Hasta La Creative!

À l’occasion de ce premier best-of de Septembre, nous fêtons la rentrée : projecteurs sur les plus belles lampes, qu’elles soient suspendues, en bois, en papier, en béton, en marbre ou avec effets 3D. Nous avons compilé pour vous les oeuvres les plus originales qui nous ont marqué. Une belle sélection à découvrir.

Vilu Light by GT2P.

Dandelion Lights by Takao Inoue.

The Stormy Cloud Light by Richard Clarkson.

Water Dream Light by Nendo.

3D Optical Illusion of 2D Lamps by Studio Cheha.

Symphony Lamp by Anna Strupinskaya and Alexey Ivashkevich.

Loomi Light by Loomi.

Fish Lamps by Frank Gehry.

Lumio Folding Book Lamp by Max Gunawan.

Optimus Lamp by Tcherassi Vilato.

Chantilly Lamp by Constance Guisset.

Silhouette Lamp by Mark Parsons.

3D Breaking Lamps by Gassling.

Jellyfish Lamps by Roxy Russell.

Slash Lamp by Dragos Motica.

Sputnik Lamps by Julie Lansom.

The Big Bubble by Alex De Witte.

Starry Light Lamps by Anna Farkas and Miklos Batisz.

Tull Lamp by Tommaso Caldera.

Pencil Lamp by Michael And George.

String Lights by Michael Anastassiades.

Aeon Rocket Pendant Lamp by Morten Voss.

Beautiful Glass And Marble Light by Lucie Koldova.

Blumen Light by Blumen.

DIY Paper Lamp With Patterns by Fifti-Fifti.

Edison Light Project by Damien Urvoy.

Folded Lamp by Ariel Zuckerman.

Frank Dog Lamp by Pana Objects.

Paper Animal Lights by Maik Perfahl and Wolfgang List.

Pop Up Light by Well Well Designers.

Servile Desk and Rocking Lamp by M.OSS.

Soft Light Concept by Simon Frambach.

The Kolo Lamps by Pani Jurek and Piotr Musia?owsk.

Wire Lampshade and Bookmark by Groupa Studio.

Woodspot Lamp by Alessandro Zambelli.

AOL is bringing back its “programmatic upfront” for the second straight year. But this time, the company is betting that a smaller, more exclusive event will get the job done better than something on par with the 700-person bash it threw last year.

Only 150 people — senior VPs and above — will be invited to participate this year, a significant scaling down of the AOL’s flagship ad-tech event. The event is scheduled to take place during Advertising Week later this month.

The point, according to AOL Platforms CEO Bob Lord, is to host a more intimate event where those in attendance will be able walk up to AOL executives for “juicer conversations” after the presentations.

Continue reading at AdAge.com

(TrendHunter.com) There are tons of cosmetics that are designed to give you that flawless HD look, but the Diorskin Star photo-ready foundation is designed to perfect your selfies.

The Dior makeup product comes in…

Panera Bread has named Anomaly as its new lead creative agency following a review that included two other agencies which the casual dining chain declined to identify, Adweek reports. Spending on the assignment is estimated at $90 million, according to that publication, and the review did not include media buying and spending, which will remain at Maxus.

As you may recall, Anomaly succeeds Cramer-Krasselt, who ended its relationship with the brand back in June. Cramer-Krasselt CEO Peter Krivkovich announced the agency’s resignation from the account via an internal memo, citing creative difference which he called “too much even in this crazy business.” Panera Bread Chief Marketing Officer Michael Simon responded by claiming the brand had issued a creative review, which Cramer-Krasselt opted out of.

Simon told Adweek that Anomaly’s recent work for brands including Budweiser (for whom the agency crafted World Cup and Super Bowl campaigns) and Dick’s Sporting Goods landed them on Panera list of agencies for initial consideration, and that “its strategic thinking and ability to deliver more than just advertising (content, new product ideas, etc.)…set it apart from other contenders.”

An idea the agency pitched in the review is currently being refined into a new campaign, which is expected to debut early next year. (more…)

New Career Opportunities Daily: The best jobs in media.

“Why does Ebola get such a bad rap? I think we can use its transmissibility as a symbol of our marketing prowess.”

That’s what I imagine the masterminds behind the Kiev, Ukraine-based agency Ebola Communications told themselves when they landed on the name of their shop. It certainly stands out.

Unfortunately, one can take a viral marketing metaphor too far. Even more unfortunately, Ebola — the deadly disease, not the six-year-old social and digital agency — has erupted across various West African nations this year, killing some 2,000 people so far, according to the World Health Organization, and igniting a global epidemic leading to travel restrictions to regions where the virus is rampant.

Continue reading at AdAge.com

Save the Children has released a sequel to its successful ‘Most Shocking Second a Day’ film, which this time tackles illiteracy in the UK.

It’s been one year since I wrote in these pages about how Apple, with its failure to deliver NFC (near field communication) and a mobile payment product in the iPhone 5S and 5C, was going to read the last rites for mobile payment.

And sure enough, for the past 12 months, precisely nothing has happened, save for the mobile carrier’s payment scheme Isis suffering a very unfortunate branding clash.

So the euphoria around the widely adopted assumption that Apple will now release a full-fledged payment system that connects the millions of credit card details stored in iTunes to the hundreds of thousands of NFC-enabled sales counters across the U.S. is understandable.

Continue reading at AdAge.com

Conde Nast’s recent announcement to merge Lucky Magazine with BeachMint, an online retailer, follows the relaunch of Domino Magazine, another Conde property, as an e-commerce store. The New York media giant isn’t the only one blurring the line between content and commerce. Meredith, Thrillist and Gawker are other prominent publishers investing considerable resources in commerce.

Despite these initiatives, commerce-based revenue remains a largely untapped growth opportunity for digital media companies. Display, native and video are the primary drivers of online publishing revenue. Yet, commerce holds the potential to generate a revenue boost of at least 10% with limited investment.

Fashion bloggers have been at the forefront of the move to incorporate commerce as a meaningful line of revenue. These writers leverage their influence to drive loyal readers from their site to buy a product from an online retailer they have a commission agreement with. They’ve recently expanded to capture purchase intent on Twitter, Pinterest, Facebook, and even YouTube.

Via its acquisition of ShopNation in 2012, Meredith is experimenting with on-site purchase as a means of driving commerce-based revenue. Men’s style publisher, Thrillist, earns most of its revenue from its JackThreads unit, the online retailer it purchased in 2010. Most publishers, though, don’t need to initiate their move into commerce by selling products direct to consumers. Gawker committed to commerce accounting for 10% of their total revenue in 2012 and achieved it last year without selling goods directly from its sites.

To start reaping commerce-based revenue, content must be created with purchase in mind. This is a natural fit for vertically oriented publishers. A technology site promotes deals at an online retailer. An outdoors publisher creates a product guide for camping or skiing. Broader media sites covering news or entertainment can also capture reader purchase intent by featuring travel deals, digital goods or style guides. Stories can be created by existing writers, non-editorial staff or a content agency trained to link story product references to online retailers.

Creating content with the intention of sending readers off-site to an online retailer may seem antithetical to product gurus charged with increasing site engagement. But, creating content that readers find useful and in tune with the brands and products they love actually boosts user loyalty and return visits.

The benefits are clear. The new found revenue is completely additive to the current revenue mix of display, native and video. It is less subject to economic downturns as advertisers are more willing to maintain budgets when spend is tied directly to revenue. And commerce-based revenue generates a predictable return on investment because revenue levers up in direct relation to the amount of content created and the audience pushed to that content.

While publishers keep mobile, social, programmatic and native top of mind, adding commerce as a core editorial and monetization strategy can yield an entirely new, meaningful line of revenue in 2015.

This guest article was written by Josh Jaffe, VP of Business Development at VigLink

Offering up yet another proof point that Millennials are just a bunch of whiny-assed punks with no regard for what came before them (oh come on, we stereotype), Reebok is out with a new two minute ode to its Reebok Classics entitled “Give Me Your Classics And I’ll Show You the Future.”

In the video a British youth begins by parroting back the laments of his elders saying, “Around here, we used to make things…change the world. We were pioneers, innovators.”

It’s a lengthy rant about how old people continuously talk about how awesome things were and how today’s youth wasn’t there for all the greatness. But our young Brit says, “Well I am here” and says to the elders who wish their old bands would get back together, “Good luck to you.”

And then he really lays it on thick saying, “We’re still pioneers. We don’t need factories or pills to change the world. We don’t need your misty eyes. We’re not retro anything. You won’t hear our story because we’re too busy writing it. Around here, we still make things. And out time is now.”

Cue the Reebok Classic logo. But not before the apparent crowing on the Millennial generation is shared; a DJ in a nightclub.

No, seriously.