Essa semana não tinha outro assunto: a Apple dominou todo o noticiário de tecnologia com a sua feira para desenvolvedores, a WWDC. E esse ano, por algum acaso do destino, o Rafael Silva saiu de férias bem nessa época. Por isso, para tapar o seu buraco, colocamos outro fã da maçã, o Marcus Mendes do […]
> LEIA MAIS: Tecnicalidade 045 – Não é o tamanho do núcleo, mas o que se faz com ele
Digital agency Meredith Xcelerated Marketing (MXM) hired Lisa Charlebois as executive creative director, tasked with overseeing the Los Angeles creative department while reporting to creative operations officer Dan Davenport.
Charlebois arrives at MXM following three years as vice president, group creative director at SapientRazorfish, where she focused on Samsung. Prior to that she spent nearly two years as Western region creative director for GolinHarris, working with brands such as Nestlé, Toyota and Cisco. That followed four and a half years as an associate creative director with Ogilvy & Mather, at the agency’s New York and Los Angeles offices. While with Ogilvy, she worked with brands including Cisco, Tabasco, Siemens, TD Ameritrade and Six Flags. She has also taught internet copywriting as an adjunct professor for NYU.
“Lisa brings to MXM an unparalleled scope of experience across all media platforms,” MXM president Georgine Anton said in a statement. “We welcome Lisa to the MXM team and look forward to working together to craft winning ideas that solve our clients’ biggest challenges.”
“MXM features a diverse range of clients, exceptional talent across the entire shop and an amazing culture that really feels like family,” added Charlebois. “Everyone is passionate and driving toward the same goals, and I’m thrilled to be part of helping make MXM even more epic than it already is.”
Today American Express confirmed that it has moved its global brand work from Ogilvy to Mcgarrybowen without a review.
A client spokesperson provided the following statement to Adweek:
“Mcgarrybowen will be working with us on developing a new global brand platform that will bring together all of our brand and product-related work under one umbrella. The new platform will capture the innovative work that is underway throughout our company and reflect the diversity of our business here in the U.S. and internationally.”
More specifically, Mcgarrybowen will handle the global creative brand campaigns as well as U.S. executions while Ogilvy will continue working on international executions and keep “some of their current [unspecified] U.S. work.”
The size of these respective assignments in terms of revenue is not clear, but American Express spent more than $500 million on paid media in the U.S. last year, according to Kantar Media.
Both Ogilvy and Mcgarrybowen deferred to the client, which didn’t elaborate on the reasons for the shift or the work to come. But American Express made some big changes to its marketing team last year as longtime CMO John Hayes departed after helping to launch its new global marketing operations group. The company does not currently list a CMO, but VP of marketing operations Mike McCormack currently leads the aforementioned group with Elizabeth Rutledge serving as EVP, global advertising and media and reporting directly to CEO Kenneth I. Chenault.
According to one party who worked with Mcgarrybowen in the past, agency leadership has been known for developing relationships with C-level client leaders before effectively “swooping in” and winning accounts away from competitors—in many cases without a review.
Gordon Bowen, who co-founded the agency and currently serves as chairman, also worked with American Express while he was a creative leader at Ogilvy. The agency’s site credits him with developing both the “Membership has its privileges” campaign and “Chase Freedom,” which it describes as “the most successful credit card launch in history.”
Despite the fact that Ogilvy remains on the AmEx roster, this shift marks a significant loss for the agency, which has been working with the credit card company since 1962.
This isn’t the first time the client has moved work away from Ogilvy: back in 1991, TBWA won what The New York Times described as “the most prestigious part of that account” promoting the green charge card.
That Stuart Elliott article provides a couple of serious blasts from the past. First, TBWA was then called “Chiat/Day/Mojo Inc.” And then there are these two paragraphs:
Ogilvy New York’s top executives had labored mightily to keep their hold on the green card account, for which they created stylish print advertisements featuring striking photographs of celebrities like Ella Fitzgerald, Tom Seaver, Hume Cronyn and Jessica Tandy.
Ogilvy New York was so concerned that even after Gordon Bowen, its executive creative director, decided to depart for McCann-Erickson New York, he remained through the summer to complete work on the account.
We hear this week’s news came as a surprise to everyone but American Express—and, of course, Mcgarrybowen. The agency has already begun production on its first brand work, which will debut early next year.
-FCB Chicago launched its first work for probiotics supplement brand Renew Life with “Being Human Takes Guts” (video above).
-Creative agency Iris and production company Blink Art launched this animated “Here to Create” spot for Adidas featuring Lionel Messi, Paul Pogba and Luis Suarez.
-Cheil Germany created completely biodegradable grocery bags for the country’s largest supermarket chain. Have they ever been to Brooklyn?
-Swedish agency Forsman & Bodenfors launched this “Moments” spot to promote the Volvo XC60.
-Adweek lists “20 Rising Brand Stars Who Are Helping Make Chicago a Hub for Marketing, Tech and Culture.”
-Los Angeles-based Donut Media is launching a new internal content agency, Donut Brand Studio, with a focus on automotive content aimed at millenials.
-Trollbäck+Company created the opening title sequence for this year’s AICP awards.
The future of advertising is in GIFs. Or stronger brand narratives. Or constant, intelligent targeting.
It depends who you asked at this year’s Northside Festival, a music and innovation event in Brooklyn that gathered panelists on the subjects of journalism, digital media, tech and advertising.
Here are three takeaways:
In this week’s edition, McDonald’s unusual recruitment play, the curious muse behind gorgeous cannabis packaging, CoverGirl gives consumers license to apply in public, Apple’s “frightening” move for the WWDC and Samsung’s one-billion color experiment.
See more breakthrough brand ideas at Creativity-online.com.
Credits:
In the weeks leading up to the premiere of Warner Bros./DC Entertainment’s “Wonder Woman,” the Internet was peevishly aflutter with think pieces and armchair analyses of the studio’s alleged mishandling of the movie’s marketing. People who didn’t have vast reserves of experience in launching multimillion-dollar media campaigns charged Warner Bros. with intentionally trying to tank “Wonder Woman” by failing to promote it, a paranoid web of assertions that didn’t take into account certain quotidian factors such as the film’s release date and production budget. (In the history of cinema, no one has ever purposely botched the launch of a $150 million franchise.)
Like most Internet controversies, the premature nattering about the promotion of “Wonder Woman” turned out to be a whole lot of nothing. After a robust pre-launch campaign that incorporated everything from on-site promotions at South by Southwest and WonderCon to a Nascar integration to a TV-heavy paid-media plan, “Wonder Woman” opened last weekend to an impressive $103.3 million in domestic box office receipts. That marked the all-time most lucrative opening for a movie directed by a woman — Patty Jenkins also wrote and lensed the 2003 Charlize Theron drama “Monster” — and put “Wonder Woman” on a pace to rake in as much as $300 million in stateside sales.
As is generally the case with blockbusters, TV did a lot of the heavy lifting. According to iSpot.tv estimates, the studio thus far has invested $24.8 million in national TV inventory, which is within shooting range of the initial outlay for Warner/DC’s 2016 release, “Batman vs Superman: Dawn of Justice.” The comparable TV spend for that film, which introduced Gal Gadot in the Wonder Woman role, was $29 million.
In the weeks leading up to the premiere of Warner Bros./DC Entertainment’s “Wonder Woman,” the Internet was peevishly aflutter with think pieces and armchair analyses of the studio’s alleged mishandling of the movie’s marketing. People who didn’t have vast reserves of experience in launching multimillion-dollar media campaigns charged Warner Bros. with intentionally trying to tank “Wonder Woman” by failing to promote it, a paranoid web of assertions that didn’t take into account certain quotidian factors such as the film’s release date and production budget. (In the history of cinema, no one has ever purposely botched the launch of a $150 million franchise.)
Like most Internet controversies, the premature nattering about the promotion of “Wonder Woman” turned out to be a whole lot of nothing. After a robust pre-launch campaign that incorporated everything from on-site promotions at South by Southwest and WonderCon to a Nascar integration to a TV-heavy paid-media plan, “Wonder Woman” opened last weekend to an impressive $103.3 million in domestic box office receipts. That marked the all-time most lucrative opening for a movie directed by a woman — Patty Jenkins also wrote and lensed the 2003 Charlize Theron drama “Monster” — and put “Wonder Woman” on a pace to rake in as much as $300 million in stateside sales.
As is generally the case with blockbusters, TV did a lot of the heavy lifting. According to iSpot.tv estimates, the studio thus far has invested $24.8 million in national TV inventory, which is within shooting range of the initial outlay for Warner/DC’s 2016 release, “Batman vs Superman: Dawn of Justice.” The comparable TV spend for that film, which introduced Gal Gadot in the Wonder Woman role, was $29 million.
“Al Franken, Giant of the Senate” is the story of how Franken pretended to be a serious person in public even as his inner comic monologue never stopped running.
In her first novel since the legendary “God of Small Things,” Roy writes of a group of outcasts who come together during a protest in India.
Mr. Aslan apologized for Twitter posts in which he compared President Trump to a piece of excrement after Mr. Trump criticized London’s mayor.
(TrendHunter.com) Compartés recently launched a graffiti chocolate bar that boasts colorful, hand-sprayed splashes. This makes each limited-edition bar’s colorful street art-inspired design completely unique….
In the world, we are seeing more and more attached to our smartphones, even when we are driving.
That’s why with Movistar we wanted to show that driving under the internet influence is as dangerous as drive under the alcohol influence.
In the world, we are seeing more and more attached to our smartphones, even when we are driving.
That’s why with Movistar we wanted to show that driving under the internet influence is as dangerous as drive under the alcohol influence.
In the world, we are seeing more and more attached to our smartphones, even when we are driving.
That’s why with Movistar we wanted to show that driving under the internet influence is as dangerous as drive under the alcohol influence.
Esse é provavelmente um dos comerciais mais bonitos que você verá esse ano
> LEIA MAIS: Volvo lança comercial emocionante sobre recurso inovador do XC60
Apparently our nation’s highly talented football players occasionally feel the need to relive their middle school years, chillin’ at the roller rink circa 1980.
In a feel-good spot we missed from last week from the good people at Wieden+Kennedy Portland, Seahawks QB Russell Wilson and some unnamed members of the 49ers demonstrate why that could be a problem for certain ballers.
See, because the grip on the Nike Alpha Menace Elite is so intense that the other players might as well be on roller skates. We get it!
But why would the 49ers want to have their logo on a bunch of players getting schooled so completely?
That was pretty fun, but the product itself looks less like an athletic shoe than that web-like stuff the alien uses to prop its victims up against the wall.
“In terms of cleats we’ve made before, this is our antagonist,” said designer Jeff Rasmussen, adding, “It has a dangerous, gritty vibe.” (As if you didn’t get that already.)
CREDITS
Agency: Wieden + Kennedy Portland
Client: Nike
Creative Director: Ryan O’Rourke
Creative Director: Alberto Ponte
Creative Director: Dan Viens
Copywriter: Kevin Steele
Art Director: Brandon Viney
Executive Producer: Matt Hunnicutt
Producer: Deb Drumm
Associate Producer: Amy Berriochoa
Account Team: Alyssa Ramsey
Account Team: Erik Wade
Account Team: Tobin Kittoe
Strategic Planning: Nathan Goldberg
Strategic Planning: Reid Schilperoort
Media/Comms Planning: Reme DeBisschop
Media/Comms Planning: Ryan Craven
Media/Comms Planning: Justin Bradley
Business Affairs: Anna Beth Nagel
Creative Management: Shannon Hutchinson
Creative Management: Leticia Barajas
Studio Design: Denny Robles
Studio Design: Michael Rosenau
Studio Design: Seth Shelman
Production company: Doomsday Entertainment
Joan Creative, the agency launched last May by former W+K executive creative director Jamie Robinson and former Refinery29 chief operating officer Lisa Clunie added three new hires to its creative and production departments, welcoming art director Rose Sacktor, copywriter Michelle Lamont and executive producer Joyce Lee.
“We’ve just celebrated our first anniversary as an agency and are extremely proud of our accomplishments so far, particularly the team we’ve built,” Robinson, who serves as the agency’s chief creative officer, said in a statement. “Rose and Michelle bring incredible talent to our creative group and Joyce’s broad experience and problem solving know-how is a huge asset in bringing our ideas to life. All three have the crazy motivated, smart, fun, curious nature of a true Joan and we are thrilled to have them joining our team.”
As creative partners, Sacktor and Lamont will work together on creative across Joan’s client roster. Sacktor arrives at Joan Creative from W+K New York, where she spent the past two years after over a year and a half as an art director with Barton F. Graf. She has worked with clients including ESPN, Bud Light, Delta Airlines, Little Caesars, Kayak.com and Equinox.
Lamont joins Joan Creative from Pereira & O’Dell, where she has spent nearly three years as a copywriter, following a little over a year as an associate copywriter with 360i. She has worked with such clients as including Hanes, Miracle-Gro, Realtor.com, Memorial Sloan Kettering Cancer Center and the Ad Council.
Lee will be responsible for production, while “aiming to push partners into more agile spaces as brands shift toward more content-driven and experiential creative,” according to a press release. She joins Joan Creative in the full-time position following a period as a freelance producer. Before that, she served as a senior integrated producer for Huson Rouge and an integrated producer for TAXI.
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.
