Month: March 2015

24 Hours in Advertising: Wednesday, April 1, 2015


Here's everything you need to know about the last 24 hours in advertising, in case you blinked.

Buzzing on Adweek:

Clothing labels tell their makers' tales
The Canadian Fair Trade Network used clothing labels to tell the stories of people who make and manufacture clothes. The campaign hopes to bring attention to unsafe working conditions. (Adweek)

Jack in the Box makes a massive coupon
To score itself a Guinness World Record, Jack in the Box and David&Goliath created the world's largest coupon. It measures 80 feet by 25 feet. (Adweek)

Legal issues brands should consider with Periscope and Meerkat
Brands are jumping at the chance to test live-streaming apps Periscope and Meerkat, but here are four potential legal issues all brands should be aware of before diving in. (Adweek)

Suntory Whisky crafts amazing 3-D printed ice cubes
TBWA\Hakuhodo created amazing, intricate 3-D printed ice cubes for Suntory Whisky. The cubes take the shape of high heels, a guitar, Batman and more. (Adweek)

A shy guy tries to save the girl for Belvita
Breakfast cookie brand Belvita takes the traditional "damsel in distress" storyline, with an adorably geeky hero, and gives it a fun twist. (Adweek)

Millennials and Gen Z have different brand needs
Data from Deep Focus shows Gen Z consumers, born after 1998, are more tolerant of online ads than millennials, while millennials are more responsive to email marketing. (Adweek)

Around the Web:

The New York Times bring news to the Apple Watch
The New York Times announced its format for news stories on the Apple Watch will be one-sentence stories, paired with high-quality photos or short summaries. (The New York Times Company)

Executive changes at Heineken
Heineken has combined the role of chief marketing officer and chief sales officer to help streamline things, while other top executives announced their departures. (Financial Times)

Coke's marketing chief will return
Coca-Cola marketing chief announced she would be returning to Coke on April 6, after a stint away working with Hillary Clinton on her potential presidential campaign. (The Wall Street Journal)

Starbucks adds Kale to the menu
A new line of smoothies will launch in over 4,300 Starbucks locations in the U.S. through the brand's partnership with Danone. Customers can add protein powder and Kale to the smoothie.  (Reuters)

GoDaddy has plans to reinvent itself
GoDaddy might be known for its sexualized Super Bowl spots, but the brand is looking to reinvent its image and attract a wider audience as the brand kicks off its initial public offering.  (The Wall Street Journal)

Yuengling tops Samuel Adams in U.S.
After the Brewers Association changed its definition of what a "craft brew" was, Yuengling officially topped Samuel Adams as the largest craft beer product in the U.S. for 2014. (Fortune)

Industry Shake-Ups: 

New president at mcgarrybowen New York
Simon Pearce left BBDO to join mcgarrybowen New York as the new president. Pearce takes over for Tom Sewell. (Adweek)

TBWA\Chiat\Day wins Hearts on Fire
TBWA\Chiat\Day won global creative responsibilities for Hearts on Fire. This is the agency's fourth big win in two months. (Adweek)



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Lord & Taylor Got 50 Instagrammers to Wear the Same Dress, Which Promptly Sold Out

For fashion junkies addicted to Instagram, this weekend probably had quite a few deja vu moments.

Retailer Lord & Taylor blitzed into feeds by partnering with 50 influential fashionistas on Instagram and having each pose wearing the same dress.

The dress itself sold out by the end of the weekend, but luckily for the brand, it had a larger goal in mind: Debuting its Design Lab collection, focused on "fashion-forward finds."

"The program was designed to introduce Design Lab to this customer where she is engaging and consuming content every day," said Lord & Taylor CMO Michael Crotty. "The goal was to make her stop in her feed and ask why are all her favorite bloggers are wearing this dress and what is Design Lab? Using Instagram as that vehicle is a logical choice, especially when it comes to fashion."

An even 50 Instagrammers were hand-picked and compensated by the brand, with each selected "based on her aesthetic and reach," Crotty said. Many of the posts generated more than 1,000 Likes each, with several surpassing 5,000 Likes and some reaching rarified levels like 13,000 Likes.

Check out some of the photos below from the weekend push. If you're sad you missed your chance at the dress, Crotty says it will be back with new patterns in April, May and June.

 

 

A photo posted by Rachel Martino (@rachmartino) on Mar 27, 2015 at 3:19pm PDT

 

 

 

A photo posted by Alicia Lund (@aliciamlund) on Mar 27, 2015 at 2:12pm PDT

 

 

 

A photo posted by Jean (@extrapetite) on Mar 28, 2015 at 7:18am PDT

 

 

 

A photo posted by Mckenna Bleu (@mckennableu) on Mar 28, 2015 at 11:15am PDT

 

A photo posted by JEANNE GREY (@the.grey) on Mar 28, 2015 at 1:02pm PDT

A photo posted by lateafternoon (@lateafternoon) on Mar 28, 2015 at 12:53pm PDT

A photo posted by Wendy Nguyen (@wendyslookbook) on Mar 28, 2015 at 11:28am PDT

A photo posted by Dylana Suarez (@dylanasuarez) on Mar 27, 2015 at 5:09pm PDT

A photo posted by Jessica Ricks (@hapatime) on Mar 27, 2015 at 6:09pm PDT

A photo posted by Sophie Elkus (@sophieelkus) on Mar 27, 2015 at 2:37pm PDT

A photo posted by Rachel Lynch (@ihateblonde) on Mar 27, 2015 at 9:55am PDT

A photo posted by SAZAN (@sazanbarzani) on Mar 27, 2015 at 3:47pm PDT

A photo posted by Cara Van Brocklin (@caraloren) on Mar 27, 2015 at 10:27am PDT



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Suntory Whisky 3-D Printed the World’s Most Incredible Ice Cubes

Advertising craft doesn't get more delicate than this. Check out TBWA\Hakuhodo's 3-D printed ice cubes, created for Japan's Suntory Whisky.

The agency used what's called a CNC router to carve the designs, which ranged from the Statue of Liberty to the Sphinx to Batman and everything in between. (There even appears to be, perhaps presciently, a Cannes Lion in the mix.)

Miwako Fujiwara of TBWA\Hakuhodo said the CNC router was chilled at -7 degrees Celsius to keep the ice from melting. The agency used an app called Autodesk 123D to capture the 3-D images and prep them for printing. "A touch of chilled whiskey polishes the surface of the ice and gives a beautiful shine to the sculpture," Fujiwara added.

The campaign was launched in 2014 and just won a Branded Content & Entertainment Lotus trophy at the Asia Pacific Advertising Festival in Thailand.

Lots more images, along with credits, below.

CREDITS
Client: Suntory

Campaign: "3D on the Rocks"

Agency: TBWA HAKUHODO+HAKUHODO
Executive Creative Director+Creative Director+Planner: Kazoo Sato
Copywriter +Planner: Takahiro Hosoda, Nobuhiro Arai
Art Director+Designer: Yo Kimura, Yuki Tokuno
Creative Technologist: Masashi Matsukura
Producer: Kaoru Otani
Assistant Producer: Fusae Yoshikawa
PR: Kayoko Asano, Miwako Fujiwara

Production: TOKYO+mount inc.+amana

Movie:
Director: Eiji Tanigawa(TOKYO)
Camera: Senzo Ueno(TOKYO)
Light: Masachio Nishida
Art: Midoriko Nemoto(TAIYO KIKAKU）
Ice: Motoharu Kato(Yamane Ice)
Sizzle: Noriko Saotome(GRAND)
Video Engenner: Satoshi Igarashi
Producer: Toshiyuki Takei(TOKYO)
Assistant Producer: Masayoshi Takayanagi(TOKYO)
Production Manager: Makoto Takahashi(TOKYO)
Production Manager Assistant: Rintaro Kozasa(TAIYO KIKAKU）　
OFFLINE Editor: Ryuichi Hasegawa(puzzle)
ONLINE Editor: Akira Nishibu(IMAGE STUDIO109)
Multi Audio: Yuta Sato(IMAGE STUDIO109)
Sound Effects: Norio Kobayashi(ONPa)

Music:
Executive Producer: Audioforce
Producer: DANIC
Composer: Steve Sidwell

Web:
Planner: Im Jeong-ho, Takeshiro Umetsu(mount inc.)
Planner +Art Director+Technical Director+Director: Hidekazu Hayashi(mount inc.)
Director: Hiroka Hasegawa, Hideki Yoshidatsu(mount inc.)
HTML coding: Hideki Yoshidatsu(mount inc.)
3DCG: Takeo Saito, Mika Nariya(FULVIS K.K.)
Production Manager: Ko Yoshida(mount inc.)

Graphic:
Photographer: Keisuke Minoda(acube)
Retoucher: Masahiko Furuta(RIZING)
Photo producer: Shinya Omi(amana)



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Mcgarrybowen N.Y. Hires a New President

Omnicom/BBDO executive Simon Pearce is the new president of mcgarrybowen New York. He will take over for Tom Sewell, who has been in that job since last May and will now handle innovation responsibilities at the agency.

Pearce also takes on the role of New York chief client officer at mcgarrybowen, a new position the agency wants to replicate in its offices in Chicago, London, Shanghai and Sao Paulo. At Omnicom and BBDO, Pearce was most recently evp, worldwide business lead with oversight of the Hewlett Packard account. He starts on April 17.

"Chief client officer is a new title to us, and we want to deploy it more deeply at mcgarrybowen," said Brandon Cooke, global chief marketing officer. "It's really important to our DNA."

Sewell became president last year after the agency conducted an outside search to fill the job and chose the mcgarrybowen veteran instead. Joining the agency in 2008, he helped win Verizon's business and had most recently been executive managing director on the account. Drawing on his experience with Verizon, Sewell has now been asked to launch an innovation venture within mcgarrybowen that will tackle business and marketing problems through new technologies, the Dentsu Aegis agency said. His new title has yet to be determined. 

Before Omnicom/BBDO, Pearce was managing director of Ogilvy & Mather, N.Y., where his tenure included New York account wins like IKEA, Gap and UPS. He's also held executive roles at McCann Erickson, Wieden+Kennedy, Young & Rubicam and Coca-Cola. During his agency career, Pearce worked on brands like American Express, Nike, Mars, Colgate-Palmolive, Time Warner Cable, Miller Coors, and Unilever.

Gordon Bowen, a mcgarrybowen founder and chief creative officer, remarked on Pearce's work for such companies. "In today's digital and global age, the landscape and bar for creating game-changing, scalable and breakthrough work for clients has become increasingly harder," he said, adding that Pearce has taken marketers to new heights in accomplishing those goals.



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Why This Photo Was the Absolutely Perfect Way to Introduce the Deadpool Costume

On Friday, Ryan Reynolds tweeted out the first picture of the official Deadpool costume with him posing on a bear skin rug, à la Burt Reynolds, and the image is utterly brilliant and perfect in every way. Let me explain.

In 1972, Reynolds became the first male centerfold (some say ever) in Cosmopolitan. The shock wave that rippled through American culture, as women proudly taped the poster to their walls and admitted to the world that they had sexual desires, would spawn Playgirl magazine and change the conversation around sex in America.

Believe it or not, it was a total surprise to a great number of people to learn that women like to look at naked men, just like men like to look at naked women. Of course, it came with a certain amount of notoriety for Mr. Reynolds, and gave Cosmo its modern-day reputation as a bit of a smut magazine. It was so shocking that the next centerfold didn't appear until 1977, when Arnold graced the pages.

Beyond the shock, everyone at the time knew the image was somewhat of a joke. The bear rug? Clearly a joke—it was poking fun at masculine stereotypes and was chosen by Burt. The chest rug? Not a joke—people liked things hairy in the '70s. But the point is, the press at the time talked a lot about it being a tounge-in-cheek, tit-for-tat situation. Men had centerfolds to look at, and women deserved them, too. It was only fair. The significance of the image made the sexuality of it moot for many people. This was about equality. (The image has lived on in everything from DirecTV ads to agency copywriter profile pics.)

Referencing the image says a number of things, but first it's important to know Deadpool is a character who is self-aware. He actually seems to have knowledge of himself as a character in a comic book and knowledge of other characters in other universes. This is pretty unique in the comic-book world. In other words, Deadpool can act like he's talking directly to other characters, and those characters, who are not self-aware, can't really talk back.

That's why Ryan Reynolds, who plays the character, could tweet the official costume with the caption, "With great power comes great irresponsibility." That's a direct jab at "With great power comes great responsibility"—a Spider-Man quote often attributed to Uncle Ben (though it first appeared in the narration in an old Spider-Man comic).

So, Deadpool is clearly taking a direct jab at Spider-Man. Who else might he be jabbing at? Well, in the image, we see him laid out in place of a sexual revolutionary, though Deadpool is not showing any skin. That says he's jabbing at the male sex-symbol image of Captain America, Thor and Iron Man—whose lead male actors have all been celebrated for their sexual appeal. It's like Deadpool is saying, I'm going to blow your minds with a whole new kind of comic-book man—and the ladies will like me better. It also says, I'm not afraid to break some taboos, reference the real world, and hey, don't forget, I'm always a little cheeky. That's just me. And the ladies like a man with a sense of humor, a man who reads Cosmo.

Disney Marvel is smart not to underestimate its fans and recognize the power of taking the piss with the superhero genre. It made a lot of money with Guardians of the Galaxy, and it'll make more with Deadpool. Adult comic fans like to be talked to like adults. See, we all know how ridiculous our love of superheroes is, but we love them anyway. We love them smart. We love them topical. We love them allegorical.

And for those few who don't, those who need things at a simpler level, this first image is still brilliant because, "LOL, just l@@k at him on that stupid rug! Hilars!"


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Jack in the Box Unveils the World’s Largest Coupon, an 8-Story-High Monstrosity

I'm sure we've all had some unflattering theories about how Jack in the Box would achieve a Guinness World Record ("Most People Made Uncomfortable by Creepy Mascot" was my guess). But the fast food chain recently unveiled the world's largest coupon, made to promote its new Buttery Jack burger.

Yes, Buttery Jack sounds like one of those Dutch holiday monsters invented to scare kids, but it's actually a quarter-pound burger with garlic herb butter melted on top. It was meant to scare adults!

Anyway, the coupon is 80 feet by 25 feet, and as you can see in the video, it took more than 12 people to carry it through Los Angeles to Hollywood's W Hotel. A cell phone picture of the coupon counts as a coupon itself, and can be redeemed for a free burger until Wednesday. Oh God, that's April Fool's Day. If they have something planned for that, I don't want to know what it is.



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Pennzoil’s High-Octane Aerial Stunt Shows a Dodge Drifting on a Floating Platform

Need a lift? Take this cool 90-second Pennzoil spot from J. Walter Thompson for a spin.

Stunt driver Rhys Millen hurtles through the streets of Cape Town, South Africa, in a canary yellow 707 horsepower Dodge Challenger Hellcat for much of the film, called "Airlift Drift," promoting the client's synthetic motor oil made from natural gas. Ultimately, his wild ride hits dizzying heights as four helicopters hoist the vehicle on a specially designed asphalt-topped platform. The car continues to drift and burn rubber like mad as it soars through the night sky, past glittering downtown skyscrapers.

That's one breathtaking aerial exhibition. Suck it, Jaguar!

In fairness, Jag's high-wire stunt last week above the River Thames, while less riveting, was 100 percent real. Pennzoil's sky driving—well, obviously, not so much.

"Everything from the get-go was rooted in the idea of realism," JWT Atlanta ecd Jeremy Jones assures AdFreak. "The load capacity of the helicopters, the chains, the shape of the platform and support beams. It's all mathematically and theoretically possible."

If the concept seems familiar, that's because "Airlift Drift" director Ozan Biron, working here through production firm The Embassy, also directed last year's "Ultimate Racetrack," which showcased a BMW M4's tread-tearing trip around the deck of an aircraft carrier. "We learned he was the magician behind 'Ultimate Racetrack,' and we had to have him," Jones says. "He's a complete car guy, and pushes the driving to crazy levels. It's so raw and uncommercial."

Pennzoil has worked especially hard to avoid category clichés in recent campaigns. "We believe cars have evolved. So should your oil—and oil commercials, for that matter," says Jones. "There are no product claims, no V.O. bottle pours. We want people to be moved and have a visceral reaction to the film, hear nothing but the sound of the engine being pushed to the limit."

He adds, "The problem with our category is most people outside of enthusiasts don't care enough about cars to care which motor oil to use. With this film, we're hoping to wake people up … to become that little ripple in pop culture and get people to think differently about our brand."

CREDITS
Client: Pennzoil

Agency: J. Walter Thompson Atlanta
Perry Fair: Chief Creative Officer
Jeremy Jones: Executive Creative Director
Dustin Tamilio: Group Creative Director
John Huddleston: Copywriter
Erin Fillingam: Art Director
Daryll Merchant: Producer
Erin McGivney: Account Director
James Robbins: Senior Planner

Production Company: The Embassy, Vancouver
Director: Ozan Biron
Executive Producer: Trevor Cawood
Editor: Ozan Biron
Assistant Editor / Conformist: Brendan Woollard  (Cycle Media)
Director of Photography: Manoel Ferreira

Visual Effects: Imagine Engine
Visual FX Supervisor – Bernhard Kimbacher
Onset Supervisor  – Neil Impey

Precision Driver: Rhys Millen

Content Production Company: Lemonade Films
Executive Producer: Ted Herman
Production Supervisor: Philip Fyfe

South African Service Company: Uncle Morris Films
Line Producer – Steven St Arnaud
Production Manager – Herman Warnich
Prod Coordinator – Andrea Scott

Colorist: Dave Hussey, Company 3

Sound Design: Charles Deenen, Source Sound LA



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TBWA\Chiat\Day N.Y. Just Won Its Fourth Account in 2 Months

Continuing its first quarter winning streak, the New York office of TBWA\Chiat\Day today picked up global creative responsibilities for Hearts on Fire diamond jewelry.

Account revenue is estimated at $1 million.

The agency beat two other New York shops to win the business: Arnold and The Brooklyn Brothers. Final pitches took place last week at Hearts on Fire's Boston office. Ark Advisors in New York managed the search.

Hearts on Fire becomes TBWA\Chiat\Day's fourth win in two months, after Thomson Reuters, Amway's Nutrilite and Travelers. Collectively, those brands represent some $5 million to $7 milliion in revenue.

Rob Schwartz, CEO of the New York office, described Hearts on Fire as a "kindred spirit" that's looking to upend conventions in diamonds marketing. The jeweler's chief marketing officer, Caryl Capeci, said the brand would increase its spending on marketing to consumers both directly and through retailers.

The review did not include media planning and buying, which remains in house. Hearts on Fire's media spending had declined in recent years, from more than $18 million in 2012 to $16 million in 2013 and just under $5 million last year, according to Kantar Media.



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Ad of the Day: A Heroic Dweeb Doesn’t Quite Get the Girl in This Funny French Breakfast Ad

If you like a good twist ending, check out this French action-comedy spot for Mondelez's Tassimo coffee and Belvita breakfast cookies.

It plays on classic (hackneyed) tropes—a nerdy guy makes for an unlikely, comic-book-style hero, rescuing a damsel in distress from a group of sinister hoodlums. But it's full of funny little surprises.

Created by Buzzman and set in New York City, the casting also flirts, at the very least, with xenophobic stereotypes (darker-skinned criminals vs. lighter-skinned innocents). But—spoiler alerts ahead—try to keep a straight face when the woman starts making a sound that's not quite human (also, in real life, the chivalrous knight is actually wearing a different kind of white shining armor).

And for anyone who doesn't pick up the point from the visuals alone, the upshot of the French tagline is that the readymade products will let you sleep five minutes longer—so you can finish off that sweet dream. (So, even the payoff is a bit of a cliché, but in context, it's unexpected.)

Unfortunately for Jean-Francois, it probably just means he'd still wake up right before the next, even better part.

CREDITS
Client: Mondelez (Tassimo/Belvita)

Agency: Buzzman
Creative Director: Georges Mohammed-Chérif
Head of TV: Vanessa Barbel
Agency Producer: Elodie Poupeau
Creative: Stéphane List
Creative: Antoine Moittié

Director: Remy Cayuela
Producer: Capucine Charbonnier @ Frenzy Paris
Producer: Julie Mathieu @ Frenzy Paris
Producer: Courtney Davies @ Doomsday Entertainment
Executive Producer: Danielle Hinde @ Doomsday Entertainment
DOP: Jeff Bierman

Production Designer: Susie Francis
Editor: Gopal Puntos
Colorist: Cedrick Lacour
1st AD: Allen Scudder
Production Manager: Bretanya Dubin
1st AC: Lenny Walsh
Gaffer: Brice Bradley
Key Grip: Sergio Silva
Steadicam: Neal Bryan
Makeup/Hair: Erika Frank
Stylist: Chris Velasco
Stunt Coordinator: Mindy Kelly

Postproduction: Firm Studio
Sound Postproduction: Benzene



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The Labels on These Clothes Tell the Tragic Stories of the Workers Who Made Them

The label on a piece of clothing might reveal something about its provenance, but it hardly tells the whole story. The Canadian Fair Trade Network wanted to change that. To draw attention to people around the world who are working in unsafe conditions, these remarkable ads tell their stories on the labels of clothes they make. Powerful work by from agency Rethink.

The label above reads:

100% cotton. Made in Sierra Leone by Tejan. The first few times he coughed up blood he hid it from his family. They couldn't afford medical treatment and he couldn't risk losing his long-time job at the cotton plantation. When he fell into a seizure one day it could no longer be ignored. The diagnosis was pesticide poisoning. The lack of proper protective clothing has left him with leukemia at the age of 34. He has two daughters. One of them starts work at the factory next year. The label doesn't tell the whole story.

See two more ads below.

100% cotton. Made in Bangladesh by Joya who left school at the age of twelve to help support her two brothers and newly widowed mother. Her father was killed when a fire ripped through the cotton factory where he works. She now works in the building across the street from the burned down factory. A constant reminder of the risk she takes everyday. The label doesn't tell the whole story.
 

100% cotton. Made in Cambodia by Behnly, nine years old. He gets up at 5:00 am every morning to make his way to the garment factory where he works. It will be dark when he arrives and dark when he leaves. He dresses lightly because the temperature in the room he works reaches 30 degrees. The dust in the room fills his nose and mouth. He will make less than a dollar, for a day spent slowly suffocating. A mask would cost the company ten cents. The label doesn't tell the whole story.

CREDITS
Client: Canadian Fair Trade Network
Agency: Rethink, Toronto/Vancouver/Montréal
Creative Directors: Ian Grais, Chris Staples
Art Director: Leia Rogers
Writer: Arrabelle Stravoff, Danielle Haythorne
Print Producers: Cary Emley, Sue Wilkinson
Photographer: Clinton Hussey
Studio Artist/Typographer: Jonathon Cesar
Account Manager Albane Rousellot



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