Jimmy John's – Fake House :30 (2019) (USA)

Jimmy John’s delivers within a five mile radius wich is great unless you don’t live in the radius. In order to help you, Jimmy John’s is going to buy some lucky person a house within their five mile radius. Neat idea. Fun spot, too. 

This comes at a time when the outrage mob is calling for a Jimmy John’s boycott. Why? Because the founder shot an elephant. Eight years ago. So it’s much needed news and will hopefully generate PR to mitigate something that happened nearly a decade before.

Anyway, if you want to get in the mix for a new house, go to Dreamhomeinthezone.

Credits:

Credits

Advertising Agency: WorkInProgress (WIP), Boulder, CO (USA)        

Partner, Creative: Matt Talbot

Creative Director: Stephen Dalton

Creative Director: Lauren Perlow

Associate Creative Director: Josh Shelton

Associate Creative Director: Haley Garyet

Senior Designer: Jimmy Rosen

Partner, Production: Stafford Bosak

Executive Producer: Molly Schaaf

Partner, Account & Strategy: Alex Guerri

Partner, Account & Strategy: Evan Russack

Director, Account & Strategy: Stacy Moss

Supervisor, Account & Strategy: Sally Kubancik

Partner, Technology: Harold Jones

 

Production Company: Arts & Sciences

Production Service Company: Animals

Director: Adam & Dave

Director of Photography: Benn Martenson

Executive Producer: Marc Marrie

Line Producer: Gillian Marr

 

Editorial Company: Mackcut NYC

Editor: Ryan Steele

Assistant Editor: Devon Flint

Executive Producer: Gina Pagano

 

Color:  Company 3

Colorist            Tim Masick

Producer          Kevin Breheny

 

VFX & Finishing Company: Framestore

Flame Artist: Theo Maniatis (Lead), Eric Bruno

President, Advertising North America: James Razzall

Head of Production: Bethan Thomas

VFX Producer: Georgina Poushkine

Production Coordinator: Jamie Runkle

 

Music House   APM Music

 

 

 

Mix House:  Coupe Studios

Audio Engineer & Sound Designer: Greg Mcrae

Audio Executive Producers: Aaron Lasko & Eric Singer

 

Client: Jimmy John’s  

 

 

Chief Marketing Officer: John Shea

Director of Consumer Engagement: Nathan Louer

Director of Customer Acquisition & Loyalty: Suzanne Derouchie

Senior Designer: Chris Phillips

Marketing Operations Senior Manager: Kristi Kaiser

Head Of Consumer Video & Chief Editor: Spencer Liautaud

immy John's – Holy Moly :15 (2019) (USA)

“This is what happens when you win a house in a Jimmy John’s delivery zone. And you realize ‘Holy Moly, we won a house in a JImmy John’s delivery zone.'”

SO dry. I love it.

“Becuase, sandwich” as a tagline, I don’t love as much. It reminds me of “we have the meats for sandwiches.” We get it you sell sandwiches. Pretty certain Jimmy John’s Gourmet Sandwiches– your name– is all the giveaway I need.

But speaking of giveaways–  it’s kind of bananas they are going to buy a home for people in the five-mile radius delivery zone. Makes for great press. But at the end of the day great press is all it is for a regular ol’ sweepstakes with astronomically low odds of winning.

Now if they sold me on why I should want to try a one of their sammies, I’d be more impressed. But that would be brand building. And who has time for that, amirite? I don’t even have time to read the insane amount of legal copy on this ad.

 Anyway, if you want to get in the mix for a new house, go to Dreamhomeinthezone.

Credits:

Credits

Advertising Agency: WorkInProgress (WIP), Boulder, CO (USA)        

Partner, Creative: Matt Talbot

Creative Director: Stephen Dalton

Creative Director: Lauren Perlow

Associate Creative Director: Josh Shelton

Associate Creative Director: Haley Garyet

Senior Designer: Jimmy Rosen

Partner, Production: Stafford Bosak

Executive Producer: Molly Schaaf

Partner, Account & Strategy: Alex Guerri

Partner, Account & Strategy: Evan Russack

Director, Account & Strategy: Stacy Moss

Supervisor, Account & Strategy: Sally Kubancik

Partner, Technology: Harold Jones

 

Production Company: Arts & Sciences

Production Service Company: Animals

Director: Adam & Dave

Director of Photography: Benn Martenson

Executive Producer: Marc Marrie

Line Producer: Gillian Marr

 

Editorial Company: Mackcut NYC

Editor: Ryan Steele

Assistant Editor: Devon Flint

Executive Producer: Gina Pagano

 

Color:  Company 3

Colorist            Tim Masick

Producer          Kevin Breheny

 

VFX & Finishing Company: Framestore

Flame Artist: Theo Maniatis (Lead), Eric Bruno

President, Advertising North America: James Razzall

Head of Production: Bethan Thomas

VFX Producer: Georgina Poushkine

Production Coordinator: Jamie Runkle

 

Music House   APM Music

 

 

 

Mix House:  Coupe Studios

Audio Engineer & Sound Designer: Greg Mcrae

Audio Executive Producers: Aaron Lasko & Eric Singer

 

Client: Jimmy John’s  

 

 

Chief Marketing Officer: John Shea

Director of Consumer Engagement: Nathan Louer

Director of Customer Acquisition & Loyalty: Suzanne Derouchie

Senior Designer: Chris Phillips

Marketing Operations Senior Manager: Kristi Kaiser

Head Of Consumer Video & Chief Editor: Spencer Liautaud

Jimmy John's – Legal Copy :15 (2019) (USA)

“Jimmy John’s is buying someone a house so they can deliver them a sandwich. Read the legal copy below if you must but we assure you it will be a real house.” So says this ad for Jimmy Johns to tout their “We deliver within a five-mile radius” campaign as much as their sweepstakes for buying someone a house in their delivery radius. At least they made fun of the legal copy which is a crazy amount.

Go to Dream Home In The Zone if you must to learn more.

Credits:

Credits

Advertising Agency: WorkInProgress (WIP), Boulder, CO (USA)        

Partner, Creative: Matt Talbot

Creative Director: Stephen Dalton

Creative Director: Lauren Perlow

Associate Creative Director: Josh Shelton

Associate Creative Director: Haley Garyet

Senior Designer: Jimmy Rosen

Partner, Production: Stafford Bosak

Executive Producer: Molly Schaaf

Partner, Account & Strategy: Alex Guerri

Partner, Account & Strategy: Evan Russack

Director, Account & Strategy: Stacy Moss

Supervisor, Account & Strategy: Sally Kubancik

Partner, Technology: Harold Jones

 

Production Company: Arts & Sciences

Production Service Company: Animals

Director: Adam & Dave

Director of Photography: Benn Martenson

Executive Producer: Marc Marrie

Line Producer: Gillian Marr

 

Editorial Company: Mackcut NYC

Editor: Ryan Steele

Assistant Editor: Devon Flint

Executive Producer: Gina Pagano

 

Color:  Company 3

Colorist            Tim Masick

Producer          Kevin Breheny

 

VFX & Finishing Company: Framestore

Flame Artist: Theo Maniatis (Lead), Eric Bruno

President, Advertising North America: James Razzall

Head of Production: Bethan Thomas

VFX Producer: Georgina Poushkine

Production Coordinator: Jamie Runkle

 

Music House   APM Music

 

 

 

Mix House:  Coupe Studios

Audio Engineer & Sound Designer: Greg Mcrae

Audio Executive Producers: Aaron Lasko & Eric Singer

 

Client: Jimmy John’s  

 

 

Chief Marketing Officer: John Shea

Director of Consumer Engagement: Nathan Louer

Director of Customer Acquisition & Loyalty: Suzanne Derouchie

Senior Designer: Chris Phillips

Marketing Operations Senior Manager: Kristi Kaiser

Head Of Consumer Video & Chief Editor: Spencer Liautaud

Ad stars 2019 unveils this year’s winners: 9 agencies win 12 grand prix trophies

Joanna Monteiro, Chief Creative Officer at FCB Brasil, joined AD STARS 2019 as an Executive Judge. She says: “I have loved the experience of judging AD STARS because no other awards show gives back to our industry this way – not only is it free to enter AD STARS, but if you win Grand Prix of the Year you are rewarded with US$10,000, which is amazing.”

Jureeporn Thaidumrong, Chief Creative Officer at GREYnJ United, says: “Perhaps the best thing about AD STARS is that agencies don’t have to spend a lot of money on entry fees as we do at other award shows, which means smaller independent companies have a chance to enter. It is supported by Busan Metropolitan City, it is very well organised – there are so many good things about this show.”

Twelve Grand Prix trophies were awarded to the following 9 agencies:

  • –  Impact BBDO, United Arab Emirates, ‘The Blank Edition’ (Media Grand Prix, PR Grand

    Prix and Social & Influencer Grand Prix)

  • –  FCB New York, USA, ‘The Whopper Detour’ (Direct Grand Prix & Mobile Grand Prix)

  • –  TBWA Hakuhodo, Japan, ‘The Most Challenging Ping Pong table’ (Design Grand Prix)

  • –  Colenso BBDO, New Zealand, ‘I’m Drinking it for you’ (Film Grand Prix)

  • –  Serviceplan Korea, Dot Mini (Interactive Grand Prix)

  • –  Ogilvy Group Thailand, ‘Deer’ (Print Grand Prix)

  • –  GREYnJ United Bangkok, Thailand, ‘FACE/OFF’ (Video Stars Grand Prix)

  • –  Casanova/McCann, USA, ‘Second Chances’ (Public Service Announcement Grand Prix)

  • –  BBDO Atlanta, USA, ‘Stop Traffick’ (Public Service Announcement Grand Prix)

 

Hwan-Jin Choi, Chairperson of the AD STARS Executive Committee, says: “AD STARS is a festival where creativity and technology converge. Its core value is ‘humanity’ – we exist to share creative solutions that change the world. Many of this year’s winners are contributing to humanity in exciting ways, and we would like to congratulate them for their work.”

 

Film & Video Stars

 

In the Film category, Colenso BBDO New Zealand won Grand Prix for ‘I’m Drinking it for You’, created for DB Breweries to encourage beer lovers to drink low-carb beer for the sake of their partners.

 

“From strategy through to storytelling, this campaign defies the clichés of low-carb beer. Usually positioned as the beer for people who work out, Colenso BBDO positioned drinking low-carb beer as one of the most selfless acts you can do,” explains Executive Judge Robin Fitzgerald, Chief Creative Officer at BBDO Atlanta.

 

There were also 8 Gold trophies awarded across the Film category:

–       Artplan Sao Paulo, Brasil, ‘The Beatbox Catalogue’ for Etna Home & Décor, won 2 Golds

–       Leo Burnett Taiwan, ‘Souvenirs From Travel’ for China Airlines

–       GREYnJ United, Thailand ‘FACE/OFF’ for Kasikornbank

–       Wolf Bangkok, Thailand, ‘Second job’ for Central Department

–       Grey Tokyo, Japan, ‘Hankograph’ for WILDAID

–       C.Ray Corporation, Japan, ‘The Nanto Family’ for The Nanto Bank

–       Colenso BBDO, New Zealand, ‘I’m Drinking it For You’ for DB Breweries

 

Harshad Rajadhyaksha, Chief Creative Officer at Ogilvy India (West), also judged Film & Video Stars: “All the Gold winners stood out taller than the other finalists. The Nanto Family, for instance, takes the extremely complicated issue of a last will and inheritance and adds loads of un-missable entertainment in a way that has to be delightfully remembered! All of us in the jury room couldn’t stop laughing when we were judging it. Or take the Beatbox Catalogue: they have converted a tough brief into such an unexpected, fun, surprising and yet super hardworking ad through the sheer use of creativity.”

 

In the Video Stars category, the Grand Prix was awarded to GreynJ United, Thailand for ‘FACE/OFF’ (Kasikornbank).

 

“This is such compelling content, and once we learned how quickly ‘FACE/OFF’ became popular, we agreed it really deserved to win Grand Prix. It takes chances with direction and casting, and made something as simple as updating an app feel relatable and compelling. For a financial institution to take these kinds of risks in its storytelling is really great,” says Fitzgerald.

 

Rajadhyaksha adds: “I love its absolutely brilliant Thai brand of humour used to tackle what must have been a complicated and slightly technical brief. Getting people to understand why their banking app needed constant updates, and doing so with this brilliance, deserved nothing but a Grand Prix.”

 

There were four Gold winners in Video Stars:

–       Ogilvy New Zealand, ‘The Most Dangerous Stunt in the World’ (Auckland Transport) won two Golds

–       J. Walter Thompson, Taiwan, ‘My variety father’ for E-Life Home Appliances

–       Casanova/McCann, USA, ‘Second Chances’ (Donate Life California)

 

Design & Print

 

In Design, the Grand Prix was awarded to TBWA Hakuhodo for ‘The Most Challenging Ping Pong Table’, created for the Japan Para Table Tennis Association.

 

Melvin Mangada, Chief Creative Officer at TBWASantiago Mangada Puno in Manila, led the Design & Print categories as Executive Judge. He said: “The jury was unanimous in rewarding the Grand Prix for Design, which stood out above all on craft, elegant design and user experience. We felt that the work celebrated should pave the way for disruptive ideas in design and print craft using new and old tools.”

 

The judges awarded 13 Gold trophies in Design:

–       Cheil Worldwide Hong Kong’s ‘Homework’ and ‘A Sweet Escape’ for Chupa Chups won two Golds

–       TBWA Santiago Mangada Puno, Philippines also won two Golds for ‘This is a tree’ for Pacific Paint (Boysen); and Baybayan’ for Cultural Center of the Philippines

–       Hakuhodo Indonesia, ‘Clever Cash’ for Save Street Child Sidoarjo

–       TBWA Hakuhodo, Japan, ‘The restaurant of mistaken orders’ for DAIKI Angel Help Inc.  

–       The Brand Agency, Australia, ‘Hungry Puffs’ for Foodbank WA

–       The Electric Factory, Uruguay, ‘Chivas Regal Eternity’ for Pernod Ricard

–       Serviceplan Korea, ‘Dot Mini – The First Smart Media Device for the visually impaired’ for Dot Incorporation

–       Colenso BBDO, New Zealand, ‘Kupu’ for Spark

–       MullenLowe Singapore, ‘Cavities (Bubblegum)’ for Unilever Asia

–       Innocean Worldwide, Korea, ‘The Quiet Taxi’ for Hyundai Motor Group

–       Cheil Worldwide, Hong Kong, ‘Gatsby’ for Penguin Random House

 

In Print, the Grand Prix was awarded to Ogilvy Group Thailand’s ‘Deer’ campaign for Freeland Foundation, which also won one Gold and Bronze trophy. “This piece of work excelled in both concept and execution. It was the only campaign in the category that won in both Craft and Products and Services. The jury was intent on rewarding work that reflected more than just the aesthetic of the work. We considered concept and a strong purposeful message, too,” said Mangada.

 

The judges awarded 7 Gold trophies in Print:

–       Cheil Worldwide, Hong Kong won two Gold awards for ‘Gatsby’ for Penguin Random House, and ‘Homework’ for Chupa Chups

–       RedBank China, ‘SHUSH’ for 360 QIKU

–       Impact BBDO, United Arab Emirates, ‘Mutilated Words’ for 28 Too Many

–       MullenLowe Singapore, ‘Cavities (Bubblegum)’ for Unilever Asia

–       Ogilvy Group Thailand, ‘Deer’ for Freeland Foundation

–       DDB Mudra, India ‘Hashtags don’t heal’ for Khalsa Aid

 

Public Service Advertising Diverse Insights, Outdoor, Place Brand, Radio & Audio

 

In Public Service Advertising (PSA), there were two Grand Prix winners: Casanova/McCann, USA, ‘Second Chances’ for Donate Life California; and BBDO Atlanta’s ‘Stop Traffick’ for Street Grace. There were also three Gold PSA winners: Hakuhodo Indonesia’s ‘Clever Cash’ for Save Street Child Sidoarjo; and Serviceplan Korea’s ‘Dot Mini’ for Dot Incorporation, and Cheil Worldwide, Hong Kong’s ‘Fatal Recognition’ for The Hong Kong Stroke Association.

 

Ali Rez, Regional ECD at Impact BBDO, Middle East/Pakistan, helped to judge this category. “Casanova/McCann gives a second chance to organ donors and puts them in the shoes of someone who gets a second chance at life. ‘Stop Traffick’ is brilliant in its scale. It’s easy to throw around statistics, but people become desensitized to them. This campaign makes a statistic about human sex trafficking come alive. Both campaigns take very engaging, novel approaches.”

 

No Grand Prix trophies were awarded in Diverse Insights, Outdoor, Place Brand or Radio & Audio.

 

In Diverse Insights, VMLY&R Australia’s ‘The Half Biscuit’ for RSA won Gold. Jureeporn Thaidumrong, Chief Creative Officer at GREYnJ United, led these categories as Executive Judge. She explains: “This category is about promoting cultural diversity and ‘The Half Biscuit’ was the best example of how local insights can drive the creative solution.”

 

In Outdoor, there were six Gold trophies awarded:

–       DDB Sydney, Australia, ‘Grave of Thrones’ for Foxtel won 2 Golds

–       FCB New York, USA, ‘Whopper Detour’ for Burger King

–       Casanova/McCann, USA, ‘Second Chances’ for Donate Life California

–       BBDO Bangkok, Thailand, ‘7:1 Furniture Collection’ for Homepro

–       Impact BBDO, United Arab Emirates, ‘Toxic Flag’ for Green Peace & Waste Management Coalition

 

“I loved the effort that went into ‘Grave of Thrones’ in terms of craft, and ‘Toxic Flag’ is amazing work,” says Thaidumrong.

 

In the Place Brand category, Airbag Australia picked up the category’s sole trophy, winning Bronze for ‘Carriberrie’.

 

In Radio & Audio, Colenso BBDO, New Zealand won Gold for ‘I’m Drinking it for You’ for DB Breweries. “We’ve seen great songs composed for brands before, but in this instance the idea is good, the execution is great, and the copywriting is brilliant,” says Thaidumrong.

                       

Interactive, Integrated, Innovation, Mobile, Data Insights, Social & Influencer

 

Serviceplan Korea won the Interactive Grand Prix for ‘Dot Mini – The First Smart Media Device for the Visually Impaired’ (Dot Incorporation), while Impact BBDO, United Arab Emirates won Gold for ‘The Blank Edition’ (An-Nahar).

 

“We felt ‘Dot Mini’ deserved a Grand Prix because it gives the industry a view of what we want to see more of. It pushes into the realm of innovation and shows our industry can do more than drive awareness – our ideas can manifest as products or services,” says Joanna Monteiro, Chief Creative Officer at FCB Brasil, who led these categories as Executive Judge.

 

There were no Grand Prix winners in Integrated and Innovation, but Serviceplan Korea also won Gold in Innovation for ‘Dot Mini’. 

 

In Mobile, the Grand Prix was awarded to FCB New York for ‘Whopper Detour’ (Burger King). There were also two Gold winners: Cheil Worldwide, Korea, ‘REDCEIPT’ (Kakao Corp.) and Serviceplan Korea’s Dot Mini (Dot Incorporation).

 

AD STARS introduced the Data Insights and Social & Influencer categories last year. In Data Insights, FCB Brasil won the category’s only Gold trophy for ‘Trending Botics’, created for Congresso em Foco.

 

Keith Byrne, Creative Director at Digitas, Singapore, also judged this category. He says: “It’s clear that agencies and brands are really starting to focus on how they use data to sell a product or improve a service, and there were actually a lot of entries in this category. However, a lot of the work we judged seemed to be created without real purpose and felt a bit gimmicky. ‘Congresso em Foco’ was a really effective, purpose-driven campaign but what won it Gold was actually its data visualisation. The campaign was built around simple, beautiful, shareable and most importantly effective graphic design.”

 

The Social & Influencer Grand Prix was awarded to Impact BBDO, United Arab Emirates for ‘The Blank Edition’ (An-Nahar). There was also one Gold awarded to Wunderman Thompson in Thailand for ‘Narcos – The Censor’s Cut’ (Netflix).

 

Direct, Media, Promotion, PR

 

‘The Whopper Detour’ by FCB New York won Direct Grand Prix and a Gold in Direct.

 

“There is no mistaking the intent of this campaign: it is designed to get the brand noticed and to drive profits. They could have simply handed out Burger King coupons, but instead they found a way to generate eyeballs and start a conversation. When you can’t outspend your competition, you have to outsmart them,” says Ted Lim, Regional Chief Creative Officer at Dentsu Asia Pacific, who led these categories as Executive Judge.

 

There were 3 more Gold winners in Direct:

–       The Brand Agency, Australia, ‘Hungry Puffs’ (Foodbank WA)

–       Impact BBDO, United Arab Emirates for ‘The Blank Edition’ (An-Nahar)

–       Casanova/McCann, USA, ‘Second Chances’ (Donate Life California)

 

In Media, Impact BBDO, United Arab Emirates won Grand Prix and a Gold trophy for ‘The Blank Edition’ (An-Nahar). ADK Japan also won Gold for ‘Make it a runway’ (PVH Japan).

 

“The political context in which ‘The Blank Edition’ was published made it a very brave decision. One act of bravery brought about political and social change,” says Lim. “In the context of what we do as an industry: I believe we are in the business previously known as advertising. Whether we are selling shampoo or bringing about social change, we have to bring purpose to whatever we are working on.”

 

In the Promotion category, there were also two Gold winners: FCB New York’s ‘The Whopper Detour’ (Burger King) and Casanova/McCann, USA, ‘Second Chances’ (Donate Life California).

 

The PR Grand Prix was awarded to Impact BBDO, United Arab Emirates for ‘The Blank Edition’ (An-Nahar), which also won Gold.

 

There were two more Gold winners in the PR category:

–       DDB Sydney, Australia’s ‘Grave of Thrones’ (Foxtel)

–       FCB New York’s ‘Whopper Detour’ (Burger King).

 

 

AD STARS will return in 2020 for its 13th annual festival and awards show. For more information, follow us on Facebook, Twitter, Instagram or LinkedIn or visit adstars.org

‘The Whopper Detour’ and ‘The Blank Edition’ win Ad Stars Grand Prix of the year 2019 and $10,000

In the Ad Stars, FCB New York won Grand Prix of the Year for ‘The Whopper Detour’ campaign, while Impact BBDO in the United Arab Emirates (UAE) won Grand Prix of the Year in the Public Service Announcement (PSA) category for ‘The Blank Edition’, created for Lebanese newspaper An-Nahar.

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The Whopper Detour campaign is an audacious idea that drove burger lovers to McDonald’s, where they could purchase Whoppers for only a penny thanks to an ingenious app with in-built geo-fencing. The campaign led to 1.5 million Burger King app downloads along with global media acclaim.  

 

“When you can’t outspend your biggest competitor, you have to outsmart them,” explains Ted Lim, Regional Chief Creative Officer at Dentsu Asia Pacific and Executive Judge at AD STARS 2019. “This campaign is digital at its best. The agency could have handed out Whopper coupons, but instead they created an app designed to start a conversation, which is what they needed to get the brand noticed and loved.”

 

Robin Fitzgerald, Chief Creative Officer at BBDO Atlanta and an Executive Judge at AD STARS 2019, adds: “We loved that The Whopper Detour is a promo campaign – this is an advertising festival, after all. It was basically a brief to offer coupons for one-penny Whoppers, but the agency went above and beyond to make something much more culturally provocative. Both Grand Prix of the Year winners are brilliant, impactful ideas and they had the full support of the jury, so I feel really good about our choices.”

 

The Whopper Detour also won the Direct Grand Prix and Mobile Grand Prix at AD STARS 2019.

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‘The Blank Edition’ is a completely blank newspaper that was printed in response to a political gridlock that left Lebanon without a government for months. An-Nahar invited the people of Lebanon to write their own headlines, which politicians couldn’t ignore – especially when their messages were shared via social media. The politicians were forced to take accountability for their actions, and citizens finally got the government they demanded. 

 

“The jury had a really good discussion about this campaign because it could have been just another blank newspaper ad. But using a newspaper to spark conversations online was such a great idea,” says Joanna Monteiro, Chief Creative Officer at FCB Brasil.

 

The Blank Edition also won the Media Grand Prix and PR Grand Prix.

 

Kim Pick, Executive Creative Director at VMLY&R in New Zealand, judged the Direct, Media, Promotion and PR categories. She says: “Using a newspaper as a canvas, and handing ownership of the content to citizens, was really clever. This campaign was also really impactful – it ended a political impasse and had a knock-on effect in terms of media coverage.”

Carousell unveils bold new logo and brand identity across Asia

Carousell, one of the largest e-commerce platforms in Asia, today unveiled a fresh new look which includes a revamped logo, brand positioning and visual identity developed by next generation, creative brand agency, Superunion. The updated look is being rolled out across Singapore, Hong Kong, Taiwan, Philippines, Indonesia and Malaysia

The new branding captures the power of positive experiences and possibilities living in the Carousell ecosystem, an app-first, peer-to-peer, digital marketplace where consumers and businesses exchange goods and services, including personal items like fashion and electronics, as well as cars and properties.

Ambrish Chaundry, Managing Strategy Director Asia said: “Working on the Carousell rebranding project has been very exciting for us. As they build momentum around regional expansion and widen their offering, it’s a perfect time to remind the world what makes Carousell special – a community of real people, “Carousellers”, who all want what is best for each other.”

Cassandra Leong, Brand Marketing Lead for Carousell, said: “Working with Superunion was a pleasure as they engaged the whole organisation, across departments and seniority, in arriving at a narrative and identity that captures our best selves. They have been true to what we stand for and yet have pushed us forward in terms of the brand identity and customer experience.”

The big idea behind Carousell’s new visual identity is that behind every Carousell transaction is a win-win story. What sets Carousell apart from other online shopping platforms is that two real people, a buyer and seller, come together to make an exchange happen, creating a ‘magic moment.’ The new visual identity leverages pops of colour, charming illustrations, motion and overlapping shapes to bring these magic moments to life.

The Carousell platform itself has also been updated to be in line with the visual identity, simplifying its user interface and marketing communications to focus on Carousellers’ items and stories.

Carousell Logo:

The updated symbol mark maintains the original inspiration of the Carousell name and logo, the Kodak carousel, alluding to the cyclical nature of items going round and round. Superunion modernised the logotype and wordmark to reflect a vibrant yet trusted marketplace, and enabled the brand to live successfully in a digital-first environment. The five outward ‘fins’ in the symbol mark represent the company’s five core values, strongly embodied throughout Carousell’s product and culture.

 

Colours:

Red remains the core Carousell brand colour, now brighter, to represent the ambition of the brand looking into the future. A new suite of secondary colours have also been included to showcase the diversity of the Carousell marketplace.

 

Motion:

As a natural extension of the digital brand, motion has been incorporated into the visual identity, celebrating energy and movement, representative of the liveliness of the platform itself and serendipitous moments which occurs in its ecosystem.

 

The new visual identity is being rolled out formally in the coming weeks, beginning with app changes, as well as a brand campaign which will launch in September.

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CREDITS

Scott Lambert, Creative Director – Superunion

Pete Tong, Designer – Superunion

Danley Stone, Client Director – Superunion
Charlotte Cheong, Client Executive – Superunion

Ambrish Chaudhry, Managing Strategy Director – Superunion

Sherman Chia, Senior Designer – Superunion

Cassandra Leong, Brand Marketing Lead – Carousell

Jem Seow, Senior Brand Marketing Specialist – Carousell

Davina Tjandra, Creative Design Lead – Carousell

Quek Siu Rui, Founder – Carousell

Marcus Tan, Founder – Carousell

Lucas Ngoo, Founder – Carousell

announcement

announcement

Vans "This is DIY" (2019) 1:09 (USA)

So what is DIY, you ask? It’s about doing it yourself, obvs, and also you don’t need to know how to sing or know how to make art or make original music or even have talent. Apparently, you don’t even need to introduce yourself because Vans assumes the viewer already knows who they are.

Or maybe there’s another component to this spot, like they want me to go to the website for a “deep dive.” But you know what? I don’t care. I’m over these graffiti + music + artist + skateboarder + moving a sofa to an unexpected location outside + pseudo-profound organic manifesto about being a creator kind of campaign. They haven’t been original since adidas threw a house party in 2008. 

Original? adidas? See what I did there? 

Nevermind.

Client: Vans

Agency: In-house

diy

Roger and Big Machine Announce Merger

Creative agency Roger and full-service production company Big Machine announced a strategic merger today that will expand the creative capabilities for their respective agency, brand, and entertainment clients. The LA-based studios will retain the Roger name and continue all operations at their newly renovated facility in the Silver Lake neighborhood of Los Angeles. Representing Roger in the business partnership is Terence Lee, creative director, Dane Macbeth, creative director, and Josh Libitsky, executive producer; and Steve Petersen, director, Ken Carlson, creative director, and Sean Owolo, business development, for Big Machine.

 

With expanded creative firepower, Roger aims to set a new benchmark for multidisciplinary creative studios, offering the best in talent and resources for projects that require branding, design, animation, VFX, VR/AR, live-action, and content development.

Top Row (L – R): Sean Owolo and Terence Lee
Bottom Row (L – R): Steve Petersen, Ken Carlson, Josh Libitsky, and Dane Macbeth

“Big Machine and Roger have always looked at ways to partner on projects and organically expand our reach into new markets,” says Lee. “We just genuinely click as creatives and as friends, and share a vision for what it takes to bring together talent, ideas, and resources to create awesome work.”

 

“We saw a tremendous opportunity to make an impact within the industry in a way that wouldn’t be possible without joining forces,” adds Owolo. “Roger’s breakthrough creative for major brands and Big Machine’s Emmy-winning content know-how allow us to offer our clients a truly complete package for every aspect of their brand.”

 

Since the merger, the studio is already embarking on a number of projects, including major creative campaigns for Disney and Sony Pictures.

 

Custom-designed from the ground up to foster a collaborative working environment, Roger’s new 6,500-square-foot studio includes four private offices, three editing suites, two conference rooms, an empty shooting space for green screen work, a kitchen, and lounge.

 

“Existing clients will appreciate the breadth of experience we have under one roof now,” concludes Libitsky. “We can assemble highly strategic and super-talented teams tailored to a specific project — or combine all of our resources in tandem to develop a fully integrated experience from the top down. We’re equally excited about how the merger positions us to explore and experiment with new mediums and areas of business.”

 

About Roger:

Roger is a Los Angeles-based creative studio specializing in branding, advertising, and content development for screens of all sizes. We partner with agencies, brands, and entertainment companies that are as passionate about creativity and innovation as we are. From strategy to execution, we bring their unique vision to life with a diverse team of makers and storytellers spanning live-action, design, animation, and VFX. Our recent clients include Discovery, General Mills, Adidas, and History. We’re Roger. Loud and clear.

 

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The "Restaurant of Mistaken Orders" , a pop-up restaurant where all the servers have dementia to raise awareness

The restaurant of mistaken orders is not your regular flashy pop-up. Its goal is to create a place where dementia patients can work, and be needed while making society at large better understand the condition. A lofty goal.

The creator,  Shiro Oguni had his prejudices about dementia crushed at a group home where dementia patients lived together, and that’s when he came up with the idea.

“Like everybody else, my awareness of dementia at first tended towards negative images of people who were ‘radically forgetful’ and ‘aimlessly wandering about.’ But actually, they can cook, clean, do laundry, go shopping and do other ‘normal’ things for themselves. They might go a little off course now and then….”

The restaurant has been designed to avoid mistakes, but since each server has dementia, some mistakes will happen. As diners are prepared for this, they are easily forgiven and sometimes quite funny. As when an older lady shows her guests to the table, and then sits down with them, momentarily forgetting that she’s on the job. The first pop-up had 37% mistaken orders served, but a full 90% satisfied customers because the interaction here is key. It’s not about the mistakes, Oguni says.

“The restaurant is not about whether orders are executed incorrectly or not. The important thing is the interaction with people who have dementia.”

It’s important to Oguni that the staff share the laughter with their customers. That they are not laughed at. For Oguni to hear that the servers say such things as “I’m still capable.” is the goal, and cultivating tolerance.

“Calling someone ‘The demented Mrs. Whozit’ is completely different from ‘Mrs. Whozit with dementia.’ Dementia is not what a person is, but just part of who they are. People are people. The change will not come from them, it must come from society.”

The restaurant was a rousing success as you can see from the short film below.

Shiro Oguni explains: 

“By cultivating tolerance, almost anything can be solved. The image of ‘Cool Japan’ is recently gathering much enthusiasm, but I think ‘Warm Japan’ is just as important. I want to promote a Japan that cultivates a warm, comfortable environment, so people will return home with smiles and a glow in their hearts.” 

If you would like to help, but can’t make it there for a quick lunch, they do accept donations as well.

PSA

The 2020 Cadillac XT6 – Crew Ready (2019) :60 (USA)

Rokkan Puts The Russo Brothers in the Driver’s Seat For Cadillac Campaign

XT6 Launch campaign continues to prove this isn’t your grandfather’s Cadillac

 

Continuing its string of disruptive work for the Cadillac brand, Rokkan has set a new bar with the launch of the Crew Ready, 3-row, XT6 SUV. In order to standout in the ever-crowded Lux-3 SUV segment, Rokkan collaborated with A-list, power-house directors The Russo Brothers and production company Bullitt. World famous superhero style with a twist defines the XT6 Crew Ready campaign and further defines the bold new direction of the Cadillac brand.

 

The campaign is comprised of a dynamic series of films showing off the XT6’s spacious 3-row interior, sporty design and rich technology suite – cementing its status as the perfect SUV for every squad, fam, or posse. In essence, XT6 Crew Ready is a celebration of size and style – performance and presence told through a cast of crews. They are both heroic and familiar –modern, tech-forward and cut from every cloth. The campaign also features the bombastic track, “Welcome To The Party,” by Diplo. The track adds a commanding layer of energy to the films for a brand whose legacy in music is unmatched.

 

“Our team has continued to push the boundaries of what the world expects from a Cadillac, and this campaign continues that dynamic creative trajectory.” Said Brian Carley, CCO of Rokkan. “We set out to uproot the idea that a 3 row SUV has to be marketed in an expected and uniform way and The Russo Brothers were the perfect partners to do just that with Crew Ready.”

This new work is a prime example of Rokkan’s disruptive and culturally relevant approach as the 19 year-young creative shop does what it does best: push the boundaries with clients to make an impact—not just on their business, but on culture at large.
 

Bullitt is a filmmakers’ collective and creative studio founded in collaboration with The Russo Brothers and Justin Lin. Combining the power of both entertainment and advertising, Bullitt harnesses the talent of innovative directors and other creators to forge experiences that connect to any desired audience. Brand supported films, AR and VR, and commercial campaigns, are just some of the projects to which Bullitt has developed, designed, and delivered, earning Cannes Lions and millions of eyeballs for its captivating and imaginative work.

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Client: Cadillac

Chief Marketing Officer: Deborah Wahl

Associate Director: Content Benjamin Haynes

Director / Product Marketing: Jason Sledziewski

Marketing Manager: Bob Benbow

Assistant Manager / Content: Rob Whitley

Marketing Coordinator: Lisa Redinger

 

Agency: Rokkan New York

Chief Creative Officer: Brian Carley

Chief Creative Officer: Bob Winter

Executive Creative Director: Alex Lea

VP / Group Creative Director: Bill Carlson

Creative Director: Austin Muncy

Creative Director: Rob Rooney

Campaign Photographer: Justin Jamison

Creative Operations: Hank Romero

Head of Production: Bruce Andreini

Executive Producer: Jenny Lee

EVP / Chief Client Officer, Matt Garcia

EVP / Global Client Lead, Paul Mareski

EVP / Director, Emily Shahady

Vice President, Group Account Director: Scott Durday

Account Supervisor: Amanda Koegler

Account Supervisor: Maggie Decker

Chief Strategy Officer: Nicolas Chidiac

Group Strategy Director: Steve Lampert

Strategist: Spice Walker

Associate Strategist: Emma Pindel

 

Production: Bullitt

Directors: The Russo Brothers

2nd Unit Director: Ari Costa

Executive Producer: Luke Ricci

Executive Producer/HOP: Jenni Sprunger

Executive Vice President, Sales & Development: Allison Amon

Producer: Jeremy Barrett

Director of Photography: Trent Opalach

 

Editorial: Final Cut

Editors: Crispin Struthers + James Rosen

Social Media Asset Editor: Geoff Hastings

Assistant Editors: Mike Radforth + Cutler Gray

Executive Producer: Sarah Roebuck

Head of Production: Penny Ensley

 

VFX: MPC

Executive Producer: Camila De Biaggi

Producer: Aiste Akelaityte

Production Coordinator: Stephen Dierks

VFX Supervisor: Rob Walker

2D Leads: Rob Walker, Bilali Mack, Tamir Sapir

2D Tean: Giulia Bartra, Esther Song, David Anger, Renato Carone, Lawrence Merrill, John Shafto, Julien Aucouturier, Thiago Porto, David Piombino, Hector Cabrera, Luis Artigas, Kataleah Cowham

 

Color: The Mill

Colorist: Mike Rossiter

Producer: Evan Bauer

 

Audio: Heard City

Sound Design + Mix: Phil Loeb

Executive Producer: Sasha Awn

Producer: Andi Lewis

Hulu – Todd Gurley's New Cat, Mr. Hulu Has Live Sports (2019): 30 (USA)

A cat and a running back are shilling Hulu Live Sports. Yep, Todd Gurley got a cat, named him Mr. Hulu Has Live Sports, and made him an Instagram star at @MrHuluHasLiveSports. If you think it’s a little ridiculous and an extremely transparent sellout, well, that’s because it is. After all that’s what the #HuluSellout  campaign is all about.

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Ad Agency: Big Family Table

cat

Roman's Pornhub ads silence other ads.

Isn’t this clever. Roman, the erectile dysfunction and premature ejaculation company, ran an ad on Pornhub that was as much an awareness play as a public service. Using their brand colors and typeface, the long-ish copy banner ad reads “We’re Roman,  and we’re not just treating Erectile Dysfunction and Premature Ejaculation, we’re buying up the ad space from those weird porn games so you can watch your video in peace.”

Clever idea. Except for one thing. When I loaded Pornhub’s page, one of those weird porn game ads was right underneath Roman’s ad. SInce we keep it clean around here, I blocked it out with Adland’s wholesome logo but you can trust me on it. Use your imagination.

Other things Roman doesn’t get rid of are those “meet local Milfs in your area,” ads. Or so I’ve been told. I wouldn’t know. What I do know is that Roman will deliver another product straight to your door that is even more relevant to Pornhub and that’s medication for genital herpes.

Zing!

 

Method Studios Welcomes Bryan Farhy and Michael Bennett

Global digital production company Method Studios today announced the hiring of Bryan Farhy as Managing Director, West Coast and Michael Bennett as Senior Vice President and Executive Producer, West Coast MethodMade. The pair joins Method’s advertising division, with Bennett focusing on design-forward work under MethodMade. Both Farhy and Bennett bring deep industry knowledge, proven leadership, and creative vision to Method.

“The needs of our clients are changing as advanced technology and the way media is consumed transform the entertainment experience at every level. Bryan, with his extensive background in production and experiential, and Michael, coming from the world of animation and design, bring in new perspectives and that’s really exciting. I think they’re two of the most wonderful humans that you could work with and they’ll be a valuable team to our clients and artists,” said Stuart Robinson, Managing Director and Executive Vice President of North American Advertising Production for Method Studios.

An unflappable extrovert and team builder, Farhy has a knack for connecting the right talent and opportunities as well as big-picture vision. As Head of Business Development and an Executive Producer at B-Reel, he helped the company earn multiple top honors, including Creativity’s Production Company of the Year, as well as a place on Forbes’ list of America’s Most Promising Companies during his tenure. Farhy has also held EP and Head of Sales roles at Ridley Scott’s RSA Films, and Stink Films, and is the founder of Fireflies West, a non-profit that organizes an annual charity bicycle ride between Los Angeles and San Francisco to raise money for cancer research.

 

“Method is a vanguard in digital production at a time when content is in great demand. The studio creates characters, creatures and the worlds they live in, and if you’re a creator right now, you’re running towards the right goal post. I’m honored to be part of the dynamic new team,” said Farhy.

 

With a background in design and animation, and a contagious positive energy, Bennett fosters open collaboration and ideation to forge new and unexpected approaches to content creation. He excels at helping artists, brands and agencies push the boundaries of design and innovative storytelling, often drawing from a contemporary design sensibility. Prior to joining MethodMade, he served as Managing Director of Laundry, where he established and spearheaded operations for the design and animation studio’s new San Francisco location. He also has held EP and Business Development roles at Laundry Los Angeles, Ntropic San Francisco, yU+co, and Belief Design.

 

Bennett noted, “I’ve worked with some of the best designers in the industry, and that has shaped my passion for the entire process, from conceptual vision to final results. I love content that feels like a gift to the audience instead of an ad, while still aligning with a brand’s identity. The work of MethodMade feels authentic and relevant across visual styles, and I’m beyond thrilled to help establish and grow the West Coast.”

 

About Method Studios

Method Studios, a Deluxe company, is an award-winning global digital production studio built around an exceptional team of artists and innovators creating content for high-end feature films, TV/streaming, advertising/marketing and interactive projects. Its network of facilities in Los Angeles, Vancouver, New York, Montreal, Melbourne, San Francisco, Atlanta, and Pune, India, provide a full range of services including ideation, conceptual design, pre-vis, look development, directing, on-set supervision, 3D animation/CGI, motion graphics, compositing, finishing; and through Method EXP, interactive experiences and apps. methodstudios.com

 

About MethodMade

Born from Method Studios, a global digital production company with pop culture pedigree and part of Deluxe Entertainment, MethodMade is a collective of award-winning directors, artists, technologists and tastemakers turning original ideas into iconic productions for the world’s biggest brands and entertainment properties, across all media. Instagram: MethodxMade www.methodstudios.com/en/methodmade

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adidas Originals OZWEEGO – Back to the future ft. Dough-Boy, Lala Takahashi and Jackson Yee (2019) :30 (China)

To promote the new adidas originals OZWEEGO for the Chinese market adidas and Hypebeast created this slick alt-reality campaign. The flagship commercial features a star-studded cast of C-pop idol Jackson Yee, Japanese influencer Lala Takahashi, and rapper-producer Dough-Boy. Hypebeast enlisted boutique design and VFX studio Fin Design + Effects to craft the VFX for the film.

Directed by Crystal Choi, Creative Director at Hypebeast, the 30-second film theme is reworking the past to create a new future. We see the evolution from the 1998 classic OZWEEGO to the new, fresh, futuristic design. This is why a 3D printer replaces the chisel and hammer that Jackson Yee uses to craft the new shoe. 

 

Fin Design + Effects was tasked with creating the futuristic flourishes to complement the theme of the film. Fin’s VFX Supervisor Justin Bromley was on the shoot with the director in Shanghai to advise on the technicality of the VFX in relation to the shots, after which the post production was handled by Fin’s Sydney studio.

Alastair Stephen, Head of Visual Effects at Fin Design + Effects, comments: “Hypebeast’s Crystal Choi approached us with a refreshingly clear and succinct vision. This was one of the things that initially drew us to the project as we knew we could get stuck into the production straight away – leaving ample room for creative adjustments. Crystal had very clear references for the visuals she wanted and was open to technical advice on how we could craft this. It’s a very design-centric spot, so our main challenge was constantly being mindful of achieving visuals that were true to Crystal’s design sensibility. It was a pleasure to build on our body of work with adidas and Crystal was very collaborative and clear; I think the sleekness of the spot is testament to that.”

Speaking on the process, Fin VFX Supervisor Robert Grbevski comments: “Technically-speaking, the film required us to cover a whole range of CG disciplines. It made for an interesting palette of design, ranging from more abstract sequences such as the cuboid figures, which were achieved in Houdini, to the more traditional photoreal effects such as the mannequins, which we achieved in Maya. We executed most of the work in Houdini – for example where the old OZWEEGOs evolve into the new model – as it was well-suited to the design-centric nature of the project. Compositing was all finalised in Flame.”

Client: adidas

Product: OZWEEGO

Agency: Hypebeast

Production Company: GTONE

Director & Creative Director: Crystal Choi

Post Production Company: Fin Design + Effects

VFX Supervisors: Justin Bromley & Robert Grbevski

Producer: Isabelle Howarth

Head of Visual Effects: Alastair Stephen

DJ

Telenor – "That's not real" / Telenor takes a stand for screen-time (2019) :60 (Sweden)

Telenor pokes holes in the “offline prejudices” regarding how much time we spend online each day with this film. An older man reading the sports pages in his couch starts it off by declaring eSports to not be ” a real sport”. An influencer spotting a fuzzy blue hat that she selfies herself with sasses off that “This isn’t a real job”. Even the well-meaning mother wants her daughter to stop swiping left, and “meet someone for real.” 

Directed by award-winning director Adam Hashemi, the commercial features one of the world’s biggest esport stars Olof “Olofmeister” Keijber, the Olympic gold medalist and Stanley Cup Winner Håkan Loob, and Cajsa Wessberg – influencer, illustrator and model. 

Linda Wetterborg, Tribe Lead, Sales and Marketing at Telenor explains: 

“There’s a common belief that the online achievements and activities are less valuable than IRL ones. We don’t believe that and with this campaign, we want to encourage people to reflect on what their attitudes actually say about them.”

Erik Bergqvist, Executive Creative Director at Acne, continues:

“By balancing humour, sincerity and seriousness, the campaign’s aim is to encourage reflection with a message that even the naysayers can relate to. That led to a distinct visual approach and a tone-of-voice that differentiates itself from what you normally see from a Telco.”

With the tagline: The world has changed. Have you?  Telenor with this commercial aim to respond to the current ongoing debate surrounding the negative impact of online use, and hopes to open up for a more nuanced dialogue about screen-time and encourages everyone to challenge prejudice. Because Telenor wouldn’t want you to unplug.

lient: Telenor

Linda Wetterborg, Tribe Lead Sales and Marketing 

Tobias Clewemar, Head of Brand and Marketing strategy

Mimmi Sköldberg, Brand Campaign Manager 

Kendra Ibsen, Product Owner Brandhouse

Mathias Muhrman, Senior Content marketing Manager

Agency: Acne

 

Erik Bergqvist, Executive Creative Director
Niclas Norström, Planning Director
Tommy Carlsson, Creative Lead
Joel Lindblad, Copywriter

Isaac Bonnier, Senior Art Director
Henrik Åkerberg, Final Art

Johanna Gradin, Account Director

Pia Hansson Näslund, Account Manager

Fredrika Frenkiel, Account Manager
Olle Lindgren, Executive Producer

Production company: Bacon

 

Adam Hashemi, Director
Samuel Cantor, Executive Producer

Cinematic Filmmaker, Danielle Katvan Joins 1stAveMachine

Storytelling production company 1stAveMachine has expanded its renowned and decorated directorial roster by signing award-winning filmmaker Danielle Katvan.
 

As both a film and commercial director, Danielle’s distinct style infuses offbeat humor into highly stylized, cinematic worlds. “It’s like our world, but with the volume turned up a bit,” she describes. Katvan’s stories come to life through heightened visuals and eccentric characters, yet she always maintains an underlying thread of emotional authenticity. “The beauty of filmmaking is that you can escape to another place, but still feel emotionally connected to what you’re watching – and good performances are such a huge part of making that connection.”

Danielle has emerged as a directorial tour de force, from winning a Clio for her Vogue x Free People spot, to having her short film, The Foster Portfolio, premiere at the 2017 Tribeca Film Festival. She was also selected for the 2017 SHOOT New Directors showcase, and was a recipient of an award from Kodak for Excellence in the Craft of FIlmmaking.

Partner of 1stAveMachine, Sam Penfield says, “We have been big fans of Danielle’s work for some time. Her eye for authentic performances and beautiful cinematography, set against thoughtful art direction, have made for some incredibly compelling films. We couldn’t be more excited to be a part of her career going forward.”

Growing up in her parents eclectic photography studio in New York City, Danielle was exposed to the art of visual storytelling from a young age. She began by taking 35mm photographs, developing the film in their home’s darkroom. This evolved into an interest in moving images, when she bought her first video camera at age 12. It never left her side.

She has been a fan of 1stAveMachine since her early days as a filmmaker, captivated by their boundary-pushing material and original work ethic that truly matches her own. She is thrilled to be joining the roster, and looks forward to growing and refining her reel with 1stAveMachine’s support. “The team at 1stAveMachine has shown me such genuine support and enthusiasm, and I look forward to becoming a part of their family.”

1stAveMachine is a mixed media production company and storytelling outfit. They create video, digital, and experimental content for TV, print, web, and mobile, all with a unified singular vision. They have won numerous awards since their formation, including Gold, Silver, and Bronze Cannes Lions, AICP, One Show, and ANDY awards, and many others. Their work has been featured across the globe and during the Super Bowl, and their division 1stAve Content has been instrumental in pairing the perfect influencers and creators with agencies and brands.

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Kia GT Family – Barrel Racers (2019) :49 (USA)

Set on a West Texas ranch, Kia puts all three performance-inspired models to the test through a “barrel race” with a twist. Instead of thoroughbred horses, the Stinger GT2 and GTS models along with the Forte GT, race through the course demonstrating each model’s agility, speed, nimble handling and driving dynamics with every turn of the wheel. 

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Client: KIA Motors

Taylors of Harrogate – "Why didn't we think of that before?" in new £2M Coffee Bags campaign, created by Lucky Generals.

Why on earth did we not think of this before? This is the question that Taylors of Harrogate are building their campaign around, After all, it seems so obvious that one could brew a single cup of coffee the same way you brew a single cup of tea. Like all truly clever ideas, it’s obvious in hindsight, and so the campaign is humorously self-deprecating.

Since their launch in November 2016, Taylors of Harrogate has grown to the number one brand in coffee bags. This campaign follows a relaunch of the product. After over 18 months of product development, Taylors coffee bags are now available in a redesigned box with an optimised bag and a new blend in the range, Flying Start.

 Kelly Wright, Senior Brand Manager for Taylors of Harrogate says:

“Coffee bags are proof that consumers don’t need to compromise to enjoy proper coffee, but not enough people know they exist. We’re really excited to be championing Taylors coffee bags through this campaign, enlightening millions about this game changer of a product.”

 “We don’t take ourselves too seriously at Taylors. This campaign is funny, disruptive and self-deprecating, asking the question we’ve been asking ourselves for almost three years. We hope everyone loves it as much as we do!”

Danny Brooke-Taylor, founder at Lucky Generals, says:
 

“So often in life, the best solution to something is the one that’s been staring you in the face from the very start. We’re really proud of this campaign but why didn’t we think of it before?”

The film in the campaign will be airing in 60, 30 and 10-second cut downs. It depicts a woman pondering why this ingenious idea hasn’t struck us before, and all these silly situations through time where someone who has come up with the idea is interrupted in various ways. Props for the 1970s and 1980s art direction, by the way. I love the stoner guy talking to a coatrack and the giant 80s phone. 

The TV campaign will be supported by a range of shopper marketing, out of home, digital, PR and sampling activity at music festivals and train stations across the country this month, targeting consumers who prefer roast and ground coffee but sometimes have to compromise with instant coffee in the interest of convenience.

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Credits

Brand: Taylors of Harrogate

Client name and job title: Taylors Coffee Bags – Why didn’t we think of them before?
Creative Agency: Lucky Generals

Media agency: Goodstuff
Director: Randy Krallman
Production Company: Smuggler
Production Company Producer: Gustav Geldenhuys
Editing House/Editor:  Marshall Street Editor / Tim Thornton-Allan
Post Production: Electric Theatre Collective 

Post Production Producer: Jon Purton

Colourist: Janson Wallis 

2D Lead: Paul Wilmot

2D Artists: Flavio Kawamoto, Tomer Epsthein

DMP: Dave Gibbons

Sound Studio/Engineer: Wave Studios / Parv Thind 

 

About Lucky Generals

Lucky Generals is a creative company for people on a mission. An Emmy-nominated, multi-award-winning agency, with creativity at its core, we believe in making work that makes a difference. Founded in 2013 by Helen Calcraft, Andy Nairn and Danny Brooke-Taylor, Lucky Generals is now an international agency with offices in London and New York. Clients include Amazon, AB Inbev, Celebrity Cruises, Funding Circle and The Co-op.

Mercedes Canada has stirred up controversy with line "the values that unite us all" in short Twitter ad

Mercedes Canada has stirred up controversy with their most recent tweet celebrating “the values that unite us all.” That is, gay pride, because pride is now in Canada, a full two weeks after gay pride month USA finished, and a week after most Gay Prides in Europe, which may have triggered some of the responses to this tweet. “Is this Pride thing a multi month celebration now? I’m growing tired of it” responds one twitter user, while others concentrate on the line “the values that unite us all” as it is juxtaposed with various LGBTQ people.

Say what you want about peoples reactions, this does teach us a valuable lesson about advertising placement. After having seen pretty much every brand on Twitter US change their logotypes and tweet Gay Pride things for all of July, I too was getting rather fed up. Then the second wave began for me, as Gay Pride in Sweden began in August. Now it is in Canada. There is value in keeping your advertising local when it is. 

Then there is also a problem with the practice of rainbow-washing, a.k.a pinkwashing. Like Greenwashing and Equalitywashing, consumers know when brands are pandering and the act of rainbow-washing can threaten brands. Products that profit from pride divide the LGBTQ community because honestly is that bottle of rainbow Absolute Vodka in a box of glitter really a company showing allyship or just making a quick sales bump?

Will people buy more Mercedes now that Mercedes Canada has had a bearded Drag Queen talk about “spirit” together with other LGBTQ people who mention things like life and sunlight? The most hostile response that Mercedes received, however, was an image reminding them of their past that shows this car brands willingness to follow the current zeitgeist without question. I’m sure that wasn’t the result the creative team had in mind, when they talked about “the values that unite us all.”

Mercedes-Benz greets the airplanes flying overhead with a “Heil Hitler!” salute made with vehicles manufactured at the Daimler-Benz factory in 1936.

marketing mishaps

Markee the Sad

Leo Burnett London and McDonald’s create spoof fashion brand ‘Schnuggs’ to launch spicy chicken nuggets

McDonald’s and Leo Burnett London have launched an amusing campaign called ‘Schnuggs’ celebrating the release of new Spicy Chicken McNuggets, their hottest new product launch and the latest addition to its menu, available for seven weeks. The models Andrezo, Esmeralda and Jake strut their best “Cool” faces drumming up the hype as they are wearing custom made Spicy Chicken McNuggets apparel. It is the hottest fashion drop of the year – Spicy X Chicken McNuggets = Schnuggs. 

 

Spoofing the launches of fashion brands like Supreme, this is just McD’s way of teasing you about the hot, literally, chicken McNuggets.

Together with the spoof fashion brand, there’s also ads with mysterious burn holes in the Metro, that announced the launch of Spicy Chicken McNuggets at McDonald’s on Wednesday 7th.

Liz Whitbread at McDonald’s said “The Spicy Chicken McNuggets campaign is a very exciting product launch for us. An existing innovation to one of our most loved products and with Schnuggs, we’ve got a campaign to match.”

Graham Lakeland, Creative Director at Leo Burnett London, said: “We drew inspiration from these cult-like brands that have this young audience going crazy for their latest product.  Therefore, creating a spoof ‘hype beast’ clothing brand to model our new Spicy McNuggets felt like a great fit. This, coupled with a mixture of food-focused posts helps us create a buzz to become one of the most talked about foods this year.”

Billboard for the spicy chicken McNuggets

Agency: Leo Burnett London
Creative Director:  Graham Lakeland
Creative:  Aaron Taylor
Planner/CSU Director: Carl Juresic, Adriana Ferran, Linnea Berglund
Designer: Paul Reddington, Sam Kallen
Photographer : Myles New