When you wake up looking like Jim Morrison and Brian Wilson's weird soccer hooligan man-baby, you've slept too long. You might want to get up, dust off the cobwebs and maybe get a friggin' haircut, ya big hippie.
This delightfully absurd spot from French automaker Citröen and agency Les Gaulois opens with a groggy, unkempt man waking up from what appears to be a pretty satisfying Rip Van Winkle-ish snooze. He wakes up and shuffles to the window, and then we see him assemble the fragments of the years he slept through.
Advertising Agency: Les Gaulois, Puteaux, France Creative Directors: Gilbert Scher, Marco Venturelli, Luca Cinquepalmi Art Director: Marie Donnedieu Copywriter: Ouriel Ferencz Director: Eric Lynne
Delis, grocery stores, liquor marts and bakeries in Bogota, Colombia—most which close at 8 p.m.—agreed to advertise for one of their competitors, Carulla, by turning their late-night security shutters into billboards for the 24-hour supermarket chain.
The campaign from Ogilvy paid local merchants to post messages on their metal gates, including "The butcher is asleep. The one at Carulla on 85th is awake" and "In here we have everything but if you need it now, go to the Carulla on 63rd."
It reminds me a bit of that DHL stunt (which DHL insisted it didn't approve or condone) that showed competitors of the delivery service carrying large packages touting DHL. Points to Carulla for devising a nonprank concept that delivered for all concerned, with participating stores providing a little extra convenience to customers.
Credits below.
CREDITS Client: Carulla Agency: Ogilvy & Mather Colombia Chief Creative Officer: Jhon Raúl Forero Executive Creative Directors: Juan Pablo Álvarez, Mauricio Guerrero Creative Directors: Julio César Herazo, Amples Regiani Copywritters: Julio César Herazo, José Cárdenas, Jorge Villareal Art Directors: Amples Regiani, Gabriel Escobar, Mauricio Reinoso Graphic Designer: Maria Fernanda Ancines Production Company: Direktor Films Director: Felipe Suarez Producer: Lali Giraldo
"It's the little things in life that makes us happy." That's the message in this print and outdoor Coca-Cola campaign from Ogilvy Berlin, and it's true in advertising generally. Unusually little things tend to get big props—whether you're talking doll houses,mini Abe Lincolns or tiny billboards.
Ogilvy placed these mini kiosks in five major German cities. They sold mini cans of Coke, which was the whole point, but also various other miniature products. They even had a pint-size vending machine. The kiosks sold an average of 380 mini cans per day, which Ogilvy says is 278 percent more than a typical Coke vending machine.
Get out your Kleenex, because Ogilvy Amsterdam and funeral insurance company Dela have brought back their Cannes-conquering "Why wait until it's too late?" campaign—urging people to "say something wonderful" to those they love here and now.
One of three new long-form ads takes place at a concert hall, as a woman named Martine surprises her widowed father midway through the show by taking the stage and serenading him with a song expressing her admiration and affection. In another, elderly Leo, who has struggled with illness of late, appears poolside during his wife's exercise class to thank her for more than 50 years of companionship and devotion. Finally there's Mark, an overweight, bullied teen, who pays tribute to a special teacher who helped him overcome his social awkwardness.
These are real people, not actors, and their reactions are genuine (Martine's dad and Mark's teacher struggle to hold back tears), which ratchets up the emotional intensity, despite the fact that the approach is fairly restrained given the campaign's premise.
This is powerful stuff—an evocative concept expertly realized—though it makes me feel just a tad uncomfortable, like I'm peeking at intimate moments where perhaps I shouldn't pry.
Maybe my discomfort stems at least partly from the realization that there are people I haven't taken the time to thank and praise. By going so boldly public, the folks in these ads remind the rest of us that a few heartfelt words spoken in private can make all the difference.
In Brazil, sunscreen brands are all about creating advertising that goes above and beyond in offering you protection.
This case study for Sol de Janeiro showcases a campaign from Ogilvy Rio in which 450 tattoo artists were trained to check their customers for signs of skin cancer. That follows last week's magazine ad from Nivea and FCB São Paolo, which included a removable child-tracking bracelet to help beachgoers from losing their kids.
The Sol de Janeiro work, which relied on lectures from an oncologist, is a smart if narrowly targeted way to raise awareness and signal the brand's devotion to the cause. And for what it's worth, some of the artists have already pointed their clients toward dermatologists, according to the video.
It's also a way better idea than any campaign that encourages consumers to actually get branded tattoos.
The compressed hydrogen-powered Honda FCX runs so clean, its exhaust contains only water—and it's so clean, it's drinkable. To celebrate this, Honda Australia and Leo Burnett Melbourne came up with a memorable stunt—creating a new bottled-water brand, H2O.
As seen in the case study below, the automaker gave the water away in movie theaters around Australia (as free samples, no less) as a way of showing people what they're doing for the environment. There are also plans to make the water available at Honda service stations and dealerships.
Copy on the bottle reads: "Delicious, fresh H2O from a pristine mineral spring, cool mountain glacier or … the exhaust pipe of the Honda FCX. The world's first hydrogen-powered car that emits only water. Water so clean and pure, you could put it in a bottle and drink it. Now isn't that refreshing?"
Note the use of "could." It doesn't appear that this water is actually the by-product of FCX. Still, a neat idea. The product is nicely designed, too, with an effective minimalist aesthetic. I really like how well the Honda logo works as the hydrogen symbol in H20.
Michael Bacon, the less famous of the Bacon brothers—though not entirely unknown, as he is one-half of The Bacon Brothers, the band—has signed up for an amusing campaign by Oscar Mayer to advertise another less famous bacon: turkey bacon.
The video below, from 360i, sets up the goal of the campaign, which is to get people to follow Michael on Twitter and catch his more famous actor brother. (This will be a challenge. Kevin has about 431,000 followers. Michael currently has about 1,300.)
"We really feel for Michael, and we want to support him as much as possible," says Tom Bick, senior director of integrated marketing and advertising at Oscar Mayer. "You just have to embrace each one for its own individual qualities. And that's what we do with our entire line of bacon products—each one is spectacular, because it's made by the bacon experts at Oscar Mayer."
Being used almost literally as a piece of meat doesn't seem to bother Michael, though. Good luck to him.
Here's an amusing bit of mischief. Coca-Cola brought together fans on both sides of one of soccer's fiercest rivalries by making them give each other sodas.
"Fair Play Machines," a campaign from McCann in Milan, shows the brand placing a pair of its signature high-tech, manipulative vending machines at opposite ends of San Siro Stadium in Milan while club teams Inter Milan and A.C. Milan were facing off there. Fans of each team could hit a button to serve a Coke to an opposing fan at the other machine—effectively forcing opponents to do something nice for one another.
The clip is full of the happy vibes to be expected from Coke ads, and a nice nod to good sportsmanship—in a league where its opposite has been disturbingly true lately.
It's also reminiscent of the brand's "Small World Machines" campaign from last year, which tried to ameliorate the India-Pakistan conflict with a similar set of interconnected machines—though softening a sports feud is maybe a less pretentious bit of peacemaking for a sugar water company.
Credits below.
CREDITS Client: Coca-Cola Roel Annega – CSE Marketing Director Andreas Johler – CSE My Coke Director Guido Rosales – EUG IMC Director Claudia Navarro – CSE IMC Director Francesco Cibò – CSE Content Excellence Manager Camilla Zanaria – CSE Content Excellence Manager Agency: McCann Worldgroup Milan Global Creative Director: Miguel Bemfica, Creative Director: Gastón Guetmonovitch, Miguel Usandivaras Art Director: Cristina Caballero Copywriter: Curro Piqueras Graphic Designer: Marina Tercelán Account Manager: Sanziana Fanica Account Director: Andrei Kaigorodov Agency Producer: Massimo Busato Production Company: Filmmaster Productions Director: Edoardo Lugari, Executive Producer: Karim Bartoletti Producer: Elena Marabelli Editor: Francesco Cusanno, Toboga Music: Alberto Cimarrusti, Bronze Radio Return
GE generally does a good job of telling stories around technology that's diverse and specialized. A new collection of two-minute spots from BBDO New York is no exception.
There are three videos in the series so far, all beautifully shot and edited. One introduces a jet-skiing Japanese doctor who uses the brand's portable medical equipment to tend to patients on the country's islands.
A second interviews the inhabitants of another island halfway around the world, in Scotland, that gets power from underwater turbines made by GE. The third features a young boy in China taking his first flight to meet his soccer heroes, thanks to GE's jet technology.
The ads are a little heavy-handed in their sentimentality at moments and could probably accomplish the same thing in a smaller window, but the slower pacing isn't altogether unpleasant. They also aren't quite as inventive as the brand's recent, trippy spot that envisioned some of the same products through the eyes of a child.
But they do have the narrative appeal and human element that was missing from the clips of GE's research lab equipment smashing random objects, or the the shipping container dance that the brand choreographed. The global scope also brings to mind IBM's recent 60-commercial opus for the Masters, but with a somewhat less granular, more humble approach not aimed at proving that the brand is in fact everywhere at once—though it's still easy to imagine that it is.
CREDITS:
Agency: BBDO, New York Client: GE Chief Creative Officer, Worldwide: David Lubars Executive Creative Director: Michael Aimette Senior Creative Director: Chris Lisick Group Director of Content Production: Anthony Nelson Producer: George Sholley Associate Creative Directors: Judd Counsell, Lance Vining Head of Music Production: Rani Vaz Senior Account Director, Worldwide: Emma Armstrong Account Director: Katie Hankinson Account Manager: Tessa Cosenza Assistant Account Executive: Joslyn Dunn Production Company: Greenpoint Pictures Director: The Hudson Dusters Director of Photography: Logan Roos Music House: The Music Bed Editing, Visual Effects House: Greenpoint Pictures Editor, "Moon Power in Scotland": Logan Roos Editor, "Zeng's First Flight": Philip Knowlton Editor, "Kumiko's First Ultrasound": Philip Knowlton Sound Design: One Thousand Birds
We are tightly knit, pint sized shop with an eclectic bunch of talent. “We believe the ingenuity of any well crafted communication should sport a lively, engaging, mammoth idea and bring a massive smile to all concerned stakeholders.”
What made you start Chirpy Elephant?
My partner Jairam and I (Leela Ram), were feeling jaded, working for top MNCs and shops where it was all about toeing the line, humouring clients and heavy emphasis on billing. We felt we were moving away from the core reason of why we joined and enjoyed advertising. Besides we strongly felt, we were on a creative crusade to raise Chennai’s brand communication standards.
Tell us about your designers/animators. Did they go into fine art or design schools? How do you pick them up?
We have a fine mix of art talent. Our senior most resource is well rounded with local, national and international work exposure. We have Viscom grads that were handpicked because they had an eye for the ridiculous and also because they hailed from small towns, this helped bring fresher perspectives to the table and ensures a sane work culture.
How would you define the design style at Chirpy Elephant?
Very polished and contemporary with inspiration drawn from diverse cultures.
What does Chirpy Elephant do which sets it apart?
We have the resoluteness and gumption to turn down clients who refuse to buy good work. We chase good work at all costs and not the monies. That’s one reason why we are among the very few shops hailing from Chennai, that has won the admiration of clients and peers across India.
Were there any particular role models for you when you grew up?
Well inspiration comes from everywhere, country music doyens Don Williams, John Denver, Sporting Legend Steve Waugh, Advertising greats Bernbach, Ogilvy, Belgian Art Genius, Erik Vervroegen, Ogilvy’s – Tham Khai Meng, Ace illustrator – Tiagio Hoisel, Maverick Entrepreneur – Branson, stand up comedians and all kinds of people…
Who was the most influential personality on your career in Brand Building?
Anand Bhaskar Halve (Chlorophyll Brand and Communications), when it comes to positioning Subrata Sen Gupta, Anand Siva ex Saatch & Satchi and Akshara…
How important is the focus on a great brand idea?
It’s everything!
Do you function like a traditional advertising agency? Or would you call yourself more of a graphic design/branding agency?
We are ideas shop. Period! The work culture is fun loving and laid back. But there is a strict adherence to meeting client goals and deadlines.
What do you feel about the state of design in Brand Building in India?
Bombay largely and to some degree Delhi and Bangalore is upping the ante; I strongly feel the rest of the country including Chennai has a lot of catching up to do.
Any other Indian agencies you admire?
We adore the work coming out of the all time favourite O&M (at least we admired what they did till a few years ago) very recently it’s been Happy and Taproot to a large degree.
What advice do you have for aspiring creative professionals? Would you advise them to take on graphic design as a career option? Or Advertising and brand building?
Please understand what you are getting into, don’t enter this industry without truckloads of passion, perseverance and patience. Do the hard yards, identify mentor agencies and spend some time honing the skills before you venture out on your own and seek fame. Why just graphic design? there are enough functional roles that will catch the fancy and fuel ambitions. Who would your design team like to take out for dinner?
Some dear clients who have shown immense faith in our creative leaps and some doyens’ in the industry.
What’s on the company iPod?
A mishmash of the latest Tamil chartbusters and at times some good old country music.
Water Is Life and DDB New York's latest spot is, like much of their other work, heartbreaking. The ad focuses on the struggles of a young girl born in the slums of India, and does not pull its punches.
The new PSA, titled "The Girl Who Couldn't Cry," is an incredibly powerful piece of film, leaning heavily on shock value. But as with the organization's previous efforts, it makes its point all the more effective by creating that discomfort in—and compassion from—more privileged viewers.
It's such a great, simple idea: Young Brazilians want to learn English. Elderly Americans living in retirement homes just want someone to talk to. Why not connect them?
FCB Brazil did just that with its "Speaking Exchange" project for CNA language schools. As seen in the touching case study below, the young Brazilians and older Americans connect via Web chats, and they not only begin to share a language—they develop relationships that enrich both sides culturally and emotionally.
The differences in age and background combine to make the interactions remarkable to watch. And the participants clearly grow close to one another, to the point where they end up speaking from the heart in a more universal language than English.
The pilot project was implemented at a CNA school in Liberdade, Brazil, and the Windsor Park Retirement Community in Chicago. The conversations are recorded and uploaded as private YouTube videos for the teachers to evaluate the students' development.
"The idea is simple and it's a win-win proposition for both the students and the American senior citizens. It's exciting to see their reactions and contentment. It truly benefits both sides," says Joanna Monteiro, executive creative director at FCB Brazil.
Says Max Geraldo, FCB Brazil's executive director: "The beauty of this project is in CNA's belief that we develop better students when we develop better people."
CREDITS Client: CNA Project: "Speaking Exchange" Agency: FCB Brazil Executive Creative Directors: Joanna Monteiro, Max Geraldo Digital Creative Director: Pedro Gravena Creative: Vinícius Fernandes, Bruno Mazzotti, Daniel Alves, Mauricio Bina Creative Technologist: Márcio Bueno Digital Production: Brave.ag Project: Lia D'Amico Technology: Gerson Lupatini, Caio Mello Account: Mauro Silveira, Alec Cocchiaro, Pedro Führer, Thiago Figueiredo Planners: Raphael Barreto, Lia Bertoni, Pedro Schneider Media: Alexandre Ugadin, Tiago Santos, Fábio Tachibana, Sandra Carvalho, Fábio Menezes RTV: Vivi Guedes, Ana Flávia de Lucca, André Fonseca Production Company: Hungry Man Director: Ricardo Mehedff Co-direction: Fábio Pinheiro Photographers: Fernando Young (Brazil), Grant Weiss (Chicago) Production Company: Hungry Man Account Production: Mariana Marinho Editor: Rodrigo Resende Managing Partner: Alex Mehedff Executive Production: Alex Mehedff, Rodrigo Castelo Postproduction: Hungry Man; Psycho Postproduction Supervisor: Rodrigo Oliveira Sound Producer: Timbre Client Supervisors: Luciana Fortuna, Nicadan Galvão, Diego Marmo, Ricardo Martins
Sadly, there's still a Nazi presence in Germany. Recently, an organization named Laut Gegen Nazis, or Loud Against Nazis, decided to combat the hate with lots of love—or rather, lots of likes.
On International Holocaust Memorial Day, the group encouraged a diverse group of Germans (recruited by ad agency Jung Von Matt/Elbe) to like the NDP (the country's neo-Nazi party) on Facebook and then swarm the page with positive, anti-racist messages like "For a colorful Germany." According to the case study below, more than 100,000 protesters participated in the "Like Attack," and the ensuing coverage generated some 7 million media impressions.
While it's a little unfortunate that participants had to take an action that, on its face, expressed enthusiasm for an awful political presence, the irony is obvious enough to anyone with a brain, and makes for a relatively small evil as a means for raising broader awareness of the issue.
Plus, there's the rich history in social movements of loving your enemies instead of hating them, including the work of revolutionary giants like Martin Luther King Jr.—even if the "Like Attack" doesn't have quite as much depth as some of his thoughts on the subject.
Credits below.
CREDITS Client: Laut Gegen Nazis Agency: Jung Von Matt/Elbe Chief Creative Officers: Tobias Grimm, Doerte Spengler-Ahrens Creative Directors: Hans-Peter Sporer, Henning Robert Art Directors: Thimon Machatzke, Canhur Aktuglu Writer: Luitguard Hagl Agency Producer: Dennis Wendt Sound Designer: Steven Hofmann Digital Multimedia Artist: Joscha Kadegge Producer: Anna Liem
Hey, fellow morons. Just wanted to let you know the marketers are on to us.
"People want to want things. Consumers need you to go," says the Canadian Marketing Association's invitation to its 2014 national convention. As an added bonus, Toronto agency Cundari created some short, bad-on-purpose musical skits (see below) celebrating idiot consumers and their search for the meaning of life through brands.
The point of the snarky little vignettes is that no one would ever know what to buy or sell if marketers didn't tell us how to think and act. Don't know about you, but I'm craving some red soda pop right about now. Or maybe blue.
CREDITS Client: Canadian Marketing Association Agency: Cundari, Toronto Group Creative Directors: Brian Murray, Sean Ganann Art Director: Sean Ganann Copywriter: Brian Murray Director: Max Sherman / OPC Editor: Graham Chisholm / Married to Giants Colourist: Conor Fisher / Alter Ego Music: Grayson Matthews Published: May 2014
Taking your kid to the beach means worrying he or she will wander off when you're not looking. Enter sunscreen brand Nivea and FCB São Paolo with a campaign that basically provides you with a LoJack for your child.
Titled "Sun Band," the combination print-and-mobile execution lets you pop a bracelet out of the magazine ad, wrap it around your child's arm, download an app, sync them and set a perimeter. If your kid wanders outside the safe zone, an alarm sounds, so you can go chasing after him or her. (Presumably, if you lose your phone, too, just whip out your tablet and Find My iPhone to recover your gadget, and then your child.)
The ad ran in April in select copies of Veja Rio magazine sent to a group of subscribers. The bracelet is supposedly "humidity resistant" and reusable, though one has to wonder how much water it can really withstand.
Anyways, it's a fun idea that effectively signals the brand's devotion to protecting your offspring. If you're still not satisfied with the mechanics, you can always do it the old-fashioned way and get a harness and a leash—or, you know, just stay close and pay attention to your child.
Adweek responsive video player used on /video.
CREDITS Client: Nivea Agency: FCB Brasil, São Paulo Executive Creative Directors: Joanna Monteiro, Max Geraldo Digital Creative Director: Pedro Gravena Creative: Victor Bustani, Raphael Leandro de Oliveira, Andre Bittar Digital Production: Geek Group Art Buyers: Tina Castro, Daniel Gonçalves Photographer: Lucio Cunha Image Treatment: Boreal Graphic Production: Edgardo Pasotti, Diego Bischoff Graphic Design, Development: Companygraf Media: Alexandre Ugadin, Tiago Santos, Sergio Brotto, Rachid Antum, Caio Melo Project: Lia D’Amico Technology: Gerson Lupatini, Caio Mello Creative Technologist: Márcio Bueno Account: Mauro Silveira, Cristiane Pereira, Tania Muller, Mariana Mozzaquatro, Vitor Borragine Planners: Rapha Barreto, Lia Bertoni RTV: Viviane Guedes, Ricardo Magozo Production Company: Edit 2 Director: Rodrigo Fleury Account Production: Daniela Andreade Finishing Production: Priscila Prado Animation: Rodrigo Resende, Eduardo Brandão Composition: Eduardo Brandão Editor: Rodrigo Resende Finishing Production: Edit 2 Audio: Satélite Audio Sound Producer: Equipe Satélite Audio Account: Fernanda Costa, Marina Castilho Client Supervisors: Tatiana Ponce, Patricia Picolo, Beatriz Vale, Lilian Cruz, Ana Borges, Katia Margy, Julia Sabbag
UPDATE: The site was working earlier but seems to be having trouble now, making it even more unhelpful! Original item below:
Hearing sarcastic web-design appraisals delivered in dulcet, Siri-esque tones is everyone's idea of big fun. So Ryan McLeod, Grant MacLennan and David Park from Equator, a digital agency in Glasgow, Scotland, created Critique That Shit.
It's a bonnie time waster! Type in a URL and get a none-too-serious (read: totally random) site critique. Its judgment of AdFreak: "I am crying like a little sissy girl, but they are tears of utter joy. Your work is spectacular." Wait, did I say these critiques were random and sarcastic? That sounds spot on to me.
"In digital, everybody has an opinion on creative direction—be it the director, the marketing team, client services or the client—and therefore it's pretty easy to find the quotes," MacLennan tells AdFreak. "It was this we really wanted to have fun with, to take the silly quotes out of the context of their project."
Some other notable quips from the robo critic: "Your negative space is so dope, it should be more like positive space," "You targeted the shit out of that market" and "You are, like, so ahead of the trend."
"The Siri-esque voice just adds to the overall stupidness of the idea," MacLennan says. "It's super deadpan, but at the same time slightly patronizing."
Siri-inspired audio also rocks MacLennan's RapperWisdom.com. The voice reads pretentious Kanye West quotes—such as "I am Warhol … I am Shakespeare in the flesh" and "I am a God. Now what?"—accompanied by a celestial choir and pious "amens."
"I had a look through Kanye's tweet history and realized they are all absolutely amazing," says MacLennan. "I re-styled it as the church, with Kanye bestowing on you his wisdom."
Well, Grant, I think this quip from Critique That Shit sums up my feelings best: "I 100 percent appreciate your design efforts!"
If World Cup fever is getting to you, well, you're not alone.
This new 30-second spot from Wieden + Kennedy in New York, shot mostly in New York, shows American soccer fans talking obsessively about their team—and not just the American team, but their national teams of their ancestral homelands. The tagline is: "Every 4 years the conversation starts again."
The ad uses real U.S.-based soccer fans, including a German butcher, an Italian barber and a cabbie from the Ivory Coast. These guys are passionate.
I don't want to spoil anything, but I'd be remiss if I didn't point out the pessimistic Englishman, who feels like a punch line (of course this guy's a downer) as he mentions penalty kicks toward the end of the spot.
ESPN has also unveiled the first posters from what will be a series of 32—one for each team—designed by Brazilian artist and graphic designer Cristiano Siqueira. Check those out below, too, and get excited for the tournament, which runs from June 12 to July 13.
Advertised brand: 10 Downing Street Pub, Chennai Traffic Police
Advert title(s): Had a Drink? Think!
Advertising Agency: Dentsu India Group
Executive Creative Director: Ashwin Parthiban, Shiv Parameswaran
Creative Director: Rathish P Subramaniam, Sachit Sadanandan
Art Director: Rathish P Subramaniam, Shiv Parameswaran
Copywriter: Sachit Sadanandan, Ashwin Parthiban
Additional credits:
Production House – Silent Picture Company
Director – Mark Manuel
Executive Producer – Balaji Selvaraj
Camera – Anbu Dennis, Vignesh Vasu, Jagadeesh Ravichandran
Assistant Director – Al Hoon
Music – Timothy Madhukar
Sound Engineer – Sean Bout
Post Production – RGB
Offline – Manohar
Online – Mohan
Computer Graphics – Velu
Short rationale (optional): ‘Don’t drink and drive’. Its a message that is so ubiquitous in big cities, it has actually become a blind spot. What this jaded ‘public’ message needed was a personal touch. An emotional connect that would not only make people notice this message, but act on it. Had a Drink? Think!
I don't care how cool you think your job is, because you will never be as awesome as the person at GE who gets to push the button that smashes the crap out of things with 100,000 pounds of pressure.
This series of videos from VaynerMedia, part of a new "#SpringBreakIt" campaign, feature ordinary objects like baseballs, rubber duckys, sea shells and pencils getting crushed and wind-blasted. The footage is downright fascinating and all done in the name of science.
As the brand's Tumblr (with perfect little gifs) states: "On April 23rd we opened our laboratory doors to show the world how we test our advanced materials. When we know how materials melt, shatter and bend, we can make machines that don't."
Below are the two-minute teaser and individual videos showing things simply getting destroyed beyond all recognition. There are lots more in this playlist on GE's YouTube channel.
Watching this stuff getting smashed will have fewer consequences than getting plastered yourself on your lunch hour, trust me.
Jose Cuervo literally bottles up its history in this campaign from McCann New York.
The effort, which includes a TV spot and smartphone app, centers on intricate dioramas from animation studio Laika House. Finely detailed models capturing key Cuervo moments are placed inside tequila bottles.
We're treated to the volcanic eruption that led to the growth of agave used in making tequila; Mexico's fiery victory at the Battle of Puebla in 1862 (France lost, no surprise there); the brand keeping Americans hammered during Prohibition; the birth of the margarita; and a beach volleyball tournament, included because Cuervo is a pro-series sponsor.
These miniatures are lovingly crafted and provide a novel respite from the usual high-tech commercial effects. Note the facial expressions—Jose looks forceful and assured—and the rich textures of the sea and soil.
When users of the brand's mobile app hover their phones over a bottle of Cuervo Tradicional, a 3-D diorama of the bar where Cuervo helped invent the margarita appears. And after a few shots, who knows what else you'll start seeing?
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.
