Glossier is the poster child for organic growth. Founded in 2014, the beauty brand was originally a spinoff of the popular beauty website Into the Gloss, known for its Top Shelfie interviews that ask women–from stylists and editors to actresses–to spill the details about their makeup, hair and skincare routines. In its earliest days, the…
You have an idea. A product, even. Now what? How do you build a brand that brings customers in? We’re launching a new video series called I’m With the Brand, exploring the exhilaration and exhaustion of brand building, hosted by the founder and creative director of ad agency BigEyedWish, Ian Wishingrad. In our first episode,…
Welcome to First Things First, Adweek’s new daily resource for marketers. We’ll be publishing the content to First Things First on Adweek.com each morning (like this post), but if you prefer that it come straight to your inbox, you can sign up for the email here. Today’s top story: IPG Signals Its Future With a…
(TrendHunter.com) The September 2019 design list spotlights cutting-edge ventures that elevate numerous industries. A prominent pattern in this round-up is the intersection between art and technology as designers…
(TrendHunter.com) With the looming threat of climate change, the September 2019 retail trends reveal a renewed effort to make in-store shopping a little more eco-friendly—particularly when it comes to grocery…
(TrendHunter.com) The September 2019 customization trends give customers the liberty to explore their own personal design preferences and practice creativity. A number of product and service offerings gave its…
(TrendHunter.com) As the summer season slowly comes to an end, the range of September 2019 sports trends highlights many ways to stay active indoors or during the colder seasons. Some brands create products that…
Outdoor, Print
AXA
Golf is a precision sport, in which you need to make fewer strokes to win. In the same way, our illustrations have few details, giving prominence to the typical elements of the sport: ball, stick, and hole.
Advertising Agency:Publicis, Bogotá, Colombia
Creative Director:Santiago Moreno
Art Director:Sebastián Zuluaga
Illustrator:Sebastián Zuluaga
Copywriter:Sebastián Galindo
Print
Transavia
That’s all folks – the summer holidays are already over and you’ve gone back to your little habits and routine: commute, work, sleep, and repeat… In the end, the holidays are always, always way too short. For all those looking for ways to prolong the holidays, Transavia and its agency Havas Paris Seven have launched the pop-culture coded campaign “Holidays are back”.
Advertising Agency:Havas Paris Seven, Paris, France
President:Elisabeth Billiemaz
Creative Director:Stephane Gaubert
Strategic Planning:Sabrina Guendouz
Artistic Director:Jordan Molina
Designer Writer:Ludovic Miege
Budget Officer:Frédéric Guiraudou, Lola Abourmad, Pascale Vinzant, Agathe Pannaud
Art Purchasing Manager:Sylvie Gazaix
Studio 3D:Lightfarm
Photographer:Milton Menezes
Online
Greenpeace
act for amazonia! … because prayers aren’t enough.
Advertising Agency:DDB, Vienna, Austria
Copywriter:Tina Buchegger
Art Director:Virginia Wilhelmer
Executive Creative Director:Thomas Tatzl, Andreas Spielvogel
Film
Kapten
Kapten and FamousGrey Paris don’t believe in simple luck, but in loyalty.
Advertising Agency:FamousGrey, Paris, France
Postproduction:De Gaulle
Sound Production:Ma Joie
Producer:Sylvie Lemonnier-Simoes
Director:Tom Bartowicz
Production Company:De Gaulle
Tv Production Manager:ADAM ARAUJO
Account Executive:Barbara Georget
Account Director:Pauline Bouvet
Strategic Planning Manager:Guillaume Bilheude
Copywriters:Anthony Legrand, Pablo Fernandez
Artistic Director:Thomas Dollé-Labbé
Executive Creative Directors:Romain Repellin & Régis Boulanger
General Manager:Bénédicte Muller
President:Marc Fauconnier
These automatic ad bans just keep getting funnier.
To all people who fear that AI will soon take over the world, turn into Skynet and then kill us all off if they won’t use us human batteries…. We have a while to go before it gets there. The program is only as smart as the programmer, you know, and it seems like every week we hear of yet another gaffe where an online ad is rejected because the automatic system doesn’t grasp the context. Context is a really cool thing, y’all should look into it. Just last week “vaginas” was the word that sent up the alarm bells at Facebook, but this time it’s the word faggots that has offended Google’s text ad system.
– “Faggots… you mean…”
– “No no no, not the bundle of sticks, the other faggots.
– “You mean… uh.. faggots?”
– “Yes! As in saucy little plump, yummy, and fresh, faggots.”
You see, there’s a little café called “Fanny’s Rest Stop” in Newport, which despite their terrible taste in fonts and eclectic 50-diner-ish furniture, serves all the classics that a proper greasy spoon in the UK should. The owner, Jo Evans-Pring, enlisted her friend Chris Barnbrook for help setting up her online presence, to promote her business and advertise. Things were going quite well, with new customers dropping in and business picking up, until one day an ad was unceremoniously rejected.
“I posted an advert on the website for Fanny’s faggots with peas and onion gravy, a pretty traditional meal and one of my favourites, on the 27th.” explains Chris Barnbrook.
Jo Evans-Pring received an email from Google the day after a new advert went live, telling her that her advert had been removed.
“Recently, a post was removed from your Business Profile,” the email said. “To help ensure your posts create a positive experience for users, please review our content policy.” Ah, that blasted content policy again. Content policies don’t care about context.
“Me and Chris had a look, and realized they’d moved the faggots one – and we couldn’t think it was for any reason other than it having the word ‘faggots’ in it.”
Oy vey, wait until Google hears about the delightful spotted dick and other assorted names that don’t travel well.
Markee the Sad
Whether it’s your first violin solo at a school recital or your first performance in a sold out concert hall, American Express wants to let you know that they’re “Right Behind You.” Prettybird Director Max Malkin offers a unique perspective for agency McGarryBowen, with pivotal moments in people’s lives woven together by Cut+Run Editor Gary Knight. An evocative instrumental reimagining of Brandi Carlile’s emotional track “The Joke” is the perfect match for the anthem spot. As the music swells and reaches its final crescendo, the message is clear: from doing what you love, to following your dreams, to life’s most precious moments, American Express has your back.
Client: American Express
Agency: McGarryBowen
Production Company: Prettybird
Director: Max Malkin
Editing Company: Cut+Run
Editor: Gary Knight
Finish: Jogger
“From September 2nd to October 6th, BURGER KING® sets up a new political meeting in France and launches Democratic Burger: the first 2€ democratically elected burger. “
There has been a lot of voting between brands in many advertising campaigns over the years. Why I myself am guilty of once presenting such an idea to my Creative Director. Mine was for AMA margarine, a name that was very easy to confuse with the main competitor OMA margarine, which doesn’t have the healthy omega 3,4 and 6 in it – so naturally, I conceived of a campaign where the Danish people would have to vote for a new name where all options reminded them of the Omegas. It was an election year in Denmark, and my Creative Director was so tired of “vote for product” campaign ideas, he practically threw me out of the office head first. “That’s the oldest idea,” he yelled after me “I see a hundred variations every four years!”
It probably comes as no surprise to you that I flashback to that moment and giggle a little every time Adland receives a produced campaign, that hinges on the “vote for product” core concept. And there is indeed a lot of them. As my tutor and mentor John Gillard used to say: Beware of your first idea as it’s inevitably too good.
September 2nd is a founder day for the French democracy. Now Burger King France joins in, and asks the customers to decide which promotional product they want. They get to vote on it.
All French people can vote on the BK app in order to weekly elect the burger that will be available at only 2€ among 8 in the running (Crispy Chicken, Big King®, Big Fish, Whopper®, Chicken Tendercrisp®, Steakhouse, BBQ Cheese & Bacon et Bacon Lover).
With the posters, they also have this 45-second ad, showing a family arguing about burgers – rather than politics – over dinner. What a misdirect. “BURGER KING® – DEMOCRATIC BURGER”
President and Executive Creative Director Georges Mohammed-Chérif
Vice – President Thomas Granger
Managing Director Julien Levilain
Creative Director Julien Doucet
Creative Director Lilian Moine
Art Director & Copywriter Thibault Picot
Art Director & Copywriter Yvonnick Le Bruchec
Head of Account Loïc Coelho
Account Executive Fany Maupou
Head of Social Media Loris Bernardini
Social Media Manager Félix Brunot
Social Media Manager Arnaud Cherbonnier
Head of Strategic Planning Clément Scherrer
Head of PR & Communication Amélie Juillet
PR & Communication Manager Paul Renaudineau
Head of TV Production Vanessa Barbel
TV Producer Benoit Crouet
Rights Management Dee Perryman
Production Film Caviar
Director Cloé Bailly
Producer Céline Roubaud
Post-production FIRM
Sound Production Schmooze
Versatility and a knack for performance-driven comedy shine through in Matt Dilmore’s offbeat campaigns. He has directed Super Bowl work for Avocados from Mexico, an Emmy-nominated short for Old Navy, and spots for Yoplait, Little Caesars, KFC, Foot Locker, PlayStation, and Stella Artois, to name a few. Memorably, his parody ad inviting guests to stay at The Shining’s ‘Overlook Hotel’ aired as part of the 90th Oscars broadcast. A once in a lifetime opportunity, Dilmore brushed off Stanley Kubrick’s original camera lenses to craft the spoof.
Matt Dilmore
While making his mark in the ad world, Dilmore also helmed “The Great Imposter” for ESPN’s lauded 30-for-30 series. Chronicling the story of Barry Bremen, the Detroit salesman who postured as an athlete at nearly two dozen major sporting events in the 1980’s, the series won Dilmore and team an Emmy Award.
From high-end campaigns to his recent hi-8 music video for Swamp Dogg, Dilmore thrives on working across the filmmaking spectrum. He says, “I like rolling up my sleeves with my production team. I’m not one to let a project that’s hungry to be told slip through the cracks, because often times those are the most personal, human stories.”
That mantra is precisely why Dilmore is currently in pre-production on his feature film debut – an adaptation of an obscure memoir written by a 1970’s-era female postal worker about her relationship with an outsider artist.
Gifted Youth Executive Producer Josh Morse knows first-hand the quality that clients are getting with Dilmore, having worked with him a number of times as Head of Production at Barton F. Graf. “The level of talent and energy that Matt brought to every project made him a trusted go-to for Barton and their clients. I couldn’t be happier to be working with Matt on this side of the table.”
announcement
oday, the 2022 Special Olympics USA Games Organizing Committee unveiled its original and unprecedented logo for the 2022 USA Games which was, for the first time in the organization’s 50-year history, inspired and designed by nine artistic and talented Special Olympics athletes. Athletes from across the country gathered for a three-day workshop in Orlando, where they joined forces with professional designers from creative ad agency partner, Publicis Seattle, to provide the vision for the 2022 USA Games logo, as well as the primary color palette that explodes with life. The mark represents the natural elements of Florida culminating in a fiery spark of the Special Olympics spirit.
“It is an honor to be part of the team that created the logo,” Special Olympics athlete Lee Savage said. “This was so important to us because Special Olympics is such an important part of our lives. We are proud of the logo and hope it can be an inspiration to society.”
“This logo tells a story of how a combined passion for sports, perseverance, and art can literally come to life on a blank canvas,” said Joe Dzaluk, President & CEO of the 2022 Special Olympics USA Games. “These incredible athletes used their unique talents to inspire and design an iconic image for the 2022 Special Olympics USA Games brand, and it proved to be more meaningful than any of us could have ever imagined.
Additionally, Iranian-American filmmaker Rayka Zehtabchi, who is best known for her 2018 Academy Award-winning documentary short Period. End of Sentence., directed a mini-documentary that was filmed during the three-day workshop. This unique approach to developing the 2022 Special Olympics USA Games logo served as the perfect platform to unlock the creativity and confidence of the Special Olympics athletes. Zehtabchi’s film beautifully captures the positive impact of the process and the undeniable spirit and talent of the athletes.
Melissa Nelson, President, Publicis Seattle, commented, “We’ve been privileged to partner with Special Olympics for the 2018 Games and now again for the 2022 Games. This collaboration inspires our people to do what they do best: explore exciting new creative thinking and opportunities.
Pete Kearney, Executive Creative Director, Publicis Seattle, added, “We’ve always felt this was never our logo to create — it was the athletes’. We embraced that idea and empowered the talent, vision, and passion of these spirited artists. We’re in the business of changing perceptions, and with this work, we’ve shown that creative power exists in each and every one of us.”
The nine athletes included: Aarushi Pratap of Special Olympics Florida (Fashion Design), Andrew Weatherly of Special Olympics New Jersey (Abstract Painting), Caroline Shin of Special Olympics Florida (Web Design), Coby Fineran of Special Olympics Iowa (Tattoo Artist), Haley Waggoner of Special Olympics Nebraska (Cake Decorating), Lee Savage of Special Olympics Florida (Drawing), Mariah Gilbert of Special Olympics Washington (Drawing), Marta Páramo of Special Olympics Florida (Painting) and Patrice Jetter of Special Olympics New Jersey (Graphic Design).
About 2022 Special Olympics USA Games:
Orlando was officially announced as the host city for the 2022 Special Olympics USA Games in May 2018. Taking place from June 5-11, 2022, more than 4,000 athletes, 10,000 volunteers, 1,500 coaches and 125,000 fans from all 50 states and the District of Columbia will travel to unite and participate in one of the world’s most cherished sporting events. The Games will be comprised of as many as 20 Olympic-type team and individual sports and will take place at the 220-acre ESPN Wide World of Sports Complex at Walt Disney World Resort, providing a premier venue for amateur sports in the nation. To learn more about the 2022 Special Olympics USA Games, please visit www.2022USAGames.org and follow the organization on Facebook, Instagram and Twitter.
About Publicis Worldwide:
Publicis Worldwide is a global creative agency network enabling our clients to Lead The Change in their own marketing and business transformation. We do this through a combination of strategy, creativity and technology. With over 16,000 employees in 110 countries, clients include Adidas Sports, Axa, Carrefour, Cartier, Citi, Diesel, Emirates, Heineken, Hewlett-Packard Enterprise, L’Oréal, Nestlé, Orange, P&G, Renault and Sanofi.
Publicis Worldwide is part of Publicis Communications, the creative agency network solution hub within Publicis Groupe.
Client: 2022 Special Olympics USA Games
Campaign Title: 2022 Special Olympics USA Games Logo
Joe Dzaluk, President and CEO
Bill Schoonmaker, Chief Marketing Officer
Kyle Jaimes, Partnership Manager
Agency: Publicis
Agency Location: Seattle
President: Melissa Nelson
Executive Creative Director/s: Jason Lucas, Pete Kearney
Creative Director/s: Chris Campbell, Earl Wallace IV
Sr. Art Director: Chad Ford
Sr. Designer: Michelle Billings
Copywriter: Kai Nedderson
Head of Production: AJ Karim
Executive Producer: Jen Allen
Assistant Producer: Grace Gutierrez
Group Account Director: Garth Knutson
Account Supervisor: Pat Hutchinson
Account Executive: Brooke Songey
Project Manager/s: Nina Scarnici, Kurt Hartwig
Studio Director: Ricky Fisher
Sr. Print Producer: Molly Costin
Special Olympics Athletes/Artists/s: Caroline Shin, Haley Waggoner, Lee Savage, Aarushi Pratap, Marta Paramo, Coby Fineran, Andrew Weatherly, Patrice Jetter, Mariah Gilbert
Director: Rayka Zehtabchi
Director of Photography: Sam Davis
Editor: Sam Davis
Assistant Editor: Tim Deters
Design & Animation Company: Laundry
Executive Creative Directors: PJ Richardson & Tony Liu
Creative Director: Reza Rasoli
Managing Director: James Sweigert
Head of Production: Matthew Primm
Producer: Dean Marchand
Design: Reza Rasoli, Yoojin Seol, Teppei Maki, Ana Perez Lopez
Animation: Reza Rasoli, Teppei Maki, Ramzi Hogan, Samantha Maurer, Ana Perez Lopez
Audio Record: Push Button Productions
Producer/Engineer: Yeosh Bendayan
Producer/Engineer: Jon Ruhff
Mix / Sound Design: Bart Radio
Producer/Engineer: Bart Smith
A special episode of El Chavo broadcasted last Saturday caused much talk. Through its social responsibility platform SBT do Bem, SBT deleted the main character of the show on the Childhood Day (August 24) to raise the awareness about child abandonment. The context couldn’t be better, since Chavo is a boy living in a barrel who doesn’t know his parents or relatives and, in some episodes, even starves.
The action developed by WMcCann aimed to raise awareness by removing from the show one of the most beloved characters in the country. After watching all episodes of the show, the agency used the technique of rotoscopy to remove the boy from the episode scenes, which were edited to create a new story. In the special episode featuring original voice actors, the village characters notice Chavo is missing and start looking for him. This way, SBT ensured visibility to a social problem that is often invisible to the public eye.
“This is one of the oldest shows of SBT, it has just completed 35 years on the SBT grid and people love it. But unfortunately, it addresses a persistent social problem: child abandonment. And as SBT do Bem promotes actions for reflection and transformation of society, we wanted to use this opportunity to raise awareness about this problem through a character that shows the situation of many children in Brazil, although many times we don’t see Chavo as a homeless child, but he lives in a barrel, is always hungry (looking for ham sandwiches), and has no father or mother,” said Priscila Stoliar, SBT Marketing Manager, who also informed this theme will be further addressed by SBT journalism department.
Credits:
Agency: WMcCann
Client: SBT
Name of the campaign: Chaves sem Chaves
CCO: Hugo Rodrigues and André Marques
COO: Kevin Zung
Executive VP and Rio de Janeiro General Director: Marcio Borges
Creative Directors: Ricardo Weitsman, Nicolás Romanó and Viviane Pepe
Head of Art: Felipe Gomes
Creatives: Alexandre “Xela” Oliveira, Rafael Dyer, Pedro Chaves, Felipe Latgé and Ricardo Weitsman
Editor: Yuri Porto
Client Service: Anna Moraes and Vitoria Silvestre
Media VP: André França
Media: Horácio Rosário, Daniel Neves, Vitória Lobo, Lucas Gonçalves
Production VP: Tato Bono
Production: Cayan Lobo, Rosinha Pinheiro, Fabiana Diniz
Production House: Homem de Lata Filmes
Director: Ale Braga
Post-production: Bernardo Leite and equipe Mandrill
Sound Production: Satélite Áudio
Voice-over: RioSound
Graphic Production: Maurício Martim, Nereu Marinho
Projects: Yarha Costa
Public Relations: Kerena Neves, Bruna Ramos and Patrícia Lázaro
Client approval: Priscila Stoliar, Daniela Martins and Becken Lima
Advertising agency Cactus launched its latest work for client CommunityAmerica Credit Union (CACU), an inspirational, integrated branding campaign that leverages its sponsorship of NFL team the Kansas City Chiefs and its quarterback Patrick Mahomes to highlight a shared sense of hometown pride.
The effort—launched mid-August during the Chiefs’ second preseason game and includesTV, radio, digital, native and out of home media—meaningfully connects CACU to the Kansas City community by positioning it as the premier local financial institution for the nation’s most overbanked metro.
Kansas City’s collective momentum is moving forward—from its growing tech industry to its thriving small businesses to its NFL team. The new work supports this sentiment and the idea that there’s nothing locals can’t accomplish together.
In the inspiring 60-second execution, Mahomes rouses his team to victory in a locker room speech that doubles as an anthem for the people of Kansas City—and the town itself. It opens with Mahomes walking through the stadium one early morning and cuts to various members of the Kansas City community throughout. “Today is a new day,” the quarterback is seen telling his teammates. “A day we’ve been waiting for our whole lives.” As they cheer on the MVP, we see shots of people experiencing major life moments: a baby taking its first steps, an architect about to retire, a young couple moving into their new home, a woman opening her own business, a man gazing at the engagement ring he just bought.
“Everyone knows KC is on the rise,” Mahomes’ pep talk concludes, “but what they don’t know, is we’re just getting started” The spot tags with the message: “CommunityAmerica. Powering the rise of Kansas City.”
The 60 second ad, which is available in 30- and 15-second cutdowns, is a different tone for CACU, which has done two previous campaigns with Cactus. While those efforts also played up the credit union’s local pride, they were humorous and focused on specific products, such as Chiefs checking. They were also effective: In 2018, CACU surpassed its checking account target by 16% and added more than 1,000 more households than it expected.
“This fall, our focus is on highlighting local growth and reinforcing CACU’s commitment to the community of Kansas City, the credit union’s breadth of products and sophistication as a financial institution,” said Norm Shearer, Partner and CCO. “And strengthening our relationship with Patrick and the Chiefs, whose teamwork could not better illustrate the spirit of this town.”
New-member acquisition remains CACU’s primary objective in advertising, while encouraging deeper product engagement with current members is a secondary one. Cactus designed the TV and radio ads to create brand awareness, likability and a strong feeling of connection, and the OOH and digital executions to support product-specific messages and generate awareness for product relevance and benefits.
Advertising Agency: Cactus, Denver, CO (USA)
Brand/Client: CommunityAmerica Credit Union (CACU)
Buzzman is no longer independent. Havas Group today announced the acquisition of a 51% stake in Buzzman, the most awarded French independent advertising agency, a move that will further reinforce the Group’s creative excellence and bring on board a highly talented team.
Buzzman was founded in 2006 by George Mohammed-Chérif, keen to put the power of digital culture to work for brands. With the founding of Buzzman, he created a whole new model of a 100% independent advertising agency combining supreme creativity with an advanced understanding of consumer engagement. Buzzman has since become one of the most awarded agencies in the market and is acclaimed as one of the boldest and most creative in Europe.
Georges Mohammed-Chérif on the left and Yannick Bolloré on the right.
Working alongside associates Thomas Granger (since 2009); Julien Levilain (since 2011), Olivier Amsallem (since 2007), Tristan Daltroff and Louis Audard (since 2010), and Clément Scherrer (since 2015), George Mohammed-Chérif has instilled in his teams a powerful culture and working methods rooted in exacting standards, autonomy and solidarity. Paris-based Buzzman reports a gross margin of 12.3M€. Its 140 talents leverage creativity and entertainment to profoundly influence consumer perceptions, behaviours and practices. Pushing the boundaries of traditional advertising and creating innovative concepts, Buzzman gives brands a way to engage with their audiences through powerful storytelling.
Buzzman works with leading brands such as Burger King, PMU, Boursorama Banque, Ikea, Ouibus (SNCF), Fleury Michon, Hippopotamus, Mondelez (Oreo, Milka), EasyJet, L’Oréal (Diesel, Puma Fragrances, Garnier), Huawei, NRJ Mobile, PayPal, BMW and more.
In keeping with the entrepreneurial and decentralized spirit embraced by Havas, Buzzman will now become part of the Group’s creative division, whilst retaining its independence in its 10th arrondissement offices. The agency can count on Havas Group to invest in the best talents and creative tools. The entire management team, headed by Georges Mohammed-Chérif, will continue to run the agency.
Yannick Bolloré, Chairman and CEO Havas Group said: “I am delighted and proud that Buzzman is joining Havas. Welcome aboard! Georges was one of the earliest advertising pioneers to seize on the amazing opportunities that digital has to offer. He made all the right decisions and took a bold step at just the right moment, launching a startup that has since become a creative force to be reckoned with, in France and beyond. This deal ties in perfectly with our determination to position Havas at the convergence of communications and entertainment since becoming part of Vivendi.”
Georges Mohammed-Chérif, President and Creative Director of Buzzman added the following: “In recent years, Buzzman has been the target of repeated approaches from leading communications and consulting groups. The reason why we have now chosen to go with Havas is Yannick Bolloré’s readiness to listen and his grasp of what it is that underpins our extraordinary creativity: our independence. The one non-negotiable condition for joining the Havas Group was maintaining our autonomy. We will now be able to take advantage of the synergies offered by the network and expand the field of opportunities, whilst holding fast to Buzzman’s recipe for success from the outset: exacting standards, outspokenness and boldness.“
announcement
Tide’s fourth-wall-breaking ad approach used to be limited to the Super Bowl, where the detergent brand’s messaging spilled across multiple parts of the broadcast in 2017 and 2018. But now, emboldened by the success of last year’s “It’s a Tide Ad” campaign, the brand is blurring more lines. On Sunday, as pro football season kicked…
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