Hasta La Creative!

Here’s a nifty way to get the average magazine peruser to put a product sample to good use.

Neutrogena and agency DM9DDB worked with Brazilian weekly Caras to create a special cover featuring actress Giovanna Ewbank. The issue also came with a set of Deep Clean wipes, so readers could rub the makeup off her face.

Studies have shown that when you actually touch and handle a product, you feel a connection to it and are even willing to pay more for it. Or, as DM9’s vice president of media Drian Ferguson puts it to Brazilian publication AdNews, “This interactive piece of press gives consumers the power to star in the campaign. They handle the product, test, prove and evaluate the outcome.”

Design Culture writer Diogo Mattos, for his part, calls the work an “innovation” that reflects what the future of magazine advertising could look like—specifically in the Brazilian market, where he believes executions like this are few and far between. (Our guess is Hansaplast’s foot magazine hasn’t made it into print there yet.)

In the Instagram video below, DM9DDB director Vitor Manzi demonstrates the campaign himself. One thing is for sure: The gunk that comes off is definitely true-to-life.

 

Direto do estúdio da DM9, o making off da divulgação da sobrecapa interativa de Neutrogena na Caras desta semana! Todas as assinantes (RJ e SP) irão receber um sampling do demaquilante Deep Clean e ao passar sobre o anúncio, a maquiagem da @gio_ewbank sai no lenço! Animal ver esse trabalho na rua! Valeu time J&J! #Neutrogena #DM9DDB #TimeJJ

A video posted by Vitor Manzi ® (@vitormanzi) on Jul 22, 2015 at 4:55pm PDT

FCB Brazil had a big hit last May with its “Speaking Exchange” idea for CNA Language Schools—a campaign that connected young Brazilians wanting to learn English with elderly Americans in retirement homes looking for someone to talk to. (The work took home 10 Lions from Cannes, and was among the 10 most-awarded campaigns there.)

Now, agency and client are back with a follow-up, featuring another interesting way to get Brazilians some real-world practice with their English.

This time the partner is Bella Vista Pizzeria in Culver City, Calif. Customers who call the pizza place can choose to place their order as usual—or be connected to a student in São Paulo who can take the order instead. If they chose the latter, they’re compensated by way of discounts, depending on how long they chat with the students.

The video isn’t as heartwarming as the original. The pizza orders are way more transactional, and the cultural meeting point here is less starkly fascinating than before. But as mentioned at the end of the new clip, this model is probably more scalable—and thus, perhaps even more useful in the long run.

Indeed, CNA is now asking businesses in the U.S. that accept customer orders by phone to visit the CNA website and sign up for similar programs.

CREDITS
Client: CNA
Agency: FCB Brasil, São Paulo
Creative Directors: Joanna Monteiro and Max Geraldo
Digital Creative Director: Pedro Gravena
Creative Directors: Adriano Alarcon and Carlos Schleder
Copywriter: Alessandra Muccillo and Lui Lima
Art Director: Andre Mancini and Rômulo Caballero
Creative Technologist: Márcio Bueno
Digital Production: Bolha
Project Manager: Lia D’Amico and Suelen Mariano.
Information Technology VP: Gerson Lupatini
Account: Mauro Silveira, Alec Cocchiaro, Pedro Führer, Diogo Braga and Thiago Figueiredo
Planner: Raphael Barreto, Frederico Steinhoff, Alice Alcântara and Stephanie Day.
Media: Alexandre Ugadim, Cris Omura, Rafael Amaral, Monica Oliveira, Aline Lins and Camila Oliveira
RTV: Charles Nobili and Ricardo Magozo
Production Company: Crash of Rhinos
Director: Miguel Thomé
Co-Direction: João Luz
Photographer: Marcos Ribas
Account Production Company: Diego Melo and Mary Lacoleta
Editor:  Miguel Thomé
Sound Producer: Cabaret
Editor: Guilherme Azem
Account Sound Producer: Cayto Trivellato
L.A. Producer: EAT (Entertainment, Art, Talent)
Client Supervisors: Luciana Fortuna, Nicadan Galvão e Ricardo Martins

The striped patterns on dresses, shirts, tunics and sweaters become prison bars—with small, sad faces peeking through—in this Brazilian campaign against child labor.

Lew’LaraTBWA created the print ads for the Abrinq Foundation, which is affiliated with Save the Children, in the style of high-fashion magazine spreads. Each one features a single line of copy, such as, “A dress shouldn’t cost a childhood.” Brazilian model Caroline Ribeiro appears in some of the ads, which were shot by top fashion photographers.

#Dress4Good is the hashtag, and the public is encouraged to post “positive fashion-foward images” on Instagram. According to the agency, the initiative is not intended as an attack on the fashion industry per se, but is designed to spread the message that “child labor crimes are closer to the consumer than they might think.”

The work is similar in theme and execution to “What’s Behind,” a recent public-service effort from Brazilian human-rights group Cepia (though Abrinq’s use of stripes—note how the kids’ fingers clutch at them in desperation—really drives the point home).

Ultimately, both campaigns do a fine job of encouraging consumers to dig beneath the surface and find out what’s really going on.

CREDITS
Agency: Lew’LaraTBWA
Client: Abrinq Foundation – Save the Children
Campaign Title:
CCO: Manir Fadel
Executive Chief Creative: Felipe Luchi
Copywriter: Gabriel Sotero
Art director: Rodolfo Fernandes
Art Buyer: Ale Sarilho, Sabino and Caio Lobo
Image treatment: Arms Image
Photographers: Jacques Dequeker, Jayro Goldflus, Henrique Gendre, Daniel Klajimic and Gil Inoue
PR: Bia Ribeiro
Client: Victor Alcântara da Graça, Yeda Mariana Rocha de M. Pereira e Denise Maria Cesario