UK retailers have fundamental gaps in their mobile marketing strategies with fewer than one in ten (8%) having a tablet-optimised site, claims the Internet Advertising Bureau.
“Your health deserves freedom.”
Advertising Agency: dim&canzian, São Paulo, Brasil
Chief Creative Officer: Michele Dim D’Ippolito
Chief Media Officer: Marcio Canzian
Creative Director: Michele Dim D’Ippolito, Gabriel Araujo, Bruno Salgueiro
Art Director: Ale Parme
Copywriter: Guga Borges
Illustrator: Flavio Luiz Nogueira
Photographer: Augusto Nobrega
Head of Planning: Samantha Barbieri
Project Coordination: Barbara Marques
Producer: Carlos Guardino
Approval: Laura Monteiro
Advertising Agency: 11:21, Rio, Brazil
Creative Director: Gustavo Bastos
Copywriter: Gustavo Bastos
Art Director: Leandro Barbosa
Production Company: ParaRaio
Director: Romulo Veiga
Sound Design: Pardal
Media Director: Bianca Brandão
At Cannes, everyone’s focused on what won — which campaign, which agency, what the tallies are for the various holding companies and countries.
But before there’s a winner, there’s a jury. Ad Age is taking you inside the voting room through exit interviews with various jurors. Here, Pully Chau, chairman-CEO, Greater China at DraftFCB, told us what went on behind closed doors during the judging of the 2-year-old creative-effectiveness awards, the only Cannes contest that includes five clients as well as agency execs.
Any funny stories about your time in the jury room? There were times of high and low energy levels throughout the two days of judging. On day one, after hours of working inside a dark room with heavy air conditioning and no windows, we were judging a case about push-up bras. The energy level was so low that there was total silence. Then one of the jurors couldn’t help but comment on something that bothered him: "The model [male] hasn’t even got a good body line to be engaging." The whole room burst into laughter … including the seven women out of 15 judges. After that, whenever we met this humorous juror, we would tease him with a line about "push-up bras."
Volvo Cars on June 6 confirmed seeking a global lead creative agency. But Volvo needs more than a global ad campaign — it needs to re-establish its credibility and voice in the U.S.
The Swedish auto brand once defined safety and durability, but is now struggling through “an identity crisis,” said Edmunds.com analyst Michelle Krebs. Moreover, it does not have any new models in the U.S. this year and isn’t flexing media muscle comparable to rivals Mercedes-Benz and BMW. Sales are sliding as it cedes ground to rising challengers such as Volkswagen’s Audi.
The U.S. is one of the top three markets for Volvo, which Ford sold to China’s Geeley Automotive for $1.3 billion in 2010. (The others are Europe and China.) But Volvo’s U.S. sales are falling at a time when most carmakers are reporting growth. Year-to-date sales fell 6% to 25,900 through the first five months of 2013, according to Automotive News DataCenter. Last year, Volvo’s U.S. sales rose 1% to 68,117 vehicles — but the tally was only half the 139,000 vehicles sold during Volvo’s peak U.S. sales year of 2004.
(TrendHunter.com) Hight fashion swimsuit editorials take barley there garments and photograph them in a dramatic and creative light. If you think that wearing a bathing suit is just for the pool, just admire these…
Nearly every week brings news of an ad-tech firm getting ready to go public, and recruiters say ad-agency executives are increasingly eyed as advisers or board members for these high-flying companies. While such a position can offer prestige, insight and career growth, the arrangements can be fraught with potential conflicts.
Late last month, for example, a pre-IPO securities filing for Tremor revealed that Starcom Mediavest Group CEO Laura Desmond was granted hundreds of thousands in options in the video ad-tech startup for sitting on its board. The filing also showed that clients of her agency group provided a large chunk of the ad tech’s revenue. Despite disclosures that Ms. Desmond recuses herself from any business involving both SMG and Tremor, observers decried her role as overly beneficial to her personally.
Ms. Desmond and SMG said they couldn’t comment for this story due to a quiet period at Tremor.
L’Oreal has named Firstborn its digital agency of record for its luxury portfolio of brands in the U.S., including Lancôme, Kiehl’s, Yves Saint Laurent Beauté, Clarisonic, Giorgio Armani and Urban Decay.
The selection followed a competitive review during which more than 15 agencies responded to its request for information, the company said.
Interpublic Group’s R/GAis the incumbent on the account, which it won in May 2011. The shop did not participate in the recent review but will continue to work with its L’Oreal Paris client.
Day two of the Cannes Lions International Festival of Creativity featured winners, intimate taxi rides and maps made of meat.
Richard Morris, chief executive at branding agency Identica, and political blogger at The New Statesman and A View from Ham Common, discusses how this week’s G8 summit in Northern Ireland may impact brands.
Nick Emery, the global chief executive of WPP’s Mindshare, has underlined the importance of adapting and embracing the creativity that involves.
A campanha “Why wait until it’s too late?” para a seguradora de assistência funerária DELA, da Holanda, levou o Grand Prix de Media.
A criação da Ogilvy Amsterdam incentivou as pessoas a dizerem o que sentem pelas pessoas que amam, e, como diz o título da iniciativa, não esperar que seja tarde demais.
O Brasil ficou com 9 Leões na categoria.
OURO
Dove: Real Beauty Sketches (Ogilvy)
PRATA
Nivea: Nivea Solar (GiovanniDraftFCB)
Mães da Sé: Missing children (Africa)
BRONZE
Mizuno: The Lightest ad ever (Talent)
Coca-Cola FM: Amplifier (JWT)
A Loja Vazia (Loducca)
Dove: Real Beauty Sketches (Ogilvy) – 2 bronzes
Hemorio: Tiny Hole (Binder)
Post originalmente publicado no Brainstorm #9
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TV Licensing has created a series of ads to illustrate some of the most surreal excuses from fee evaders, including one bizarre claim from a dodger who insisted he had “received a lethal injection”.
It’s been quite a while since we’ve heard from NYC-based, Dentsu-owned digital shop Firstborn, which has now taken over for R/GA as digital agency of record for L’Oreal Luxe, the cosmetics/beauty giant’s luxury brands unit that includes Lancome, Giorgio Armani, Kiehl’s and Urban Decay. The review for the Luxe digital account appears to have lasted longer than Honda’s as L’Oreal kicked it off last summer with approximately 15 agencies initially vying for the biz.
Regarding her company’s new digital AOR appointment, L’Oreal Luxe president Carol J. Hamilton says, “I am so pleased to have a partnership with Firstborn, whose dedicated energy and expertise in the world of digital will help drive our brands to new heights.” As a result of the win, Firstborn essentially extends its relationship with L’Oreal as it’s already worked with the brand’s Redken line. The digital shop, which has also handled digital efforts for other notable brands including Pepsi, Aflac and Under Armour, will initially focus on digital ecommerce marketing strategies for various brands within the Luxe portfolio.
R/GA, which had served as Luxe digital AOR for two years, will still continue its seven-year relationship with L’Oreal Paris.
New Career Opportunities Daily: The best jobs in media.
Focus sur le travail de Jared Lim, un photographe originaire de Singapour, qui présente des clichés intensément graphiques et géométriques. Dans l’espace urbain, il fait d’abord sortir les lignes et les courbes, préférant le motif à la globalité. Un travail remarquable à découvrir en images dans la suite de l’article.
(TrendHunter.com) The Motherland Chronicles explores intriguing, dark fantasy of myths and fairytales by bringing them to life through a picture-a-week project. Photographer Zhang Jingna (zemotion) and artist Tobias…
Innocean — the Korean agency owned by Hyundai Motors chairman Chung Mong Koo and his daughter Chung Sung-yi — is pushing forth with its quest to be known around the world as more than an "in-house" agency.
While the rest of the ad market eyes Asia and Latin America for growth, Innocean is making its bet on Europe — a counterintuitive move given the continent’s economic woes over the past few years.
“Most people think that opportunity is moving East, but we see Europe as a market full of untapped potential, particularly as the economic climate drives businesses to seek out more creative, integrated and effective ways of doing business," Ike Kwon, president-CEO of Innocean Worldwide Europe, said in a statement. "Innocean is investing heavily in its European operations, and we look forward to reaping the benefits alongside our clients in years to come.”
Omnicom’s PHD media network is attempting to transform its approach to strategy and planning by adopting the principles of “gamification” to its business.
In a meritocracy like Singapore’s, juvenile delinquents are often stigmatised, seen as hopeless and having no future. To get more volunteers for its youth rehabilitation programmes, Beyond Social Services wanted to show that a juvenile delinquent can become a useful member of society with everyone’s support. To express this powerful idea, we used the exact same letters to rearrange a negative past into a positive future. Each “rearrangement of lives” is visualised with arresting typography to grab maximum attention.
Advertising Agency: Publicis, Singapore
Worldwide Creative Director: Erik Vervroegen
Chief Creative Officer: Ajay Thrivikraman
Associate Creative Director: Kris Ng
Art Directors: Jia Ying Goh, Bastien Grisolet, Pei Ling Ho
Copywriters: Pei Ling Ho, Jia Ying Goh
Graphics: Johnson Banks
Art Buyers: Jean-Luc Chirio, Lauriane Dula
Associate Account Director: Christabel Fernandes
From Team One and director Jonas Åkerlund (whose music video reel includes Prodigy’s “Smack My Bitch Up,” Blink 182′s “I Miss You,” and Madonna’s “Ray of Light”) comes a new campaign for the Lexus IS. As you can see, Lexus is really trying to market their new luxury sedan as a high-fashion, chique automobile, which strays a bit from the brand’s usual “Hey, you want a luxury car, but you don’t want to go nuts?” appeal. And, considering Åkerlund’s impressive resume, who better to pay a ton of money to make your product pop on TV?
Both “Crowd” and “Color Shift” succeed in that they’re flashy, somewhat dystopian depiction of urban wealth looks starkly different than any other car advertising you’ll see during commercial breaks. However, will consumers buy that Lexus is a brand that can adeptly align itself with fashionable, rebellious youth? Credits after the jump.
New Career Opportunities Daily: The best jobs in media.
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