have any impact on your spending habits. Credits after the jump.
New Career Opportunities Daily: The best jobs in media.
Advertising School: Miami Ad School, San Francisco, USA
Art Directors: Jesper Bryngelsson, Daniel Johansson
Copywriter: Avery Harrison
For all you meat lovers out there.
Porcidou, a fresh pork meat brand, enjoying a good reputation but lacking in shelf appeal, needed to do something to regain consumer interest.
Action was needed in order to add value to this brand and to bring it to the front of consumers’ minds, preferably just before the moment where they have to choose which brand to buy. In creating a whole new brand identity we also focused on point of sale, and the idea of having a giant skewer on lampposts in supermarket car parks just came about naturally.
Along with some snapshots and being shared on social media it also caught the attention of a few newspapers. One other result was a happy client, since sales in these stores simply doubled.
Advertising Agency: Luvi Ogilvy, Reunion Island
Creative Director: Pedro de Oliveira
Account Director: Steven Potet
Additional credits: Empreinte Locale
Published: April 2013
Hyundai is getting a lot of coverage for putting Bob Marley's "Three Little Birds" in an ad for its Assurance Connected Care in-car customer-service program, largely because the late reggae icon's music is so infrequently licensed for ads. The automaker is also sponsoring a remixed version (done by Bob's son Stephen Marley and DJ/producer Jason Bentley) of Marley's Legend album, which features the song, and a three-minute documentary about the remix project. Despite all the fuss, what strikes me most about the spot, from ad agency Innocean, is how bland it is. It's not bad per se, but the music takes a back seat, as it were, to an informative but uninspired voiceover ("What if your car could help schedule its own service? Call for help with your exact location if you ever ran into trouble out there?") and sight gags involving signs that read "No worries" and "It's all good." The only special element is the song, and it's basically background music, like a tune playing on the car's radio. Any upbeat track would have been equally effective. This is Bob Friggin' Marley! Lively up yourself! Why not seed something more, you know, high concept?
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Os benefícios da função Park Assist, que automatiza a tão detestada baliza, são muitos. Porém, nenhum vai interessar mais para uma mãe do que esse apresentado no comercial acima.
Com mais tempo para despedidas, a Volkswagen espera convencer as famílias de como esse opcional é fundamental. Só falta um sensor para encontrar vagas de estacionamento bem em frente ao local que você deseja ir.
Criação da DDB de Bruxelas.
Post originalmente publicado no Brainstorm #9
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Paid channels are a big gamble for YouTube but have the potential to change the way people consume media online, says Angus Wood, head of earned media at iProspect.
Indo além do papel digitalizado, o projeto optimiza e se apropria de todos os recursos do tablet, da tela ao toque, compondo mais do que um simples ebook.
The Animator’s Survival Kit é, antes de tudo, um livro impresso originalmente lançado em 2009 por Richard Williams, com técnicas, dicas e truques de animação. O autor, dono de inúmeros prêmios – incluindo um Oscar – resolveu lançar a versão aplicativo para iPad do clássico livro.
A tela inicial do aplicativo faz referência à capa do livro original, funcionando perfeitamente como exemplo de transposição e transformação de uma história em diferentes meios. Nela, cada personagem que estava na capa é visto em uma animação, entrando em cena um atrás do outro, e já mostrando ao usuário as habilidades que dão vida aos traços de desenho.
Abaixo, veja essa animação da tela incial do aplicativo.
Repleto de exemplos deste tipo, o aplicativo vem com mais de 100 animações originais do Williams. Além disso, há vídeos com o autor falando diretamente para a câmera e explicando passo a passo de ténicas específicas, junto à sketches que mostram frame por frame de cada movimento.
Este app-book é um exemplo de obra de hipermídia que leva o leitor a ter novas e diferentes experiências, agregando em sua história e em suas formas de interação os recursos presentes nos meios móveis de comunicação, criando um ambiente imersivo para entreter, aprender e produzir.
Com quase 900MB, o aplicativo não precisa de internet para rodar. Focando em ser uma ferramenta profissional, custa $34,99 na App Store. Na versão gratuita, é possível acessar 2 capítulos, além de várias animações de exemplos.
Post originalmente publicado no Brainstorm #9
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“Killer Women” got a muted reaction at ABC’s upfront on Tuesday, but “Super Fun Night” and “Betrayal” seemed to have the audience intrigued. Tell us what you think.
This week, Emy Rumble-Mettle, director at media recruitment agency Source, divulges her passion for finding the right candidates, evaluates the past three years of agency business and explains why the quick job hunt not longer exists.
Les équipes de Woha Architects ont imaginé à Singapour, l’architecture du dernier hôtel de « Parkroyal » installé au cœur de la ville. Avec un design très réussi, ce lieu incroyable propose près de 15 000 m2 de verdure luxuriante grâce à des jardins auto-alimentés grâce à la récupération de l’eau de pluie.
John Frieda has unveiled new products aimed at the growing number of women facing the curse of dried-out, brittle hair in the UK.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
