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IN THIS ISSUE WITH HEART: Embracing a new mood for events, performances and experiences that stimulate the senses and challenge the mind, TBWA\PAPER explores why ideas with added intimacy are the current must-do ART: Modern Master: Who’s in the running for the Taylor Wessing Portrait Prize DIGITAL: Making sense of the connective world CULTURE: Liverpool’s Biennial gets touchy-feely DESIGN: New Australian magazine combines food with thought MUSIC: Manchester-based singer/songwriter, Jesca Hoop


ATTRACTION Headwear on the prowl this autumn

As seen on the A/W 2010 runways at Topshop Unique, we bear witness to a new and curious trend for shaggy creatures with animallike hairdos. Imagine an atmosphere very much in the style of ‘Where the Wild Things Are’, the whole of this collection is developed according to the natural colours of wood in keeping with the current camouflage mood. In a season where shearlinglined leather jackets, buckled ankle boots and glam rock fluffy gilets are dominating the high street, these oversize outfits, with a mix of materials and fur-inspired influences, hit all the right notes of this autumn. And with the cutecum-kooky animal hoods, are a whole lot of fun, too. Miaow.

WHIZ KID Pay attention to new Haliborange campaign

Haliborange, the UK’s number one children’s supplement brand, has launched a humorous, yet educational viral film that is already creating an online stir. The film, which aims to raise awareness of the benefits of Haliborange Kids Omega-3, focuses on a young boy’s recollection of his day at school as he walks home. His enthusiastic, if somewhat confused and jumbled version of what he has learned, is captured in

a warm, amusing and light-hearted film that highlights the benefits of the supplement, in an appealing fashion. Created by TBWA\Manchester, the film, which went live at the end of September, is supported by a radio advert and point of sale activity. The film follows a study, the biggest and most robust of its kind, commissioned by Haliborange in children aged eight to 10 years old, which found that there was a link between low Omega-3 levels

in children and inattentiveness in the classroom. Aimed at mums who want to keep their children healthy, happy and high performing, the film will be seeded through a number of target online sites and hosted on the brand’s own digital platforms, www. and www.facebook. com/haliborangeletkidsshine Brooke Smart, Assistant Brand Manager for Haliborange, says: “The Government recommends that we eat

two portions of fish per week but we know that many kids simply don’t like it so Haliborange is a great tasting way to top up their Omega-3 levels. Using a viral film to communicate this to mums is a first for the brand, and an excellent way to deliver this important message.” Fergus McCallum, CEO at TBWA\Manchester, says: “Our aim was to illustrate the product benefits in an engaging, believable and appealing manner. By using a young boy and

his keen, but inattentive interest in what he has learnt that day at school, we have endeavoured to demonstrate the benefits of Haliborange Kids Omega-3 in increasing Omega-3 levels in children.” Haliborange is part of the Seven Seas family of brands that also includes Seven Seas Cod Liver Oil, JointCare, Multibionta and Femibion. TBWA\Manchester was recently appointed as Seven Seas lead UK advertising agency.

EXHIBITION: TOUCHED Inviting you to take part, this year’s international exhibition of the Liverpool Biennial demonstrates that art is not only for the eyes, but for the body and soul

“In a world packed with countless biennials, triennials and the rest, this madcap event in Liverpool remains distinctive and entertaining. The shows are scattered all over the city, often in pretty strange places, but the overall ambition — to introduce British audiences to up-and-coming international artists and trends — is adhered to excellently,” The Times. Holding true to form, the Liverpool Biennial is one of the best attended and most exciting visual arts events in the world, with an exhaustive itinerary intended to showcase the best in contemporary art from around the world. For a 10-week period, the

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city is transformed into the most amazing living gallery of new art, presented across multiple venues, from traditional gallery spaces such as the Tate Liverpool, the Bluecoat, FACT (Foundation for Art & Creative Technology), to more surprising public spaces throughout the city. The theme for the Biennial’s sixth edition, is ‘Touched’, which:

Explores not only the idea of being emotionally affected by works of art...

...but also physical contact with works of art – something you would not necessarily expect to encounter in a museum or art gallery. Encompassing around 40 new projects by leading and emerging international artists, all previously unseen in the UK, the exhibition will feature interactive pieces that can be physically touched by the viewer, such as Franz West’s sculptures which invite visitors to sit or lie on them. In situ at the Tate Liverpool, artists Alfredo and Isabel Aquilizan explore the connection between art and audience by inviting visitors to the gallery to participate in their work. The theme of ‘Touched’

will also be explored by artists who are concerned with the idea of making the intangible and invisible be seen and touched. Nina Canell explores transforming invisible energies into physical/poetic objects and Diango Hernandez examines the more emotional end of ‘Touched’, recreating notions of homesickness in dreamlike landscapes. Promising a diverse mix of art, environments and experiences, the event offers a chance to connect your body with your mind. So give it a go. You might just enjoy it. From 18 September 28 November 2010.

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Whether you’re a blogger, a Tweeter, shamelessly addicted to Facebook or merely a passive observer, connectivity has transformed our world and continues to do so at a rapid rate. We can plug into a digital universe that enables immediate social interaction and share our thoughts and experiences in real time. It is timelessly innovative and addictive as a consequence. Sometimes accused of being an artificial, contrived world that threatens social skills, particularly those of the younger generation – the medium actually works by holding a magnifying glass to our real world needs. Most of us want to be social, conversant and engaged in the world around us. In this sense its influence is positive and its opportunities should be, as they are, readily exploited. Although it’s true to say that

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it’s good to keep a check on what should live on and offline, so that those who are growing into a ‘connected’ world comprehend the limitations as well as the possibilities, there is a tendency in some quarters at least, to think of social media as a ‘world’ in its own right, a specific space where people interact, source information and then are catapulted back into the ‘reality’ where they get back to the business of ‘living’. Are those who appear to consign social media to the realm of the armchair and Chat Roulette rather missing the point? That the critical potential and potency of the medium and moreover how it is being used, is to enhance connectivity offline as well as on and that in ‘the real world’ individuals, social groups and brands are seeking, creating and sharing stimulating experiences that broaden our horizons and ultimately enrich our lives. The ability to broadcast discoveries and perspectives

in real time and the content of new experiences means we have the opportunity to become involved in more eclectic and diverse art, music and theatre, all from different cultures. The wealth of viewpoints which we have access to is thoughtprovoking and can only serve to educate and improve. Importantly, social media is helping to fuel a desire for authenticity, an interest in seeking out the original and esoteric amongst the mainstream… opportunities for entrepreneurial outfits, one-off gigs and offbeat events and exhibitions. As such it provides critical creative and economic support as well as enlivening our culture and society. The self-censorship provided by streams of comment and opinion means we can be even more selective in seeking out experiences that challenge and illuminate. What’s more, rather than the interaction with an interface numbing our social skills, the

ability to be connected to the outside world whenever we want to actually enhances our capacity to socialise and build relationships. We can do more because we have instantaneous access to our social network and beyond - what is going on, who is enjoying it and where. I can turn up in a bar and invite my friends to join me, announce my plans and find out who wants to get involved and how to develop them… we can move from armchair to experience more easily than ever before. As such, social media should be championed and encouraged as a means to enrich the ‘real world’ and critically the diversity of experience that makes us more interesting and creative as individuals and a society. In a world where the pace and demands of modern life means the absorbing and intriguing can sometimes pass us by, who wouldn’t want to be connected to that?

10 MINUTES WITH... Jenny Dalton, Editor (and mother of two) Interview by Claire Bingham Editor, TBWA\PAPER

What is ‘LittleBig’? A magazine for parents or carers of children who want to know more about good international design for kids. And a shop selling some cool, well-designed products for children as well as other style books and magazines. What was the aim? At the time (early 2008) there wasn’t a serious, well-known English-language forum for this kind of newsworthy design (‘Milk’ was doing it brilliantly in France, but it was a trailblazer). Design for children wasn’t being taken seriously and I wanted a place to write about stories I thought were worthy of press inches and that were close to my heart, but which weren’t ‘welcome’ in mainstream newspapers and magazines. This has changed somewhat in the last couple of years, and it’s slightly more recognised as another worthwhile design form now. What’s changed is that designers are having kids and creating pieces largely for themselves and their own

children that are finding a wider commercial market. How has having a baby affected your work and the decision to start the online magazine? Well, it makes sense to write about what you know. And having a baby can be quite a frustrating exercise if you are interested in good design. You realise there are so many design ‘gaps’ out there, you become keen to fill them, or at least see them filled. And it’s not just about ‘stuff’. I’ve become evangelical about good town planning - pushing a pram around a city makes you aware of how little we cater for families and the disabled uneven pavements and people parking on pavements drive me crazy, as do shop doors you can’t open with one arm whilst steering a pushchair through, or aisles so narrow you can’t get through them with a buggy without running over people’s feet. So many daily frustrations! How has it affected your decisions in what you do? I think it affects everything you decide to do. As a parent

you begin to care more about your environment, your work (or rather the meaning of your work), the future for all children, not just your own. You question the 9-to-5 a lot more, and for all these reasons parenthood makes you more focused, driven and entrepreneurial. You’re constantly looking for ways of achieving a better work/life balance, rather than just dreaming about doing so. What do you believe good design should achieve? I think it should just make the daily things you do or use simpler and more effective. My current favourite is Method’s washing liquid. A concentrated washing liquid in a small bottle which doesn’t take up any space, and more importantly, you can use it with one hand: great when you’re holding a crying baby but still want to get things done. Who does good design best? I love Inga Sempe’s work she’s absolutely driven by love and giving a damn, and won’t compromise for money or commerciality. I think this is what constitutes good work today in any field. The opposite of Simon Cowell culture.

I would love one of her sofas for Ligne Roset. What do you think is shaping design and how we live right now? I think we’re moving away from the ego of the big / named designer towards a more genuine look at solutions, and as in fashion, a move away from obvious brands and namedropping. This year’s Milan furniture fair was full of great design by previously unheard of designers. I don’t think the cult of the designer has helped produce particularly creative design over the last few years, but that’s changing for the better. I love that the winner of this year’s Designer of the Year (at the Design Museum) was a guy who designed a fold-down plug. Genius. What will become more important? I’m not quite sure why more isn’t Fairtrade - in all products, and not just food. I think we’ll continue to question ‘value’ a lot more - and continue to reject cheapness that is at the expense of workers or poorly utilised resources.

Photography & Styling by Gretchen Easton

We caught up with the creative force behind ‘LittleBig’, an online magazine focused on big design for little kids


INSIDE OLD TRAFFORD, SUCCESS IS CONTAGIOUS. In business, relationships are everything. Stand on the shoulders of giants and let seasonal hospitality at the greatest football club in the world help take your business further than ever before. For further information, or to arrange a viewing, call the Executive Club Sales Team on 0161 868 8000 (option 2 then 1), text ‘EXEC’ to 60442 for a call back or email

Editor Claire Bingham

Managing Editor Dani Briers

PR and Events Manager Julie Wilson

Art Director Daniel Bickerton

Production Director Louise Morrison

With thanks to: Staniforth\, Jenny Dalton, Tim Hogan, Jean Cazals and all participants in the forum.

TBWA\Manchester is part of TBWA\Worldwide. TBWA\ is one of the fastest-growing networks in the Top-Ten, and has been named by ADWEEK as Global Agency Network of the Year 2008. TBWA\Worldwide is part of Omnicom Group Inc. (NYSE: OMC) (, a leading global marketing and corporate communications company. TBWA\PAPER is made possible by the generous contribution in time and resources of account handlers, writers, designers, photographers and printers. Printing and colour reproduction by E-GRAPHICS.

All paper used in the production of this newspaper is from 100% recycled sources.

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You no longer have to reserve a table at a top restaurant to get a taste of good cuisine. Part of a new food movement: fashion, photography and philosophy now come together and share the same plate Pioneering a new philosophy in food, ‘Condiment: Adventures in Food and Form’ is the new Melbourne-based biannual magazine focused not solely on food, but rather a publication that is as much about the time spent between meals as the time spent enjoying them. Independent publishers and editors, Chris Barton and Jessica Brent, liken the magazine to hosting a fabulous dinner party, exploring the links between food and creativity, and food and community. Examining food in the wider sense, the launch issue includes tales of clam gathering in New Zealand courtesy of Italian design maestro, Martino Gamper and an essay on the joys of watching an onion grow. “We certainly don’t see ourselves as a cook book or a food guide,” explains Barton, “there’s too much food porn out there already.” What did they want to create? “Condiment was launched in April/May 2010 although we had been discussing it for around a year

before that. I am a writer and Jessica is a photographer/ designer and we wanted to make a magazine together that was intimate and interesting - something our friends could enjoy. We seemed to always talk about food so that became the topic for the magazine, but we aren’t food purists or professionals so we adopted food more as a framework for a broader discussion than a focus.” Telling stories through his sumptuous imagery, French photographer, Jean Cazals, creates food photography in much the same way as an artist paints a still life,

capturing the essence of whatever dish he may be shooting to give it more content than simply food on a plate. “The aim is to combine a look with the food”, he says. “When I have a dish to photograph, it’s about creating

a mood and an osmosis between the food and the styling to try and render what the story is about. Like a piece of art, I always think, if it looks good at size A0, then it is good for me. “When I’m creating a shot, I have an idea in mind and develop it. There needs to be a continuation between the background, the subject and a third element which is essentially the thing that makes the picture work. It’s a bit like when you cook from a recipe. You can follow it to the letter, but the chef brings something special that sets it apart.” Part of a developing trend for providing food - fast or fine dining - that carries more of an experience as opposed to just a meal, the connection between what we put in our mouths and how it makes us feel is the key to improving our lives. From the playful frozen yoghurt parlours of ‘Snog’ to the German-founded biowok chain ‘Waku Waku’, the new revolution in fast food is all about combining healthgiving food as part of everyday

life. Realising a passion for delivering healthy, convenient and ethically-minded food, the new Didsbury-based catering company, ‘Babushkas Mobile Kitchen’, forms part of the food movement: Eat, Food, Love. The brainchild of artistturned-caterer, Amy Cook and her culinary partner, Paula Stavrinos, the sentiment is to provide office workers who struggle to get decent food anywhere else with home made, nutritional and locally sourced meals - from breakfast through to tea. Think hot organic porridge with sultanas, almonds and nutmeg and seasonal-based microwaveable meals which you can have for lunch or buy to take home, delivered right to your office door. Serving up honest-togoodness food at affordable prices - all made with love there is no excuse not to feed yourself well. It’s the taste of things to come. To request a daily visit from Babushkas Mobile Kitchen to your office, call 07930 355780;

craftsman and visionary for his profession. Unveiled earlier this month, the relaunch is supported by both online and print adverts. Naomi Shooman, Senior Brand Manger at Charles Worthington says: “The Charles Worthington collection defined the professional haircare market when it launched 15 years ago and has become one of the most widely recognised premium brands on the market. “We challenged TBWA\ Manchester to create a campaign which built on the brand’s success to date, championed its credentials and positioned Charles and

his expertise at the core of the communication – the new campaign certainly delivers.” “The challenge was to build upon an already extremely successful and popular brand and give it a fresh, contemporary, personal feel, but without losing all the attributes that make it so admired,” added Fergus McCallum, CEO at TBWA\ Manchester. “Charles is an iconic figure in the hairdressing world with an international following and a first class reputation and so we wanted to make the most of his expertise and knowledge repositioning the brand as the premium in the market.”




BRAND Leading haircare brand, Charles Worthington, has undergone a major relaunch with a focus on the skill, knowledge and expertise of the man behind the brand, Charles Worthington himself. The shake up of the brand includes a total redesign of the website as well as a new portfolio of product photography by renowned New York based photographer, Tim Hogan. Recognised for his work with iconic brands including Dior, Gucci, Chanel and Tommy Hilfiger, Hogan’s concept, based on architecture and geometry, sees the creation of dynamic shapes and forms,

enhancing the lines of the Charles Worthington product. Changes to the website include a more streamlined and user friendly navigation as well as the introduction of personal features such as Charles’ journal and blog. Video clips showcasing the latest hair trends provide visitors with engaging, step-by-step advice on how to recreate the season’s key looks. Designed and managed by TBWA\Manchester in association with PushON, the relaunch elevates the Charles Worthington brand to a premium status and positions the man behind the range and Creative Director as a master

Creative by Daniel Bickerton

Report by Helen Davies. Senior Planner, TBWA\Manchester

Photography by Jean Cazals

The value of social media in enhancing offline experience

Condiment Magazine


Responsible for capturing the new look packaging of the Charles Worthington Salon Results collection, New York-based product photographer, Tim Hogan, talks to us about the beauty of still life, how he works in the studio and his dreams of the surf Interview by Daniel Bickerton Designer, TBWA\PAPER What got you into photography? I’d say a good guess. For some bizarre reason, I was looking to get into computer science but couldn’t bear the thought of sitting at a computer for eight hours a day. I decided to get into photography instead. I now sit at a computer for 10 hours a day, so I’m not sure how that worked out. I always liked building things, and to my mind that’s what photography is about. It’s about building things and creating. Photography for me, is a chance to make something new. What led you to specifically shooting products? The product stuff goes back to university when you had to do what you could do. Where you didn’t have to rely on finding the right model, the right hair and the right make up - you just find something to shoot and get the most from it. Whereas with portraiture, fashion or beauty, you collaborate with so many people who need to be incredibly talented, product photography is all down to you. I like all aspects of photography for different reasons; for the collaborative nature of shooting beauty or the intricacies of figuring out still life. It all goes back to building things and getting down to something’s essence. How do you approach photographing a product? Part of the thing about building things is working with any type

of object and making them look as beautiful as you can. It really doesn’t matter what it is. It could be a bottle of shampoo or a million dollar piece of jewellery. In either case it’s about getting down to what the product is about and bringing those characteristics out. It all comes down to the same thing to me. What brands have you worked with? Alongside Charles Worthington, I do a lot of work with Courvoisier and also Tommy Hilfiger. The shoot for Charles Worthington was based on a great concept of geometry and architecture, working with the bottles and the dynamics of their shapes. We shot with a really wide angle, which is not my usual technique, so it was great to experiment and try something new. What are you working on now? We’re doing a lot of moving image stuff, which is really opening me up to looking at things differently. Most of my work is studio-based, so it allows me to approach things in different ways. It allows me to get out of my own head and the automatic way of thinking about how things should be shot. What would be your dream location? I would have to say a beach, but that’s my default answer to everything. Other than photography, how do you like to spend your time? If I could surf everyday of my life, that would be awesome.

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In The Frame

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A leading showcase for new talent in portrait photography, the Taylor Wessing Photographic Portrait Prize at the National Portrait Gallery is a major international photography award and exhibition that celebrates contemporary portrait photography, whether it’s editorial, reportage or fine art. Four photographers have been shortlisted for this year’s £12,000 prize, the winner due to be announced at the opening of the exhibition on 11 November 2010. The selected exhibition will be shown at the National Portrait Gallery, London, from 11 November 2010 - 20 February 2011 and will then tour to The Sunderland Museum & Winter Gardens from 16 April 26 June 2011.

‘Huntress with Buck’ ‘Hunters’ by David Chancellor. Born in the UK in 1961, David Chancellor is based in both London and Cape Town. His shortlisted portrait is of 14 year old Josie Slaughter from Alabama, on her first hunting trip to South Africa. The portrait is from his project documenting hunters, the hunted and spaces associated with hunting. He says: “As a child I was fascinated by the tales of Colonel Jim Corbett hunting man-eating tigers in India. As an art student it was Peter Beard’s seminal work ‘The End of the Game’ that fascinated and inspired. This work will seek to explore the intricate and complex relationship between man and animals and how both struggle to adapt to their changing environments.” His first monograph, Hunters, will be published in 2011.

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LET’S GET CONVIVIAL Embracing the new mood among consumers for events, performances and experiences that stimulate the senses and challenge the mind

PETER FLORENCE Director, Hay Festival “People have so much good digital media at work they like to have real human parties for play. Because ‘streamed’, immediate, urgent and global are now so ubiquitous and accessible; face-to-face, body-tobody is best.” BEN HAMMERSLEY Editor-in-chief, Wired “These sort of small scale events are popular for three reasons. One social, one spiritual, and one practical. Socially, they’re compelling because of the contrast between the ephemeral, fleeting, day-to-day relationships we have.

Whether via the internet, or in person, most of our social activity is necessarily shallow. We yearn for the intense and the mentally intimate. We also, spiritually, need to be listened to, to be appreciated for our finer qualities, and to feel like it is acknowledged by others that we have mental worth. Practically, the internet lets people arrange gatherings of the likeminded or similarly interested with much greater ease.” WILLIAM KNIGHT Deputy Director, London Design Festival “Design has the ability to cast a spell in all scales and sizes – from giant, iconic engineering feats through to delicate strokes of a pen. A designer can deliver inspiration in large doses depending on their canvas, but intimacy has to be thought through and demands a human-scale connection and excellence in execution... Just the sort of challenge a good designer enjoys.

WHAT BECCI DID... Summer may be over but the dream lives on. TBWA\Manchester’s Becci Tyrrell, recalls her personal highlights from V

Loved... ‘Florence and the Machine’ were my definite fav. If someone hadn’t thrown a cup of urine down my back, it would have been pure perfection. Found out... “If it’s not warm, it’s not wee.” Wise words. Mellowed out... to ‘The Courteeners’. Rediscovered... ‘Shed Seven’. Surprising how many of their songs I knew after watching them against my will. Fancied... ‘Plan B’. Never has a podgy Chav been so attractive. And I’m from Oldham.

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Realised... with enough make-up, ‘Batiste’ and lime-flavoured vodka you can still look half decent in a field. Picnicked on... vermicelli noodles & salt and pepper chicken. So nice in fact, that a person who shall remain nameless ate it off the floor. Discovered... a new level of losing my dignity. Repeatedly. Witnessed... an emotional finale by ‘KOL’. The perfect way to say goodbye to V 2010.

The rise of handmade, bespoke design with established provenance is part of a general trend that challenges the value of objects, and experiences. Although collectors fuel prices, if the prize is limited to something that can only be experienced, held or owned by a few the value is enhanced – a thrill, an exception to the norm, and most importantly – yours!” DIANA REICH Artistic Director, Small Wonder Short Story Festival “Live, talking-head, interactive events are the entertainment du jour, challenging the pre-packaged commercialism of traditional popular and high art. The essence is that they are unscripted and the experience can never be repeated. They are also the perfect antidote to virtual communications, offering personal involvement in the small-scale, the intimate and the real, where context is as important as content. Performable short stories are just the ticket.”

RICHARD COOK Editorial Director, Wallpaper* “It’s partly a function of our increasingly solipsistic society niche and intimate events reinforce our belief in our own uniqueness and make us feel just a little more important, attractive or clever, as the case may be. But also, to be more charitable, it is because deep down we still want art to do the job we think it is supposed to: to transport us, to make us feel more deeply, to live more intensely. It is still easier to make that connection at a live event in this dulling age of mass electronic reproduction.” VICKY BROAKES Head of London Design Festival at the V&A “In September 2010 the V&A, as the National Museum of Art and Design, will be the central hub for the capital’s major celebration of design, the London Design Festival at the V&A. With a rich and varied programme of exhibitions, enhanced by talks, workshops and performances by day and parties and lectures

by night, it will appeal across a broad spectrum of visitors. The Festival brings together designers, industry specialists and the public, in a dynamic, nine-day mix. What excites me as much as anything about the Festival and other live events we hold at the museum, is how our year-round activities can be highlighted and energised by the addition of events which respond to, challenge and build on our own unparalleled buildings and collections. For example, in this year’s Festival you can see a display by Contemporary British Silversmiths, hear a talk by one of our leading silversmiths, visit a workshop on the process of silversmithing, and then view a gallery showing 400 years of British silver, all in the same building on the same day. Earlier this year we worked with a series of theatre companies to produce site specific performances relating to an architectural performance space created for the museum. It’s a

great way to bring the museum alive in different ways and to highlight different aspects of the collections. It works best when we are not simply a venue but when the performance or event links to the heart of what we do here.” Dr. LUCY WORSLEY Chief Curator, Historic Royal Palaces “How do you distinguish the sheep from the goats in a consumer society where wealth no longer confers automatic status? The Georgians invented the concept of ‘taste’ to deal with the problem. ‘No one can be properly stil’d a gentleman’, we hear in 1731, ‘who takes not every opportunity to enrich his own capacity and settle the elements of taste.’ Developing your taste means stretching your mental muscles in the company of well-informed people, and it doesn’t have to cost a lot. We’re simply seeing the return of the eighteenthcentury salon.”


FUNERAL CONCERNS TO REST American poet Walt Whitman once said that ‘nothing can happen more beautiful than death’ and yet many people still find it incredibly uncomfortable to think about death and funerals until they absolutely have to. But that’s exactly what TBWA\Manchester is encouraging the public to do as part of a new campaign for the UK’s leading funeral director, The Co-operative Funeralcare. Based on a Vox Pop style of reporting, the campaign, which is made up of a series of TV, radio, press and outdoor ads, focuses on seven individuals and their very different ideas and thoughts on how they picture their own funeral. The campaign follows research conducted by The Co-operative and TBWA\ Manchester, which revealed that although many people are extremely reluctant to think about the funeral of a loved one, they are more open when discussing ideas related to their own. And the trend is increasingly moving away from sombre occasions to more celebratory events. The heart-warming and inspiring creative challenges the taboo subject that is death and encourages individuals to talk openly about their passing wishes. Capturing the diverse range of requests received and managed by The Co-operative Funeralcare, the ad sees a woman smiling as she reveals her wish for the

King, Elvis, to sing her farewell. A rugby fan insistent on the congregation donning his club colours and gentleman demanding his friends and family toast his life with a glass of 15 year old malt, are amongst those featured and demonstrate the growing demand for funerals which provide a fitting tribute to the individual’s personality. Central to the campaign are key messages promoting The Co-operative Funeralcare’s extensive range of services, from expert advice and support, to more practical requirements including transport, music and catering. Lorinda Robinson, Head of Marketing at The Co-operative Funeralcare, says:

“Death is still a taboo subject for many people. We have created an advertising campaign which breaks down the barriers and encourages people to discuss their own funeral wishes. “There are many ways that people can personalise their funeral from music to transport and flowers, it’s becoming increasingly common for people to choose to celebrate their life rather than it being a more sombre reflection. “The advert promotes The Co-operative Funeralcare’s




the most inspirational buys for your coffee table this month

HAIRSTYLES: ANCIENT TO PRESENT Showcasing over 1000 hairstyles and exploring the trends of coiffure through the ages from ancient Greece to modern day, this comprehensive survey of styles (Fiell Publishing Ltd, £49.95) is the first of its kind. From Victorian chignons, Art Deco bobs through to Punk spikes and the work of today’s top stylists, this sumptuously illustrated publication also contextualises through its accompanying texts the historical and cultural relevance of hairdressing in society and analyzing its role as the signifier of female social status.

ROSE C’EST PARIS Boxed up in a retro attaché case, French photographer, Bettina Rheims and writer, Serge Bramly’s ‘Rose, c’est Paris’ (£650, Taschen) is both a photographic monograph and a feature-length film on DVD. Equal parts erotica, fashion shoot, art monograph, social and cultural archaeology of the French capital, and neo-noir arthouse film— the opus tells the tale of twin sisters, B and Rose, and Paris itself. Très ooh la la.

Aimed at young art fans (as well as their parents), ‘The Boy who bit Picasso’ by Antony Penrose, (Thames & Hudson, £8.95) is an enchanting tale and lovely introduction to Picasso. As the son of American photojournalist, Lee Miller and surrealist painter, Roland Penrose, Tony Penrose was surrounded by famous artists and this book recounts his childhood friendship with Picasso, who often visited the house. Filled with his mother’s photographs and Picasso’s artwork, the book celebrates Picasso’s love of animals and the rapport between an artist and boy.


We make our tea strong enough to support a whole community. Our Fairtrade tea helps fund a unique co-operative of smallholder tea farmers in Kenya. But it’s not just our tea, we’re the only supermarket to have changed all our own brand tea, coffee and hot chocolate to Fairtrade. Which means we can make sure producers get a fair deal and you get great quality.

Look for this Mark

Creative by Adam Richardson and Becci Tyrrell

Live events, back garden festivals, ‘party wagons’, ‘micro-salons’ and ‘knowledge raves’ have all become the entertainment of choice for 20-somethings up. What is it about them that works so well and why are ‘live’, ‘niche’ and ‘intimate’ becoming the mustdo (and must-use) buzzwords for the curious-at-heart?


CULTURE CLUB PLEASE With a yearning for learning, the extra-curricular activities of the TBWA\team

personal service and professional advice to clients to help them provide a fitting tribute for their loved ones.” Fergus McCallum, CEO of TBWA\Manchester, says:

“The research shows that most people don’t like to think about a funeral until they absolutely have to. But when questioned about what type of funeral they envisage for themselves, the trend is clearly moving away from the sombre traditional funeral towards a very personal and uplifting event. “These findings have been used to create a campaign emphasising The Co-operative

Funeralcare’s knowledge and experience in offering guidance, support, reassurance and advice on how to create a truly individual funeral whatever the requirements.” The Co-operative Funeralcare made history four years ago when it was the first funeral provider to launch a TV advert. Part of the current campaign, launched on October 4th, will be a national TV advert, supported by regional radio and newspaper adverts. The activity is predominantly targeted at the 45 years plus market and aims to raise awareness that The Co-operative Funeralcare is reflecting the trend for more personalised funerals and can provide a totally personal and tailored funeral.

A new initiative co-mingling work and lifestyle, the Culture Club concept at TBWA\Manchester embraces out-of-office experiences to enrich the mind and soul. Inciting personal passions via cultural pursuits - the aim being to ultimately inform creative output. Gifting a precious half day each month for all staff, here are the findings: what they did; what they saw. WALKER GALLERY, LIVERPOOL by Matt Cook, Copywriter “The exhibition was fittingly small (‘Henri de Toulouse Lautrec’ was only 5ft tall) but nonetheless packed plenty of punch. The work displayed combined excerpts from his book ‘Elles’ (intimate portraits of prostitutes in their rooms), a number of his commissioned

lithoprints and posters, and book covers. The first thing to strike me was the casual, scrappy style of a lot of the sketches in ‘Elles’, they were almost amateurish in the lazy line work, though powerful and intimate. But any doubt about his accuracy and control was removed when seeing the striking craft and precision of other pieces. Bouncing between cartoon-like doodles and vast graphic, stylised scenes, you can’t help but marvel at his talent and vision. Much of the ‘Elles’ book feels like Larry Clarke photography; uncomfortable, lonely and seedy. But then suddenly you’re in a vibrant Parisian bar, still seedy and uncomfortable, but no longer lonely, full of poised legs caught mid-high-kick, and bearded, monocled artists. They were so moody and

modern, with great use of type. You could almost smell the absinthe.” NOAH BAUMBACH’S ‘GREENBERG’ by Molly Cockcroft, Designer “For my culture day, I watched the film ‘Greenberg’ at The Cornerhouse arts venue in Manchester. This was following a recommendation from a friend, plus a certain fondness for Ben Stiller, having never seen him in a ‘serious’ role before. Without giving too much away, the story revolves around a New Yorker who has had a nervous breakdown so moves to his brother’s to house-sit and figure out his life. However, after meeting his brother’s assistant and old band mates, things start to change. There are crushingly cringeworthy scenes and acts of pure selfishness where you want

to smack him. But, to balance, there are uplifting moments where you can see Roger’s personal development and change in character. Altogether it was very real, funny and charming. After the film, I visited the ‘Art Iraq’ exhibition: “The first comprehensive UK exhibition of new and recent contemporary art from Iraq since the first Gulf War.” It was interesting to see the varying contemporary works. Around three key themes: Of Time and Tradition, The Changing City, and Protest, my favourite piece was a set of photographs called ‘Iraq is Flying, 2006-2009’, by Jamal Penjweny. A series of portraits capturing people mid-jump, this act of joyous spontaneity contrasts to the backdrop of a country recovering from war. It is a symbol of hope, not a photo of sadness.”

Arts practice Liminal win this year’s PRS for Music Foundation’s ‘New Music Award 2010’

Like the Turner Prize is to the art world, the New Music Award celebrates the most innovative music creators in the UK. Selected from a shortlist of five finalists, ‘The Organ of Corti’ by architect, Frances Crow, and composer, David Prior, picked up the trophy for the best new musical idea along with the £50,000 prize to put the performance into practice, due to premiere in 2011. Awarded in September 2010 at the Serpentine Gallery Pavilion, London, the winning idea introduces the concept of recycling existing sounds in already sound-saturated environments (the organ of Corti is part of the inner ear). The ‘music’ it creates in any given location will be collected and filtered by a portable structure resembling a fairground organ.

Offering new ways of listening to what is around us rather than adding sounds to the environment, Charlotte Higgins, Chief Arts Writer for The Guardian and Chair of the judging panel, said: “After a long, sometimes difficult, and always stimulating debate, it was the judges’ eventual – and unanimous – decision to award the prize to The Organ of Corti. The judges admired the quiet beauty of the idea of “recycling” sound in a world saturated by noise and overwhelmed by music. In a world obsessed by the glitz and glamour of large-scale, bells-andwhistles events, the thoughtful, discreet and gentle idea of the Organ of Corti utterly caught their imagination.” newmusicaward

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When Mercury prizewinners Elbow toured the US, they chose a hugely talented but unknown American singer/songwriter to support them. Now JESCA HOOP has followed them home to Manchester. Chorlton to be precise, a milieu, according to Garvey, much more conducive to solo artists who don’t fit regular pigeonholes. Born in California into a large, musical Mormon household, the former nanny to the three children of Tom Waits made the move over to the UK in May last year. And how exactly has the shift in location affected her songwriting? “Los Angeles is always the same,� says Hoop, “because the sun shines all the time, so you don’t feel the passage of time. But I do think that candlelight, with rain outside, is one of my ideal settings for writing.� Welcome to Manchester. Busy touring the United States this autumn

to promote her second album, ‘Hunting My Dress’, her next Manchester date is sometime soon in November, date and venue still to be confirmed. In the meantime, however, here is a glimpse into what shapes her world. HOME WHERE DO YOU LIVE? Manchester, England. FAVOURITE NEIGHBORHOOD? My own neighborhood in Chorlton is my fav... Because of the water park, specifically. RESTAURANT? There is a Thai place in the city centre that I like called Chaophraya. DRINK? Guinness. WHAT DO YOU MISS WHEN YOU’RE AWAY? My sweetheart. FAVOURITE ART? Dance. GADGET? Vocal looper.

NECESSARY EXTRAVAGANCE? Bathing. LUXURY IS? Sleeping late, long walks, great food, Bucks Fizz in the mornings and lounging about in soft and warm surroundings. YOUR MOST TREASURED POSSESSION? My Martin Turks.

CLOTHES STYLE? A hybrid of rural urban and vintage. FLATS OR HEELS? Both. WATCH? No. PERFUME? Black pepper and rose essential oil or Chanel No. 5. RETAIL DESTINATION? I don’t have one in particular. FAVOURITE COLOUR? Green and yellow. INSPIRATIONS FAVOURITE DISCOVERY? Bon Iver. LISTENING TO? Nothing lately. I don’t tend to



Patricia Urquiola and Giulio Ridolfo’s design installation ‘The Dwelling Lab’ integrating the new BMW 5 Series Gran Turismo.

listen much to music when I’m writing. WHERE DO YOU HEAD FOR INSPIRATION? To a live show of any sort. WHAT IS THE KEY TO SURVIVING THE PACE? Drink water, drink and eat in moderation, exercise whenever possible and a good massage. CURRENTLY COLLECTING? Pound notes. LIFE PHILOSOPHY? Live beauty. SECRET OBSESSION? It wouldn’t be a secret if I told you. WHEN YOU WERE YOUNG, WHAT DID YOU DREAM OF DOING? Exactly what I am doing now. ANTICIPATING? The final edit of a music video I made with friends for the song ‘The Kingdom’. HOW WOULD YOU LIKE TO BE REMEMBERED? As magical.

A new design exhibition and creative collaboration - ‘The Tramshed’ - launched at this year’s London Design Festival. The event brought together international brands exhibiting in a stunning space, which was originally used as an electricity generating power station for the Shoreditch tram system dating from 1905. Initiated by Luis de Oliveira of the luxury Spanish furniture brand, De La Espada, and created by a team of design industry and event personalities,

Of the exhibits, ‘Human Made’ had the aim of communicating with the viewer on an emotional level. The collection featured a modular cabinet with sliding doors by Matthew Hilton as well as an innovative lounge chair by the acclaimed British designer. Studioilse previewed their Together Table, an extendable table made in solid chestnut to accompany the existing Seating for Eating range.

‘The Tramshed’ showcased the very best in high-end authentic design. Brands showing included Benchmark, Studioilse, Scin, Autoban, Another Country, Bocci, Decode, Michael Sodeau, Matthew Hilton and Kvadrat.

WORD By Fergus McCallum, CEO, TBWA\Manchester

I have only ever been hypnotised once. It was part of a workshop exploring how emotional engagement can drive decisionmaking and brand connection more powerfully than rational attributes. It was something that I can best describe as an out-ofbody experience – a glimpse of a future event that was no more than a dream but with which I had a strong emotional connection. I was asked to imagine myself in a crowd and describe it to the rest of the group: cue Scottish football, Brazil, the World Cup, my sons and a crowd. I am sure it was just as strange for my work colleagues who witnessed it as it was for me, because how they behaved whilst I was ‘under’ actually influenced what I saw.

011753_Newspaper_Vol 6_AW.indd 8

Essentially (I found out later), once I was hypnotised they were asked to stand round me and make the noises of a crowd – if the noises resonated, they added to what I saw and helped build the story of what I was experiencing; but if the noises didn’t fit or I didn’t like what they inferred, I channelled them out. In essence, I was subconsciously filtering information emotionally to make choices that were right for me, to shape my experience. There was no opportunity to rationalise. The behaviours I was presented with helped form the choices I concocted in my dream experience. My emotions took over. Scotland won! Apparently, our minds

respond to emotional thought 3000 times quicker than rational when it comes to making choices. Such was the notion explored by Dr. Robert Heath on how emotional, not factual, content drives the favourability of brands. We all frame information and channel our decision-making based on the multiple communications we receive everyday. Consciously or subconsciously, choices are primarily based on emotional connections, which we postrationalise to justify our decision. Truth is, a brand’s behaviour must first connect emotionally or it will fail before it has a chance to deliver the facts. Winning the hearts and minds of consumers is all about winning their hearts.


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TBWA\PAPER Issue 6  

Quarterly trends publication

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