Advertising Agency: TRIAD Advertising, Bratislava, Slovakia
Creative Director: Jaroslav Zacko
Art Director: Tomáš Bánik
Copywriters: Maroš Hamorský, Vlado Kurek
Developer: Romaj Sergejevi? Janajev
Account Manager: Matúš Kollár
Published: September 2014
« Rhein II » d’Andreas Gursky a longtemps été la photographie la plus chère du monde évaluée à 4,3 millions de dollars. Mais qu’en est-il en 2015 ? Le site Creativelive vient de répertorier les 10 photographies les plus onéreuses. Un nouveau classement à découvrir sans plus tarder.
#1 Phantom — Peter Lik, $6.5 million
#2 Rhein II — Andreas Gursky (1999) $4.3 million
#3 Untitled #96 — Cindy Sherman (1981) $3.9 million
#4 To Her Majesty — Gilbert & George (1973) $3.7 million
#5 Dead Troops Talk — Jeff Wall (1992) $3.7 million
#6 Untitled (Cowboy) — Richard Prince (2001-2002) $3.4 million
#7 99 Cent II, Diptychon — Andreas Gursky (2001) $3.3 million
#8 Los Angeles — Andreas Gursky (1998) $2.9 million
#9 The Pond—Moonlight — Edward Steichen (1904)
#10 Untitled #153 — Cindy Sherman (1985) $2.7 million
The Kings and Queens of America are the ones who reach out and take what’s there. Because this is America, the land where world-changing opportunities are ripening on the vine. All you have to do is harvest them and turn them into products that generate glorious profits. Provided you’re man or woman enough to drive […]
The post Americans Taken For A Ride By Chrysler And W+K appeared first on AdPulp.
Fragrance manufacturer Coty is conducting a review to consolidate global media, according to people close to the process. As part of the review, the company is asking agencies to agree to 150-day lags in payment.
“We can confirm that there is an agency pitch but we are not going to comment how we are negotiating with agencies,” said a Coty spokeswoman.
Coty is the latest in a string of big marketers to ask for extended payment terms, but its 150-day ask is aggressive compared to those marketers who have capped the terms at 120 days. Global candy giant Mars last year sought to extend the period before suppliers get paid to as long as 120 days, and a couple of years ago Mondelez International confirmed it was instituting 120-day terms. Around that time, Procter & Gamble Co said it would seek to extend payment terms from 30 to 75 days in new contracts with agencies.
(TrendHunter.com) The most recent addition to London’s Somerset House, Pennethorne’s Cafe Bar is a stunning upscale eatery inspired by the architecture of Italy and France. Named after Sir James…
(TrendHunter.com) There is a constant tension between idealistic and realistic perceptions surrounding body image and these plus-size fashion influencers are championing a positive outlook that helps to liberate…
(TrendHunter.com) Etsy’s Purple Fish Bowl is an Indonesian shop that specializes in fine art fashions like this sleeveless top. The collared shirt is accented with a motif of Hokusai‘s iconic painting, ‘…
Jimmy Dean, classic maker of breakfast sausages and self-described “No. 1 protein breakfast brand in America,” has chosen Ogilvy Chicago as its new creative agency of record after an unannounced review.
TBWA/Chiat/Day held the account for more than a decade before the client launched its review in late 2014. The change affects only Jimmy Dean and none of the other brands owned by parent company Tyson Foods (Sara Lee, Hillshire Farm, Ball Park, etc.).
From the client:
“The Jimmy Dean brand has appointed Chicago-based Ogilvy & Mather as the brand’s new creative agency of record. Ogilvy replaces TBWA/Chiat/Day out of Los Angeles. Chicago-based Ogilvy & Mather will be responsible for driving the overall strategy and creative vision for the brand.”
TBWA established the client’s tagline “Eat Jimmy Dean” when it won the account from Leo Burnett in 2004. The latter agency’s final campaign for the client marked the first time that the brand’s ads had not featured its country star namesake (who died in 2010), and last year the New York Times noted the company’s decision to move into an entirely new space: the dinner table.
That article concerned what would be TBWA’s last work on the account, which attempted to re-position the client as a leading frozen lunch and dinner provider by focusing on its 16 new offerings with the help of the long-established “Sun Guy” character (also known as actor Haynes Brooke), the “Sunniest Day of the Year” site, and the #FollowTheSun hashtag.
The news marks a major win for Ogilvy, which just announced a series of promotions and a renewed focus on digital/analytical work across its North American organization. At the time of the New York Times article linked above, Jimmy Dean dominated the “hand-held breakfast items” category with “52.8 percent” of more than one billion in total revenues. Its revenues increased across categories in 2013, when it spent $61.6 million in advertising according to Kantar Media.
Tyson Foods did not elaborate on plans for future campaigns and Ogilvy had no comment on the win.
W+K Portland launched a new campaign for Nike, promoting women’s fitness and sports, entitled “Better For It.”
The campaign kicked off with the 60-second spot “Inner Thoughts,” which made its broadcast debut Sunday during the MTV Movie Awards. As the title suggests, the ad follows the inner monologue of a group of women as they battle their own doubts and insecurities. Around halfway through the spot is a turning point, where the women overcome these difficulties and find the will to succeed, whether that means completing a half marathon or just completing a workout at the gym. The spot ends with the “Better For It” tagline, which noticeably stands in for the ubiquitous “Just Do It” in this campaign. “Inner Thoughts” has already struck a chord with viewers online, totaling over one million views on YouTube since being uploaded two days ago.
“Better For It” acknowledges the significance of Nike’s women’s apparel, which has traditionally taken a back seat in the company’s marketing, but which Digiday notes overtook its men’s business in the latest quarterly earnings report. In addition to “Inner Thoughts,” the brand has released a series of online videos extending the campaign, along with social efforts built around the “#betterforit” hashtag.
“#betterforit realizes that young women are already active and interested in fitness, but that doesn’t make the mountaintop any less daunting,” Kerri Hoyt-Pack, Nike’s vice president of brand marketing, NikeWomen/Women’s Training, told Digiday. “It is more than a hashtag; it’s a call to action, realizing that new challenges are beneficial to who you are, no matter what the outcome is.”
Credits:
Client: Nike
Project: “Better For It”
Agency: Wieden + Kennedy, Portland, Ore.
Creative Directors: Alberto Ponte / Ryan O’Rourke / Dan Viens
Copywriter: Heather Ryder / Darcie Burrell
Art Director: Patty Orlando
Producer: Molly Tait / Julie Gursha
Executive Agency Producer: Matt Hunnicutt
Interactive Strategy: Jocelin Shalom
Strategic Planning: Tom Suharto / Irina Tone
Media/Comms Planning: Emily Dalton / Destinee Scott / Emily Graham
Account Team: Karrelle Dixon / Alyssa Ramsey / Marisa Weber / Jim Zhou
Business Affairs: Anna Beth Nagel
Executive Creative Directors: Mark Fitzloff / Joe Staples
Production Company: Iconoclast
Director: Matthew Frost
Executive Producer: Charles-Marie Anthonioz
Line Producer: Caroline Pham
Director of Photography: Darren Lew / Joost Van Gelder
Editorial Company: Rock Paper Scissors
Editor: Angus Wall (“Inner Thoughts” :60 and :30) / Grant Surmi (:30/:15s)
Post Producer: Jared Thomas
Post Executive Producer: Angela Dorian
VFX Company: A52
VFX Supervisor: Jesse Monsour
Flame Artist: Brendan Crockett / Matt Sousa / Steve Wolf / Dan Ellis / Richard Hirst
VFX Producer: Jamie McBriety
Color: Paul Yacono
Music Supervision: Nylon Studios
Artist: Apollo 100
Track: Joy
Sound Designer: Barking Owl
Mix Company: Lime Studios
Mixer: Matt Miller / Dave Wagg
Producer: Jessica Locke / Susie Boyajan
Advertising Agency: BBDO, New York, USA
Chief Creative Officers: David Lubars, Greg Hahn
Executive Creative Directors: Gianfranco Arena, Peter Kain
Creative Director: Peter Alsante
Associate Creative Director: Matthew Zaifert
Managing Director: Kirsten Flanik
Global Account Director: Susannah Keller
Account Director: Joshua Steinman
Account Manager: Dylan Green
Account Executive: Jocelyn Choi
Director of Integrated Production: David Rolfe
Group Executive Producer: Amy Wertheimer
Producer: Mona Lisa Farrokhnia
Music Producer: Julia Millison
Group Planning Director: Crystal Rix
Senior Planner: Alaina Crystal
Director: Evan Bernard
Director of Photography: Joseph DeSalvo
Line Producer: Koji Yahagi
Production Supervisor: Renee Haar
Projects Lead: Michael Gentile
Audio Engineer: Corey Bauman
Illustrator: Kieran Bergin
Editorial: NO6
Editor: Ryan Bukowski
Executive Producer: Corina Dennison
Producer: Malia Rose
Colorist: Stephen Picano
Advertising Agency: Fred & Farid, Paris, France
Agency Supervisors: Emmanuel Fery, Amaury Devitry, Candice Corre, Lauren Hadjadj
Chief Creative Officers: Fred & Farid
Executive Creative Directors: Olivier Lefebvre, Benjamin Marchal
Copywriter: Francois Guyomard
Art Director: Nicolas Berthier
Agency Producer: Aurelien Merigaud
Production Company: Wanda Paris, St Denis
Executive Producers: Perrine Schwartz, Jerome Denis
Director: Matt Devine / The Glue Society
DOP: Ray Coates
Post Production: Wanda Productions & Digital District
Post Producer: Thomas Cornet
Editor: Xavier Perkins
Colorist: Didier Lefouest
Flame Artist: Lionel Morillon
Media Agency: Carat
Media Agency Supervisor: Nicolas Fraudreau, Yvan Bouffay, Thibaud Rivals
Advertising Agency: Fred & Farid, Paris, France
Agency Supervisors: Emmanuel Fery, Amaury Devitry, Candice Corre, Lauren Hadjadj
Chief Creative Officers: Fred & Farid
Executive Creative Directors: Olivier Lefebvre, Benjamin Marchal
Copywriter: Francois Guyomard
Art Director: Nicolas Berthier
Agency Producer: Aurelien Merigaud
Production Company: Wanda Paris, St Denis
Executive Producers: Perrine Schwartz, Jerome Denis
Director: Matt Devine / The Glue Society
DOP: Ray Coates
Post Production: Wanda Productions & Digital District
Post Producer: Thomas Cornet
Editor: Xavier Perkins
Colorist: Didier Lefouest
Flame Artist: Lionel Morillon
Media Agency: Carat
Media Agency Supervisor: Nicolas Fraudreau, Yvan Bouffay, Thibaud Rivals
Advertising Agency: Y&R Brasil, Brazil
Chief Creative Officer: Rui Branquinho
Art Director: Felipe Pavani
Copywriter: Ricardo Dolla
Illustrator: Rodolfo Martins
Account manager: Heloísa Guimarães
Advertising Agency: Y&R Brasil, Brazil
Chief Creative Officer: Rui Branquinho
Art Director: Felipe Pavani
Copywriter: Ricardo Dolla
Illustrator: Rodolfo Martins
Account manager: Heloísa Guimarães
Advertising Agency: Y&R Brasil, Brazil
Chief Creative Officer: Rui Branquinho
Art Director: Felipe Pavani
Copywriter: Ricardo Dolla
Illustrator: Rodolfo Martins
Account manager: Heloísa Guimarães
Anorexia is fatal.
Advertising Agency: Zaga Publicidad, Panama
General Creative Directors: Demian Campos, Alex del Rosario
Art Directors: Haxel Santamaria, Brian Cossio, Demian Campos, Ricardo Conquista
Copywriters: Karla Delgado, Demian Campos
Illustrator 3d: Haxel Santamaria / Térmica Studio
Published: March 2015
Le dernier weekend avait lieu la 17ème édition du Coachella Festival. Le cru 2015 du premier weekend a tenu toutes ses promesses et, sont passés sur scène des artistes tels que Drake, The Weeknd ou encore ACDC. J-5 avant la reprise de l’évènement mais en attendant voici une sélection des meilleurs clichés trouvés sur la toile.
I recently attended an agency forum in Europe, populated by an impressive gathering of unapologetically talented agency leaders from across the globe. The calling was inspiring in that a key theme of the event was to think about ideas as platforms rather than as inspirations for a specific execution or format.
The point was that a great idea, now, is boundless. Things are made — some big, some small, some made by the public, some privately, some are liked, responded to, shared, edited, re-edited, appropriated, stolen, emboldened or bought.
Achieving this requires a change in agency mindset.
After months of promotion, AOL is officially releasing its new ad-tech platform, called One, which it hopes will be its ticket to capturing advertiser dollars outside of desktop.
The platform brings AOL’s point solutions, including its ad buying and attribution tools, into a single platform with a single login. The company is also releasing a new data-management platform which runs the length of One, allowing its users to better target and measure their ad buys, according to AOL executives.
I think we’re launching a future platform,” said AOL CEO Tim Armstrong. “It’s truly the beginning of what these systems are going to look like.”
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.
