A history of brilliance from 2007 - today Ian Haworth

Chief Creative Officer, selfie and tell you the state of your gums. Wunderman EMEA Elsewhere we have partnered with Spotify to create an alarm- clock that wakes you every morning with the sounds of the Amazon rain-forest. And we are working on a haptic experience so that blind fans can follow a game of football through their fingers on a screen.

Directory has watched and noted as brands have learned to communicate through how they do things. In offering new products and services, they become valuable because they are helpful. I’m thinking here of the app for a Telco in New From the Zealand that gave the Maori word for the things its customers photographed on their mobiles. (Issue 49, Colenso BBDO for Spark).

Or the haptic dress from Schweppes that shames men in pulpit Brazil into being more respectful of women by recording how they touch women without their consent in bars and clubs. The first thing to say is congratulations, Directory, on getting (Issue 47, Ogilvy Sao Paulo.) this far. 50 issues. And as one of only two people to have Over the same period that I’ve been a subscriber, my job subscribed from the very start, that gives me permission to has changed too. I call myself a curator of talents. I am still take over the pulpit. a generalist, because someone needs to be able to take an In the twelve-and-a-half years since Issue One, we’ve all seen overview but we now need an array of specialists with skills some big changes. And that’s what I love about Directory. that simply didn’t exist in 2007. It has been a barometer for both where the industry is and The one thing that hasn’t changed in all that time, though, is where it’s going. For me, the curation of great ideas has been the value of a good idea. what sets the magazine apart. If you go online to find what’s And that’s what Directory has been true to. Identifying clever, new, you can be overwhelmed by the sheer volume of stuff innovative, effective ideas before anyone else. that gets posted up every day. It takes time and effort to sort the wheat from the chaff. I hope you’re still at it in 2031 when Issue 100 will be due.

Every three months, I get a supply of wheat delivered. It’s from Directory I get to see things that are genuinely inspiring, though often for very different reasons. I remember being completely blown away when I read the “Driving Dogs” case study back in Issue 27. I’d never seen a charity pair up with a commercial brand before let alone a dog driving a car. But I also remember “$hred” for BNZ and thinking that the craft behind it was superb.

Looking back at Issue One, over half the contents was Direct Mail. Today, there is a lot less of it. Personally, I still believe that Mail is an important part of the marketer’s armoury. “Driving Dogs”, from DraftFCB Younger creatives at Wunderman, when they get given the New Zealand for MINI and the chance to work in 3D love it and come up with some amazing SPCA. The video has 15 million There were 17 examples of DM in ideas. Well, like the “Garden Drop” idea for BT Sport that views on YouTube. Issue 1. Just one in Issue 49. appeared in Issue 49.

That said, Directory has reported on the transformation of creativity with the arrival of a range of new, tech-driven skillsets in the business.

At Wunderman, we now have creative technologists and experience designers who have brought with them completely new ways of solving problems. Today, brands communicate as So, back in the day, when innovation didn’t mean technology, much in what they DO as in what we won an innovation award for mailing out a MUAC tape for they SAY. So, here’s Schweppes a third-world charity. It measures malnutrition and when you in Issue 47 campaigning for see how tiny a malnourished wrist is, your imagination does greater respect for women with a the rest. It raised a lot of money. dress that registers every man’s Compare that with the sort of things our teams are working inappropriate touch. on now. For a healthcare client, we are developing a digital For Spark NZ, Colenso BBDO speech-therapy tool. created an app that helps Kiwis For another, we are prototyping the tech that can scan a learn to speak Maori.

| Editorial 2 50 brilliant ideas from our first 50 issues. Viewed together they give shape to the new rules of communication.

50Patrick Collister,Up Editor

For the last twelve-and-a-half years, producing Directory 2. Clients were not media owners. every quarter has been a labour of love. Twenty years ago, when I was the creative do-dah at Thanks to the sponsorship of Royal Mail’s MarketReach, we O&M London, Keith Weed was my client at Unilever. He actually made money for a brief and glorious period around gave us a bit of money to explore what Dove might do in September 2012.* this new digital world that was taking shape. More valuably, though, Directory has been a window The wonderfully talented Alun Howell came up with through which I have watched the evolution of advertising. the idea of a portal, a general - interest site where The 2,500 case histories we’ve published in 50 magazines women could explore and share ideas about beauty in a are together a history of change. complicated and challenging world. They reveal that what we think advertising is and the way we Whatever Keith may have had in mind when he briefed think it works have been utterly transformed. us, it was not to start making TV programmes. Today, Over the coming pages, I have selected my personal though, that’s exactly what many brands are doing, favourite campaigns. putting out short, sharp shows on YouTube and their This has not been easy. own channels. My first shortlist came to 219 great pieces of work. Red Bull has gone even Further butchery and I got it down to 50 ideas from 50 issues. further and now sells Seen together, they provide, I hope, evidence of the new advertising space to other rules of communication. brands on its channels.

Before the new rules, though, what were the old rules? We suggested to Dove that they should be making documentaries 1. Clients used to spend 90% of their money on media. about women like racing driver Vicki 10% went on production. Butler-Henderson, who, though Today, there are plenty of examples of the exact opposite. competitive and successful, still wanted to feel feminine. Fallon Minneapolis showed the way with BMWFilms. com, when 90% of the spend was on production. Eight 3. The marketer was in control. Hollywood directors made short films, each starring Clive In the old days, the marketing director would devise a Owen as “the Driver”. strategy, plan a campaign, put it into a test region, roll 10% of the budget went on small ads directing people to it out and then pause. Look at the numbers, regroup, BMW’s website to see the films. It was the beginning of amend and then either begin again or go large with it. branded content. I’ve just seen it reported that in 2018 Today, the consumer is in control. (S)he’ll let you know in no there were over 200,000 branded content campaigns in uncertain terms if your advertising sucks. As Pepsi found out the USA alone. within hours of launching the “Riot” film with Kendall Jenner.

“Beat the Devil” was filmed by When film-makers Eepybird Tony Scott for BMWfilms.com. showed what happened when It told the story of a car race you dropped a Mentos mint into between James Brown and the a bottle of Diet Coke, there were devil. The history of branded tens of thousands of copycat content started here. videos uploaded to the internet and there was nothing Coca-Cola could do about it – except be the first major brand to hire a Director of Social Media.

3 4. You built brands with advertisements. Rather than posture behind corporate social responsibility The problem today is that people will zap, block, delete programmes, which are often just window dressing, or fast-forward through anything that looks like an some brands are trying to align with the real issues of real advertisement. However, they can be persuaded to customers and are being rewarded for it. engage with advertising. At its simplest, an advertisement is a message about a product which is shoved in your face. Advertising is altogether more subtle. It comprises ideas that people choose to interact with in some way. So, advertising can be content or a ‘viral’ or it can be an influencer endorsing a brand or it can be a branded app. Brands communicate today in what they do as much as, or more than, in what they say. (See Optus ‘Clever Buoy’ on page 36). So Tommy Hilfiger’s Adaptive clothing tells me more about the company’s values than any ad ever Dove’s campaign for real beauty helped the brand grow in worth from could. (See page 27). $200 million in the 1990s to $4 billion today. Values have value. The story of ‘Cleverbuoy’, a shark detection 2. Insight system, was big news People used to say, “data is the new oil”. Only, the oil in Australia and helped fields yielded mere trickles of the stuff. But now, thanks raise positive awareness in large part to Google, Facebook and Amazon there are of Optus to 84%. gushers everywhere you look. 5. Marketing used to be 360° Used properly, data throws up surprising insights and Today marketing is 365. Days a year, that is. Always on. those insights almost always open up ideas. So many to Fernando Machado has become a celeb marketer, choose from in the last few issues of Directory. winning awards and being fêted at Cannes and Saatchi & Saatchi London for Toyota in Issue 45. The elsewhere. He deserves the accolades. This is a marketer data showed that 80% of young drivers use their mobiles who fully recognises the value of traditional media, TV when driving. 72% text while at the wheel. in particular, but who also realises that to be ‘always Insight. Parents are anxious when they lend their car to on’ Burger King needs to maintain a presence in social their teenage kids. media. The way the brand does this, with different Idea: an app that uses Google maps to know when the agencies in different parts of the world, is inspiring. phone owner is driving and blocks all incoming calls. Also, What Machado has learned is how brands must listen when the young motorist exceeds the speed limit, the app and respond. Listen to what people are talking about starts playing embarrassing ‘mum and dad’ music. and then, respectfully, Data is transforming our industry, let alone our world. charmingly, join the Also in Issue 45, DDB Brussels created a bot to judge the conversation. Belgian Marketing Association awards. It analysed 3,000

20 years ago, we used to brag Cannes winners and then knew enough to be able to spot that we offered 360° solutions. a future winner itself. More like 720°, I sometimes Pearl used machine thought, since we had a tendency learning to understand to go round and round in circles. what constitutes an The old rules haven’t so award-winning campaign and then judged the much morphed into the new Belgian marketing rules, they have simply withered on the vine, the vine being awards. the advertising agency of yore. Today, those agencies that struggle probably haven’t come to 3. Integration terms fully with the new rules. This used to mean joined-up media. Telly and outdoor, So, what are these new rules? maybe a bit of print and then some PR with whatever was left. Today, integration isn’t the media strategy, it is 1. Integrity the entire strategy. Integrate in people’s lives. Marketers Brands have to stand for something. While it is a truism have to work out the customer journey and then make that doing good is good business, brands don’t have to sure the brand is positioned at the key points with a be holier-than-thou about it. friendly word. In Directory, we have seen P&G stand up for inclusiveness Integration means understanding that 28% of all people with their “My Black is Beautiful” campaign from BBDO in the UK have bought something on their mobile phones New York (Issue 46), Ford start running Handicabs in while sitting on the toilet. Amsterdam, taxis driven by people with disabilities (Issue It means understanding that people search for emotional 47) and Hellmann’s try to do something about food waste answers almost as frequently as they search for practical with Ogilvy Canada (Issue 49). help. Why do I feel so bored? Why am I unhappy?

| Editorial 4 Integration is recognising that the same person can regard 5. Innovate a brand online with three utterly different mindsets. For decades, agencies couldn’t innovate even if they This is the genius of the Hero/Hub/Hygiene construct wanted to. first put together by Dr. Joe Fry and Andrew Bent at TV spots were a fixed length. 10, 20, 30 seconds, 60 if Google ZOO (NACE). you were lucky. In Issue 31 of Directory, we featured Volvo “Van Damme”. The publishers fixed the size and shapes of the ads on The ‘hero’ piece was the video, which has amassed their pages. over 100 million views on YouTube. ‘Hub’ content is the Then the internet and - boom. “In the Cab” video interviews with dozens of different Agencies were early adopters of new technology and truckers. And ‘hygiene’ content is the nitty-gritty stuff saw that it not only provided new ways for their clients to that explains fuel consumption, adaptive steering etc. communicate but new ways for them to own their own IP and grow their businesses. R/GA has gone from production company to digital ad agency to digital consultancy and start-up incubator. In Issue 45, MRM/McCann New York were the brains behind a new voice - activated postbox for the US Postal Service. You start with “Hello Blue Box” and then you’re off, conversing with the mail service, getting a price for postage and an estimated time of delivery. I could go on. And on. The Innovation section of Directory is now a repository Hero content is a film or an ad you put in front of people. Hub content of hundreds of ideas. Between them they show that is so interesting, people choose to go to your site or YouTube channel embracing adtech and martech and hiring what I to see more. Hygiene (or Help) content is when you answer specific call ‘creeks’, creative questions with a helpful ‘How To’ video. Not many brands get why geeks, agencies are being they should do all three. catapulted out of the business of messaging and 4. Involvement into making products and Research has pointed out repeatedly that in any services of real value. cluttered market, consumers will always choose a brand that offers them an experience over a brand that doesn’t. This is what prompted Malibu to experiment with “JFK Unsilenced” from Rothco, ‘Connected Bottles’. Tap a bottle with your smartphone Dublin, in Issue 45 of Directory and a whole load of content opens up automatically. No was the reconstruction of the downloads, no barriers. speech the President never got to make the day he was shot in In Issue 48 for MINI, serviceplan placed doors, ladders Dallas. This was new technology and stairs around Berlin that helped people find used to bring an idea to life. shortcuts around the city. As my old boss Lars Bastholm was wont to say, do stuff The marvellous Mark Ritson, Professor of Marketing and that is “useful, usable and/or delightful and you won’t go columnist for Marketing Week, has said somewhere that far wrong.” every time he reads some w*nker talking about ‘new rules’ he The huge difference this approach is bringing to adland wants to vomit. is to encourage makers. Digital studios are influencing Apologies to anyone who has thrown up in the last 1,700 traditional agencies through hacks and prototyping. And words. clients are learning to experiment. They aren’t rules at all. They are just pointers towards the sort of communications that seems to work. Which brings me to the last of my five rules. In fact, if the next 50 pages prove anything they prove that there are no rules. Especially now with the increasing fragmentation of media. But “Five pointers towards some stuff that makes vague sense in the shambles that is the marketing landscape today” is not a good title. My heartfelt thanks to all the agencies who have sent us work over the last 50 issues. With your help, I’ve been able to turn ‘the new rules’ into a presentation that has taken me to some exotic locations. And there is a book on the stocks. Thanks to the past, I can see a future. MINI’s ‘shortcut billboards’ helped pedestrians find the fastest routes across the city. Results, hundreds of videos uploaded to social media, millions of views, lots of love for MINI. *Angus, Tim, Sarah, Danielle, Brenda – thank you.

5 ISSUE 1

Agency: M&C Saatchi Sydney Client: Sydney Dogs and Cats Home Product: Cats Country: Australia

Creative Team Creative Director: Dave King Art Directors: Jason Woelfl, Gavin McLeod Copywriter: Dave King

Production Team Production Managers: Fiona Rooney, Justin Marando

Other Credits Manager, Sydney Dogs and Cats Home: Pat Hood PR Support: Andrea Kerekes, Rochelle Burbury (Open Dialogue)

BACKGROUND The creative challenge was to try to get influencers (radio DJs and magazine editors) aware that the Sydney Dogs Home was changing its name to the Sydney Dogs and Cats Home. There was only marginal awareness of the animal shelter even before the name change so the idea needed to cut through and generate free media coverage.

IDEA Stroking soft fur is almost addictive. So, a tactile postcard was created with fake fur and this was mailed to the hosts of breakfast TV shows, radio shows and to newspaper and magazine editors. It made the point clearly that the dogs’ home now admitted cats.

RESULTS Within the first week of the mailing, five media outlets confirmed that they would run articles and stories on the name change. This included Current Affair, who spent an entire day shooting at the Cats and Dogs Home, and The Southern Courier, which covered the catchment area for the Home. Costing a total of AUS$269.00, the campaign had achieved an ROI of 316:1 within a month.

OUR THOUGHTS This featured in Issue One of Directory and it remains one of my favourite examples of mail. Tactile or what? An idea like this captures the imagination and lasts in memory long after the TV campaign has been forgotten and the emails deleted. Truly, a great demonstration of what mail can do as well as a brilliant demonstration of the pleasure to be had from adopting an abandoned cat.

| Editorial 6 ISSUE 13 RESULTS Just 12 DM packs led to nearly one million YouTube views, 8,000 texts sent and 150 videos made and uploaded. The mash-up Agency: Proximity London video was featured twice by YouTube editors and ranked ‘Top 10 Client: RNLI most-viewed this month’ across seven countries. Product: Charity The bloggers, having opened the packages and got involved, Title: Mystery Packages visited the RNLI HQ, filmed it, wrote songs, rewrote headlines, Country: UK made T-shirts and spread the word about what the charity did and how their young volunteers were crucial to their work. Creative Team Executive Creative Director: Caitlin Ryan OUR THOUGHTS Creative Directors: Debo Bester, Sonia Singleton Debi Bester was at least five years ahead of the time when Copywriter: Nick Moffat she orchestrated this campaign. She now has her own agency Art Director: Chris Monk (The Department of Change) and continues to be ahead of the game. For my money, this remains one of the most intelligent Production integrated campaigns of the last decade. Production Company: Partizan Back in 2009, no-one in marketing knew about influencers. Director: Tim Maurice Jones Or about social and how the best way to amplify an idea is by making it so compelling that people want to talk to each other Other about it. I suspect that is why the RNLI never followed up on Client: Lysa Hardy the interest they stimulated among young people because Choreographer: Ashley Wallen they had no idea how to. Today, marketing is about starting something; putting an idea out there; and if it gains any sort of Production traction, then putting money and endeavour into it. Production Company: Red Bee Media Ltd.

BACKGROUND The RNLI was the ‘least known charity among the youth’ yet had no fewer than 470 volunteers under the age of 25 who were willing to risk their own lives to save others at sea.

IDEA Unbranded 'Mystery Packages' were mailed out to Britain’s 12 most popular young YouTubers. They were asked to open these parcels on video and, after reading the letter and examining the contents, they were asked to speak up about who they really are. Are they the lazy, feral, useless generation the media enjoyed portraying them to be, a generation without values, views or a vision? Or did they stand for something better? The packages were designed to stimulate debate. Only after hundreds of others had made videos and commented did the RNLI reveal that they were behind the packages. A video was posted on YouTube explaining why they wanted to engage with young people.

7 ISSUE 14

Agency: Y&R South Africa Client: UNICEF Product: Rehabilitation of Child Soldiers Project Title: Toy Soldiers Country: South Africa

Creative Team Chief Creative Officer: Michael Blore Executive Creative Director: Liam Wielopolski Art Director: Mbuso Ndlovu Copywriter: Sebastian Schneider Head of Design: Anita Modi Designer: Bradley Stapleton

BACKGROUND The African continent had the world’s highest number of child soldiers, fighting in wars they didn’t believe in, for causes they didn’t understand. UNICEF had extracted many of these children from combat and wanted to reintegrate them into society. The aim of the campaign was to rally more support for this programme from people known to have already given to UNICEF.

IDEA 1,000 packs were delivered. Initially, each appeared to be a typical packet of toy soldiers but once opened the recipient found that the figurines were in fact children - reading books, playing soccer, riding bikes and doing the activities children were supposed to do other than carry guns. In other words, doing what they would do in a normal life.

RESULTS There was an immediate rise in both volunteer applications and donations. In addition, the mailing created interest around the world, appearing on over 15,000 websites in over 50 countries, transcending both borders and languages. More than a simple message, it was an ongoing reminder of the realities many children in Africa faced every day.

OUR THOUGHTS This pack went to a thousand people and reached a million. For me, that’s the essence of creativity, making budgets go further than anyone imagined. Yet most hard-nosed marketers would never have bought this idea, saying it was ridiculously expensive for such limited reach. I know because I asked one such marketer. I remember seeing an insert in The Guardian at much the same time, trying to do the same job for UNICEF. It was wordy and worthy and completely lacking in ambition. The exact opposite to this idea.

| Editorial 8 ISSUE 20 IDEA Long-time customers of Union Bank were sent mailings that traced the path they had taken over the years from one Agency: Mudra Communications, India residence to another. The mailings appeared to have been Client: Union Bank redirected from the recipient’s very first address all the way Product: Union Bank Home Loans to his/her current home. Inside the very last envelope was a Title: Bouncing Mail message saying, don’t you think it’s time you got a place of Country: India your own? Creative Team RESULTS Chief Creative Officer:Bobby Pawar In three major Indian cities, Union Bank compiled a list of long- Executive Creative Director: KB Vinod time customers who had moved home frequently. They were Art Director: Preeti Verma sent highly personalised mailings. Copywriter: Karunasgar Sridharan Over 65% of the customers mailed called up the helpline or visited a branch over the next 6 weeks. In addition, inquiries Other about home loans to the helpline increased by 38%. Freelancer: Satish Sethumadhavan

EDITOR’S COMMENT BACKGROUND When this campaign ran in 2011, I don’t think the Creative In big cities like Mumbai, people tend to keep moving Use of Data category existed at Cannes Lions, or at any other apartments every few years to cope with steep rent hikes. awards show, but it would have been a worthy winner. The communication specifically spoke to this audience to The data is interesting but make no mistake, it’s how it’s been offer them stability. used that makes this an all-time great mailer. The analysts at any bank could have (and must have) produced a list of customers who move home a lot. But it was a creative person who had the idea of letting a chain of envelopes tell the recipient’s own story. It wouldn’t have been expensive but, equally, it wouldn’t have been cheap. But where most DM of the period hoped for as much as 2% response rates, this got 65%.

9 ISSUE 26

Agency: Leo Burnett London Client: Pantone Product: Colour Matching System Title: Pantone Queen Media: Direct Mail Country: UK

Creative Team Creative Director: Justin Tindall Creative Team: Will Thacker, Blake Waters

Production Credits Print Producer: Chris Dale Art Buyer: Leah Mitchell Artwork, creative imagining and colour management: Mundocom

BACKGROUND Could Pantone be made more engaging to new and current customers in a way that was innovative and surprising, while keeping its unique ability to match colours at the heart of the concept?

IDEA Queen Elizabeth II. For 60 years, Her Majesty colour-matched her clothes perfectly. If she wore yellow, then her dress, hat, and coat would be that same yellow. To celebrate 60 years of her reign, the iconic Pantone swatch book was re-designed as a limited-edition guide to 60 of her famous outfits. Every outfit was matched to the exact date and location she had worn it.

RESULTS The Palace liked the idea so much that the book was made official Diamond Jubilee memorabilia, placing it in a very exclusive group of royally-endorsed products. Books were posted to a select group of influential design blogs, magazines, newspapers and designers. Within 24 hours they had reached 1.2 million websites and blogs with Pantone Queen trending on Twitter.

OUR THOUGHTS Traditional advertising has learned a lot from digital and not least among the lessons is that if you aren’t useful, usable or delightful online, then you are just digital landfill. So, here’s a real-world idea, which is made especially delightful because it is useful and usable. Not to mention topical, unusual and inspirational.

| Editorial 10 ISSUE 31

Agency: Rethink Client: Bulk Cat Litter Warehouse Product: Cat Litter Title: Bulk Catnip DM Media: Direct Mail Country: Canada

Creative Team Creative Directors: Chris Staples, Ian Grais Art Director: Leia Rogers Copywriter: Bob Simpson Designer: Lisa Nakamura

Production Credits Content Strategist: Leah Gregg Editor: Chris Neilson

Other Account Manager: Marie Lunny

BACKGROUND Bulk Cat Kitty Litter Warehouse needed a direct mail flyer. The strategy was to attract the cats first, their owners second.

IDEA The mailings were impregnated with catnip so that when the postman delivered them, cats went crazy for the letter.

RESULTS There was a big spike in sales. In addition, the "making of" video was viewed over 370,000 times on YouTube and featured How do you get people to look at a mailer about a low interest product like on numerous blogs and websites. More than 3,660,540 online cat litter? You print it on paper sprayed with catnip. When your cat starts impressions were generated, including 2,269 tweets and reading the mail, you want to know why. 4,509 Facebook shares.

INSIGHTS Mail is the only advertising medium that appeals to all five senses – including smell. One director of Royal Mail in the UK made sure his business cards all smelled of strawberry so he could make the point whenever he met potential customers. This idea, though, has an added element of genius in that cat owners were the secondary target audience. It only went to 500 cat owners but has reached a thousand times that number. That’s return on idea for you.

11 ISSUE 34 IDEA Every day, billions of dollars in old banknotes were destroyed and turned into waste. Collaborating with the Reserve Bank, Agency: Colenso BBDO/Proximity New Zealand $1,000 of real shredded cash was put into bundles and mailed Client: BNZ to homeowners with a letter explaining how a BNZ Tailored Product: Tailored Home Loans Home Loan could help them save $156,000 on a typical Title: $hred $300,000 home loan. Media: Direct Mail Country: New Zealand RESULTS $hred increased BNZ mortgage lending by $600 million. Home Creative Team loan enquiries jumped 13%. Bank preference increased 11% Creative Chairman: Nick Worthington against BNZ non ‘main bank’ customers. Executive Creative Director: Wayne Pick Creative Director: Kim Pick OUR THOUGHTS Senior Art Director: Kristal Knight Call me old-fashioned but I love it when I come across Senior Copywriter: Darryl Wong advertising that actually sells stuff. Two years ago at Cannes, only three of the 27 Grands Prix won had an overt commercial Production Credits purpose. This simple idea increased BNZ’s loan book by £300 Print Producer: Sheriden Derby million (or USD $450 million). Director of Operations: Paul Courtney What makes mail such a great medium is its physicality. In this instance, Kiwis everywhere would have turned the pack over Other in their hands, would have thrown it to someone else in the Business Director: Sarah Williams kitchen, would have laughed and would have started to think Group Account Director: Jillian Stanton hard about their mortgages. Project Director: Janelle Wilson Senior CRM Planner: Angela Legge Planning Director: David McCallen

Clients BNZ Director, Retail Banking & Marketing: Craig Herbison BNZ Communications Manager: Marcia Masters

BACKGROUND As part of BNZ’s promise to help New Zealanders be good with money, the bank wanted to raise awareness of the fact that few had any idea how much money they were wasting on unnecessary home loan interest.

| Editorial 12 ISSUE 42

Agency: J. Walter Thompson London Client: The Glasgow School of Art Product: Mackintosh Building Title: Ash to Art Country: UK

Creative Team Creatives: Giles Hepworth, Bill Hartley Head of Art: Dave Dye Creative Producer: Kate Duncan

Other ‘Studio Lost But Found’ – Douglas Senior Account Director: Sophia Redgrave Gordon. Account Manager: Jonah Werth “I was sent a small section of wood that came from the famous Client library. It sat in my studio in Director of Development: Alan Horn Berlin, on my desk, next to a classic 60's ashtray that a friend BACKGROUND had given me - the irony. In any In May 2014 Glasgow Art School’s world-famous Mackintosh case it reminded me of my times in the library, where one either Building suffered a fire that damaged the west wing and craned one’s neck in order to look destroyed the celebrated Mackintosh Library. up very high or bent one's head in An appeal was launched to raise £32m to help return the order to read a book. It has a kind library to its original 1910 design. of (traditional) religious or at least a devotional gesture to it. And when I looked at the pieces of wood, I moved them slightly and realised that it IDEA was, indeed, a cross. The idea was to use the actual materials damaged in the fire to Regarding the material and the process - I wanted to use EXTREME help raise money. heat in order to make something that would not burn - therefore, the Some of the biggest names in contemporary British art were bronze.” mailed a piece of the debris that had been specifically chosen for them. A letter explained what the item was and where it was Grayson Perry said: “I was very excited when I received the from. The brief was left open for each artist to interpret what box of charcoal. I had an idea they received and use it to create their own new piece of art. almost immediately and the Their pieces were auctioned at Christie’s. idea of making an urn was an obviously thing to do. The idea of RESULTS memorialising or celebrating the 25 leading British artists responded to the mailings. difficulty - honouring the wound. Grayson Perry said, “I really like the idea of using the charcoal It’s something I’m trying to do. from the fire. I thought it was very clever. It’s also fresh – it’s Move on and make the most of it.” not something that has come up before. We’ve all been asked to do t-shirts, knickers and mugs – endless charity rounds. I get about two a week.” Sir Antony Gormley – Site II

OUR THOUGHTS I love the fact this started with a young creative team who saw a problem and had an idea. They pitched it to the Glasgow School of Art who embraced it. The brief was for the artists to consider the metaphor of the phoenix rising from the ashes, the idea of life after death, and some of the most celebrated artists in the UK rose to the challenge. Grayson Perry, Antony Gormley, Rachel Whiteread, Anish Kapoor, Tacita Dean, Conrad Shawcross, The Chapman Brothers, Sir Peter Blake to name a few. It’s what mail does spectacularly well. It touches people, literally as well as metaphorically.

13 ISSUE 16

Agency: AMV BBDO London Client: Walker’s Crisps Product: Potato Chips Title: Sandwich Country: UK

Creative Team Executive Creative Director: Paul Brazier Creatives: Stephen Coll, Colin Jones

Production Credits Production Company: Hsi

BACKGROUND In research, British people confessed that a packet of Walkers crisps makes a lunchtime sandwich more exciting. But fewer than one in ten actually eat crisps at lunch.

IDEA There is a small town not far from where Directory is produced called Sandwich. To prove Walkers can make absolutely any sandwich more exciting, a series of surprise events was designed to make Sandwich more exciting. Jensen Button became a cab driver there. Pamela Anderson applied for the job as barmaid in the pub. Frank Lampard turned out for the town football team. And JLS came and played for the sixth formers at Sandwich school. The events delighted local people, captured the attention of the nation, and became the focus of a massive social media campaign.

RESULTS The online films of Jensen Button being given grief, of teenagers screaming as school assembly turned into a pop concert with JLS, of comedian Al Murray running the pub quiz, received 1.6 million views. Britain watched more than 3 million minutes of content and for the first time Walkers crisps were given space in the sandwich aisles of the major supermarkets, helping sell an extra 1.5 million packets of crisps.

OUR THOUGHTS Online, I noticed a few miserable trolls sneering that this campaign was based on a pun. So, what’s wrong with a pun? They are a very British art form (I still remember the trade ad Grey Jolliffe wrote for French sparkling wine brand Moussec: The tills are alive with the sound of Moussec.) Living in Kent as I do, I heard about this through word of mouth before the day was over. It delighted millions, me among them and I was delighted to see it win the very first Cannes Lions Grand Prix for Effectiveness.

| Editorial 14 ISSUE 23 ‘Bikers’, but this trumped it with over 55 million views on YouTube alone, not to mention the copycat videos and spoofs that added a few million more. Agency: Duval Guillaume Modem They said they wanted to create advertising that got talked Client: Turner Broadcasting System Europe about, in a good way that is, and they certainly succeeded there. Product: TV Channel Title: A Dramatic Surprise on a Quiet Square Media: Internet Country: Belgium

Creative Team Creative Directors: Geoffrey Hantson, Katrien Bottez Copywriter: Dieter De Ridder Art Director: Ad van Ongeval

Production Credits Agency Producer: Marc Van Buggenhout Production Company: Czar Director: Koen Mortier Executive Producer: Eurydice Gysel

Other Credits Account Team: Jana Vervoort (AE), Marc Wellens (MP)

BACKGROUND The American TV Channel TNT was a high-quality entertainment channel that created “television worth talking about.” To launch TNT in Belgium, the advertising needed to be worth talking about too.

IDEA The channel’s tagline was “TNT knows drama”. So, to deliver this, a large, red push button was placed in the main square of an ordinary Flemish town. A sign invited passers-by to push the button. When curiosity got the better of someone and he or she pushed, an incredible sequence of dramatic events unfolded in front of them. An accident, an ambulance, a fight, gangsters and cops and an American Football all in one breathless piece of action played out live to the townspeople. The event was staged several times and a film compiled, which was launched through social media and on YouTube.

RESULTS Launched on Wednesday 11th of April, the viral film had had 10 million views within 24 hours. By 29th April, it had been viewed 30 million times in total and had collected nearly a quarter of a million ‘likes’ on Facebook. Within two weeks it was the second most-shared commercial of all time. From 0 visitors, the website received 100,000 visitors within 10 days not to mention PR coverage around the world. There was even a Lego adaptation: http://www.youtube. com/watch?v=SDaiPydjUvU

OUR THOUGHTS Geoffrey Hantson and Katrien Bottez were responsible for creating an entirely new genre of advertising, part stunt and part commercial, played out for real but captured on film, it was ‘Candid Camera’ meets brand advertising and people loved it. Their first massively successful viral was Carlsberg

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Agency: McCann Melbourne Client: Metro Trains Product: Dumb Ways to Die Title: Dumb Ways to Die 2: The Games Media: Digital Country: Australia

Creative Team Pat Baron, David Ponce De Leon, Matthew Hine, Ryan Clayton

Production The game allowed players to travel around a dumb world but only after Millipede, Will Monte, Samuel Baird, Sara Cousins they had successfully played a mini-game.

Other Alex Haigh, Adrian Mills, Joe Guario, Alec Hussain, Serrin Dewar, Clara Tang, Tony Prysten, Andrew North, Patrick Trethewan, David Budd, Scott Hall

BACKGROUND In 2012, ‘Dumb Ways to Die’ became the most popular public service announcement of all time. The viral video was then Players were invited to take a pledge to be careful around railways. turned into a game. 30m people so far have signed up.

IDEA ‘Dumb Ways to Die 2: The Games’ was a sequel that was bigger and better than the original game. In it, players travelled by train across a world filled with lovable new characters and tried to keep them alive as they competed in the dumbest sports ever invented, guiding them through 28 action-packed train safety mini-games. The app got to No.1 in 81 countries. These included Electric Fence Hurdles. They are electric and players have to hurdle them. Or else. Landmine Curling. The landmine has to be swept into the ice before it explodes. Javelin Catching. Enough said.

RESULTS The game became the No.1 app in 81 countries, with 30 million people pledging to be safe around trains. There were 1.85 billion mini-game plays, deepening engagement with the safety message with an even greater audience.

OUR THOUGHTS The video “Dumb Ways to Die” was a phenomenon. It won 56 Lions at Cannes and has had over 200 million views on YouTube alone in its different guises. Where most brand managers tend to get bored with ideas long before their customers do, Metro Trains have sustained interest in their creative property and, arguably, the games have reached more people and had more effect than the videos. This was the second game they created but there has since been a third, evidence that this is an idea that keeps on giving. Incidentally, it is also evidence that it worked and continues to work, helping save lives. The econometrics suggest DWTD has reduced accidents around trains by 10%.

| Editorial 16 ISSUE 36 IDEA To demonstrate that Aruba really was the better destination, top photographer Juan came to the island and took shots of all its Agency: Grey Brazil most beautiful places. These were then uploaded to the world’s Client: Aruba Tourism major image banks as royalty-free images anyone could use. Title: Aruba Image Bank Soon Aruba’s competitors began using the images to sell their Media: Digital/Newspaper own countries. Once 12 other tourist destinations had passed Country: Brazil off the images as photos of their own beaches, it was time to let the world know. Creative Team A YouTube video, print ads and posters were created to let Chief Creative Officer:Rodrigo Jatene tourists know. Creative Director: Federico Russi Creative Team: Federico Russi, Lucas Heck, Felipe Leite RESULTS Proving that even other countries believed Aruba was more Production Credits beautiful led to an increase in tourism of 8%. Producer: Robinson Silva, Natacha Veiga, Renata Ruas Production House: Estudio Gato OUR THOUGHTS It is a simple human truth that a designer under pressure will Other sometimes think that one beach looks pretty much like another. Client: Carlos Barbosa That’s why this always raises much nervous laughter when I Account Team: Sylvia Panico, Janaina Luna show it inside agencies. The creative people recognise their Digital Team: Bruna Comin own fallibility. Simple human truths in advertising do this. They persuade us to acknowledge and then modify our behaviours. BACKGROUND Sadly, they are as rare as horses that talk, which is why 85% of Aruba is a tiny island off the coast of Venezuela with beautiful all advertising is pointless, irrelevant and unnoticed. beaches, sunny weather and dry cool breezes. However, it is surrounded by other larger tourist destinations, who are able to shout louder.

A travel photographer took dozens of photos of Aruba and uploaded them to image banks royalty-free. Soon other tourist destinations were using the images. Tsk tsk.

17 ISSUE 40 The Hungerithm ran live 24/7 at Snickers.com.au, where users simply clicked a button to generate a 7-Eleven barcode on their phones. Agency: Clemenger BBDO Melbourne It was promoted online on Twitter and Spotify. Client: Mars Australia Product: Snickers RESULTS Title: Hungerithm The campaign collected over 30 million media impressions, a Media: Online, Mobile, Social 120% increase in Twitter mentions for the Snickers brand plus Country: Australia hundreds of thousands of video views. One in five visitors to the site redeemed a 7-Eleven coupon. Creative Team Executive Creative Director: Ant Keogh OUR THOUGHTS Creative Directors: Evan Roberts, Stephen de Wolf Two observations here. First, proof that a good old-fashioned Digital Creative Director: Ben Keenan advertising idea is still the best start-point for online Art Director: Jackson Harper communications. Tech is no substitute for it as the millions of Copywriters: Shannon Crowe, Jim Robbins orphaned apps in the App Store will testify. And what a brilliant idea this has proven to be, flexible enough to be executed Production Credits memorably across every medium. Executive Producer: Sonia von Bibra Second, they’ve made it easy for users to claim their Head of Interactive Production: Christian Russell discounted chocolate bar. No downloads, no print-outs Community Manager: Will Barber required. Funny and easy. Serotonin and dopamine. Senior Digital Producers: Nathan VanderByl, Ben Crowe In the early days of the internet, no-one could quite work out Digital Producer: Allan Ngo how to sell low-interest, low-cost FCMG. Trust Mars to crack it. Senior Digital Designer: Adam Hengstberger Senior Developer: Andrew McLagan Senior Full Stack Developer: Omar Mashaal Backend Development: Andrey Sidorov, Alex Best Technical Director: Bob Watts Project Delivery Lead: Adam Burnell

Other Regional Director: Jennifer Chin Group Account Director: Bryce Coombe Senior Account Manager: Sam Ayre PR Director: Nichola Patterson Planning Director: Michael Derepas Senior Planner: Matt Pearce

Clients Marketing Director: Matthew Graham Brand Manager: Renee Lewington Assistant Brand Manager: Heidi Keller

BACKGROUND The ‘You’re Not You When You’re Hungry’ campaign had carved out a differentiated position for Snickers. The question was, could the brand be of greater influence on the impulse moment, when people can be more easily persuaded to eat a candy bar.

IDEA The internet was full of furious people. Curiously, outbursts of internet anger, tweets of frustration and annoyed selfies tended to peak between meals. Observing this, Hungerithm was designed to monitor online mood and lower Snickers prices accordingly. The angrier the internet, the cheaper Snickers became. Over 14,000 social posts were analysed each day to determine online sentiment against ten price points going as far as 80% off when Australia appeared to be “losing it”.

| Editorial 18 ISSUE 40 RESULTS In less than five days the game had been downloaded over 500,000 times and picked up by over 250 media outlets Agency: Saatchi & Saatchi London worldwide. Client: Deutsche Telekom A partnership with influencer PewDiePie achieved 3.2 million Product: Deutsche Telekom views in 24 hours. Title: Sea Hero Quest Players generated the equivalent of 725 years of lab-based Media: Mobile, mini game, in-game advertising, video seeding research. Country: Europe

OUR THOUGHTS Creative Team Society has some very big problems that governments are Executive Creative Director: Jason Romeyko ignoring, even though technology may well offer solutions. So it Creative Directors: Franki Goodwin, Will John is heartening to see that brands are beginning to step in, giving both money and time to help. It is also heartening to see that this Production Credits isn’t a cynical one-off from Deutsche Telekom, a project they Game Project Lead: Amie Mills could walk away from once all the favourable PR had died down. Developer, Game Design: Andy Barnard Two years later they invested in Sea Quest VR, a new game that Creative Director, Game Design: Matt Hyde provides data “15x more precise than that of the mobile game.” Technical Director, Game Design: Hugo Scott Slade In bringing together university academics, health professionals Game Design Director: Max Scott-Slade and gaming experts, Saatchi & Saatchi has demonstrated Sound Design: Tim Garrett exactly the sort of collaborative function the modern ad agency 3d Modelling & Texturing: Zhivko Terziivanov performs as well as the sort of work it produces. Landscape Artwork: Tristan Ménard

BACKGROUND Deutsche Telekom believes it’s in the sharing business and that memories and the people we share them with are what really matter in life. Dementia is the single biggest threat to this belief. It is the next global health crisis, currently affecting 47.5 million people worldwide. However, it is little understood and relatively unresearched.

IDEA Around the world people spend, on average, 3 billion hours a week playing games, increasingly on mobile platforms. Sea Hero Quest was designed as a mobile game to test and record the navigational skills that dementia sufferers often lose first. In getting people around the world to play the game, the plan was to create a human benchmark for spatial navigation, against which dementia could be measured in the future. Simply by playing, gamers provided valuable research data. The game tells the story of a son trying to save his father’s memories, essentially a metaphor for what people were doing by playing.

19 ISSUE 42 (Lower your guard. Do talk to strangers. Say yes! Stay curious. Care to share.) It’s Hero, Hub and Help content woven together imaginatively and expertly. Agency: & Co Copenhagen Client: momondo Product: Online Travel Agency Title: The DNA Journey Media: Online Country: Denmark

Creative Team Creative Director: Robert Cerkez Copywriters: Tue Rossel, James Godfrey

Production Credits Agency Producer: Arlette Walsøe Production Company Director: Jeppe Rønde Production Company Producer: Mette Jermiin

BACKGROUND We live in a divided world and often blind prejudice leads us to think there are more things separating us than unite us. By opening minds, momondo hoped to open the world.

IDEA Momondo launched a competition through Facebook and Twitter inviting people to share their DNA with the company. They were mailed a small tube and asked to spit into it. This small sample was enough to be able to map out the individual’s genetic ancestry going back 2,000 years. In other words, the test revealed which geographical territories the person came from. Winners got to travel with momondo to all those places their ancestors had once lived. Competitors were asked to shoot a short video of themselves reacting to the DNA results when they received them. Their emotional response would be the ticket to the finals and to winning the journey of a lifetime. Some of the results were remarkable. The French woman who discovered to her amazement she was more than 50% English. The Englishman who disliked the Germans, who learned he was partially German. The man who learned he was a moslem Jew.

RESULTS 166,675 people entered the competition and 500 won DNA sample kits. From them, fifty came together to be filmed in the final, where their genetic make-up was revealed and they learned where they were going to travel with over 7 million comments, likes and shares.

OUR THOUGHTS The travel industry is fiercely competitive but, curiously, few companies seem to have attempted to build a brand. Momondo is an exception to the rule. In pitching values of openness and multiculturalism, it has clearly differentiated itself from its many competitors. It’s exactly the sort of positioning that will appeal to millennials. This is more than a stunt and a ‘viral’ video. On the website there are individual videos made by each of the finalists and there is a five-tip guide to making the most of the world.

| Editorial 20 ISSUE 42 IDEA Because retargeting banner ads are often annoying, popping up wherever you go on the internet, the Breast Cancer Agency: Colenso BBDO Foundation set out to be as deliberately annoying as possible. Client: New Zealand Breast Cancer Foundation During Breast Cancer Awareness Month, women over 40 were Product: Mammogram Awareness targeted with a very small lump. The ad had a very simple Title: The Annoying Lump message: “Get rid of me by booking a mammogram.” Some Media: Digital, Direct women took notice and did. But many didn’t. Country: New Zealand So the lump persisted, following women onto news sites, shopping sites, Youtube, and even their social feeds. But each Creative Team time it appeared it was bigger and more aggressive. Creative Chairman: Nick Worthington The only way to get rid of the lump was to click on it and book Executive Creative Director: Steve Cochran a mammogram. Creative Group Heads: Maria Devereux, Kimberley Ragan

RESULTS Production Credits More women booked a mammogram than ever before, and Digital Producer: Will Thorrat the initiative became NZ Breast Cancer Foundation’s most Digital Designer: Gene Wheaton successful mammogram drive ever. Digtal Developer: Alex Krivenko Illustrator/Animation: Reks Kok OUR THOUGHTS Editor: Odin Van Daal Programmatic is jargon for ‘right message to the right person at the right time and in the right place.’ In the right hands, it Other can have a dramatic effect on campaign performance. In the Group Business Director: Angela Watson wrong hands, it can inspire red, raw rage among consumers Business Director: Abbi Barker who feel hunted down by advertisers. It’s why over 800 million Planning Director: Neville Doyle people have installed ad blockers on their devices. But it doesn’t have to be like that. When you do deliver the right Client message to the right person, it ceases to be advertising. It CEO: Evangelia Henderson becomes relevant and enlightening news. And that’s what Digital Communications Manager: Kim Barker Programmatic can do, it can save advertising from itself. It just needs advertisers to invest in creativity. Regrettably, the BACKGROUND Breast Cancer Foundation is one of only a tiny number of Mammograms identify the signs of cancer early but 30% of organisations to have understood this. women eligible for free screening ignored a mammogram altogether.

21 ISSUE 45 OUR THOUGHTS For the Grand Prix, Pearl chose “Her Street View” from JWT Brussels for NGO Touche Pas A Ma Pote, as did the human Agency: DDB Brussels jury. Phew! Client: Belgian Association of Marketing (BAM) This idea actually has some very practical things to be said for Product: 10th Anniversary of the MIXX Awards it. Large awards shows, like Cannes for instance, which had Title: The first AI jury 32,372 entries in 2018, could spare their human jurors pain Country: Belgium and decide the shortlist for them to carve up into golds, silvers and bronzes. Creative Team AI is already making decisions for us and soon it will be Creative Directors: Peter Ampe, Odin Saillé making many more. This is a subtle and gently ironic Concept: Sara West, Silke Beurms acknowledgement from the ad industry that it too is getting Copywriter: Kenn Van Lijsebeth a makeover. Design: Sven Verfaille

Production Credits AI Development: Faction XYZ Head of Machine Learning: Jos Polfliet Chief Technology Officer: Joeri Van Steen Video Indexer Service: Microsoft Program Manager Cognitive Services Microsoft: Milan Gada Animation: Dividebyfour Voice “Pearl”: Lucy Akhurst

Other Strategic Planner: Jorian Vanvossel Business Director: Francis Lippens Account Producer: Maria-Laura Laubenthal Digital Producer: Stefanie Warreyn PR: Kenn Van Lijsebeth The Call for Entries video showed Pearl as a bubbly sort of brain with BACKGROUND a soft female voice, “Hello human creatives, will you let technology In Belgium, the organisers of the annual MIXX Awards judge your ideas? I have taught myself to recognise winning campaigns through extensive analysis of past cases. What you call an idea is binary wondered if AI could make judging fairer? matter to me. Feed me your best cases. Let the data decide.”

IDEA To celebrate its 10th anniversary, the MIXX Awards commissioned Pearl, named after Radia Perlman, the prominent female Internet pioneer. Pearl was given the task of giving the first-ever award based on AI understanding of what makes a winner. She was fed with every international MIXX case study of the last decade and given three months to analyse the texts, videos, results and even the case study music. Within three months, Pearl became pretty good at predicting whether a campaign would be a winner or not, and even what sort of award it might win, gold, silver or bronze.

RESULTS The learnings from Pearl were that quantitative metrics were important in any submission. Shares were worth more than media impressions. Being mentioned by the BBC or CNN gave At the MIXX Awards, Pearl awarded her Grand Prix to JWT Brussels for credibility to a case. Upbeat music was so overused it could their campaign “Her Street View”. Happily, it was the same campaign count against a submission while the use of a voice-over to tell that the human jury gave their Grand Prix to. the story had a positive effect on the outcome. The most successful campaigns gave credit to 25% more suits than less successful ideas.

| Editorial 22 ISSUE 45 OUR THOUGHTS This idea of reconciliation over a drink is not new. In fact, at about the same time as this video, Pepsi were being lambasted Agency: Publicis London for their Kendall Jenner video in which a demonstrator on Client: Heineken the streets and a policeman find common ground in a cola. Product: Heineken This, though, didn’t use celebs. Real people talked about Title: Open Your World - Worlds Apart real issues in an unprompted, un-fake way and I think that’s Media: Online why it resonated. Most of us know how cut off we are from Country: Worldwide dissenting voices to our own opinions and feel a bit apologetic about it. Most, but not all. It was intriguing to see how so many Creative Team people after watching this film about tolerance expressed their Global Chief Creative Officer:Bruno Bertelli intolerance in violent terms, unaware of the irony. Executive Creative Directors: Dave Monk, Cristiana Boccassini Digital Creative Director: Milos Obradovic Creative Director: Marcus Iles Creatives: Seb Howling, Dom Desmond, Mark Daw, Rudhraigh Mcgrath Several couples meet for the first time. He is to the right and believes Production Credits feminism is man-hating. She is to the left and 100% feminist. Head of Production: Colin Hickson Production Company: RSA Director: Toby Dye Post-Production Company: MPC

Other As they accomplish a series of tasks together (building a bar), they talk Global Account Director: David Pagnoni and appear to have much in common. Global Account Manager: Derek Muller Planning Director: Sol Ghafoor Planners: Chris Turner, James Moore Account Director: Katherine Thompson

At this stage, each couple is shown video of the other person BACKGROUND expressing their challenging, provocative, opposite views. And they are The world appeared to be polarised and, tucked up in their cosy invited to leave the room or stay and have a beer together. echo-chambers and digital filter bubbles, people had become used to hearing only the views that corresponded with their own. They didn’t see, let alone listen to, opinions that opposed their own. What could Heineken, whose brand purpose was expressed in the line ‘Open Your World’, do about it?

Open bottles and open minds. IDEA A social experiment was devised with the help of Dr. Govinda Clayton, a conflict resolution specialist, in which two strangers with polarised views were brought together to discuss their differences and, hopefully, find some mutual understanding. Unrehearsed, unscripted and using real people, not actors, the experiment showed that even the most divided people can find common ground. Simply by having a conversation, creating dialogue and by listening to others, minds can open and so can the world.

RESULTS With many online platforms advising short-form edits, the 4.5 minute film broke all the rules. It was viewed a total of 17.7 million times, 13.6 million organically, with millions more views on fan and media channels. It generated 625+ articles and stories, becoming a trending topic on Twitter. It was the #1 ad on YouTube, leading to several reaction videos and a couple of parodies. In total, it generated 324,000 engagements, 531,000 shares and spread to the world a message of openness.

23 ISSUE 46 OUR THOUGHTS This ad generated $450,312,500 for Christie’s. An ROI of about 1: 1,000. Agency: Droga5 Originally believed to be a copy painted by Giovanni Boltraffio, Client: Christie's “Salvator Mundi” was bought at auction in New Orleans in Product: Christie's "The Last da Vinci" 2005 for $10,000. On November 15th 2017 it went under the Title: The Last da Vinci: The World is Watching hammer at Christie’s New York for the $45 mill mentioned. Not Media: YouTube everyone thought (or thinks) it was the real deal. So, Christie’s Country: USA opened their doors to the public and invited them to come and look at what they called ‘The Last Leonardo’. The genius of this Creative Team idea is that it has helped authenticate the work. If it can move Creative Chairman: David Droga people so profoundly, then it has to be a genuine Leonardo. Chief Creative Officer:Ted Royer Mystery continues to surround the painting. It was bought for Creative Directors: Laurie Howell, Toby Treyer-Evans the Abu Dhabi Louvre but hasn’t been seen since its sale. Senior Art Director: George McQueen Senior Copywriter: Tom McQueen Chief Creation Officer: Sally-Ann Dale

Production Credits Senior Producer: Jennifer Chen Producer: Isabella Lebovitz Associate Producers: Phillip Cheng, Kelly Appleton, Annie Vlosich, Carlos Valdivia Co-Directors of Interactive: Tasha Cronin, Justin Durazzo Production Company: Chelsea Pictures Director: Nadav Kander

Other In November 2017, the last Leonardo da Vinci painting known to be Communications Strategy Director: Ben Nilsen in existence was sold at Christie’s. Before the auction, the public were Chief Intelligence Officer: Amy Avery invited to see what all the fuss was about. Group Account Director: Alex Woods Hidden cameras captured the overwhelmingly emotional response Account Director: Lauren Tomlinson most people had when they were in front of the painting. If you needed Account Manager: Sherry Cao proof that this is a masterpiece, the film provides it. Project Manager: Hillary Jordan Global Chief Strategy Officer:Jonny Bauer Group Strategy Director: Will Davie Strategist: Daniel Wenger Head of Communications Strategy: Colleen Leddy

Clients CMO: Marc Sands SVP, Global Marketing Director: Marissa Wilcox

BACKGROUND There are fewer than 20 paintings by Leonardo da Vinci in the world. So the discovery of a new one raised interest when it came to be auctioned at Christie’s in New York.

IDEA The painting was placed on display and as the world looked on, Leonardo looked back. A film captured exactly how breathtaking this work was by not showing it at all. Hidden cameras documented the real emotions of visitors to Christie’s, showing the impact this piece of art history had on them.

RESULTS 337,000+ video views

| Editorial 24 ISSUE 49 OUR THOUGHTS This is what the modern ad agency is all about: collaboration. Bringing together the music industry (Universal Music), a media Agency: Clemenger BBDO Sydney owner (YouTube), a clutch of music stars and a brand (EXTRA) Client: Wrigley around an idea that rewards everyone. Equally, this campaign is Product: EXTRA® Gum a demonstration of ‘marketing for good’. It’s a brand making its Title: EXTRA® Support Acts values plain and spending money to help people make more of Media: Integrated their talents. Rather than shove a message in your face, which is Country: Australia what 99.9% of pre-rolls do, here’s a brand holding the viewer’s attention by one, knowing why they have visited that video in Creative Team the first place, and, two, giving them something they want and Chief Creative Officers:Ben Coulson, Paul Nagy like. It is the epitome of brand communications in 2019 from an Creative Director: Brendan Willenberg agency whose certainty and confidence can inspire the entire Creative team: Willy Maitland, Zander Williment advertising industry. Head of Craft: Daniel Mortensen Head of Creative Technology: Bob Forster

Production Credits Lead Digital Producer: Claire Bisset Production company: Milkmoney Talent, music strategy and content: Universal Music Australia, BRING Platform partner: YouTube

Other Planning Director: Kit Landsdell Head of Account Management: Madeleine Marsh Senior Account Directors: Emily Taylor-Delplanque, Hanne Haugen Senior Account Manager: Katie Scrutton

BACKGROUND Extra wanted to introduce their new brand platform ‘Time to Shine’ to the music space yet ensure the brand was enhancing the world of millennials, not intruding on it.

IDEA EXTRA® Support Acts replaced the ads millennials hated with something they loved – music. More people listen to and discover music on YouTube than anywhere else. Pre-roll ads provided a new stage for unsigned artists to be able to reach a wider audience. When a music fan searched on YouTube for any track by four top Australian talents (5 Seconds of Summer, Alison Wonderland, The Rubens and 360) instead of an annoying ad what they got in the pre-roll was one of 16 support acts showing what they could do. The longer viewers watched, the greater the number of votes for the support act hoping to win a recording deal.

RESULTS 17.2 million views of the pre-roll ads, 30.7 million of the Support Acts performances viewed,15 million views on the EXTRA® Support Acts YouTube channel, 18m+ earned media reach,100% positive sentiment.

When people searched for a favourite track on YouTube, in the pre-roll they got the artist they were searching for introducing a support act. Still in the pre-roll, they got to see a full video in which the unknown musicians did their thing. The longer they watched, the more votes the band got, the four winners securing a record deal with Universal. The view-through rate was 192% higher than the YouTube average.

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Agency: Happiness Client: Parents of Road Victims Product: Road Safety Campaign Title: BlindMeters Media: Web, Digital Film Country: Belgium

Creative Team Creative Directors: Geoffrey Hantson, Katrien Bottez, Philippe Fass Art Directors: Roxane Schneider, Dries Lauwers Copywriter: Pieter Claeys

Production Credits Christopher Ross-Kellam, Edgar Dubrovsky, Thomas Colliers, Peter Baert, Jeroen Berx, Efrosini Sparoudis, Bart Vande Maele, Sophie Gunsbourg, Simon Schuurman, Matthias Vandenbosch

Other Hans Smets, Tine Van Hasselt, Remke Faber, Edouard Schneider

BACKGROUND Texting and driving is dangerous. There have been innumerable campaigns to try to get people to stop doing it. The challenge was to come up with an idea that really would change behaviours.

IDEA Blindmeters.com was a site that combined data from different map sources to allow visitors to write text along roads on top of Google Maps satellite imagery. A custom-designed font then connected to the speed limit of the road and stretched the text for the precise distance the driver would cover while texting that particular message. ‘Almost home’ is ten characters. Or 289 metres. ‘On my way’. Seven characters but 236 metres. And these are just the shorter sort of messages people frequently text while at the wheel, bearing in mind that one second is long enough for a major accident.

RESULTS People engaged, massively. Over five million texts were typed on Blindmeters.com within 24 hours. Belgium’s entire national press joined the conversation.

OUR THOUGHTS What a brilliant idea, to take the time it takes to text a message and turn that into distance. I was startled to find that ‘Subscribe to Directory’ would take over half a kilometer. A cinema ad directed people to the website (as did PR, of course) where they could try measuring their own texts. Videos in social media showed people walking the length of their texts, reinforcing the point. Tech itself is rarely a solution to a problem. But tech combined with an idea inspired by an insight into human behaviour well, that can change everything.

| Editorial 26 ISSUE 50 OUR THOUGHTS The ad industry has a lot to answer for. We use models of exceptional beauty to create images of perfection in which Agency: POSSIBLE happy, successful people inhabit a world of luxury that is Client: Tommy Hilfiger Adaptive remote to most people’s experience. Product: Adaptive Clothing In Adweek, Shannon Miller wrote about this campaign that Title: Independence: The Inclusive Launch of the World’s “the fashion industry has thrived on a foundation of exclusion” First Adaptive Clothing Line and in so doing it has “effectively boxed out large swathes” Media: Digital of people. Country: USA Date of campaign: October 2018 That’s why I love this work. In being truthful it is joyful and in its joy it has a message for us all in advertising that goes beyond Creative Team a call for inclusivity. It tells us that people hate advertising Chief Creative Officer: Danielle Trivisonno Hawley because it makes them feel inadequate. Faked claims acted Executive Creative Director: Jason Marks out by fake people in faked environments. Here, Tommy Associate Creative Director: Lee Groh Hilfiger shows us our shared humanity. For me, this is the Group Creative Director: Nicole McDonagh future. It is ‘marketing for good’ at its best, an initiative that Copywriter: Kiyomi Dong started with the guy who runs the company and which, in making life better for some, is, by extension, making the world Production Credits better for all. Group Director, Project Management: Gary Goldsmith Executive Producer: Dax Estorninos In the “making of” film, a young Other girl with cerebral palsy talks about EVP Strategy and Insights: Jaime Klein-Daley how her clothes often reduced her Account Director: Aikisha Prince to tears, they were so difficult to put on and take off. But now she Account Supervisor: Christina Mallon has tops and leggings designed Senior Strategist: Lesley Parks for people like her. “I just love it so much”. BACKGROUND Well-known people in the The Tommy Hilfiger Adaptive mission was to make the world a disability community, like blogger Mama Cax and wheelchair dancer more inclusive place, one fashion innovation at a time. Chelsie Hill, helped launch the In 2016, partnering with Runway of Dreams, the company new range. created a clothing line for children with disabilities. In 2018, Tommy Adaptive was launched. The shirts, trousers, dresses and jackets were designed to be easy to put on with one-handed zippers, side-seam openings, adjustable waists, magnetic buttons and Velcro fastenings.

IDEA “Independence” was an inclusive fashion campaign designed with and for people with disabilities. From research and strategy, to the design of the products and to the shopping experience itself, the goal was 100% inclusivity. The agency’s role was to work with both caregivers and people with disabilities to shape both the products and the marketing. The intention was to challenge assumptions about what fashion is and does, with people with disabilities as the ultimate insiders. Even the commercial was shot by visually-impaired director and film-maker James Rath. Several members of the camera crew had family members who were disabled and the cast featured people with disabilities of all kinds.

The TV spot itself was created with automated closed captioning and RESULTS audio descriptions for viewers with visual or aural impairment. It was Unknown directed by James Rath, himself partially blind.

27 ISSUE 1

Agency: DDB Auckland Client: nzgirl Product: Online magazine Title: Don’t Mess with NZ Girls Country: New Zealand

Creative Team Executive Creative Director: Paul Catmur Deputy Creative Directors: Regan Grafton, Bridget Short

Other Account Manager: Jenny Travers

BACKGROUND nzgirl is an online youth magazine that celebrates the strong ‘don’t mess with me’ attitude of New Zealand girls. The brief was to get 20% more visitors to the site and increase advertising by 5%.

IDEA The Big Day out was an annual music festival outside Auckland. While music-lovers were enjoying the music, a light aircraft flew over pulling a banner reading: Scott Kelly has got a small dick. To help stimulate conversation, teams moved through the crowd placing ‘I’m Scott Kelly’ Post-It Notes on the backs of unsuspecting guys. Then the plane flew back over the crowd with a new banner: Don’t mess with NZ Girls.’ Traffic to the site was up 44%. This was followed up a year later when visitors to the site were encouraged to nominate ‘the worst boyfriend in New Zealand’, the winner of the accolade to be revealed to the 45,000 people at The Big Day out. From thousands of entries, the winner, identified by six different girls, was poor Josh Short. The plane flew over the festival, announcing that ‘Josh Short likes it with a strap-on’. It returned, with the message: ‘Don’t mess with NZ Girls’.

RESULTS On a budget of just $5,000, the campaign showed just how powerful word-of-mouth media could be. The effect was massive, with nzgirl being the main topic of conversation for weeks. Memberships increased by 10% and advertising spend increased by a massive 52%.

OUR THOUGHTS It’s a cliché now, but there is truth in the Confucius saying: Tell me and I will forget, show me and I may remember, involve me and I will understand. Getting people to be participants in the idea is the trick. And that’s the bit I loved about this campaign. As music fans left The Big Day Out, still laughing about Josh Short, they encountered ‘My cheating boyfriend’s car. 2 hits for $1.’ Irresistible.

| Editorial 28 ISSUE 10 OUR THOUGHTS Looking at the numbers now, “Flashdance” has been viewed 42 million times on YouTube. Make that 50 million if you Agency: Saatchi & Saatchi London include the rehearsal videos, the Kelly Brook version etc. Most Client: T-Mobile advertising passes like a ship in the night, as the great David Product: Ogilvy was wont to say. But because it was faultlessly put Title: Flashdance together and because it still has the feelgood factor in spades, Country: UK this idea is still sailing on. Unlike T-Mobile which foundered and sank six years ago. Creative Team Executive Creative Directors: Paul Silburn, Kate Stanners Art Director: Rick Dodds Copywriter: Steve Howell

Production Credits Production Company: Partizan Director: Tim Maurice Jones

Other Client: Lysa Hardy Choreographer: Ashley Wallen

Production Production Company: Red Bee Media Ltd.

BACKGROUND In mid-2008 T-Mobile launched a new campaign around the thought, ‘Life’s for Sharing’. They wanted an idea that would bring to life the belief that the brand was all about establishing and nurturing relationships.

IDEA Hundreds of dancers and 10 hidden cameras were planted at Liverpool Street Station in London. In the morning rush-hour, music began to pump through the loudspeakers of the station. A single commuter began to dance. As the music changed, the dancing quickly spread through the travellers until hundreds of people were seen moving in unison. Then, as quickly as it began, the performance ended and the dancers dispersed into the crowd. The event, choreographed by one of Britain’s leading choreographers, Ashley Wallen, left commuters stunned, surprised and delighted. Many who were there took pictures and video of the dance and uploaded them to social media. The film of the event was edited and broadcast on TV the following day. Clips were shown on electronic poster sites in underground stations across London.

RESULTS Just ten days after the event, one YouTube video had been viewed 2.6 million times, another 1.35 million times and the ‘making of’ video around 0.5 million times. A video teaching viewers the dance moves had been viewed 60,000 times.

29 ISSUE 12

Agency: Proximity BBDO Brussels Client: Dodge Product: People Carrier Title: Baby Made on Board Country: Belgium

Creative Team Executive Creative Director: Gert Pauwels Creative Director: Vincent Daenan Copywriter: Willem Van den Hoof Art Director: Klaartje Galle Online Art Director: Gert Feytons

Other Client: Yves Callebaut

BACKGROUND In 2007 the Dodge was launched into the Belgian market as the macho car brand. In 2008 the challenge was: sell the first Dodge people carrier, without diluting the brand’s masculinity.

IDEA The insight was that many a macho guy has fooled around in the back of his car. How about inviting them to see if they couldn’t make a baby in the back of a new Dodge Journey? “Baby Made on Board” stickers were handed out, e-mails were sent and posters were put up, inviting couples to come and see the roominess of the car for themselves over the weekend of the car’s launch. If anyone had a baby exactly nine months later, then the car would be theirs. Predictors were given to every couple that went for a backseat 'test drive'.

RESULTS A total of 72 babies speaks for itself! The campaign was blogged about around the world and was picked-up by national and international media. No fewer than 137,000 articles were published online. On the 10th of March 2009, baby David was born and a Dodge Journey was handed over to the proud parents.

OUR THOUGHTS The difficult thing about creativity is if you have a new idea, then you have no way of knowing how it will be received. It is why many marketers feel uncomfortable with uncertainty and will find more reasons for not doing something new and different than for doing it. Many congratulations to Yves Callebaut for approving the idea. I hope he sold a lot of cars, got promoted and had many babies of his own.

| Editorial 30 ISSUE 16 OUR THOUGHTS I thought (and still think) this is a perfect example of how advertising has changed. Agency: DDB Brazil I stole the idea when a company asked me how to sell die-cast Client: Estrela metal models of the famous London Routemaster bus, which Product: Ferrorama Model Trains had been discontinued in 2005. Title: A Journey of Faith “I know what we should do,” I said. “Start a Facebook group of Media: Event, Social Media Routemaster fans, because there are plenty of them out there, Country: Brazil and we’ll ask them to help us run the No.38 one last time from Clapton Pond to Victoria Bus Station. The model, that is, Creative Team pushed by hand. It will get on the news, Londoners will love it, Creative Directors: Sergio Valente, Moacyr Netto, Daniel it’ll drive traffic to the site and for no media spend you’ll get a Bottas, Joao Mosterio, Andre Pedroso, Cassiano Saldanha, ton of sales.” Pedro Gravena, Rodrigo Almeida They looked at me as if I was deranged. “We just want a press Art Directors: Daniel Bottas, Leo Ehrlich, Marcelo Bruzzesi ad with a coupon,” they said. Copywriter: Moacyr Netto

Production Credits Producers: Marcus Macarroni. Marianna Sanches, Fabio Seixas, Emni Ali Fakih, Diego Lauton, Leo Freitas, Abruzzo Revolux, Sergio Filho

Other Social Media Strategists: Bruno Tozzini, Fabio Seixas, Steve Pereira, Ariane Garcia; Project Managers: Fabio Seixas, Mariana Sanches Digital Intelligence: Patricia Andrade

BACKGROUND Ferrorama was a model train made by Estrela, the biggest toy brand in Brazil. It was discontinued in the 1980’s, but a community of over 3,000 Ferrorama fans on Orkut (the biggest social network in Brazil) wanted Estrela to relaunch the product.

IDEA The president of Estrela posted a video speaking directly the leader of the Orkut fan-group, Marcos Markora. He wanted proof of the fans’ sincerity. He suggested they should get the train to run the last 20 km of the famous pilgrim’s way from Padron to the cathedral of St. James in Santiago de Compostela in Spain. To help, the fans were given just 100 metres of track and were told the train was not allowed to stop at any time. A website was created at www.voltaferrorama.com.br, where the journey could be watched live in videos, photos and tweets. A Spanish blogger was chosen to look at all the messages on Twitter and read these aloud with a megaphone to cheer the team up as they made their way towards the cathedral. A Facebook page was also created for fans to follow their progress. It took five days, but they made it. And the president of Estrela brought back the Ferrorama.

RESULTS 490,000 unique views on the website, with no media budget. The story was published on over 100 blogs, in 20 newspapers and on several TV stations around the world. Three times, #voltaferrorama was the top trending topic of Brazilian Twitter. The average time spent on the website was 6 minutes and 16 seconds. On the website, 2,873 orders were taken for the new Ferrorama.

31 ISSUE 16

Agency: GPY&R Melbourne Client: Cadbury Schweppes Product: Cottee’s Cordial Title: Beach Blaster Media: Ambient Country: Australia

Creative Team Executive Creative Director: Ben Coulson Creatives: Matt Lawson, Frances Webb

Other Group Communications Director: Mat Cummings Account Director: Elaine Pow Account Manager: Damien Miller

BACKGROUND The strategy was to create a brand experience that would ‘make water fun’ and which would bring existing and new customers together during the summer.

IDEA The solution was to transform the plastic Cottee’s Cordial bottle into a pump-action water blaster. Purchase four bottles of cordial and customers got the blaster unit free. It got kids interacting with the brand all summer long, culminating in the Cottee’s Beach Blast Off, a nationwide water fight held in every state of Australia.

RESULTS All 12,000 Cottee’s Beach Blasters were redeemed in the first two weeks. This created a 27% increase in sales. Production could not meet demand and Australia ran out of Cottee’s Cordial.

OUR THOUGHTS Joyous fun and what a brilliant way to keep kids and their mums actively involved in the brand over a ten-week period. That’s how you create real loyalty and sell gallons of product. Today, of course, plastic is an enemy - especially on the beach. Still, it doesn’t stop this being perfect of its time and place.

| Editorial 32 ISSUE 23 OUR THOUGHTS In 2011, Pepsi launched ‘The Refresh Project’. The idea was to support projects that would have a positive effect on local Agency: BBDO Guerrero Proximity Philippines communities with money and help. Pepsi pulled the plug on Client: Pepsico Philippines it after two years because sales slumped. I can’t help feeling, Product: Pepsi though, that this idea could have provided them with a Title: Pepsi Bottle Lights blueprint for success. Where many of the other initiatives had Media: Direct only a tenuous connection with the brand, here there is a clear Country: Philippines and direct connection between it and the enterprise. The lesson is not that marketing with purpose is pointless but Creative Team that it has to be relevant to the product. David Guerrero, Dale Lopez, Dennis Nierra, Leah Mababangloob, Rachel Teotico, Raymund Sison, Tim Villela

Production Credits Dennis Billano, Marissa Manaloto, Xerg Aguilar

Other Account Management/Strategic Planning: Carmela Quirino, Cristina Buenaventura, Dalla Sucgang, Francine Gonzalez, Roshan Nandwani

BACKGROUND Pepsi was looking to extend its long-running ‘Sarap Magbago’ (change tastes good) campaign, providing real solutions to real problems. In the Philippines, where 40% of the population lives off less than $2 a day, millions of homes have no natural light source. Many have no electric lighting at all. More often than not, these families have to live in the dark to keep their children fed.

IDEA Working with My Shelter Foundation, old Pepsi bottles were filled with a mix of bleach and water and installed into holes made in the tin roofs of shanty homes. The solution refracted the sunlight to provide 55W of light in the room below. Pepsi helped install over 20,000 lights, creating 20 new jobs for installers. A training centre helped show companies, schools and individuals how to install the lights.

RESULTS Over 10,000 volunteers were recruited and 20,000 lights installed, leading to 46,666 brighter lives. The project gained the support of the Philippines government and was specially commended at the 2011 World Climate Conference. It was covered by the BBC, NHK and other networks, and presented at TED X in Dubai and Mumbai. The project was spread to Kenya, Uganda, Indonesia, Vietnam, Mumbai and Colombia.

33 ISSUE 23

Agency: TRY/Apt Client: DNB (The Norwegian Bank) Product: Automatic Telebank Title: Christmas Automated Telephone Response Media: DNB's Automatic Telebank Country: Norway

Creative Team Petter Bryde, Thorbjorn Ruud, Janne Brenda Lyso, Stian Johansen

Production Credits Producer: Baade Og

Other Espen Hornburg, Kaya Yssen Try, Arne Eggen

BACKGROUND DNB is the main sponsor of the Norwegian Broadcasting Boys Choir. They saw an opportunity to promote their sponsorship in an unexpected but relevant setting.

IDEA When you rang the bank, the automated response system was usually a single voice talking you through the menu of your options. At Christmas, the bank got the choir to sing the automated responses. If you called the bank, every single word of the telebanking menu was sung to you in glorious harmony.

RESULTS Two million people called the bank in December. The population in Norway is 4.9 million.

OUR THOUGHTS When you Google ‘I hate banks’, you get 98 million potential links. In my case, the hatred is intensified every time I call the bank and get the automated response system. And here is DNB, performing the most wonderful judo throw, turning hate into love simply by getting the choir to sing you through the options. Everything is media these days but no brand that I can think of has done anything like this. This is a case history I play dozens of times a year and every time I smile.

| Editorial 34 ISSUE 30

Agency: OgilvyOne London Client: British Airways Product: Digital Billboard Campaign Title: Magic of Flying Media: Outdoor, digital and social Country: UK

Creative Team Executive Creative Directors: Emma De La Fosse, Charlie Wilson Creative Technology Director, Concept Creator: Jon Andrews Creative Director, Art Director: Andy Davis Creative Technologist: Lorenzo Spadoni

Other Project Manager: Julie-Laure Coassin Account Director: Alicia Iveson

BACKGROUND British Airways wanted to raise awareness of destinations, new routes and frequency of flights.

IDEA The world’s first-ever billboards that reacted to planes flying overhead not only displayed the flight number of the passing plane, but also from which part of the world it was flying into London. Dynamic retail messaging was matched to each route too.

RESULTS Over 1.25 million YouTube hits within the first few weeks of the billboards running. 15,000+ Tweets.

OUR THOUGHTS Three months after we showcased this in Directory 30, the team from Ogilvy London were winning the Direct Grand Prix at Cannes. It was the first brilliant example of data and technology being brought together by creativity in a magical idea. What’s Direct about this, a few people asked. Well, there was an offer every time a plane flew over. That same flight at a reduced price. Like all truly original pieces of thinking, it opened up minds to what could be done and today digital outdoor is all the more interesting because of it.

35 ISSUE 32 OUR THOUGHTS This campaign was a big eye-opener for me. It marked the point at which I realised advertising had ceased to be about Agency: M&C Saatchi brands saying stuff but is now about brands doing stuff. Or, Client: Optus inelegantly expressed, no longer about story-telling but about Product: Brand Innovation story-being, with social media allowing, nay encouraging, this Title: Clever Buoy to happen. Rather than tell Australians how technologically Media: Innovation/Digital/PR clever they are, Optus made something that was newsworthy Country: Australia in itself. Cleverbuoy deals with a problem and used mobile phone technology to find a solution. Where advertising costs Creative Team the brand-owner, this actually made Optus some money. Copywriter: Jonathan Flannery Art Director: Paul Gregson Creative Technologist: James Bush Creative Directors: Paul Dunne, Ant Larcombe Design Director: Steve Hanzic Executive Creative Director: Ben Welsh Group Innovation Director: Ben Cooper

Production Credits Project Director: Nadine Frisk Executive Producer: Mick Perry Producer: Nikki Marsh Production Company: Shark Mitigation Systems Head of Technology: Roger Chapman

Other Optus Brand Project Lead: Andrea Darling PR Company: Fuel Communications Strategy Director: Dan Bye Chief Strategy Officer:Justin Graham Account Director: Karlee Weatherstone Account Manager: Sarah Cunningham

BACKGROUND Optus was thought to be smaller than it actually was. The challenge, then, was to change the conversation from the size of the network to how amazing Optus was.

IDEA Despite the frequency of shark attacks around the Australian coast, defence methods had not changed in 60 years. The ‘Clever Buoy’ was a smart buoy that detected sharks and sent instant alerts to lifeguards on the beach nearby via the Optus network. Rather than sonar, the Optus system used face recognition technology. Each new detection helped the software become more accurate as it learned the intricacies of the swimming patterns of sharks.

RESULTS In a month, the story had reached 19 million people through social media, with an 84% positive sentiment towards the Optus brand. The idea was featured in over 485 global news stories earning PR to a value of over $3.7million. Optus earned a 92% share of voice in relation to #innovation and #technology compared to other Australian Telco’s on social media. Clever Buoys went into commercial production in 2015.

| Editorial 36 ISSUE 43 RESULTS 12.85 million Australians were reached, 156% above target. The campaign generated 269 pieces of PR coverage globally. Agency: Clemenger BBDO Sydney Penetration grew by 0.6% with an extra 144,000 people Client: Mars Food Australia purchasing Dolmio. Product: Dolmio The goal was to grow value sales by 3% vs the previous year Title: Dolmio Pepper Hacker but sales grew by +7.1%. The brand’s value share grew +1.8%. Media: Device, Packaging, Online film, OOH, Website Country: Australia OUR THOUGHTS This started life with a viral film, which tapped neatly into the Creative Team zeitgeist. Every parent was (is) worried that the young are so Creative Directors: Ben Smith, Luke Hawkins, Dave Buchanan tuned in to the virtual world they are switched off to the Copywriter: Caio Gianella actual world. Art Director: Diego de Oliveira It is one of the big dilemmas of our time and other brands besides Dolmio have tried to do something about it. Durex, for Production Credits instance, warned adults that they need to turn off in order to Head of Craft: Daniel Mortensen turn on. Perhaps Dolmio should go into full-scale production of Senior Designer: Claire Sutton (Packaging) the Pepper Hacker and make it more widely available? Head of Creative Technology: Brendan Forster Senior Digital Producer: Joshua Speight Hidden inside a regular pepper Senior Finished Artist: Anna Ballard mill was software to disable all the Digital Designers: Ivan So, Sebastian Perez de Arce, Marissa tech in the house. All Mum had Karolyi to do was give the top a turn and Developer: Dale Emrose wham! Your computer, mobile, Agency Producer: Cleo Hodgkinson tablet, digital TV all stopped working. Other Group Account Director: Madeline Marsh Senior Account Directors: Matty Graham, Lena Galbraith, Emily Taylor Account Manager: Katie Scrutton Account Coordinator: Brooklyn Andrews Head of Planning: Kit Lansdell

Clients Global Brand Director: Richard Stear Marketing Director: Tim Hicks An online video boosted awareness The new video has had 12m views Marketing Manager: Shelley Crowe with the ‘Look Up Experiment’. It on YouTube alone, prompting the Brand Manager: Lauren Dragicevich showed how kids, noses buried rapid give-away of 3,500 Pepper in their devices, failed to notice Hackers to Australian Mums. BACKGROUND when strangers replaced their own Dolmio had a problem. The brand had lost 1.1% value share families at the dinner table and and 1.9% penetration. when the furniture got changed The world had a problem. Technology had hijacked family around them. dinnertime. Could there be one solution to the two situations?

IDEA The Dolmio Pepper Hacker was a pepper mill with built-in software which, when Mum gave it a twist, could turn off all the tech in the house. It was originally given to a handful of mums to use and a hilarious video was made of the temper tantrums that ensued when, just as supper was being served, TVs, mobile phones and other devices went into blackout. Such was the demand for pepper Hackers, Dolmio then made thousands more, which were given away. To win one, people had to upload a photo proving why they needed one. A campaign site allowed people to enter the competition and an online film helped spread the word. Winners received their The Pepper Hacker was mailed out in plain wrapping so no-one in the Pepper Hackers in covert packaging. household knew about it.

37 ISSUE 47 RESULTS Across social platforms, the campaign had over 2.1 million interactions. The campaign achieved 3.5 million engagements, Agency: Colenso BBDO a 24% increase in sales and one quarter of the country’s dog Client: MARS NZ owners redeemed SelfieSTIX. Product: PEDIGREE® The SelfieSTIX clip and digital platform are now rolling Title: Pedigree SelfieSTIX out globally. Media: Social, Direct Country: New Zealand OUR THOUGHTS I have three dogs, so I know how darn difficult it is to Creative Team photograph them. Clipping a chewy treat to the top of your Creative Chairman: Nick Worthington phone to hold their attention is bloody brilliant. Chief Creative Officer:Levi Slavin Then inviting people to add filters and lenses is neat. Executive Creative Director: Dan Wright Personally, I think my dogs look great without hats, dark Creative Group Head/Copywriter: Kim Ragan glasses and other bits and pieces but no dog owners under the Creative Group Head/Art Director: Maria Devereux age of 30 will agree with me. As I keep saying, if your idea is useful, usable and Production Credits delightful then you are well on the way to effective brand Senior TV Producer: Natasha Gill communication. SelfieSTIX is all three. Integrated Producer: Scott Chapman Producer: Alex Gillespie Head of Digital: Tim Freeman Digital Producer: Will Thorrat Creative Technologist: David Arcus Design Director: Dean Pomfrett Production Company: FINCH

Other Group Business Director: Ahmad Salim Business Director: Abbi Barker Account Managers: Alice Sopwith, Ruby Soole Digital Planning Director: Neville Doyle Planner: Amy Pollok

Client Head of Marketing: Oliver Downs Marketing Manager: Cormac van den Hoofdakker Brand Manager: Giovana Peroni, Trade Marketing Coordinator: Akansh Hedge

BACKGROUND PEDIGREE® DentaStix™ are dental sticks for dogs, helping to reduce tartar and plaque. In a saturated market, DentaStix™ was considered functional and an ‘incremental’ purchase.

IDEA SelfieSTIX was a specially designed phone accessory that attached to dog-owners’ phones to help them capture the perfect dog selfie. The SelfieSTIX was included free in every pack of DentaStix™ sold. As well as the clip, an app was created to add fun filters to the dog selfies that people took, a sort-of SnapChat for dogs. While facial recognition in humans is straightforward, dogs have much greater variation and sophisticated technology was required to make the app work successfully.

| Editorial 38 ISSUE 25

Agency: JWT Brazil Client: Coca-Cola Product: Coca-Cola FM Title: Amplificator Media: Print/Ambient Country: Brazil

Creative Team Chief Creative Officer: Ricardo John Executive Creative Director: Roberto Fernandez Creative Director: Angela Bassichetti Copywriter: Leandro Pinheiro Art Directors: Andrea Pissarro, Rodrigo Adam

Other Planning: Fernand Alphen, Isabella Mulholland Account Team: Ana Alberine, Felipe Giacon, Luana Ferreira Media: Aline Moda, Tullio Nicastro, Stella Lopes, Ana Alberine, Fabiana Ramos Art Buyer: Paula Ferrari Graphic Producer: Flavio Schaefer

Clients Client team: Patricia Pieranti, Adriana Knackfuss, Gian Martinez, Javier Mezza, Luciana Feres, Rafael Prandini, Adriano Ciavdar, Paloma Azulay

BACKGROUND Music was an important link between Coca-Cola and young people. Coca-Cola FM was a streamed service that gave them a new way of listening to the songs they liked. They could become the DJ simply by tweeting their choice of music to be played.

IDEA An exclusive wraparound was created for Capricho magazine, which turned the magazine into an amplifier for readers’ iPhones so they could play the music on Coca-Cola FM louder.

RESULTS Unknown.

OUR THOUGHTS The last ten years has been, I would argue, the single most dynamic period in the history of advertising. Yet in all that time there have been only a handful of innovative ideas in print. This is one of them. Turn a magazine into a speaker for your iPhone. Simple, delightful, musical.

39 ISSUE 32

Agency: FCB Brazil Client: Nivea Product: Nivea Sun Kids Title: Protection Ad Media: Print Country: Brazil

Creative Team Executive Creative Directors: Joanna Monteiro, Max Geraldo Digital Creative Director: Pedro Gravena Creatives: Victor Bustani, Raphael Leandro de Oliveira, Andre Bittar

Production Credits Project Director: Lia D’Amico Art Buyers: Tina Castro and Daniel Gonçalves Agency Producers: Viviane Guedes, Ricardo Magozo Creative Technologist: Márcio Bueno Technology Team: Gerson Lupatini and Caio Mello Digital Production: Geek Group Art Buyer: Tina Castro and Daniel Gonçalves

Other Account team: Mauro Silveira, Cristiane Pereira, Tania Muller, Mariana Mozzaquatro and Vitor Borragine Planners: Rapha Barreto, Lia Bertoni

BACKGROUND Nivea’s positioning idea was based on the line ‘Nivea protects’. Was there a way Nivea could protect more than just kids’ skin on the beach?

IDEA In Brazil, when the beach was busy, there was a chance that a child could get lost. The ‘Protection Ad’ helped protect mothers from anxiety and their children from straying too far from safety. Within the page of the ad was a tear-off strip which contained a Bluetooth chip. This bracelet was water-resistant, reusable and designed to last for up to a year. When synchronised with the app, parents could set a range for their child. The moment the little one got towards the edges of the geoboundary, five, ten, fifteen metres away, Mum was alerted on her mobile.

RESULTS Eight out of every 10 people impacted by the ad downloaded the app. Long after the magazine’s publication, the ad remained on parents’ cell phones.

OUR THOUGHTS This is one of the most interesting press ads of the last five years, showing how digital technology is beginning to have an effect on print. If innovative thinking can be applied to the inks that are used and to the materials on which the inks are printed, I’m sure even more wonderfully interactive print engagements will start to breathe new life into a medium that has been with us since 1450.

| Editorial 40 ISSUE 35

Agency: Leo Burnett Solutions Inc. Client: Ceylon Newspapers Ltd Product: Mawbima Title: The World’s First Mosquito Repellent Newspaper Country: Sri Lanka

Creative Team Chief Creative Officer:Trevor Kennedy Creative Directors: Sithum Walter, Eraj Wirasinha, Athula Kathriarachchi Senior Art Director: Shayani Obeyesekera English Copy: Farzad Mohideen Associate Creative Director: Dileep Kulathunga Copywriter: Malaka Samith

Production Credits Director Operations: Mehnaz Ilhamdeen Production Company: X-Ten (Pvt). Ltd.

BACKGROUND Mawbima was a mass-market, national newspaper. Rather than try to tell people that it was a better newspaper, the approach was to show how Mawbima could make a difference to people’s lives.

IDEA In Sri Lanka, the mosquito-borne disease dengue fever claimed many lives. Because citronella oil was a proven ‘natural’ insect repellent considered safe for children, Mawbima mixed citronella essence with their ink. Now every printed word in the paper could protect the reader from mosquitoes, especially first thing in the morning and in the early evening, the times of day the dengue mosquito attacked. On World Health Day, Mawbima published the world’s first mosquito-repellent newspaper.

RESULTS Even with a 30% increase in the print run, the paper had sold out by 10.0am. The resulting growth was then retained as permanent sales. This drove up revenue by 22% and helped reach an additional 300,000 readers. Over 90 international media outlets also featured the campaign. Even Bill Gates commented on the idea. In a challenging year for newspapers, Mawbima enjoyed a 2% increase in market share.

OUR THOUGHTS Genius! Many people seem to think that innovation only happens where there is advancing technology. Not true. Innovation is when you have an idea that evolves or metamorphoses an existing product into something people will pay for. An idea like mixing citronella oil in your ink. This is as brilliant a definition of “marketing for good” as you will ever find. It isn’t mere corporate social responsibility but an idea that benefits society at large while still growing the business.

41 ISSUE 5

Agency: The Communications Agency, London Client: Prostate Cancer Research Foundation Product: Charity Title: Give A Few Bob Country: UK

Creative Team Creative Director: Alan Curson Art Director: Shaun Patchett Copywriter: Alan Curson

Production Credits Production: Red Bee Media Ltd.

BACKGROUND Men in the UK don’t appreciate how common prostate cancer is and that it kills one man every hour. The challenge was to raise awareness as much as to raise funds for independent research into its causes and treatments. In particular, the aim was to get through to men aged 45 and over, those most likely to be affected by the disease.

IDEA Research revealed that the more emotional the charity appeal, the more unemotional men become. While celebrities could add real weight to a campaign, finding someone to talk openly about having prostate cancer would be difficult. The creative leap was to bring back a dead celebrity, Bob Monkhouse. He had died from prostate cancer two years earlier. While cancer and comedy do not usually sit easily together, the success of the campaign was in faithfully recreating the spirit of Bob Monkhouse. His wisecracking approach was both authentic and heartfelt. As well as mail with a strong call to action, the campaign also involved cinema and outdoor.

RESULTS From 5,000 mailings, the campaign achieved a 228% increase in the donor base with a 580% rise in the number of regular monthly donors and a 2,000% increase in traffic to the website. Overall, £3m worth of media value was generated from a budget of £50,000.

OUR THOUGHTS 90% of all charity advertising uses the same idea. A picture of a suffering dog/child/septuagenarian etc and a line saying something like, “For just £10 you can make life bearable for Fido/Freddie/Granny Smith.” And the charity involved wonders why the results aren’t good. The whole point of creativity is not to be different for the sake of it but simply to get noticed. And this campaign got noticed and talked about to such an extent a small budget became a big campaign. The genius part of the campaign was in faithfully recreating Bob Monkhouse’s style of comedy. Brilliant craft skills from copywriter Alan Curson.

| Editorial 42 ISSUE 6 OUR THOUGHTS When Banco Gallego invited agencies to pitch for this launch, they felt none of the ideas was right. They invited Shackleton to Agency: Shackleton pitch again and two weeks later Pablo Alzugaray went back. He Client: Banco Gallego was five minutes into the pitch when the bank CEO cried, “Stop, Product: Financial Product Launch Stop! This is exactly the same pitch as two weeks ago.” “Yes,” Title: Lopetegui Faints said Alzugaray. “We believed in the idea then and we believe in Media: Viral, print, radio, online, mail, events it now.” Country: Spain Congratulations to the agency for sticking to their guns. Many would have bent the knee. And congratulations to the clients Creative Team not just for running such a distinctive, topical, and populist General Creative Director & Copywriter: Juan Nonzioli campaign but for the courage to go the whole distance with it Executive Creative Director: Alfonso Marian and name the product ‘Deposito Lopetegui’. Art Director & Creative Directors: Victor Aguilar, Pablo González De La Peña Copywriter & Creative Director: Nacho Guillo Online Creative Director: Iñaki Marti Creative Programmer: Icaro Obregon

Production Credits Production Manager: Itxaro Vicuña Assistant Production: Blanca Grande Audio Production Manager: Manuela Zamora Agency Producer: Pablo García Acón Producer: John Doe Production Company: The Lift

Other Account Director: Marta Gutiérrez Account Executive: Zaida Vázquez

BACKGROUND Banco Gallego had a great product to offer, a 10% interest rate on deposits, but they also had a modest advertising budget.

IDEA In June 2006, the ex-goalkeeper for Spain, Julen Lopetegui, fainted on live TV while presenting then half-time analysis of a World Cup football match. The video of him keeling over became a YouTube hit. Four months later, a series of unbranded ads and posters asked: Want to know why Lopetegui fainted? People were directed to wyloepeteguifainted.com, where they got to see the video clip again but this time with additional footage, purporting to be a continuation of the actual filming of the incident. In this version, there is a member of the film crew standing off-camera holding a prompt board, ‘Banco Gallego’s new deposit account pays 10% interest.’ So that’s why he fainted.

RESULTS The story was taken up by TV and press. There were 14,000 registered views of the video (409% above target), 43,500 visits to the website. New customers were 132% of the target and new deposits 157% higher than hoped.

43 ISSUE 15 RESULTS The plan was to run the resulting 27-minute film online but Greece’s leading TV station, MEGA Channel, asked to screen it Agency: OgilvyOne Athens on February 14th as part of its Valentine's Day programming. Client: Kraft Foods It attracted a 12% share of viewers and was seen by more Product: Lacta Chocolate than 335,000 Greeks. Online, the film was viewed by 8% of Title: Love in Action Greece’s internet population, attracting more than 28,000 Media: Online, TV, Print fans on Facebook. Country: Greece The campaign helped to raise sales by 0.6% in a market that was down by 4.3%. Creative Team Unaided recall of the brand increased +5% and top-of-mind Executive Creative Director: Panos Sambrakos awareness +8%. Associate Creative Director: Konstantina Chatzaki Art Director: Constantinos Demetriadis OUR THOUGHTS Web Programmer: George Alatzas Over the last 49 issues, Directory has featured no fewer than Account Director: Christina Alifakioti six campaigns from OgilvyOne Athens for Lacta. This was the first and, in many ways, it created the template for best- Production Credits practice branded content. Director: Nicholas Dimitopoulos I loved the way it broke so many of the ‘rules’ of advertising. Screenwriter: George Kapoutzidis For starters, it wasn’t an ad agency but a direct marketing Producer: Manolis Kontarinis shop that came up with it. Secondly, it came out of Greece, not noted as a hotbed of creativity. Thirdly, here was a pioneer Other brand opting out of TV and into emerging social media, which Account Director, Bold Ogilvy: Christina Alifakioti meant, fourthly, Lacta had to spend more on production than Creative Director, Bold Ogilvy: Lazaros Nikiforidis on media. Copywriter, Bold Ogilvy: Petry Kapetanopoulos Revolution with a kiss. BACKGROUND Lacta was a leading chocolate in Greece. At the heart of all its brand communication there has always been the concept of love. The challenge was to find a way to tell a love story that would last longer than 30 seconds.

IDEA The campaign launched with TV spots inviting people to submit their personal love stories to the Lacta website. Amazingly, 1,307 love stories were submitted. The winning story told of a boy and a girl who met on a train. She was a musician, he had just joined the army. Now Lacta fans were invited to make all the decisions about casting and wardrobe. Who should play the lead roles? What should they wear? The screen tests were posted up onto Facebook and the 11,500 registered followers invited to vote – and to be extras in the film. When filming started, ‘making of’ videos and photo galleries were posted daily on Facebook and Twitter.

| Editorial 44 ISSUE 19

Agency: Proximity Colombia Client: Global de Pinturas Product: Pintuco Paints Title: Natalia and 20 Seconds of Fame Media: DRTV, Radio, online Country: Colombia

Creative Team Creative Director: Alejandro Mesa Copywriters: Maria Jimena Mesa, Pablo Wills Art Director: Angela Obando Web Designer: Daniel Ramirez

Other Chief Executive Officers:Mario Bertieri, Sandra Piedrahita Account VP: Juan Fernando Nino Account Executive: Maria Fernanda Nova

BACKGROUND Pintuco was the leading brand of household paint in Colombia and it wanted to build a database and develop relationships with the country’s many painters and decorators. The challenge was Natalia was the hottest babe in Colombia to get these people to identify themselves. Why would they give Pintuco any information about themselves?

IDEA The idea was to use Colombian sex symbol Natalia. Not just stunning to look at, she had a most distinctive voice. In 20-second TV spots, Natalia announced that she needed to have her home painted. “I want the best painter/decorator in the country. Ring me. And if I choose you to paint my house, I’ll make a free TV spot for you.” Suddenly, painter/decorators began ringing Natalia in their thousands. At the call centre, operators were specially chosen to sound In print and TV ads she appealed to the country’s best painter/decorators like Natalia. And the messages the painter/decorators left were to ring her if they wanted to paint her house. 68,000 responded. hilarious, giving Pintuco material for some of the funniest, most Operators who sounded like Natalia were specially chosen to answer the calls. authentic radio commercials ever aired in Colombia. And the overall winner finally got given his 20 seconds of fame with Colombia’s hottest model.

RESULTS The call centre received more than 68,000 calls in the first week. Painters gave their names and addresses and phone- numbers in the hope that Natalia would call, thus tripling in size Pintuco’s database.

EDITOR’S COMMENT The recording of José Beltrán when Natalia rang him to tell him she wanted him to paint her house still cracks me up. Finally, Natalia chose José Beltrán and she made a 20 sec. TV What was so interesting about this idea was the use of TV commercial for him. to capture data. Thus moving the brand’s spend away from broadcast advertising into direct marketing. There’s an irony.

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Agency: Jung von Matt Client: Dortmund Concert Hall Product: Dortmund Concert Hall Title: Concert Milk Media: Ambient Country: Germany

Creative Team Head Creative Directors: Sascha Hanke, Wolf Heumann Creative Directors: Tobias Grimm, Jens Pfau, Jo Marie Farwick Art Director: Damjan Pita Designers: Nicolas Schmidt-Fitzner, Sven Gabriel Copywriters: Henning Robert, Jan-Hendrik Scholz

Other Account Director: Jochen Schwarz Project Managers: Dajana Quurk, Sascha Kurfiss Junior Project Manager: Marijke Fisser Planning: Liane Siebenhaar Film Production: Markenfilm PR Agency: Mhoch4

BACKGROUND Dortmund Concert Hall was struggling to get the sort of audiences their world-class acoustics and their world-class musicians deserved.

IDEA Science had shown that cows produced more milk when they were played classical music in the milking shed. The orchestra went out to a farm near the city and played to the cattle. This helped create a video. Other farms were given music systems so they could play recordings of the Dortmund orchestra’s previous concerts. The milk that was produced was bottled and marketed as Concert Milk.

RESULTS Concert Milk was featured in blogs and news around the world. It inspired people who would not normally listen to classical music to go to a concert. The idea increased subscriptions to Dortmund Concert Hall by 19% and theatre occupancy to 72%. Sales of the milk are now making a profit, an example of an idea that, literally, is paying for itself.

EDITOR’S COMMENT This was a very early example of a brand solving its problem not through a message in broadcast media but by creating a completely new but complementary product. Just as brands have learned to create apps and services in the virtual world that are useful, usable and/or delightful for their customers, so the same thinking can be applied in the real world. Even eight years after it was created, this idea is still fresh.

| Editorial 46 ISSUE 24

Agency: Leo Burnett Detroit Client: Safeguarding American Families Product: Troy Public Library Title: Book Burning Party Media: OOH, social media, print, flyers, digital Country: USA

Creative Team Executive Creative Director: Peter McHugh Creative Director/Copywriter: Glen Hilzinger Creative Director/Art Director: Bob Veasey Copywriters: Rob Thiemann, Mike Davis Creative Technologist: John McClaire Art Director: Derek Tent Senior Producer: Jennie Hochthanner Creative Services Director: Tony Booth

BACKGROUND Due to a struggling economy, Troy, Michigan could no longer afford its library unless the town voted to accept a 0.7% tax increase to fund it. The Tea Party, a well-funded anti-tax group, lobbied hard against the proposed increase and the library faced closure.

IDEA Six weeks before the vote, supporters of the library posted signs around Troy that said, “Vote to close Troy library Aug 2, Book Burning Party Aug 5.” They set up a Facebook page and added Twitter, Foursquare, flyers and more to help drive the core idea of a book-burning. The outcry moved rapidly from local to international news, drowning out opposition and galvanising support for the library.

RESULTS With less than $100 in paid media, there were 50,000 visits to the Facebook page. In a town of 80,000 residents, the campaign generated over 650,000 impressions from Facebook and Twitter alone. Voters turned out at levels 342% greater than projected. The library won by a landslide.

OUR THOUGHTS The auteur creative director Paul Arden wrote a book, “Whatever you think, do the opposite”. He would have approved of this. Love books? Then pretend you hate them. In a relatively middle-class enclave like Troy, the idea of a book-burning would have had immediate echoes of history’s more repressive dictatorships. Saving Troy library was about saving liberal democracy as much as anything.

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Agency: Cheil UK Client: Samsung Electronics UK Product: Samsung NX Smart Cameras Title: We Are David Bailey Media: TV, Print, Social Media, Online, OOH, Experiential, Retail, Retail POS & Engagement Packs Country: UK

Creative Team Executive Creative Director: Logan Wilmont Creatives: Andy Day, Chris Lawson, Simon Friedberg

Production Credits Tech Team: Kevin Durley, Sol Jubrail Designers: Mark Hanlon, Ryan Fielder, Kingsley Younge Production Team: Karen Sainsbury, Anthony Evangelista

Other Social Team: Roxanne Haydon, Toby Chishick Recruiter: Mike Hope Account Team: Matt Pye, Prajay Kagdadia, Sian Brigg, Fraser Campbell, Jasmine Portman

BACKGROUND The Samsung NX was a camera that democratised photography. Any amateur could take professional shots with it.

IDEA The idea was to get David Bailey to endorse the new NX. No, not the David Bailey, the UK’s most celebrated photographer, but 143 other people who just happened to have the same name. These David Baileys were each given a camera, a black polo- neck jumper to look the part, and some basic training. Then sent out into the world to photograph it. Their shots were collected in a gallery on Facebook and provided the material for a TV, press and outdoor campaign as well as eight YouTube ‘masterclasses’. Key influencers were tapped up to give the campaign traction in social media.

RESULTS NX market share increased from 2.8% to 55%. There was a 600% increase in online consideration and sales of NX cameras grew by 2,365%. In fact, it sold out well before Christmas.

OUR THOUGHTS I had quite a lot to do with the genesis of this campaign though nothing to do with its execution. Chris Lawson, Jonathan Friedberg and Andy Day did a brilliant job amplifying the original idea. For instance, mailing influencers their own, individually signed ‘Bailey’ print and creating a book of Baileys for store managers. (God is in the detail, as they say.) It’s an idea that people simply love, including the original David Bailey, by the way. Given that most people hate advertising, spreading a bit of love isn’t just good for Samsung’s business but good for the business of advertising.

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Agency: AMV BBDO Client: PepsiCo Product: Doritos Title: Mariachi Doritos Media: TV, Social, Digital. Radio Country: UK

Creative Team Creative Directors: Mark Fairbanks, Thiago De Moraes Creative Team: Jez Tribe, Prabs Wignarajah

Production Credits TV Producers: Trish Russell, Amy Daniels Digital Producer: Amy Meier Production Company: Independent

Other Account Director: James Myers Planner: Tom White

BACKGROUND To continue growing the brand, Doritos had to go beyond teens and engage a new consumer base of 25-44 year olds.

IDEA ‘Mariachi Doritos’ was a band that brought Mexican exuberance to homes and back gardens across Britain. They were a metaphor for how Doritos can help dissipate formality at parties and help people let their hair down. Online and broadcast ads drove traffic to a Facebook hub, where fans and non-fans of Doritos could arrange a webcam appearance from Mariachi Doritos or even a live performance at their own party. Videos of the gigs were shared the day after each party via YouTube and Facebook for all fans to view. Rather than think about ‘Mariachi Doritos’ as a traditional advertising campaign, the activity was planned as a tour. Literally and metaphorically, the band went on tour to meet the demands from existing and new Doritos fans.

RESULTS With over three million organic views of campaign content, achieving a Facebook engagement seven times the average response, this did not just achieve the overall sales target of a +6% value sales uplift, it smashed it. Across the 12-week duration of the tour, there was an increase in sales of +11% value sales. (Source: Nielsen.)

OUR THOUGHTS One of the things about editing Directory from the very beginning is I’ve been able to watch careers develop. Mark Fairbanks is a talented writer who began to blossom at AMV BBDO and this sweet-natured, likable campaign is evidence. It would have been all too easy to over-complicate this simple idea, but he and his partner just let the guys play their jolly music and filmed the pleasure they gave. As I said at the time, there was an innocence about the idea which was part of its success. It didn’t feel like advertising, it felt like people having fun. Oh, and there were some chips.

49 ISSUE 28 OUR THOUGHTS Young creatives want to be cool. Actually, some not-so-young creatives want to be cool too. But the truth is, where cool may Agency: Ogilvy & Mather Amsterdam get you 100,000 views warmth will get you a million. Cool gets Client: DELA ‘likes’ but warmth gets people crying. Well, a couple of us in Product: Funeral Insurance Directory Towers anyway. Title: Why wait until it’s too late? The emotional response here is entirely relevant to Dela’s Media: TV, print, outdoor, radio, online, website, business. Better to weep with the ones you love than weep alone. Facebook, banners Country: The Netherlands

Creative Team Executive Creative Director/Art Director: Darre van Dijk Creative Director/Copywriter: Piebe Piebenga

Production Credits Agency Producer: Brenda Bentz van den Berg Account Manager: Zilla Smith

Other Strategy Director: Hans Veldhorst Interactive Creative Director: Bart te Riele Designer: Bas Derks

BACKGROUND The Funeral Insurance Company DELA was a co-operative of three million members. Its heritage was as a company which not only believed in a dignified farewell for everyone but in people being there for each other.

IDEA All too often, the most beautiful words about a person are spoken after they have died. Most people regret that they never said the important things to their friends or relatives while they had the chance. The idea, then, was to get a number of individuals to express their love and gratitude to the people who meant most to them and film them with hidden cameras. These became TV commercials, which were supported by press ads starting with the single word ‘Dear,’ inviting readers to fill in the rest. In their turn, these became unique posters close to where the subject lived. People could post up beautiful messages on Facebook and on DELA’s website.

RESULTS Website traffic increased 66%. Facebook likes increased by 96%. Over 3,600 messages were tweeted about the DELA campaign. Awareness of the company grew from 78% to 87% and negative associations went from 9% down to 3.5%. It grew the amount of capital placed by 50%.

| Editorial 50 ISSUE 28 OUR THOUGHTS Everything about this idea gave us pleasure at Directory Towers. First, the idea of measuring pleasure; then getting news media Agency: OgilvyOne London interested in the science of the experiment; then extending the Client: Beyond Dark idea from packaging to posters. I expected it to be the start of Product: Chocolate Drops a campaign that would run for years but there doesn’t seem to Title: Measure of Pleasure have been much happening in the last couple of years and the Media: Event, Website, Documentary, Twitter, Outdoor, measurethepleasure website has been taken down. Such a pity. Press, Point of Sale With proper investment, this could have established Beyond Country: UK Dark as a serious challenger in the competitive and over- subscribed luxury chocolate sector. Creative Team Executive Creative Directors: Charlie Wilson, Emma De La Fosse Creative Directors: James Nester, Graham Jenks Art Director: Graham Jenks Copywriter: James Nester

Other Director, Innovative Solutions: Nicole Yershon EEG Technologist: Tre Azam Producer: Janet Berry Documentary Director: Chris Skarrett PR Lead: Laura Bruce PR Director: Ceri Bevan, Blair Metcalfe

BACKGROUND Newcomer brand Beyond Dark wanted a bigger bite of the UK’s dark chocolate market. The strategy was to try to make their little drops famous for ‘pleasure’.

IDEA The idea was to create the first-ever scale for measuring pleasure. This would give Beyond Dark the tools to prove their credentials for creating pleasure by measuring other lovely moments in life and other brands of chocolate versus their own chocolate drops. A team of neuroscientists set about studying 100 test participants fitted up with ‘EEG’ brainwave-reading headsets as they blew bubbles, stroked kittens and listened to beautiful music. A documentary and news of the findings were released on ‘Blue Monday’, officially the most depressing day of the year. The data collected then provided the material for the advertising.

RESULTS There was an immediate sales uplift of 50% on the day the news was released. Beyond Dark zipped to the top of UK search rankings for ‘dark chocolate’. Several new retailers began to stock Beyond Dark while Sainsbury’s, one of the UK’s biggest supermarkets, doubled distribution. After two months, Beyond Dark sales were up 327%.

51 ISSUE 30 RESULTS PR helped the video achieve over 15 million views on YouTube, Dailymotion and Vimeo. Agency: Leo Burnett France At one point, tweets were being sent every 2 minutes. Client: The Mimi Foundation Exhibitions of If Only For A Second were arranged in Paris, New Product: Charity York and Brussels, where visitors could buy the book, which Title: If Only For A Second swiftly went to a second printing. Media: Film, Print Country: France OUR THOUGHTS For me, this is the single most-affecting campaign we have Creative Team run in Directory, ever. It not only got me tearing up it got me Executive Creative Director: Xavier Beauregard opening up my wallet too. It is massively emotional because President: Jean-Paul Brunier the idea is so life-affirming, even though we know that all the Art Director: Stephanie Thomasson people in the film are dying. What we see (in the film and in the Copywriter: Stephane Gaubert photographs) is the triumph of the human spirit over adversity. Photographer: Vincent Dixon Very, very occasionally advertising transcends all its limitations and expectations and becomes art. In my opinion, that’s what Production Credits we have here. Production: Prodigious, Pierre Marcus Film Director: Coban Beutelstetter TV Producers: Elisabeth Boitte, Antoine Grujard Post Producer: Franck-Herve Marc, Antoine Daubert, Sophie Leger Sound Producer: Prodigious, Laurent Favard

Other Mimi Foundation President and Founder: Myriam Ullens de Schooten Mimi Foundation Managing Director: Marianne Wagner Account Managers: Elise Ziri Bret, Cécile Balut, Valerio Pasqualini Hair designer: Gregory Kaoua, Christophe Martinez Make-up artists: Philippe Meysmans, Laura Noben , Marie- Claire Vervaene Stylist: Chantal Bourbigot Art Buyer: Claire Sougy Retoucher: Kilato

BACKGROUND The Mimi Foundation worked to help terminally ill cancer patients with help-centres in the oncology departments of hospitals in Belgium, France and Switzerland.

IDEA If Only For A Second was a project in which 20 cancer patients were invited to participate in a unique makeover experiment. They were brought to a studio, where they were asked to keep their eyes shut while their hair and their make-up was done by skilled professionals. Then, when they were allowed to open their eyes and see themselves, they were filmed and, at the same time, a photograph immortalised the moment. Seeing themselves transformed allowed them to forget their illness, if only for a second. The collected photographs were published as a book, launched at an event when journalists and bloggers were invited to scan the QR code on the book’s cover to see the film.

| Editorial 52 ISSUE 33

Agency: Impact BBDO Beirut Client: Flower Town Product: Flowers Title: Proof of Love Media: Outdoor, Electronic Check-in, Radio, Newspaper, Viral Country: Lebanon Date of campaign: February 2014

Creative Team Chief Creative Officer: Walid Kanaan Regional Creative Director: Ali Zein Senior Art Director: Georges Kyrillos Copywriter: Chris Jabre

BACKGROUND Haret Hreik was a Hezbollah stronghold in a part of Beirut that had seen four suicide bombings in less than 6 months. Flower Town was a florist located right at the heart of this ‘Death Zone’. Their problem was recruiting new customers, who were reluctant to visit this insecure place.

IDEA With Valentine’s Day approaching, the idea was to dare the men of Lebanon to visit Haret Hreik by challenging them in radio, print and outdoor, “Would you die for your beloved?” People were asked to come to Flower Town and buy a flower that had a green pin on it, which would prove they had made the trip to Haret Hreik. A Flower Town Facebook page was created so that people who dropped in on the shop to buy their flowers could check in and thus be seen to be fearless by the entire country.

RESULTS Leading TV stations covered the story in prime-time news bulletins and influential bloggers took up the story. The Flower Town Facebook page had 1,800 visitors in 3 days, which was huge for Lebanon, let alone for a tiny shop. Flower Town’s annual sales increased by 30% in just one day with people coming from all over Lebanon to prove their love.

OUR THOUGHTS Search data has been able to show what people really think, as opposed to what they say they think (read “Everybody Lies”, written by Seth Stephens-Davidowitz) but insight into human behaviour based on observation is rare as rocking-horse droppings. But this is as insightful as it gets. It nails the (slightly ridiculous) masculine psychology of the typical Lebanese male. At the same time, the black humour of the idea also reveals something of the psychology of the country. When you live in a warzone, making light of your situation is one way of dealing with it.

53 ISSUE 35 OUR THOUGHTS When we showcased this idea, we predicted it would win Gold at Cannes, which it did. Live advertising is still not that common Agency: Ogilvy & Mather Frankfurt even though digital platforms do offer brands the opportunity to Client: Media Markt Management GmbH create realtime experiences. Product: Media Markt Though the agency was coy about the results, increased footfall Title: Easter Bunny Race of 18% must have led to increased sales. Which makes it all the Media: Live Show Easter Bunny Race, TV, POS Material, harder to understand why the client parted company with the Pack of cards, Print Ad agency months after this clever campaign ran. It certainly wasn’t Country: Germany anything to do with the work. Creative Team Chief Creative Officer:Dr. Stephan Vogel Executive Creative Director: Felix Fenz Creative Directors: Nico Ammann, Sascha Dudic Art Directors: Nico Ammann, Constantin Camesasca, Sebastian Kamp, Joschka Wolf, Hendrik Frey, Tobias Ostry, Markus Günther, Christoph Buers Copywriters: Felix Fenz, Sascha Dudic, Bent Kroggel, Christian Urbanski, Thorsten Büsser, Tobias Röben, Katharina Haller

Production Credits Agency Producer: Oliver Krage Film Producers: Sascha Rustmeier, Chris Müller Art Buyer: Caroline Walczok Film Production: Endemol Post Production: MMC Studios

Other Application Engineer: Ralf Zimmermann Account Management: Yves Rosengart, David Wilfert, David Henkel, Marc Czymai

BACKGROUND Over the Easter break, almost every retailer in Germany offered special discounts. Media Markt needed to do something different.

IDEA Over the long weekend, every Media Markt receipt issued became a betting slip. On the slip was the name of a rabbit. On three consecutive evenings, live on TV and on YouTube, rabbit races were run, two-minute events with the results published on Media Markt’s website as well as that of Germany’s largest newspaper. If your rabbit won, you got 50% of your Media Markt spend returned. Rather than everyone getting 5%, every tenth customer could get 50% of their money back. And have some fun. In the build-up to the races, every rabbit was made a celebrity and much content was created for rabbit race fans to share.

RESULTS 250 million people reached. Facebook engagement was up 259% and traffic to the stores increased by 18%.

| Editorial 54 ISSUE 36 OUR THOUGHTS This is the very embodiment of modern direct marketing. It got people not just to drink beer in greater volumes than before the Agency: Colenso BBDO Auckland campaign ran, it got them to pay over $2 a litre every time they Client: DB Breweries responded to the advertising. Product: DB Export When people talk about marketing for good these days, it’s Title: Brewtroleum often implied that social purpose will cost the brand. This is a Media: Integrated brilliant example of how purpose doesn’t just enhance the brand Country: New Zealand but drives sales of the product. In so doing, it provides, I hope, a template for other marketers. Creative Team Creative Chairman: Nick Worthington Creative Director: Andy Blood Art Director: Brett Coliver Copywriter: Simon Vicars

Production Credits Producer: Scott Chapman Agency Producer: Jen Storey Production Company: Scoundrel

Other Head of Account Management: Angela Watson Business Director: Brodie Reid Project Director: Lucy Grigg Account Manager: Mitch Lovich Account Executive: Jacob Douglas Operations Director: Paul Courtney Head of Planning: Andy Mcleish PR & Activation: Paul Gunn

Clients Managing Director: Andy Routley Marketing Director: Maud Meijboom-van Wel

BACKGROUND Beer consumption had slumped in New Zealand. For a variety of reasons, men were finding it harder and harder to get to the pub. What they didn’t need was another clichéd beer ad. What they needed was a good excuse to drink DB Export.

IDEA Drinking beer became a selfless act of environmental heroism by extracting ethanol from the surplus yeast leftover from the brewing process. This ethanol was turned into a clean-burning biofuel called DB Export Brewtroleum, Now every time a man drank DB Export, he could help save the world. 58,000 tonnes of yeast slurry was turned into 300,000 litres of biofuel. Every day, a fully branded tanker delivered Brewtroleum to 60 service stations, as well as to DB’s own flagship Brewtroleum station in Auckland.

RESULTS In a market declining by 6% per annum, DB Export sales went up 10%. DB Breweries also won New Zealand’s award for sustainability.

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