Lürzer's Archive 2/22 (International edition)

Lürzer’s Archive Vol 2 2022

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HELLO

From the start, Lürzer’s Archive has been a well-travelled publication.

Our founder loved to cross the globe and we soon had multiple offices in Europe and the USA. Meanwhile copies of our magazines were migrating around the world in the hands of our incredibly diverse readers.

Image credit: see page 63

Or should we say users, so dedicated was the application of our insights and selections across countless countries?

It’s never too early or late to start ticking off a global tour of nations, as our interview with the restless Ali Rez reminds us. This rising star among creative leaders has a goal to get to all 210 countries.

The value of travel within a creative career is reinforced by our conversation with Yasuharu Sasaki, the commanding new creative head of Dentsu Inc., now situated back in the country of his birth, having made his way to the top spot by building his career far from home early on.

In these times, it can seem increasingly difficult to broaden our mind and soul through travel. If only this was for good sustainability reasons but too often it seems the tendency towards protectionist and nationalistic politics and practices drives us back behind our frontiers, if not physically then mentally. This is the opposite of the spirit and values that inform the creative industry at its best and informs Lürzer’s Archive every day.

There are no boundaries for trading ideas and knowledge.

Inspiration needs to flow freely without borders.

One increasingly important frontier is not on the map but is all around us. A thread can be woven through the territories of most 21st century creative work: it is where our imagination and our innovations meet.

It is a kind of free port, fostering rapid growth. We are inspired to note the incredible playful outputs now coming from applying AI to create images and we touch on this in our Reviews. More will be online on our new website very soon. Some say computers are not creative, are even a threat, but this gives the lie to that. AI can open the possibility of new creative powers, new ways of thinking and making.

In these times it is worth emphasizing how the creative community does so much to make connections across countries and cultures, across economies, across technologies…it is a force for peace, prosperity and realising the human and planetary potential. And it’s a lot of fun too.

Please enjoy our new issue.

Yours

Michael Weinzettl, Publisher & Editor-in-Chief

Lürzer’s Archive

Vol 2/2022

1

Contents

HELLO

1

THE SMALL PRINT

4

INTERVIEW Yasu Sasaki

6

PRINT

11

RANKINGS

44

INTERVIEW Ali Rez

140

FILM

147

DIGITAL Alita Pereyra

157

SPORTS22

167

BACKDROP Fashion classics and new reviews

235

NEW WORK The best of the best campaigns [11] SPORTS22 The values and the visions that push shape-shifting quests [167]

LEADERSHIP FROM TOKYO Yasu Sasaki

DIGITAL TRENDS FROM MIAMI Alita Pereyra

[6]

[157]

THE SMALL PRINT LÜRZER’S ARCHIVE Vol 2/2022 ISSN 1727- 3218 ISBN 978 - 3 - 903909 - 93 - 9

Lürzer’s Archive Vol 2 2022

Cover: Agency Les Evades, Montreal Art Direction Martin Dupuis Illustrator Ilya Shkipin

EUR 18.90 ISSN 1727-3218 LuerzersArchive.com

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Contents © 2022 Lürzer International Ltd. All rights reserved

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Brand and Design Direction SIX

Published by Lürzer International Limited Henry Wood House 2 Riding House Street London W1W 7FA United Kingdom

The contents of this magazine may not be reproduced in whole or in part without prior written permission from the publisher, Lürzer International Ltd. Lürzer’s Archive is a trademark of Lürzer International Ltd, London.

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Submissions We welcome published work, as individual or campaigns. Please submit at luerzersarchive.com The submitter must have the authority to grant Lürzer’s Archive the rights and permission to reproduce, edit, comment editorially on the submission and to use the submission in print, online and in any marketing material for Lürzer’s Archive. All work is featured free of charge.

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INTERVIEW

CCO, Japan Inc

With a team of 800 creatives to manage and a long-dominant position in Japanese advertising to maintain, Dentsu Inc’s new CCO, Yasuharu Sasaki, has one of the creative world’s most challenging roles.

L[A] talked to him about the role, creativity and how he rose to this position.

Vol 2/2022

6-7

INTERVIEW

‘Find Your Own Way’, Otsuka Pharmaceutical

‘Camouflage Against the Machines’, Unlabeled, NEXUSVII

Digital is the most potent tool for creative people L[A] Congratulations, Yasu, on your new role at Dentsu Inc., it must be both daunting and exciting to take over responsibility for the creative output of an agency that dominates Japanese advertising. How are you feeling about the new job?

YS The position of Chief Creative Officer (CCO) at Dentsu Inc. has a long history, and I feel it is a great honor as well as a lot of responsibility in taking on the role.

We are at a major turning point in the creative area worldwide. Amid all the changes in social conditions, with COVID-19, environmental issues, and international issues, the advertising creative area is undergoing more significant changes than the changes that occurred when traditional media shifted to digital media.

Difficult issues have arisen in different areas, and I believe that we should demonstrate strong creativity in various areas and not just in advertising. When it’s difficult to bring about the right answers to problems, we need people who can come up with unexpected answers.

Dentsu Tokyo aims to be an Integrated Growth Partner that helps not only the financial growth of clients, but also the improvement of people’s lives, the environment, and society, through creativity. I hope to drive the expansion and transformation of our creativity as much as possible.

Dentsu Tokyo is a strong player in the Japanese advertising industry, but we are a challenger in the industry of providing creativity to areas other than advertising. Now that society needs high-level creativity, we must further expand our ideas, design, craft, implementation, and technology and innovation capabilities.

Dentsu Tokyo has a diverse range of 6,500 talented people who belong to a single company, which is the most interesting aspect of all, we have film directors, genome researchers, food professionals and sports players. I love working with all of them, and there is a lot of trust in our work relationships. By mixing diverse capabilities, I believe we will continue to create inspiring and interesting work.

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L[A] Could you tell us a little about the things that most influenced your early life, that helped shape your creativity and ambitions?

YS When I was a child, I would run around wild, on mountains, along riversides, and on the seashore. Back then, there were many forests in the suburbs of Tokyo. I loved going into the woods to find insects and plants. This childhood experience of immersing myself in nature also led me to become interested in natural science and technology, this then lead to an interest in manufacturing and innovation.

As an extension of my love for science, I encountered the Personal Computer when I was 10 years old. I was impressed by the fact that I could create anything including games, 3D spaces, or music, in the ‘box’ with my creativity. I came to feel even stronger that I wanted to get a job where I could make something, although I didn’t know anything about advertising creative jobs at that time.

L[A] We believe you had an early background in computer sciences before moving into the ad world, how did this transition come about? And given the importance of technology/digital in today’s marketing world, how important has that been to your career?

YS Now I feel that Computer Science and advertising world, both of which I liked, were actually connected.

Because I could create anything with PCs, I took the path of Computer Science based on this belief. Then, when I was a college student, I encountered the Network, linking multiple computers rather than making things only within a single PC. That’s the ‘Internet,’ which was, at that time, not yet commercialized. I was significantly affected by this Internet.

Thirty years ago, I thought that this computer network would create an unprecedented amount of fun by connecting people. And I wanted to pursue this from the perspective of the people who use the Internet, not from the technical aspect of the

‘13865 black dots and 2 red dots’, The Nagasaki Shimbun

provider side. At that time, I had hardly seen entertainment on the Internet as it was mostly used for research, but I felt that there might be some kind of new ‘media’ here. That led me to join an advertising company rather than an electronics manufacturer or software company.

After joining Dentsu, I really wanted to go into the media development department, but the company made me a copywriter. It was totally unexpected, but now I think this was a very nice coincidental transition that took me into the most interesting place.

I feel ‘digital’ in today’s ad world is still superficial since I dug into Computer Science in the past. There are still many companies that use digital simply as an ‘advertising media’ to track and force users to watch it, to click it, to collect data without earning enough trust, and make you buy things. I think there are quite a few people who say they like advertising, but few people say they like digital advertising. There are many digital services offered by a variety of companies that are extremely convenient, but they are not enough to make the brand a ‘great favorite’.

Digital is the most potent tool for creative people. What is important is the transformation of the essential relationships and links between users, brands, and society through digital. I am convinced that because I have learned Computer Science I can pursue creativity without forgetting its intrinsic value, not just using technologies superficially.

L[A] We believe your interests outside advertising include hybrid arts, digital architecture, game design, and interactive product design... and have called yourself a ‘bit of a geek’.

How do these areas influence your work at Dentsu?

YS These interests have an impact on broadening my digital perspective, as mentioned above. If you have creativity and digital expertise, you can do anything, connecting people in an unprecedented way and moving people emotionally.

I always think that digital creativity can go far further.

This is why I, as a ‘geek’, continue to develop, with interest

and dedication, areas beyond the production of advertising expressions, such as hybrid arts and service designs.

L[A] From trainee copywriter at Dentsu in Tokyo, you moved to America and worked at IconNicholson, StrawberryFrog and then Dentsu America. Did you enjoy this time in the US? How influential do you think that period was in developing your style and the work you have produced since returning to Japan?

YS Recently, it has been changing a little, but in Japan, it is normal for people to stay, until they retire at the age of 60, at a company that they joined for the first time as a new graduate. This is the 27th year since I joined Dentsu as a new graduate. Many Japanese companies make investments in and nurture their employees for their career in the company. The experience of working for multiple companies in this US was given to me by Dentsu. They covered expenses and also let me remain at Dentsu when I came back. This experience allowed me to grow significantly.

Advertising creativity, especially ideas for words and images, are based on the culture of the country in which they are created, and those expressions can only be understood in that country they are created. However, I realized that digital creativity, which gained attention almost simultaneously around the world, transcended cultural and linguistic barriers from the outset, and is equally acceptable in Japan or in the world as long as it is a good idea. That’s what made me confident.

In addition, the experience of working in the diverse cultures of the US made me become aware of both good and bad points of my own country. I feel that the sense of my own creativity was sharpened through this experience of several years in the US. L[A) What was the biggest cultural shock on arriving to work in the US? YS Well, in the US, both in a good way and bad way, I feel that everyone is so relaxed (laughs). In Japan there are many cases where other people can guess what you need without saying Vol 2/2022

8–9

INTERVIEW

anything, so we can live without raising our voices too much.

In the US, you almost always have to take a stand and make your voice heard. But at the same time there is a lot of room for freedom and negotiation if it is not written in the rules.

Since being in the US, I’ve become used to saying straightforwardly what I think first, without being too shy, even in Japan.

L[A] This might seem trivial, but what aspect of Japanese life did you most miss while in the US? And was there anything from that period that you missed on your return to Japan?

YS Actually, I had thought that I would miss Japan very quickly, especially its food, but, in fact, if when I looked for ramen and sushi restaurants in New York, I found a lot of restaurants that served food of almost the same quality as Japan. So it wasn’t that tough.

What was a little hard for me, however, was that I couldn’t read the ‘Weekly Manga Magazine,’ which I had bought twice a week in Japan.

I’d still like to go back to the US and work. I can’t forget even now that a day in New York was so exciting for anyone in a creative career. It might have changed a bit with COVID-19, but I still miss New York so much.

L[A] From an outsider’s perspective, Japan seems a fascinating and perhaps unique mix of advanced, ultra-modern and deeply conservative tradition. How does this seemingly incompatible combination affect your creativity in the digital age?

YS I think that Japan has long had the power to skilfully grasp the good points of other parts of the world. This is why Japan has created new values by respecting its longstanding history and culture, while using craftsmanship with caring details. I think the environment for this unique Japanese incompatible combination is by no means bad for creatives who are trying to create new values.

However, it seems that recent digitization has destroyed this old and good tradition in Japan and created a ‘new and conservative tradition’ on top of digital.

For example, in terms of advertising, many Japanese companies are satisfied with merely incorporating digital, which is regarded as good in the world, such as online platforms and marketing methods. Then they are trying to protect the interests they have acquired there. In other words, even in new digital media, they have established a conservative way, saying things like ‘we have to be like this with digital’.

In order to create unique, cutting-edge products in this digital age, I believe that we must recognize a more diverse range of values and respect even more liberal ideas.

L[A] We think of craft skills such as typography, illustration and art direction as fundamental to elements of Japanese creativity.

How do these translate into the digital world — a world where these skills can at times seem secondary to the demands of data and technology?

YS To some extent, we have made progress with digital transformations, and to some extent, the digitization of systems in the world has become widespread. From here on, once again, the power of design and the power of detailed craft will become important.

People do not move just with data, technology, and mechanisms. In digital spaces too, there is a growing demand for the quality of touch. Convenience and efficiency are important, but we also need to provide experiences that make you feel the heartbeat of the brand, even if it seems inefficient.

I think Japan’s design and craft comes into the picture right now. Of course, there are some areas that require updates in line with the digital age, but I think that we can apply our core skills of design and craft as they are. The transition of these core skills is one of my tasks.

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L[A] What are your ambitions for this next period in your career? How will you manage and inspire your huge team across such a diverse range of clients? What creative legacy do you hope to build during your time as CCO? YS Creativity is the most important factor in creating value even if areas change. As CCO, I will continue to advocate the importance of creativity, and strive to make Dentsu outstanding as a Creativity-First Company that goes beyond our regular playing fields, and provides society with the unexpected, interesting and valuable.

To achieve this, it is important to make the most of the diversity of our 800 creatives. Rather than standing at the top and controlling everyone towards the same direction, I hope to become a CCO that encourages people to each go their best way.

Some creatives may be losing their confidence because they feel their advertising skills may have become outdated. But that’s not true, and I’m convinced from my experience that our creativity can be applied to any domain. I would like to continue to support everyone in order to regain full confidence and support the diversity of creativity.

L[A] If you weren’t doing your current job, what would you most have liked to do? And where might your ambitions take you in the future?

YS If I hadn’t been doing this job, I think I would be surrounded by nature, just like when I was 10 years old. It might be as a fisherman, or a person who lives a selfsufficient life in the mountains. But I still would be using my smartphone and the internet every day (laughs).

In my personal time, I am participating in activities to create alternatives to an urbanintensive future. In that community, we think about how to fully use technology in a natural environment and how to live with maximum intellectual productivity. I want to use my creativity to create such a fun way of people’s life in the future.

L[A] What is it that most excites you about life in Tokyo?

Can you tell us a little about your life outside the office?

YS In Tokyo, I like to walk through the old streets, get myself lost in narrow alleys, and find out the life of people who used to be there. It’s a lot of fun to find traces of history connected to our current lives.

Speaking outside of Tokyo, I belong to a canoe team called the Tenpuku-Tai (‘Capsizing Squad’) and I travel down rivers all over Japan with my team members. There are many wonderful and beautiful rivers in Japan, and we canoe, capsize, laugh our heads off, and have ‘hot pot’ by the river at night. I found that the best drink in the world is not a vintage whisky or a million dollar wine, but a beer after getting soaked in the river.

L[A] For visitors, your vast home city can be difficult to get to know. Do you have any ‘secret tips’ on areas off the normal tourist map that are worth exploring?

YS It’s fun to go around famous tourist spots in Tokyo, but if you jump on one of the trains and go to the suburbs for about 30 minutes, you’ll see the true lives of Japanese people there. I think this is a Japan that you can’t find on the Internet.

L[A] We’d love to be able to give our readers some insider recommendations on bars, restaurants, shops and cultural events they shouldn’t miss.

YS Well, I recommend the eastern parts of Tokyo such as Kuramae, Morishita, and Kiyosumi Shirakawa. There are various types of restaurants like nice Japanese bars, old shops, and cafés. These places may be forgotten areas for Japanese people, but I love it there, and these places are popular among overseas visitors.

Print [12–139 12–139]] Client Vestiaire Collective Agency Droga5, London Creative Direction David Kolbusz, Shelley Smoler

Art Direction Ashley Hamilton Copywriter Sara Sutherland Photographer Campbell Addy Vol 2/2022

10–11

ACCESSORIES

ACE & TATE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Base Design, Brussels Photographer Martina Bjorn

As rare as the work it celebrates

BANKING, INSURANCES

Lürzer’s Archive

LBS BAUSPARKASSE DER SPARKASSEN Campaign for LBS Building Society.

Agency BBDO Group Germany, Berlin Creative Direction Jeannette Bohné, Pedro Americo Art Direction Saydan Çelik, Arash Sabbagh

Copywriter Jeannette Bohné Illustrator Saydan Çelik Digital Artist Arash Sabbagh

HSBC Campaign

Agency David The Agency, Buenos Aires Creative Direction Ignacio Flotta, Gastón Durán, Nicolas Vara

See more of the campaign at luerzersarchive.com

Vol 2/2022

Art Direction Matías Paglieri, Jonathan Cerna Copywriter Tomás Gutiérrez

20–21

represented by fox creative la:818 558 1225 ny:212 375 0450 info@foxcreative.net

www.jeffludes.com jeffludes

BEVERAGES, ALCOHOLIC

Lürzer’s Archive

STELLA ARTOIS Campaign

Agency Mother, London Creative Direction Mico Toledo Art Direction Oli Rimoldi, Anthony Montagne

Copywriter Oli Rimoldi, Anthony Montagne Photographer Nick Meek

JING-A Campaign for Beijing craft beer brand Jing-A, that produces around 50 experimental brews per year. Each one has been honored with its own collectible poster with a layout inspired by the grids of historic Chinese newspapers.

Agency MetaDesign, Sydney Creative Direction Sally Anderson Art Direction Becky Lane

Vol 2/2022

24–25

BEVERAGES, ALCOHOLIC

Lürzer’s Archive

AB INBEV BAVARIA COLOMBIA Campaign

Agency Media.Monks, Hilversum, The Netherlands Creative Direction Cesar Castaño, David Correa

See more of the campaign at luerzersarchive.com

Vol 2/2022

Art Direction Daniel Zuleta Copywriter Juan Manuel Quintero Illustrator Randy Mora

26–27

BEVERAGES, ALCOHOLIC

BENT WATER BREWING Campaign

Lürzer’s Archive

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Agency Hey Let’s Go!, Boston Creative Direction Mike Shaughnessy Art Direction Doug Pedersen

Copywriter Tim Cawley Photographer Danny Ebersole

ABSOLUT VODKA Campaign

Agency Ogilvy & Mather, Chicago Creative Direction Sakshi Choudhary, Isaac Pagán-Muñoz Art Direction Grace Donahue

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Gillian Goodman, Marie Strycharz Photographer Sandro Digital Artist Kurtis Chan

28–29

BEVERAGES, ALCOHOLIC

Lürzer’s Archive

VEUVE CLICQUOT Campaign

Agency BETC Etoile Rouge, Paris Creative Direction Florence Bellisson Art Direction Julie Richard Copywriter Jeremy Claud Photographer Jan Gleie

See more of the campaign at luerzersarchive.com

Vol 2/2022

30–31

BEVERAGES, NON-ALCOHOLIC

COCA-COLA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Grey Colombia, Bogotá Creative Direction Oscar Muñoz, Sebastian Benitez, Juan José Posada

Art Direction Charles Andara Copywriter Camilo Garzon Digital Artist Charles Andara

PEPSI Campaign

Agency Alma DDB, Miami Creative Direction Luis Miguel Messianu, Alvar Suñol

See more of the campaign at luerzersarchive.com

Vol 2/2022

Art Direction Daniel Corrêa, Bruno Trad Photographer Marçal Vaquer

32–33

BEVERAGES, NON-ALCOHOLIC

VIGUL Campaign

Agency The Narrow Street, Bangalore, India Creative Direction Saji Johnny Kundukulam Art Direction Saji Johnny Kundukulam Copywriter Saji Johnny Kundukulam

CHILDREN

LEGO Campaign

Agency Grey Worldwide, Dubai Creative Direction Pablo Maldonado Art Direction Khaled Ibrahim, Rolando Ruiz

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Anant Kurup Illustrator Maher Asfar Digital Artist Maher Asfar

34–35

CHILDREN

Lürzer’s Archive

HASBRO Campaign

Agency (anónimo), México City Creative Direction Mauricio Sanchez, Rodrigo Casas, Jorge Méndez Art Direction Mauricio Sanchez, Jorge Méndez

Copywriter Rodrigo Casas Illustrator Gonzalo Muñoz Digital Artist Gonzalo Muñoz

COSMETICS

Lürzer’s Archive

UNILEVER Campaign

Agency MullenLowe SSP3, Bogotá Creative Direction Diego Muñoz, Juan David Pardo, Nestor Benjumea

Vol 2/2022

Art Direction Natalia Cabrera, Alejandra Ramirez Copywriter Andres Celis, Natalia Chona Photographer Francisco Giraldo

38–39

COSMETICS

Lürzer’s Archive

TOOLETRIES Campaign

Agency Showpony, Melbourne Creative Direction Jonathan Pagano, Rory Kennett-Lister, Parris Mesidis

Art Direction Francisco Zuccato, Charlene Chan Copywriter Nic Maumill

UNILEVER Campaign for Rexona brand deodorant.

Agency Punch BBDO, Istanbul Creative Direction Erçin Sadıkoğlu, Mehmet Güven

Vol 2/2022

Art Direction Nevzat Emir Anarat, Anıl Darınç Copywriter Serkan Ün, Esma Akalın

40–41

COSMETICS

KINTAB Campaign for Kintab Toothpaste Tablets.

Lürzer’s Archive

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Agency BBDO Guerrero/ Proximity, Makati City Creative Direction David Guerrero

Art Direction Paul Belford Copywriter David Guerrero Typographer Paul Belford

DOZONO RYOICHI STUDIO Campaign “A cool hair style is as important as wearing a mask.” – Dozono Ryoichi Studio.

Dozono is a hairdressing brand founded by the Japanese stylist Dozono Ryoichi with studios in Beijing and Shanghai.

Agency The WHOLE Advertising, Shanghai Creative Direction Archive Li Art Direction Gang Li

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Alice Gu Illustrator Gang Li Typographer Gang Li Digital Artist Gang Li

42–43

Rankings AGENCY 1 1 3 4 4 6 6 8 8 8 8

CAMPAIGNS

Harrison & Star Mother, Uncommon Creative Studio Area 23 adam&eveDDB Ruf Lanz Abbott Mead Vickers BBDO Sancho BBDO VCCP TBWA KesselsKramer

New York London London New York London Zurich London Bogota London Paris Amsterdam

CREATIVE DIRECTOR 1 2 2 4 5 5 5 5 5

Adam Hessel Tim Hawkey Nicholas Capanear Markus Ruf Pierre Loo Maurice Ugwonoh Abolaji Alausa Lanre Adisa Erik Vervroegen

ILLUSTRATOR 13 9 9 8 6 6 6 6 6

PHOTOGRAPHER 1 1 3 4 5 5 5 5

Ale Burset Alex Telfer Carioca Lightfarm Studios Leyther Orozco Jef Boes Jonathan Knowles Stephen Stewart

8 8 7 6 5 5 5 5

DIGITAL ARTIST 1 1 3 4 4 4 4 4

Carioca Illusion Moreira Studio La Salvación Studio Brad Pickard Imaging Alld Studio Rafael Gil Blaupapier

13 13 10 9 9 8 8 6 6 6 6

8 8 6 5 5 5 5 5

1 2 3 3 3 3 3 3 3 3 3

Illusion Rafael Gil Valerie Tiefenbacher Giselle Almeida Christian Gralingen Alice Blue Brad Pickard Imaging Anthony Foronda, Putnam Ricardo Salamanca Alexander & Turner Jody Xiong

8 4 3 3 3 3 3 3 3 3 3

CLIENT 1 2 3

McDonald’s Ikea Amnesty International

20 10 6

PRODUCTION COMPANY 1 2 2 4 4 6 6

Academy Films Riff Raff MJZ Prettybird Biscuit Filmworks Smuggler Outsider

6 5 5 4 4 3 3

ART DIRECTOR 1 1 3 4 4

Nicholas Capanear Rafael Gil Isabelle Hauser Jaime Duque Erik Vervroegen

8 8 7 6 6

COPYWRITER 1 1 3 3

Alex Avsharian Ronald Larson Segun Odejimi Markus Ruf

Lürzer’s Archive

5 5 4 4

Campaigns: Number of campaigns published in Lürzer’s Archive.

International rankings for the year 2021.

The full rankings can be found at LuerzersArchive.com

ENTERTAINMENT

SEYBERT’S BILLIARDS SUPPLY Campaign

Agency MMB, Boston Creative Direction David Register Art Direction Brian Ratner

Vol 2/2022

Copywriter Jeff Marois Photographer David Register

44–45

FASHION

Lürzer’s Archive

LACOSTE Campaign

Agency BETC, Paris Creative Direction Florence Bellisson Art Direction Agnes Cavard

Vol 2/2022

Copywriter Antoine Gauquelin Photographer Ronan Gallagher

46–47

FOOD

BURGER KING Campaign When a survey asked people to identify Burger King’s burgers, 85% could name only one. Hence BK’s latest campaign proclaims, “It’s all about The Whopper.”

Lürzer’s Archive

Agency INGO, Stockholm Creative Direction Björn Ståhl Art Direction Max Hultberg

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Magnus Ivansson Photographer Erik Ericsson

48–49

FOOD

DOMINO’S PIZZA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Leo Burnett, Lisbon Creative Direction Steve Colmar, Lucas Yu

Art Direction Gil Santos, Kissyla Clarkson Copywriter Inês Reis, Maria Branco, Hernâni Correia

HILTL Campaign for a vegetarian restaurant in Zurich.

Agency Ruf Lanz, Zurich Creative Direction Markus Ruf Art Direction Isabelle Hauser

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Markus Ruf Digital Artist Isabelle Hauser

50–51

FOOD

MCDONALD’S Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Nord DDB, Oslo Art Direction Torstein Skogedal Copywriter Thomas Eltvik

Photographer Jói Kjartans Digital Artist Mats Anderson

MCDONALD’S Campaign

Agency Nord DDB, Oslo Art Direction André Gidoin, Torstein Skogedal Copywriter Thomas Eltvik

Vol 2/2022

Photographer André Gidoin Digital Artist Rune Gabrielsen, Fredrik Brinchmann, Mats Anderson

52–53

FOOD

Lürzer’s Archive

KFC Campaign

Agency Mother, London

KFC Campaign

Agency Mass Digital, Bogotá Creative Direction Jaime Duque, Eduardo Vargas, David Patino

Vol 2/2022

Art Direction Jaime Duque Copywriter Eduardo Vargas

54–55

FOOD

Lürzer’s Archive

FRUCO Campaign for Fruco brand ketchup.

Agency Mass Digital, Bogotá Creative Direction Jaime Duque, Eduardo Vargas, David Patino

Art Direction Jaime Duque Copywriter Jaime Duque Illustrator Jaime Duque

MCDONALD’S Campaign

Agency Leo Burnett, Dubai Creative Direction Kalpesh Patankar, Raoul Panes, Kapil Bhimekar

See more of the campaign at luerzersarchive.com

Vol 2/2022

Art Direction Kapil Bhimekar Copywriter Sambhav Khandelwal, Paurav Shah Photographer Ale Burset

56–57

FOOD

KFC Campaign “Here, we say” is a design-led campaign for KFC, where each artwork is a different iteration of the famous bucket, based on one country’s unique culture.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency TBWA RAAD, Dubai Creative Direction Alexander Pineda, James Robbins Art Direction Paula Zambrano

Copywriter Diego Florez, Adnan Ahmed Digital Artist Tico Moraes

MARMITE, UNILEVER Campaign

Agency adam&eveDDB, London Creative Direction Ben Tollett Photographer Sam Hofman, Dan Burn-Forti

Vol 2/2022

58–59

FOOD

Lürzer’s Archive

COMPAÑÍA NACIONAL DE CHOCOLATES Campaign

Agency Wunderman Thompson, Medellín, Colombia Creative Direction Carlos Vergara Art Direction Camilo Valencia Copywriter Cristian Mendez

ARBI DARIO Campaign for an Italian company specializing in frozen fish.

1. Finally something even your mother will approve of.

2. For happiness (with him) a ring of the kitchen timer is enough (because food is ready).

3. Ready in 10 minutes? This time, it is actually true.

4. Why settle for a cold fish, when you can have a well-cooked one on your plate?

Pay-off: Happy Valentine’s Day from Arbi, the fish that fish lovers love the most.

See more of the campaign at luerzersarchive.com

Agency VMLY&R, Milan Creative Direction Nicoletta Zanterino, Francesco Andrea Poletti, Cinzia Caccia Art Direction Jacopo Guzzarri

Vol 2/2022

Copywriter Alice Maselli, Emanuela Ferrari, Mietta Petruzzelli Illustrator Francesca Tucci

60–61

FOOD

MCDONALD’S Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Scholz & Friends, Hamburg Creative Direction Jens-Petter Waernes

Art Direction Matthias Spaetgens, Matteo Pozzi, Reid Plaxton Copywriter Paolo Bartalucci, Allegra Wiesenfeld

CHUPA CHUPS Campaign

Agency Serviceplan Group, Hamburg Creative Direction Alexander Schill, Michael Wilk Art Direction Mirjam Strzata

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Sambuka Photographer Illusion Digital Artist Illusion Illustrator Illusion

62–63

FOOD

Lürzer’s Archive

REYLACTEOS Campaign

Agency Mullenlowe Delta, Guiayaquil, Ecuador Creative Direction Jaime Duque, Jose Lizarzaburu, Rodrigo Mejia

Art Direction Jaime Duque Copywriter Jaime Duque Illustrator Jaime Duque

MCDONALD’S ITALY Campaign

Agency Leo Burnett Italy, Milan Creative Direction Giuseppe Pavone, Luca Ghilino, Selmi Bali Barissever

Vol 2/2022

Art Direction Filippo Formentini, Ilaria Biani Copywriter Maria Chiara Alegi Photographer FM Photographer

64–65

FOOD

Lürzer’s Archive

KFC Campaign

Agency Mother, London Photographer Martin Poole, Will Douglas

BURGER KING Campaign

Agency David The Agency, Madrid Creative Direction André Toledo, Fred Bosch, Saulo Rocha

See more of the campaign at luerzersarchive.com

Vol 2/2022

Art Direction Pedro Sattin Copywriter David Krueger, Sebastien Rouviere Photographer Nixon Freire

66–67

FOOD

MCDONALD’S Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency DDB, Sydney Creative Direction Jack Nunn, Dan Saunders Art Direction Alexandre Collares Copywriter Sean Vrabel

POPEYES LOUISIANA KITCHEN Campaign

Agency GUT, Miami

See more of the campaign at luerzersarchive.com

Vol 2/2022

68–69

FOOD

Lürzer’s Archive

FLOUR MILLS NIGERIA Campaign for a Nigerian flour mill.

Agency X3M Ideas, Ikeja Creative Direction Anthony Eigbe, Steve Babaeko, Micheal Miller Art Direction Sodiq Sheu, Promise Eventus, Joel Jeff-Onyegbule

Copywriter Mabayomije Akinyemi, Sandra Igumbor, Kelechi Uduma Photographer Iyinkaye Oreoluwa Digital Artist Olayiwola Pishon-Boboye

BIG PONS Campaign

Agency Nacho Pedemonte, Buenos Aires Creative Direction Nacho Pedemonte Art Direction Carolina Menises

Vol 2/2022

Copywriter Nacho Pedemonte, Soledad Ezratty Photographer Carolina Menises

70–71

FOOD

Lürzer’s Archive

MCDONALD’S Campaign

Agency Leo Burnett, London Creative Direction James Millers, Andrew Long Art Direction Joe Miller, David Allen Illustrator David Allen

HOUSE + GARDEN

LINIFICIO E CANAPIFICIO NAZIONALE Campaign for Kuku International Packaging.

Agency George, Milan Creative Direction Riccardo Ciunci, Federico Demartini, Valentina Cantù Art Direction Davide Fiori

Vol 2/2022

Photographer Massimo Bianchi Digital Artist Marco Oliosi, Massimo Bianchi

72–73

HOUSE + GARDEN

Lürzer’s Archive

TESA Campaign

Agency Kincom, Santiago de Chile Creative Direction Victor Mora

Art Direction Victor Mora Copywriter Carlos Trujillo Digital Artist Victor Mora

GOOGO GREEN Campaign for household-use silicon food wraps.

Agency Ogilvy Group Thailand, Bangkok Creative Direction Gumpon Laksanajinda, Nopadol Srikieatikajohn, Worarit Boonpirom Art Direction Gumpon Laksanajinda, Nopadol Srikieatikajohn, Sittichoke Somkiatcharoen

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Thanachai Shavitranuruk Photographer Illusion Illustrator Illusion Digital Artist Illusion

74–75

HOUSE + GARDEN

B&Q Campaign for the DIY chain’s online offering.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Uncommon Creative Studio, London Photographer James Day

SMART-R Campaign In order to prevent Covid infections at home, this campaign aims to encourage parents to disinfect kids’ most-touched surface – toys.

Agency Ogilvy Group Thailand, Bangkok Creative Direction Gumpon Laksanajinda, Nopadol Srikieatikajohn, Littichai Panitjaroen Art Direction Gumpon Laksanajinda, Nopadol Srikieatikajohn, Peerawat Temsomboon

Vol 2/2022

Copywriter Ittikron Kananont, Pakorn Siripol, Littichai Panitjaroen Illustrator Illusion Digital Artist Illusion

76–77

MISCELLANEOUS

Lürzer’s Archive

SENDENKAIGI Campaign for a series of lectures for art directors.

Agency Three & Co., Osaka Creative Direction Masaki Fukumori Art Direction Masaki Fukumori

Copywriter Hiroyuki Hayashi Illustrator Tomoya Terada Digital Artist Hiroshi Wakita

BERLINER PHILHARMONIKER Campaign Musical energy is invisible but perceptible to the audience.

Photographs taken with a thermal imaging camera shortly after a concert.

See more of the campaign at luerzersarchive.com

Agency Scholz & Friends, Berlin Creative Direction Philipp Weber

Vol 2/2022

Art Direction Matthias Spaetgens, Sheryl Ann Hartmann Copywriter Felix John Photographer Heribert Schindler

78–79

MISCELLANEOUS

TATE GALLERY Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Tate Modern, in-house, London Creative Direction Giuseppe Renga

Art Direction Giuseppe Renga Illustrator Giuseppe Renga Digital Artist Giuseppe Renga

CINÉMA DU PARC Campaign for Brooklyn and Houston Film Festival.

Agency Les Evades, Montreal Art Direction Martin Dupuis Illustrator Ilya Shkipin

See more of the campaign at luerzersarchive.com

Vol 2/2022

80–81

PETFOOD

MISU Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Wings the Agency, Caracas Creative Direction Demian Campos

Art Direction Demian Campos Copywriter Demian Campos Digital Artist Demian Campos

ADM Campaign for ADM brand pet food.

True love can be found everywhere.

See more of the campaign at luerzersarchive.com

Agency (anónimo), México City Creative Direction Jorge Méndez, Alan Marin, Rodrigo Gonzales

Vol 2/2022

Art Direction Montserrat Nava Copywriter Jaime Pallares Photographer Buenavista

82–83

PETFOOD

MISU Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Wings the Agency, Caracas Creative Direction Demian Campos

Art Direction Demian Campos Copywriter Demian Campos Digital Artist Demian Campos

PHARMACEUTICALS + OTC

PUBLIC HEALTH CENTER Campaign

Agency ANGRY, Kiev Creative Direction Serhiy Malyk Art Direction Inna Alimova Copywriter Serhiy Malyk Illustrator Inna Alimova

See more of the campaign at luerzersarchive.com

Vol 2/2022

84–85

PHARMACEUTICALS + OTC

Lürzer’s Archive

SANOFI-AVENTIS Campaign

Agency Saatchi & Saatchi, Dusseldorf, Germany Creative Direction Dennis May, Alexander Reiss, Christian Anhut Art Direction Fabiano Oliveira, Bruno Fonseca

Copywriter Gustavo Neves Photographer Rodrigo Westphal, Lucas Tintore, Alex Takaki

BAYER HEALTHCARE Campaign

Agency House Dentsu, Santa Ana, California Creative Direction Pablo Castillo, Jack Agüero Art Direction Jose Retana

Vol 2/2022

Copywriter Jack Agüero Illustrator Jose Retana Digital Artist Jose Retana

86–87

PUBLIC EVENTS

BROOKLYN FILM FESTIVAL Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency MullenLowe, New York Creative Direction Ricard Valero, Rich Singer, Zach Mena

Art Direction Márcio Doti, Joao Paz Illustrator FOREAL Typographer Márcio Doti

WORLDFEST HOUSTON Campaign

Agency Lopez Negrete, Houston Creative Direction Fernando Osuna, Alex Garcia Art Direction Alex Garcia Copywriter Alex Garcia

Vol 2/2022

88–89

PUBLISHERS, MEDIA

Lürzer’s Archive

CNN Campaign

Agency AlmapBBDO, São Paulo Creative Direction Rafael Gil, Marco Giannelli Pernil, Rodrigo Almeida Art Direction Rafael Gil, Francis Alan

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Gustavo Tasselli, Rodrigo Almeida Illustrator Black Madre Atelier Digital Artist Boreal

90–91

PUBLISHERS, MEDIA

THE KNOWLEDGE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency TH?NGY, London Art Direction Dave Dye Copywriter Chris Vernon Illustrator Serge Bloch

FRANKFURTER ALLGEMEINE ZEITUNG Campaign Bottom: CEO of software company SAP, Christian Klein, sits on a bench behind a copy of Frankfurter Allgemeine Zeitung. However, the image is not a bad photograph, it was generated with the help of SAP coding. Strapline: “There is always a clever mind behind it.”

Agency Scholz & Friends, Berlin Creative Direction Wulf Rechtacek, Anke Roell, Mirjam Kundt Art Direction Matthias Spaetgens, Wulf Rechtacek, Amadeus Fronk, Sandra Dölling

Vol 2/2022

Copywriter Sambuka Photographer Markus Wendler, Wulf Rechtacek Illustrator Wulf Rechtacek

92–93

PUBLISHERS, MEDIA

Lürzer’s Archive

AIRTEL NIGERIA Campaign

Agency Redwolf Digital Company, Lagos Creative Direction Abolaji Alausa, Solomon Osafile Art Direction Olamitayo Ajani

Copywriter Elemide Dunni, Faruq Alimi Illustrator Olamitayo Ajani

PENGUIN AUDIOBOOKS Campaign

Agency Frustration, Bangladore, India Creative Direction Vinay Saya Art Direction Vinay Saya, Faisal MH

Vol 2/2022

Copywriter Vinay Saya Illustrator Faisal MH

94–95

PUBLISHERS, MEDIA

Lürzer’s Archive

SKY Campaign

Agency Engine, London Creative Direction Christopher Ringsell Art Direction Paul Hancock Copywriter David Newbold

AMAZON Campaign

Agency Grey, Bogotá Creative Direction Juan Jose Posada, Sebastian Benitez, Luis Gaitán

See more of the campaign at luerzersarchive.com

Vol 2/2022

Art Direction Oscar Muñoz, Christian Avendaño Cendales, Juan José Posada Copywriter Sebastian Benitez, Andrés Nuñez

96–97

RETAILERS

Lürzer’s Archive

VESTIAIRE COLLECTIVE Campaign

Agency Droga5, London Creative Direction David Kolbusz, Shelley Smoler

Vol 2/2022

Art Direction Ashley Hamilton Copywriter Sara Sutherland Photographer Campbell Addy

98–99

RETAILERS

Lürzer’s Archive

SPECSAVERS Campaign for a British multinational optical retail chain.

Agency The Agency, Specsavers, Guernsey Creative Direction Richard James

Art Direction Jon Morgan Copywriter Bertie Rapkin

DOVER STREET MARKET Campaign

Art Direction Dominick Alfonzetti

Vol 2/2022

100–101

SERVICES

Lürzer’s Archive

FIRE AND EMERGENCY NZ Campaign

Agency FCB New Zealand, Auckland Creative Direction Leisa Wall, Peter Vegas Art Direction Hugh O’Connor

Copywriter Hayley Marks Photographer Ben Lockwood Typographer Ben Lockwood Digital Artist Ben Lockwood

ST JOHN WA Campaign

Agency 303MullenLowe, Perth, Australia Creative Direction Richard Berney Art Direction Stephen Hansen Copywriter Maya Halilovic

See more of the campaign at luerzersarchive.com

Vol 2/2022

Illustrator Jessica Smith Typographer Andrew Allingham Digital Artist Suzanne Whoston

102–103

SERVICES

Lürzer’s Archive

VBZ VERKEHRSBETRIEBE ZÜRICH Campaign

Agency Ruf Lanz, Zurich Creative Direction Markus Ruf Art Direction Mario Moosbrugger

Copywriter Markus Ruf Photographer Tobias Stahel Digital Artist Michèle Aschmann

PRAMATHANA DENTAL CARE Campaign

Agency TrueTongue Creative, Bangladore, India Creative Direction Amit Bhat Art Direction Amit Bhat

Vol 2/2022

Copywriter Salil Sawale Illustrator Amit Bhat Digital Artist Amit Bhat

104–105

SERVICES

Lürzer’s Archive

REDWOLF DIGITAL COMPANY Campaign

Agency Redwolf Digital Company, in-house, Lagos Creative Direction Abolaji Alausa, Solomon Osafile Art Direction Samuel Adesola, Olamitayo Ajani

Copywriter Elemide Dunni, Damilola Ogunlola, Faruq Alimi Photographer Yekeen Ibrahim

E-TADWEER Campaign for an Egyptian electronic waste recycling app.

Agency AE Agenct, Cairo Creative Direction Ahmed Essam Art Direction Ahmed Essam Copywriter Mosatfa Ali

Vol 2/2022

106–107

SOCIAL + ENVIRONMENT

Lürzer’s Archive

ALAS CHIQUITANAS Campaign

Agency Humano, Santa Cruz de la Sierra, Bolivia Creative Direction Ferju Cuevas, Rodsel Ticona Art Direction Uber Gutiérrez

Copywriter Ferju Cuevas Photographer Revista Nómadas Digital Artist Uber Gutiérrez

ESCAZÚ AHORA CHILE Campaign

Agency Wunderman Thomspon, Santiago de Chile Creative Direction Germán Quiroz, Samer Zeidan, Jorge Samur

Vol 2/2022

Art Direction Alvaro Samaniego Copywriter Enzo Vargas Digital Artist Ricardo Salamanca

108–109

SOCIAL + ENVIRONMENT

B & T CREATIVE Campaign To prevent independent news from being censored in Russia, these were placed in the metadata of Putin’s propaganda photos.

Lürzer’s Archive

Agency B & T Creative, Los Angeles Creative Direction Brian Farkas, Tylynne McCauley Art Direction Brian Farkas Copywriter Tylynne McCauley

PUBLICIS UKRAINE Campaign

Agency Publicis Ukraine, Kiev Creative Direction Ruslan Palamarchuk Copywriter Volodymyr Litvinov

Vol 2/2022

Photographer Volodymyr Litvinov Digital Artist Bohdan Strilchyk

110–111

SOCIAL + ENVIRONMENT

Lürzer’s Archive

ANAIS ASSOCIATION Campaign

Agency Cheil Centrade, Bucharest Creative Direction Mihai Gongu Art Direction Radu Rebei

Copywriter Denisa Armasu Photographer Balint Hajagos

THE CHRYSALIS INITIATIVE Campaign

Agency Intouch Group, New York Creative Direction Nicholas Capanear, Susan Perlbachs Art Direction Nicholas Capanear, Ivan Blotta

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Diana Krulik-Bentzen, Ron Larson Photographer Yachin Parham

112–113

SOCIAL + ENVIRONMENT

VEREIN WIENER FRAUENHÄUSER Campaign for Vienna’s women’s shelters.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency VMLY&R, Vienna Creative Direction Julian Fölser Art Direction Julian Fölser

Copywriter Rene Diwald Photographer Yannik Steer Digital Artist Rotfilter

RAPE CRISIS CAPE TOWN TRUST Campaign Unlike plastic bags, DNA evidence can be preserved in newspaper. This Rape Crisis print ad aims to raise awareness of this fact, resulting in the conviction of more perpetrators.

Agency Ogilvy & Mather, Cape Town Creative Direction Riaan Van Wyk, Alex Goldberg, Mike Martin

Vol 2/2022

Art Direction Riaan Van Wyk, Ryan Barkhuizen Copywriter Alex Goldberg

114–115

SOCIAL + ENVIRONMENT

Lürzer’s Archive

GLOBAL2000 Campaign

Agency Heimat, Vienna Creative Direction Simon Pointner Art Direction Simon Pointner Copywriter Felix Hohmann Digital Artist Victoria Ettl

CAMÉLÉON ASSOCIATION Campaign

Agency MullenLowe France, Paris Creative Direction Antoine Colin, Jordan Lemarchand Art Direction Bastien Bourdier

Vol 2/2022

Copywriter Jordan Lemarchand, Romain Duler Photographer Selim Djegham Digital Artist Lacen Studio

116–117

SOCIAL + ENVIRONMENT

CHILEAN RED CROSS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Porta, Santiago de Chile Creative Direction Felipe Porte Art Direction Benjamín Sánchez Copywriter Felipe Alarcón Photographer Nain Maslun

EARTH DAY NETWORK Campaign

Agency Sid Lee, Montreal Creative Direction Kristan Manchester Art Direction Julien Hérisson Copywriter Ugo Martinez, Adrien Héron

Vol 2/2022

Illustrator Julien Hérisson, David Leclerc Typographer Simon Roy-Dubois

118–119

SOCIAL + ENVIRONMENT

Lürzer’s Archive

GREENPEACE Campaign

Agency Who Wot Why, London Creative Direction Sean Thompson, Matt Gooden Art Direction Alex Bingham Copywriter Conrad Swanston

SURFRIDER FOUNDATION Campaign

Agency Babel, Paris Creative Direction Jean-Laurent Py Art Direction Julian Brice Copywriter Benjamin Cochet Digital Artist Waldo Lee

Vol 2/2022

120–121

SOCIAL + ENVIRONMENT

ASSOCIAÇÃO MAIS PROXIMIDADE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Leo Burnett, Lisbon Creative Direction Steve Colmar, Lucas Yu Art Direction Gil Santos

Copywriter Freddie Brando, Maria Branco Photographer Daryan Dornelles

LISBON’S AMATEURS MUSICIANS ACADEMY Campaign

Agency FCB, Lisbon Creative Direction Edson Athayde Art Direction Diego Tórgo

Vol 2/2022

Copywriter Viton Araujo Digital Artist Diego Tórgo

122–123

SOCIAL + ENVIRONMENT

Lürzer’s Archive

NEW YORK OFFICE OF THE MAYOR Campaign

Agency VMLY&R, New York Creative Direction Emily Sander Art Direction Rob Reilly Copywriter Sambuka Typographer Hamish McArthur, Quinn O’Connor

NOVO NORDISK Campaign

Agency Bold Agency, Riyadh Creative Direction Tonie Tannous Art Direction Nancy Kazzi Copywriter Ahmed Al Dosary

See more of the campaign at luerzersarchive.com

Vol 2/2022

Photographer Hisham el Hajj Illustrator Nancy Kazzi Typographer Nancy Kazzi

124–125

SOCIAL + ENVIRONMENT

TESTICULAR CANCER FOUNDATION Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Neon, New York Creative Direction Keshni Sharma, Jesse Kates, Sebastian Mallarino Art Direction Keshni Sharma

Copywriter Jesse Kates, Sebastian Mallarino Photographer Ale Burset

JUSTIN EDINBURGH 3 FOUNDATION Campaign

Agency The Leith Agency, Edinburgh Creative Direction Phil Evans, Troy Farnworth, John McPartland

Vol 2/2022

126–127

SOCIAL + ENVIRONMENT

Lürzer’s Archive

SCOTTISH GOVERNMENT Campaign

Agency The Leith Agency, Edinburgh Creative Direction Chris Watson Art Direction Rufus Wedderburn Copywriter Chris Watson Typographer Rufus Wederburn

WAKA KOTAHI – NZ TRANSPORT AGENCY Campaign

Agency Clemenger BBDO, Wellington Creative Direction Brigid Alkema Art Direction Peter Baker, Frances Cooke, Steve Hansen

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter JP Twaalfhoven, Alex Metson Photographer Steve Boniface Digital Artist Becci Manson

128–129

SOCIAL + ENVIRONMENT

Lürzer’s Archive

THE DUTCH SALVATION ARMY Campaign

Agency Cloudfactory, Amsterdam Creative Direction Cesar Garcia, Julio Alvarez Art Direction Sako Tenz, Simon Carr

Copywriter Nika Khundadze, Tristan Lenczer Photographer Carli Hermès

FRONTLINE 19 Campaign

Agency adam&eveDDB, London Creative Direction Mike Sutherland, Ant Nelson, Darren Beresford Art Direction Richard Gayton Copywriter Darren Beresford

Vol 2/2022

130–131

SOCIAL + ENVIRONMENT

Lürzer’s Archive

ABINBEV ECUADOR (CERVECERÍA NACIONAL) Campaign

Agency Mullenlowe Delta, Guiayaquil, Ecuador Creative Direction Jaime Duque Art Direction Jaime Duque

Copywriter Eduardo Vargas, Rodrigo Mejia Illustrator Miguel Angel Lopez

SPORTS

SCALPERS Campaign for Adrenaline by Scalpers.

Agency Caldas Naya, Barcelona Creative Direction Gustavo Caldas Art Direction Pol Vilella, David Pons

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Gustavo Caldas, Pep Jove Photographer Juan Cruz Durán

132–133

TRAVEL + LEISURE

LUMO Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Mother, London

PILOT FLYING J Campaign

Agency The Tombras Group, Knoxville, Tennessee Creative Direction Silver Cuellar, Clay Prewitt Art Direction Silver Cuellar Copywriter Louie Spivak

See more of the campaign at luerzersarchive.com

Vol 2/2022

134–135

TRAVEL + LEISURE

OUIGO Campaign Top: Stop surfing, start skiing.

Bottom: 10€ will get you to this side of the screen.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Rosa, Paris Creative Direction Gilles Fichteberg, Jean-Francois Sacco Art Direction Safa Boughida Copywriter Juliette Jaouen

FINDTUR TRAVEL AGENCY Campaign

Agency Geeks Ecuador, Guiayaquil, Ecuador Art Direction Jason David Blanco Copywriter Jorge Villamar, Germán Demey Photographer Alan Friend

Vol 2/2022

136–137

TRAVEL + LEISURE

Lürzer’s Archive

TOP FIVE HOLIDAY Campaign

Agency Leo Burnett, Toronto, Leo Burnett Group Thailand, Bangkok Creative Direction Anthony Chelvanathan, Steve Persico, Lisa Greenberg

Art Direction Natee Likitsuwankool Illustrator Natee Likitsuwankool

ITA AIRWAYS Campaign

Agency We Are Social, Milan Creative Direction Mattia Lacchini, Paulo Cesar Gonzalez Art Direction Giulia De Chirico, Eleonora Errigo

See more of the campaign at luerzersarchive.com

Vol 2/2022

Copywriter Michele Vicari, Francesco Ravelli Photographer Alessia Zuin

138–139

With 210 in mind Ali Rez in his Dubai office, IMPACT BBDO for the MENAP region

INTERVIEW

Lürzer’s Archive finally caught up with Ali Rez, one of the world’s most awarded and well-travelled creative leaders, recently appointed as Chief Creative Officer at IMPACT BBDO for the MENAP region.

L[A] What does your elevation to the CCO role mean day-to-day?

AR The main change is my remit has expanded across the region. There is a goal to elevate the creative work even more than where we are. BBDO Dubai is now world-famous in a lot of rankings, and the desire is to extend that to other offices in our regional network. The dream is that all offices develop to a point where everybody’s creating the best stuff in the world.

L[A] We saw last year and the year before growth in awards going to agencies in the MENA region …

Why is that happening now?

AR I think it’s been there for a while and now more agencies from the region are entering awards. There is genuine appreciation for the fame you generate through winning at shows. Nobody wants to be the one left out. We are in the recognition and media business and so we have to be at the forefront of it.

Once the region started winning awards, it started attracting more and better talent, and now there’s a wealth of talent here. This produces even better work, that better work wins more awards, more awards bring even better talent in and it just keeps feeding itself, which is great.

L[A] How do you make it more organic, generating talent in the region?

AR The good thing about – and I’m speaking specifically about Dubai – is that culturally speaking, this is quite the melting pot. I’m speaking from the perspective of somebody who’s lived in San Francisco and New York, very obviously diverse cultural places, but I’ve never seen what I see here. We’ve got more than 45 nationalities in our office. It’s absolutely fantastic.

L[A] How big is the office?

AR We have about 300 people and it’s very diverse. Culturally, everybody speaks English here. Obviously, you gain the knowlLürzer’s Archive

edge of Arabic as you live here. But if I had to define a culture for the place, I would truly define it as just diverse. Of course, it’s an Arab country and we are in the Middle East, but Dubai itself feels so cosmopolitan culturally and diverse that it’s just hard to pinpoint one thing.

L[A] How do you encourage young creatives to emerge, and creative cultures and strength to develop?

AR It’s really magical to see cross-fertilising happen. You’re in a room and you’re brainstorming, and you’ve got somebody from Mexico and somebody from New Zealand and somebody from India and Lebanon and the UAE. And everybody approaches a problem from a very different perspective, and they bring a different kind of an insight to it. It’s the opposite of an echo chamber.

L[A] How did you start your journey into and through creativity?

AR I was always into drawing and art as a kid, but for some reason started taking up science. I was studying physics at uni but during my final exams I decided not to pursue it! [Laughter]. There and then I sketched the examiner’s face on my exam paper and I handed it in to him and he was just, as you can imagine, shocked.

I went home and told my parents: “I don’t want to do this, I want to pursue art.” Credit to them, they were like: “Sure. I mean, you walked out of your paper anyway, so I guess there’s no turning back here!” Bridges burnt and all.

Then I joined an art school, I found an internship at a local ad agency at a young age, and it was just never looking back.

L[A] That was where?

AR Pakistan initially. Then I went to the US, continued art school there, graduated, found a job immediately and have worked in advertising ever since. How I came to BBDO is a story, too. I was freelancing at that time and I had an idea that I wanted to create. So I took it to a couple of people but they said, no, it was too risky and bold for them to do. Then I took it to somebody I knew at BBDO in Pakistan and, true to the BBDO spirit, they said: “Sure.

Lays Smiles Packs

We’ll help make this happen.” They did and that idea became very famous and won a couple of Gold Lions, just out of nowhere. Then I got a call from the CEO at BBDO and he said: “Why aren’t you working for us?” And that was that.

L[A] That work was … ?

AR The project was called Not a Bug Splat. It was a poster campaign we did against drone strikes in Northern Pakistan and Afghanistan that were killing civilians, especially children. The problem that for a drone operator thousands of miles away, the people on the ground were nothing but anonymous dots, making the kill process completely devoid of emotion. So we printed really large portraits of children and put them in positions where a drone camera would see the face of a child, not just a little tiny dot. It was very impactful — even drone operators spoke up for the campaign. That was about eight years ago.

L[A] Can you give us some of the other highlights in your personal journey, or in the broader work of BBDO while you’ve been with the group?

AR From a people perspective, I’ve been fortunate to have really amazing people to have connected with here. People make the place, of course. I find myself blessed that this is a place where our CEO and Chairman Dani Richa comes from a creative background. He knows the value of really good creative, he pushes for big thinking, and he backs you up all the way. That trickles down into all the leadership through the region. Everybody understands the value of that, that the creative product is everything. And the previous CCO that was here, Paul Shearer, I learned a lot from too.

Everybody has been really kind here. I think there’s a cultural value of that kindness towards each other, and everybody knows that you’re here to do good work and be good to each other.

L[A] That’s terrific.

AR Workwise, the icons… there are a few things. For example, I find myself fortunate to be involved with a client that is the

newspaper in Lebanon called An-Nahar. They are incredible. Not only as a brand partner but just as somebody who’s out there to influence culture positively in Lebanon and fight the good fight.

They’re fearless. Every time we do something for them, they expect something that’s risky. “Unless you’re scared of it, it’s not going to be that great” is the attitude.

With them we did a wonderful project this year which picked up a Yellow Pencil at D&AD, the only one for this region this year, then followed up with a Grand Prix at Cannes. It was called the Elections Edition. It’s a spectacularly bold move. The Lebanese government was talking about how they might have to delay the elections in Lebanon because there was a shortage of paper and ink to print voting ballots. So An-Nahar stepped in and said: “Ok, we’re going to launch a special Elections Edition which is not going to be printed.” They shut the press and they sent all the paper and ink that was going to be used for that to the elections commission instead. The message was clear: ”Now you don’t have an excuse.” To have a newspaper not print their daily edition, that’s a big sacrifice. And that’s the thing with An-Nahar: they are in it for the greater good. The moment we took the idea to them, they said, “Absolutely. We’ll do this,” and they did it within one week. They’re one of the biggest papers in the region, I can’t think of another paper at that level that would completely shut down their operations for a day.

L[A] What are the big challenges then for the agency and for the region at this time?

AR The challenge for us is always the same. We’re in a region that — even though the UAE and some of the other markets are stabilized — has places around it that are volatile. A slight shift affects us. So one thing we have to do is always be ready to adapt and pivot. How we handled the pandemic here was a good indication of how quickly we can manoeuvre.

The other challenge that I would personally love to see — and it’s started to happen — is for global work to get generated out of here, out of the region, rather than the other way around. As we like to say: “We’re a global agency even if we’re in Dubai.” We have done that with some regional clients as well.

Vol 2/2022

142–143

INTERVIEW

An Nahar, New National Anthem

L[A] Any specific examples?

AR One example is on Seven-Up. The Pakistan market did really well with a Foodies strategic platform we built and then the model was so successful for them that they took it to many other markets — in APAC, in Europe – and it started from that particular spot.

Another good example you may be familiar with is the Lay’s smiling face packaging that came out of Egypt. That became a global packaging standard for them.

L[A] As the CCO, you are incredibly influential but also slightly less hands on than you were when you were coming up the ladder. How do you now make your influence felt and know what’s going on? I guess I am asking: how do you do the job?

AR I once worked for a creative director who put it really well, and I use that as a mantra all the time: “I’m not going to be the one to come up with the all the ideas here, but I’d like to be the one that creates the environment that generates the best ideas.”

I need to create an environment to support that. One vital thing is to understand everybody’s purpose, and I keep asking that of everybody on my team. If I’m bringing somebody new on the team, that’s the first thing I want to understand: what is your purpose and what do you want to achieve?

It’s that purpose — if you keep reminding people of why they came into the business — that will elevate their work. I think a lot of times, the daily grind can distract... this is a business of rejection, Lürzer’s Archive

let’s be honest. Advertising has always been a business of rejection. Out of the 10 things that you present, nine things get rejected, and one thing gets produced. You just have to make sure that that one thing that gets produced is something that you’re really proud of. You need to deflect all this other stuff that happens and help the focus on that purpose that brought people into the business. If you can give people that confidence that they can achieve it, then it truly does magic.

L[A] We are living in interesting times for ‘brand purpose’.

Today, it seems that we know to be talked about, for a brand to have a meaningful role in the world, you have to have a lot more depth to what you say.

AR Yeah, I think that’s very fair. You’re spot on. Even when I started, there was a very distinct division between the work you’re doing to generate commerce and what used to go up to ‘special purposes’. I have a book from Saatchi that’s called Social Work that was just a different process of work for the agency.

In the past you might say: ”OK, we’ll favour this cause and then we’ll make a specific ad for that.” But now I think the line’s just evaporated. Last year we had to launch a product for our client Tena, which was incontinence pads for women approaching menopause. The launch project, which is commercial in nature because obviously, it’s a business, became a social cause because it attacked this quirky but insightful cultural problem. And that is that in Arabic, the term for menopause was the ‘Age of Despair’.

TENA Hands Visual

L[A] That’s heavy.

AR Exactly, this idea that you can come to a place where a woman’s usefulness is done when she’s approaching menopause!

We reached out to all the women we could in the region and said: “Time to change this. What do you think menopause stands for?

And you get to call it whatever you want to call it!” Of course, we had thousands of responses. The term got changed to ‘Age of Renewal’.

We had a dictionary change it. Of course, TENA sales did really well too. That’s a perfect example of brand purpose. In order to sell the product, we had to do something as a movement that is positive for the culture. And I think we’ll just keep seeing more and more of that.

L[A] It’s exciting that we now put more significance, take more responsibility, around the fact that this industry has huge influence on values. It’s not changing behavior simply to help commercial success but changing behavior that helps change society.

AR Absolutely. I was reading somewhere that by 2030, about 90% of advertising will be ‘green’… it will be socially focused. Advertising must become more responsible and be involved in really solving the problems.

L[A] What inspires you personally?

What do you do when you’re not at work?

AR I spend a lot of time with my son who’s approaching six now.

It’s a wonderful age because it’s an age of total curiosity. I love that reminder on a daily basis that it’s really awesome to just question things. It’s great to be unafraid of trying to build something that might collapse… you’ll just build it again. There is a certain fearlessness when a child approaches a task.

In my personal time, I mountain-bike a lot. I’m into cycling generally but especially mountain biking, and it teaches you a lot of things. It’s good for the adrenalin too. Mountain biking is a lot about overcoming your fears. Every time you do a difficult slope downhill, you want to do a more difficult one because you get bored otherwise. You just keep pushing yourself up the level of risk-taking. It’s a great confidence builder.

L[A] And cultural influences …?

AR I’m what you call a third culture kid. I was brought up in several different countries when I was growing up. My father was an aviator and a diplomat, so we lived in various places around the Middle East. I grew up in China, so we traveled around the Far East a lot – Japan, Singapore, Hong Kong. I went to international schools where I met people from different cultures. It teaches you firsthand that there is a world outside your own world, that there’s so much more to explore. Even now, I dislike going back to the same place I’ve been before. I always tend to look for newer places to go to.

Vol 2/2022

144–145

Not A Bug Splat

L[A] You have visited many countries. Are you keeping count?

AR

133.

L[A] How many in total are there?

AR: It depends on who you ask. I have 210 on my list, the UN has 193, so I’ve a few extra ones.

L[A] Is there a big objective?

AR

Yes, to get to 210 one day.

L[A] Is there a particular country, a priority, that for some reason you haven’t yet reached but is high on your list to go to next?

AR Yes, there are a bunch. I am going to one this summer that I’ve been meaning to go for ages, Panama. I’ve always wanted to see the canal as I have always been into engineering.

The other one I get dinged on with “Oh, you haven’t been there?” is Nepal. I haven’t been there because it’s the kind of country you want to spend a long time in. But my brain, the way it computes, asks: “Should I spend 10 days there or should I go to three countries in those 10 days in…?”

L[A] This year, among other things, you were a juror at Cannes in 2022 and the Jury Chair of Cresta Awards.

What’s the value of creative awards?

Lürzer’s Archive

AR The value of creative awards is that it forces you to do better work. And by “better” I mean not only better than everybody else out there but better than what you yourself were doing. You’ve done one great piece of work, how are you going to beat that next year? You need to know that everybody else is producing better and better work every year. Every year, the standard gets slightly higher, and you get to see a little bit of where things are headed in the future. Taking part in awards disciplines you to really put your heart into your work.

L[A] If you weren’t doing what you do today, what different role would you like?

AR The one thing that I’m very tempted to start learning is to be a pilot, I’d love to do that.

L[A] What kind of pilot?

AR

Oh, the big planes.

L[A] … not a Top Gun Maverick role?

AR No! The big plane, probably a commercial pilot. It would be a dream to be flying all over. I think that is a remnant from my childhood because I was constantly on a plane. Even now, I sleep best on a plane.

L[A] That is your natural state?

AR

That’s my natural state.

Film [148–156 148–156]] Client Veuve Clicquot Agency BETC Etoile Rouge, Pantin, France Creative Direction Florence Bellisson

Art Direction Julie Richard Copywriter Jeremy Claud Director Jan Gleie Production Birth Vol 2/2022

146–147

FILM

VOLKSWAGEN Game On

ASTON MARTIN Never Leave Quietly

JAGUAR LAND ROVER The Out

With a mix of Afrofuturism and a retro gaming aesthetic, this partly interactive spot from Ogilvy Cape Town turns the bustling Johannesburg streets into a vibrant playground. The spot promotes Volkswagen’s I.Q. Drive tech, while also offering specialized NFTs for viewers to create a playable brand experience.

With awe-inspiring special effects courtesy of Polish production company Platige Image, this high-octane spot from Prism demonstrates the dazzling speed of the new Aston Martin V12.

As the turbo charged sports car speeds through an empty city, shards of crystals are created by the car’s velocity. The film’s impressive visuals are followed by a whispered message to ‘never leave quietly.’

NGN LAB has unveiled its debut work for Jaguar Land Rover’s luxury car rental service The Out, which features Ollie Olanipekun, the founder of Flock Together, the club promoting more representation of people of color in nature.

NGN LAB, Engine’s social-first creative unit, turned electric cars (plug-in, hybrid and full) from The Out’s fleet into living, moving cameras for the campaign ‘Notes from the road’. A number of digital creators were then invited to capture the personal adventures made possible through this next-level car rental service.

Agency Ogilvy & Mather, Cape Town Creative Direction Riaan Van Wyk, Alex Goldberg, Camilla Clerke Art Direction Melissa Raath, Annie Bekker

Copywriter Alex Goldberg, Dominique Swiegers Director Sam Coleman Production Patriot

Agency Prism Sport + Entertainment, London Creative Direction Cesar Garcia

Art Direction Laura Garriga Director Cesar Garcia Production Platige Image

Agency Engine Creative, London Creative Direction Jess Turner

Art Direction Jess Turner Copywriter Dimitri Karoullas

PILSEN PARAGUAY Pilsen Extra Moustache

HEINEKEN Edelweiss

In this playful spot from Grey Argentina for Pilsen Paraguay, a suave black and white video introduces the Pilsen Moustache, a bespoke trim that limits beer wastage. According to the film, millions of litres are wasted each year after being caught in the hair follicles of men’s whiskers. As an added bonus, anyone sporting this new look could be granted a free pint of Pilsen Extra (only after visiting the coolest barbers in town, of course).

To prove the freshness and clarity of Edelweiss Beer, this spot by Fred & Farid is set on the Alps… literally. Shot on location, the actors are shown gracefully floating and flying through the beautiful scenery, demonstrating the flavor and crispness that is found in every sip of Edelweiss.

Agency Grey, Buenos Aires Creative Direction Alejandro Rattenbach, Emiliano Cortez

Agency Fred & Farid, Los Angeles Creative Direction Nicolas Berthier Art Direction Pierrick Jegou, Bridget Callahan

Lürzer’s Archive

Art Direction Victor Opazo, Leandro Mingrone Copywriter Agustiìn Rodriguez, Juan Carnelos

Director Juanma Montero, Matias Sasias Production Guaraniì Films

Director Arnaud Uyttenhove Production Caviar Content

VEUVE CLICQUOT Good Day Sunshine

VESTAIRE COLLECTIVE Long Live Fashion

Filled with vibrant summer yellows and a mellow cover of The Beatles classic track ‘Good Day Sunshine’, this buoyant, summery spot from BETC Etoile Rouge promotes the at-ease-exuberance of esteemed champagne house Veuve Clicquot.

Fashion B Corp, Vestiaire Collective and Droga5 London have launched a new brand campaign to re-introduce their pre-loved fashion marketplace, with a runway show modeled by a collective of fashionable puppets made entirely from pre-loved clothes. The campaign and its collection of stylish sewn stars sets out Vestiaire Collective’s new brand philosophy with the positive rallying cry ‘Long Live Fashion’, expressing the brand’s love of fashion and desire to make it live forever.

Agency BETC Etoile Rouge, Pantin, France Creative Direction Florence Bellisson Art Direction Julie Richard

Copywriter Jeremy Claud Director Jan Gleie Production Birth

Agency Droga5, London Creative Direction David Kolbusz, Shelley Smoler

Art Direction Sarah Sutherland, Ashley Hamilton

Director Andreas Nilsson Production Biscuit

BURGER KING All About the Whopper

BURGER KING Burger Glitch

MCDONALD’S Superhero

This amusing campaign for Burger King manages to prove two things for the international brand; the Whopper is recognized all over the world and that all their other burgers may need stronger marketing. After holding a survey that asked the public to list the burgers offered by Burger King, 85% of people could only name the Whopper. To capitalize on this brand familiarity, Burger King has promoted its greatest asset with a global campaign which proclaims that it’s ‘all about the Whopper.’

In this witty, gamer-oriented campaign for Burger King Brazil by David São Paulo, the surreal humour created by glitches is used to promote a hunt on Burger King’s own app for buggy deals. Targeting the brand’s gamer demographic, the app also invites players to post any glitches that they discover to earn a discount coupon.

This poignant spot by TBWA\Spain shows the relationship between a father and son. Bonding over a McDonald’s meal as a child, the boy sees his dad as a literal superhero, complete with cape and spandex. As the years pass and he matures, this mythologized version of his father begins to fade. With maturity and time, the young man once again sees his dad as a true ‘superhero.’

Agency INGO, Stockholm Creative Direction Björn Ståhl Art Direction Max Hultberg

Copywriter Magnus Ivansson Director Erik Ericsson

Agency David The Agency, São Paulo Creative Direction Fabricio Pretto, Rogério Chaves

Director Gabriel Nobrega, Sergio Salles, Alberto Lopes Production LOBO/Vetor Zero

Vol 2/2022

Agency TBWA, Madrid Creative Direction Juan Garcia-Escudero De Soto, Javier Martinez, Juan Pablo Fernández

Production Blank Films

148–149

FILM

WEETABIX Oatibix: Walk The Plank

MAGNUM Classics Can Be Remixed

Weetabix’s oat alternative, Oatibix, proves the dictum that breakfast is the most important meal with this fun spot by BBH London, in which a boy’s last request before walking the plank is simply a bowl of the cereal. Using the power of the grains, the prisoner is able to escape from captivity, much to the astonishment of the other pirates.

Magnum’s collaboration with Kylie Minogue and Peggy Gou continues the brand’s long heritage of partnering and championing inspiring creative disruptors that break down barriers across music, art and culture in the pursuit of being true to themselves, encouraging others to do the same.

The Classics Can Be Remixed creative supports the brand’s summer NPD Magnum Remix – three brand new flavours inspired by Magnum’s classics range – resulting in a fully integrated campaign across earned media, paid digital, paid and organic social and influencer channels.

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Chris Clarke, Matt Moreland

Art Direction Stephanie Flynn Copywriter Olivia Shortland Director Tim James Brown

Agency LOLA MullenLowe, Madrid Creative Direction Tomas Ostiglia, Jorge Zacher, Kevin Cabuli

Art Direction Pedro Mezzini Copywriter Augusto Callegari Director 1st Avenue Machine

FIVE STAR CHICKEN The Movies That Made (From) Us

B&Q Change Made Easier

BBDO Bangkok’s eccentric, yet engaging, spot for Five Star Chicken aims to prove that you can please every target market (sort of). The innovative film follows brand presenter Weir as the general public are interviewed about what the ad should include. The customers direct the content of the film (from Gen Z to Baby Boomers) in an attempt to create the most universally perfect ad, with chaotic results.

In this visually awe-inspiring spot for home improvement retailer B&Q titled ‘Flip’, director Oscar Hudson is able to replicate the profound changes (both metaphorical and physical) pregnancy can have on a home. Scored by a plaintive piano version of the David Bowie classic ‘Sound and Vision’, we see a woman dealing with the world-changing news that she is pregnant and the effect that this has on her household. The ad ends on the note that B&Q is there to make these seismic life changes easier to handle.

Agency BBDO, Bangkok Creative Direction Phacharanath Jamornchureekun

Lürzer’s Archive

Art Direction Chumjit Yuanlae Copywriter Worrawan Chailert

Director Teerapol Sunet Production Suneta House

Agency Uncommon Creative Studio, London

Director Oscar Hudson Production Pulse Films

FC HOME & DECO The Friendly Breakup

BURGER KING Even More Confusing Times

With the rates of divorce and separation increasing due to the pandemic, FC Home & Deco have created a practical, if slightly amusing, solution to messy break-ups – furniture that can be physically separated. This simple ability to divide belongings should lead to more amicable splits (in theory...).

As part of Burger King’s introduction of plant-based ‘chicken’ to the menu, this spot by David Madrid follows several people with confusing predicaments. Coupled with a dramatic, Hollywood-style voice over, these baffling situations include whether Max is a dog or a boy’s name and is a deleted message to an ex worse than the actual message? After all of these scenarios, plant-based meat alternatives may not be so confusing after all.

Agency Wunderman Thompson, Lima Creative Direction Bruno Reggiardo, Diego Figueroa Art Direction Diego Izquierdo, Julio Silva, Nonoy Perez

Copywriter Militza Quispe Director Martin Donozo, Seba Mega Production Ladoble

Agency David, Madrid Creative Direction David Krueger, André Toledo, Fred Bosch, Saulo Rocha, Sebastien Rouviere

Art Direction Pedro Sattin Copywriter David Krueger, Sebastien Rouviere

Director Francesco Del Minio Production Blur Films

HORNBACH Unleashed

PLAYSTATION PlayStation Plus

APPLE Escape from the Office

German DIY chain Hornbach released their spring campaign with a chaotic film, ‘Unleashed’, which features joyriding shrubbery. To show what will happen if you do not tend to your garden in spring, a group of trees take a debauched car ride to the nearest Hornbach store. The tongue in cheek spot ends on a semi-threatening line; ‘Come to Hornbach. Before your garden does.’

To promote the all-new PlayStation Plus, this spot explores the infinite possibilities that gaming offers and asks the question, ‘Why be one thing when you can be anything?’. To showcase the fantasies that can be lived through video games, this spot is peppered with references and easter eggs to PlayStation games, including Bloodborne and Ghost of Tsushima.

Agency Heimat, Berlin Creative Direction Guido Heffels, Marlon Fischer

Agency adam&eveDDB, London Creative Direction Mike Sutherland, Ant Nelson, Richard Brim,

This epic 9-minute spot from Apple follows a spirited group who evade their boss Vivienne, as they fantasize about starting their own company one day. The group, known as The Underdogs, begin to grow their own empire thanks to the help of Apple products (even though their office is still situated in a smelly garage). Things begin to go well, until their evil boss returns to buy the fledgling start-up.

Copywriter Guido Heffels, Traktor, Marlon Fischer Director Traktor Production Stink

Darren Beresford, Richard Gayton Director Henry Hobson Production MJZ

Vol 2/2022

Agency Apple, in-house, Cupertino, California

Director Mark Molloy Production Juggler

150–151

FILM

SAMSUNG The spider and the window

SAMSUNG The Awesome Product Adventure

META A (Slightly) Life-Changing Story

In this adorable spot for Samsung’s Galaxy S22 Ultra campaign, a romance blooms between a spider and the Galaxy smartphone, due to the similarity between the ‘eyes’ of the phone with the spider. This quirky love story manages to promote the prowess of the phone’s camera and marry it with an emotional tale of acceptance.

The Awesome Product adventure is a 3-minute long odyssey that sees a father and his son embark on a journey of discovery while riding the living-room couch. As they progress through unexpected encounters and overcome many perils along the way – each highlighting a distinct and awesome feature – they also get closer to each other.

As part of Meta’s ‘Good Ideas Deserve To Be Found’ campaign, this colourful spot by Droga5 takes the form of a tongue-in-cheek musical. With an original funky song, the film promotes small businesses found online, thanks to the help of Meta, and celebrates uniting several customers with personalized ads. Finding an eco-sponge or bespoke jean tailor is given a touch of pizzazz, with the ad utilizing intricate, vibrant sets and hundreds of extras.

Agency Leo Burnett, Frankfurt am Main Creative Direction Benjamin Merkel, Helge Kniess, Valentin Dietmar Art Direction Fabio Silva, Carlos Karan,

Alina Baumgardt Copywriter Mario Loncar, Andres Blumenthal Director Dorian & Daniel Production Zauberberg Productions

Agency Wieden + Kennedy, Amsterdam Creative Direction Edouard Olhagaray, Andrew Watson, Ramona Todoca Art Direction Cecilia Pignocchi

Copywriter Andrew Duncan, Tyler Andre Director Vedran Rupic Production Riff Raff

Agency Droga5, New York Creative Direction Paul Meates Art Direction Ben Muckensturm

Copywriter Ben Brown Director Floria Sigismondi Production Believe Media

LIDL HELLAS Dish

IKEA Let Play Unwind Your Mind

A plate, no matter how big or small, is connected to the whole world. Because it’s not only about what we eat. It’s about the way it’s produced, the value it adds to our nutrition, the energy we choose to use and what we do to protect the earth and its resources. With a plate as a starting point, escalating to other circular objects with dynamic animation, we see Lidl’s purpose and vision related to sustainability and climate neutrality coming to life. This escalation finally climaxes with the most wonderful and colorful plate of all.

Our planet.

This campaign for IKEA by Mother reminds us that adults need playtime too. Studies have shown that play has a positive effect on a child’s health, often spurring creativity. In order to break the mundanity of day-to-day life, this colourful spot shows the different playful objects that can be bought from IKEA. A young couple begins to fantasize and, suddenly, their dining table is turned into a ping pong set and a hopscotch square materializes out of nowhere. The film ends by reminding us to let play ‘Unwind your mind.’

Agency The Newtons Laboratory, Chalandri, Greece Creative Direction Vangelis Tolias

Lürzer’s Archive

Art Direction Giorgos Pavlidis, Faye Theodorou Copywriter Dimitra Andrikopoulou, Alexandros Konstantinidis

Director Gregoris Rentis Production Topcut Modiano

Agency Mother, London

Director Alaska Production Iconoclast

THE NEW YORK TIMES Independent Journalism for an Independent Life

SAINT-GOBAIN New World

AUDIKA Love Your Ears

Droga5’s latest spots for The New York Times use newspaper headlines to reflect the rhythm of a subscriber’s life to their reading history. Each advert follows one reader – Jordan, Vera, Becky, Lianna and Yassmin – their singular lives and interests are revealed through what they read.

By shifting the lens onto audiences they show the ‘personal impact’ of journalism.

Publicis Conseil’s new spot for manufacturer Saint-Gobain portrays the promise of future sustainable construction. The film follows two children as they play football through the streets and use their imagination to transform the city around them. This symbolizes the forward thinking, freeing idealism that Saint-Gobain wishes to implement in the construction sector.

Agency Droga5, New York Director Toby Treyer-Evans, Laurie Howell

Agency Publicis Conseil, Paris Creative Direction Marco Venturelli, Nicolas Thiboutot

This emotive and engaging spot from &Co for the hearing aid clinic Audika poses the central question; what sound will you never forget? As we see a montage of important life events like a child’s first birthday and a couple getting married, we are reminded about the importance of the aural elements of a memory. The video ends with these precious sounds fading away into silence and reinforces the necessity for proper ear treatment.

PROSTATE CANCER UK Ode To Dads

FRANCE PARKINSON The Dance

With a comical and bittersweet reworking of Robbie William’s hit song, ‘She’s The One’, this tribute to fathers around the world mixes filmed moments with real life footage of dads in the wild. The lyrics blend the hilarious (‘if there’s somebody, who’s nose hairs too long, he’s the one’) with the poignant. As the spot ends, it asks us to imagine a world without dads, highlighting the importance of prostate exams.

Parkinson’s disease is the second most common neurodegenerative disease after Alzheimer’s disease in France and across the world. France Parkinson wanted to raise public awareness about ‘the most unknown of all known diseases’. In a film with a poetic aesthetic and direction, France Parkinson explores the deprivation of freedom of movement through dance, which is impeded here.

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Nick Gill Art Direction Luke Till

Copywriter Lawrence Bushell Director Dan Emmerson Production Somesuch

Agency TBWA, Paris Creative Direction Benjamin Marchal, Faustin Claverie

Art Direction Kamel Makhloufi Copywriter Julien Colas Director Realité

Art Direction Sebastien Skrzypczak, Morgane Alexandre

Vol 2/2022

Agency &Co./ NoA, Copenhagen Creative Direction Johan Køhler Art Direction Simon Mogren, Jeppe Hansen

Copywriter Johan Køhler Director Caroline Koning Production New Land

Director Norman Bates Production BADASS FILMS, \Else

152–153

FILM

GREENWEEZ The Community

FRONTLINE 19 Hopeline 19

‘The Community’ is the story of a group that lives an ultra-environmentally friendly lifestyle.

While most eschew all things modern, thinking that the best way to be eco-responsible is to forgo virtually everything, one family stands out.

They seem to break the rules but, thanks to Greenweez, they can follow all the community’s guidelines by buying reconditioned goods and eco-conscious products.

Two in five frontline staff are suffering with PTSD as a result of the pandemic – nearly double the rate of recent military veterans. This trauma is the focal point of adam&eveDDB’s first work for the charity Frontline19, which offers support for NHS and frontline workers struggling with their mental health. At the heart of the campaign is a free phone service called Hopeline19, which allows people to leave messages of support that will provide a boost for frontline workers when they are feeling vulnerable and traumatised.

Agency Rosa, Paris Creative Direction Gilles Fichteberg, Jean-Francois Sacco Art Direction Matthieu Vivinis

Copywriter Julien Perrard Director Augusto Gimenez Zapiola Production Birth

Agency adam&eveDDB, London Creative Direction Mike Sutherland, Ant Nelson

Art Direction Richard Gayton Copywriter Darren Beresford

HUMAN SOCIETY INTERNATIONAL Save Ralph

AMERICAN RED CROSS You’ve Got Time

Featuring a roster of A-list voice over actors (Taika Waititi, Ricky Gervais and Zac Efron, to name a few) this stop-motion animation mockumentary is part of Humane Society International’s global campaign to put an end to cosmetic animal testing. The story follows Ralph The Rabbit, a tester who is used by the government for poisoning tests for the cosmetic industry.

This public service announcement from American Red Cross by BBDO New York forgoes sentiment for humour (while also commenting on the influence of technology/social media in our lives).

A catchy original song implores people that they have time for volunteering to install smoke alarms for Crossimpoverished communities... they just have to put away their smart phones first.

Agency Blue-Tongue Films, Sydney Creative Direction Spencer Susser

Lürzer’s Archive

Art Direction Andy Gent Copywriter Spencer Susser

Director Spencer Susser Production Arch Film Studio, Blue-Tongue Films

Agency BBDO, New York Creative Direction Roberto Danino, Elliot Jobe Art Direction Sei Rey Ho, Mariana Oliveira

Copywriter Joaquin Salim Director Jessica Coulter Production O Positive

ESSITY Last Lonely Menopause

ESSITY #Periodsomnia

Telling the truth without sugar-coating or catastrophising, the film shows the painfully relatable but rarely-seen-on-tv potential realities of menopause, from rogue beard hairs and night sweats to hormonal rage, lube-fuelled intimacy, and bladder weakness. The short film is one of the only ads about bladder weakness to actually show urine on screen. It shows the challenges but also the triumphs of this life stage, combatting overwhelmingly negative stereotypes about menopause that feed the fear of ageing.

This time, Bodyform is diving into the dark to reveal the truth of periods at night. From children’s books to Hollywood, there’s a universal myth of the Sleeping Beauty. Perfect, neat and still, waking up feeling fresh and rested.

Bodyform wants to dive beyond the clichés to show the bleeding, the dreaming, the bloating, the tossing, turning, tiptoeing, the farting and the struggle to sleep soundly. Again, they’re finding distinctive and novel ways to represent period blood. This time, we see beautifully arresting medusa-like blood, detaching from the uterus and flowing through the body.

Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Jim Hilson

Director Shannon Murphy Production Lief

Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Nadja Lossgott, Nicholas Hulley

Art Direction Anzhela Hayrabedyan, Luca Grosso Copywriter Anzhela Hayrabedyan, Luca Grosso

NEW YORK OFFICE OF THE MAYOR NYC Says Gay

GREENPEACE Wasteminster: A Downing Street Disaster

Commissioned by the New York office of the Mayor, this print campaign is a reaction to Florida’s controversial legislation known as the ‘Don’t Say Gay’ bill. New York has shown its support for the LGBTQ community with several digital billboards that proclaim ‘NYC Says Gay’.

As part of Greenpeace’s 2021 campaign, Studio Birthplace and Park Village created a haunting visualisation of the plastic waste that the U.K. exports to the world. Using a mix of impressive C.G.I. and amusing caricatures of British politicians, ‘Wasteminster’ visually represents the global crisis of plastic waste.

Agency VMLY&R, New York Creative Direction Emily Sander

Art Direction Rob Reilly Typographer Hamish McArthur, Quinn O’Connor

Agency Studio Birthplace, Arnhem, Netherlands Production Park Village

Director Kim Gehrig Production Somesuch

CALM (THE CAMPAIGN AGAINST LIVING MISERABLY) The Last Photo Created by adam&eveDDB, who launched CALM’s powerful Project 84 about male suicide in 2018, ‘The Last Photo’ marks a new kind of campaign for CALM. By not only raising awareness of a misunderstood aspect of suicidal behaviour, but also equipping the nation to help prevent suicide – even when the so-called ‘signs’ are invisible.

Agency adam&eveDDB, London Creative Direction Mike Sutherland, Ant Nelson, Danny Wright

Vol 2/2022

Art Direction Sam Quinton Director Max Fisher Production Cain & Abel 154–155

FILM

NIKE Nike 50th Anniversary: Seen It All

PORÃO CROSSFIT Challenges

Coordinated with Nike’s fiftieth anniversary, this Spike Lee directed joint celebrates the esteemed past of the Nike brand as well as the potential of its future. Showing a montage of the brands affiliation with athletes, the spot also includes Lee himself performing as Mars Blackmon, a character from his classic film ‘She’s Gotta Have It’.

To illustrate LGBT+ inclusion, Porão CrossFit shows the challenges that some people may face.

Symbolizing problems like discrimination and loneliness as weights on a barbell, we see how a member of the LGBT+ community can overcome the weight of these problems by lifting it above them triumphantly.

Agency Wieden+Kennedy, Portland Creative Director Ryan O’Rourke, Alberto Ponte

Art Director Pedro Izique Copywriter Kevin Steele

Director Spike Lee Production 40 Acres And A Mule

Agency Hokma Comunicação, Fortaleza, Brazil Creative Direction Italo Medeiros, Diego Medeiros

KATHMANDU Made For Out There

HOTELS.COM Find Your Perfect Somewhere

As a remedy to fast fashion, Kathmandu has created biodegradable clothes that decompose via tiny micro-organisms. In a light-hearted mixed media spot, we can see how BioDown material is designed to go ‘on and on’ before disintegrating in a landfill.

To demonstrate the matchmaking quality of Hotels.com, this series of videos for the company’s ‘Find Your Perfect Somewhere’ campaign personifies several hotel’s in the same manner as an online dating site.

The three ‘personalities’ of hotels (family resort, boutique, and business) tell us about themselves. This fun spot by Wieden + Kennedy Portland conveys Hotels.com’s pledge to match the guest with their ideal accommodation.

Agency Special Group, Auckland Creative Direction David Shirley

Agency Wieden + Kennedy, Portland Creative Direction Hermeti Balarin, Ana Balarin, John Petty

Lürzer’s Archive

Art Direction James Showler Director Stefan Hunt Production Exit Films

Art Direction Nick Stokes Copywriter Nicole Blauw

Director Los Perez Production Biscuit

Art Direction Italo Medeiros, Alvim Silveira Copywriter Thais Amaral Director Arthur Luz Production Bluz Films

Digital [158–166 158–166]] Client Greenpeace Agency VMLY&R, São Paulo Creative Direction Rafael Pitanguy, Beto Rogoski, Jeferson Rocha, Guilherme Aché, Denon Oliveira, Frederico Teixeira

Art Directon Felipe Paganoti, Thiago Dias Copywriter Igor Pontes, Lucas Veloso, Yuri Facioli Illustrator Segue.Pro, Rafaella Tuma

Digital Artist Rodolfo Martins, Felipe Paganoti Production Produka Director Marcelo Raimondi

Vol 2/2022

156–157

INTERVIEW

Being surrounded

by A grade creatives was my best school It’s been more than 15 years since Alita Pereyra started working in advertising in Argentina, a country that exports as many creative talents as gifted soccer players.

She has worked in independent boutiques and crowded network agencies with local, regional and global clients. Alita went digital at a time when you could add a brand as a friend on Facebook and when we referred to ‘second screen’, we meant our other television at home.

Alita says she has had the pleasure of teaming up with talented professionals that taught her everything she needed to become a Creative Director. Adding, ‘It sounds easy, but it’s been as challenging as it has been rewarding to be part of the 8% of female creative leaders in Argentina.’ To keep the creative energy flowing, she teaches classes at the same school she studied at. She is part of Mediabrands’ mentoring program and is also a collaborator on Publicitarias.org. Recently, she relocated to the US, becoming the first Regional Creative Director at Mediabrands LATAM. L[A] Hello Alita, can you tell us a bit about your current position and where you’re coming from – in every sense of the word?

AP Thank you so much for this opportunity to share my story.

Currently, I hold the Executive Creative Director position at Mediabrands Content Studio Latin America. I’m based in Miami, where we have the Regional Headquarters for LATAM. But it all started in Argentina, South America. I was born in Concordia, Entre Ríos, a province located on the border of Argentina and Uruguay and I spent most of my life living in Buenos Aires.

When I finished high school, I started studying economics at Buenos Aires University, while also doing an internship at Grey.

That’s when I decided to change careers and left the University to pursue creative studies. At the time, there wasn’t a formal career path, so I studied in the best school, ‘Escuela de Creativos’, where all the Argentinian creative stars attended.

My legacy agency background started at Grey and then I had the opportunity to work at Del Campo Nazca Saatchi & Saatchi and Ponce Mullen Lowe. I also worked for smaller independent agencies such as United Virtualities, Gowland and Origami (that was later acquired by Circus and is now Media.Monks). I got to experience it all; working alongside local, regional and global clients in boutique agencies and crowded network offices.

In 2014, I received an offer that was really unexpected for Lürzer’s Archive

me, as it came from a media agency called Initiative. They were looking for their first Creative Director, and wanted me to work exclusively for Unilever brands – all 33 of them. So I decided to take a leap into media and leave the creative agencies behind.

I started as Creative Director & Strategist at Mediabrands’ Initiative for Southern Cone (Argentina, Uruguay, Chile). A few years later I got promoted to lead Creative Direction & Strategy for Unilever Latin America (all LATAM markets), and finally accepted a role as ECD at Reprise, giving birth to Creative Studios (IPG Mediabrands digital creative agency at the moment). That was about 2019, I had a team of 25+ talented professionals covering creative, digital production, project management and influencer management working for top CPG and entertainment brands in the Southern Cone.

Also, since day one, I’ve worked really hard to get Mediabrands’ work recognized by industry peers. By 2019, Mediabrands was the most awarded media agency in the region, was #1 at RECMA (an International Media Agencies Ranking) and Unilever was recognised as the most awarded brand at Festival of Media LATAM. Argentina was the market that brought the most recognition to the agency, so I was more than proud of the quality of work we were delivering.

The next step in my life design was to have an experience abroad. So, I pitched to the Executive Leadership the reasons why I wanted to be relocated and the impact my promotion could have. It was a tough negotiation, but I finally got what I wanted: a relocation and a promotion. That’s how I became the first Regional Creative Director at IPG Mediabrands LATAM, and moved with my family to Miami.

These past two years have been full of challenges. I started work on 6 January 2020 and in two months our lives changed completely because of the pandemic. I can now say that I’ve grown a lot these last few years.

Mediabrands Content Studio was launched at a global level

by Brendan Gaul and in LATAM all creative and content talent

is now under my supervision. I work hand in hand with Nicolás Ramonde – MBCS Latam Managing Director – and we have strong leadership in place in Mexico, Brasil, the Andean Region (Colombia, Ecuador & Peru) and Southern Cone (Argentina, Chile, Uruguay). I’m so proud of all the excellent work the teams are doing and really happy about how we all work in a globally connected way with markets around the world. This year Alfonso Marian joined MBCS as our Global CEO and CCO. So, there’s a lot more to come.

L[A] What are some of the creatives you considered influential for your career? Any role models?

AP When I started in Grey, Carlos Pérez was the CCO so he was definitely the first impression I got of the industry. Then I had the privilege of working and learning from the best: Anita Rios, Gabriel Huici, Juan Lufrano, Fernando Tchechenisky, Pablo Fusco, Papón Ricciarelli, Gastón Bigio, Tamara Litovsky, Juan Manuel Montero, Sebastián Santana, Daniel Minaker & Patán Tarazaga, Matías Martty, Natalia Benincasa, Sebastián Graccioli… there are a lot of impressive creatives in Argentina, so I was very lucky.

When I started working in advertising, there weren’t many female creative leaders to look up to. I’m happy to be one of the few Latinas holding a regional creative position and I think a lot about the impact my career could be having on future generations. That’s why a few years ago, I joined Publicitarias.org as a volunteer, representing Publicitarias US. Publicitarias was founded by Melanie Tobal and is a community of women in comms & advertising working towards a more inclusive and diverse industry. I can say that the community as a whole has influenced me in a very positive and profound way.

As role models within the Industry, I’m always looking at what Carlos Bayala is doing. I’m a big fan of his and he handed me my diploma at my graduation ceremony. I also follow Maren Lau, Regional VP at Meta, closely too.

L[A] Since when have you been interested in advertising, classic or digital? Any key moments in your development from a student to where you are now?

AP My interest in advertising sparked in 2000 when I started my internship at Grey. It was a great experience because I got to work with the production team and at that time print and TVCs were produced with such craft. I got to work with the best directors and photographers.

Then, when I was a senior creative, I was offered a role at Del Campo Nazca Saatchi & Saatchi and then Ponce Mullen Lowe.

Those agencies were top of the top. Being surrounded by A grade creatives was my best school.

Another key moment for my development was when I got selected for the IPG LATAM Leadership Training. That was in 2016, I got to be part of the ‘Dynamic 16’, a selection of talent that was being trained during a whole year to prepare us for future leadership roles.

Being on juries at different award festivals has also made me grow a lot professionally. I had the pleasure to be on the executive jury for the Global Gerety Awards, Effies, IAB, Festival of Media Latam, Mexican Creative Circle and even President of the Media Category in El Ojo de Iberoamérica.

And lastly, I have to say that when I was named Media Professional of the Year 2020 by AdLatina – AdAge, I was getting recognition from the industry and it felt like a key moment in my career.

L[A] What were some of the projects that you have been proudest to be involved in throughout your career?

AP Luckily, I have a few to mention. I’ll go with my favorites in chronological order.

When I was a junior, I created an experiential activation for AdeS, a leading soy-based beverage brand in Latin America that was a Unilever brand and is now a Coca-Cola product. It Vol 2/2022

158–159

INTERVIEW

Corner Magazine ‘Ask for 24’ – This campaign comes from MullenLowe Brasil. I really like how a cultural tension sparked a conversation that had a positive impact on the sport Brazilians love the most: soccer.

Turner ‘Subscribe to your passion’ In this campaign, we worked with Ponce MulllenLowe to translate their concept to the digital world.

received so much media amplification that it got to the cover of newspapers and prime time TV. Basically, we invited people to reconnect with nature by placing 10 tons of fresh grass overnight on one of the busiest downtown streets of Buenos Aires. Florida street, a pedestrian-only street, was covered entirely by grass and we created an installation with natural sounds. People that walked by every day couldn’t believe their eyes. All the media outlets came to cover the news and we got tons of free coverage. This campaign gave me my first industry awards, so it was quite a start.

Then I should mention the first real time digital billboard in Argentina, another experiential created for L’Oréal’s Maybelline.

They were launching a new 24-hour lasting lipstick and we created an activation right in front of one of the first digital billboards in Buenos Aires. We invited girls to try the lipstick colors and they were photographed by a fashion photographer right on site. The magic happened when their names and pictures were uploaded in real time to the billboard. So, in a matter of seconds, they could take selfies with their own pictures being shown on the big digital OOH. But it didn’t end there. Since they had to register using Facebook to pull their names, their pictures were added to the event album and they got tagged as well. A lot of buzz was created that day.

Another one that I really enjoyed was winning the digital creative pitch for the launch of Disney’s Avengers. We got to see the movie when it wasn’t even finished. Best brief ever. Then we came up with a winning concept to create a site for LATAM where every character had one game and you could play with all of them to unlock theater tickets. In the Hulk game, we created a filter that would turn you green. Nowadays it would be common since we’ve got filters and lenses everywhere, but at the time it was pretty disruptive. Everything had to be approved by Marvel, and I was so proud of it when it launched.

I like to test new technologies so when I started working in media and they explained to me how programmatic ads worked, I wanted to be the first to launch a programmatic campaign that Lürzer’s Archive

would not only use programmatic as a way to buy ads, but also as a tech tool within the creative process. That’s how I led Pernod Ricard’s Absolut Buenos Aires launch, a limited edition that had a 360 degree design seen through the Obelisco. We cropped the illustration and matched each bit with high value audiences who had different interests. So if you were a soccer fan, you would be impacted by the bit that had a Maradona animation. We used geofencing as well, so if you were commuting on the emblematic 60 bus, you would see the creative asset where the bus was the protagonist.

Talking about Maradona, one of my most recent pieces of work is the first Snap AR lens in LATAM with next gen body tracking, voice over and original soundtrack that we created for Amazon Prime Video: we called it mARadona The Homage of the Century. I loved this one because it was a digital experience where, with the use of technology, Snapchatters could feel like Maradona and recreate the Goal of the Century as named by FIFA. We mapped five body positions that were key for Maradona to score the goal and users could mirror them to play like he did and pay homage to him.

Lastly, I would like to mention a side hustle I had for a few years: I was Social Manager for Attaque77. Attaque is a punk rock band that is very popular in Argentina and abroad, and I got to work with them covering their shows live on social media, was in charge of their social strategy and even created content for them.

We ended up friends and I really enjoyed being part of their crew.

L[A] Digital has become the most important communication ad platform for a brand! Do you agree?

AP Yes, absolutely. Digital is the most challenging too. All the evolution and progress we see nowadays within digital platforms and the technology that’s available, forces brands and agencies to move at the speed of culture. Both brand and agency teams have to keep up, keep being curious, keep learning, keep using all the tools we are given to strengthen our communication strategies.

Itau ‘Programmatic Bikes’ Itau sponsors a bike sharing service in Argentina. Using data of the more than 400 bike stations and bikers in real time was a first in the market.

The ones that nail this, get a connection with their audiences that is worth millions.

L[A] What have been the major changes in the ad business since you first started?

L[A] How would you rank the different ad media prevalent today with regard to their importance?

I always joke that when I started in advertising there was a song that the creative team wanted to use as a soundtrack for their TVC campaign, and I had to find it to reference the director. The thing was, music wasn’t digital back then (or not in Argentina at least).

So I had to look for the album in every record store in the city, actually visiting every record store and calling them to check if they had it.

Digital image banks didn’t exist either. So there were books, actual books, with CDs with all the pictures the creatives could use to mock up their ideas.

Lürzer’s Archive came to the agency by mail. It was such a celebration to receive the magazine because that was the only way you were connected to what was happening in the rest of the advertising world. Getting published was such a milestone and we took turns to read the magazine. Also, they were selling LA where I was studying to become a creative, so we always took a sneak peak at the magazine before joining the classes.

Sounds prehistoric but that was the way back then.

And it was so exciting, much more than the statistics classes I had for economics, you know. It was a total game changer to switch careers.

In these 20 years of experience I’ve certainly seen a lot.

From integrated agencies, to the divorce of media and creative, the birth of Below the Line vs Above the Line. Then Facebook appeared – at first you could add a brand as a friend, programmatic technology and audience targeting got (scary and) pro. Data as the new black, privacy as an ongoing debate, and finally I could say that integration of services and agencies is trending again.

AP Digital is for sure the most important because it’s so broad; it includes online video, social, metaverse, e-comm, gaming, digital out of home…

Then I would say OOH, because of the possibilities that we are seeing now with 3D out of home and how we can turn a simple print into a trigger for an augmented reality experience interacting with mobile.

And definitely influencers – because of all the creator collaborations we see with brands and the paid partnerships they are doing together. The growth for this specific media touchpoint is over the top. The business now has scale and volume, I believe we are now entering a much more professional stage. Hope it doesn’t ruin the freshness the creators have.

Audio is getting bigger too. And we’ll have to see how the new model of OTTs selling ad spaces turns out when Netflix starts with their business model. I believe it will be like the old TVCs but now going digital, but we’ll have to wait and see.

L[A] How do you see the survival chances for print advertising in the future?

AP Every media touchpoint has evolved. So I would expect print to continue to evolve as well. There are now apps that interact with print adding a digital layer to the experience. Snap, Shazam, Spotify, they can all read codes and launch digital experiences.

From playing a song to adding an augmented reality layer.

QR codes made an unexpected come back with the help of our cellphone cameras. Why would we think print would ever become extinct?

L[A] You’ve been called an inspirational person by your colleagues and co-workers in the ad business.

What inspires you?

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INTERVIEW

Unilever ‘Ala Lifestains’ Endless combinations and a rich strategy sit behind a digital campaign that focuses on showing the right content to the right audience at the right time.

Neutrogena ‘To the rescue’ I really liked this tactic. The observation is so simple: people try to follow makeup tutorials but most of the time they get it wrong.

Unilever ‘Ala Sustainable Campaign’ This oldie has all my affection because it was one of the first campaigns where sustainability goes all the way: from product design to campaign creation and implementation.

AP I would like to thank those who recommended me. I always try my best to create a safe environment at work and I recognize that I’m passionate and feel proud whenever someone on my team grows professionally. I’m their number one fan.

Also meeting people from around the world is kind of my thing. I love to hear about their cultures, what is locally relevant, and I love to see how the color palette changes in each city, and the different kinds of music they hear. I love the deep dive with locals and having someone I know to reach out to wherever I travel.

Other than people and human relationships, it will sound cliché, but what inspires me is art. Always art. The more modern the better. Art installations blow my mind. I’m a huge fan of the Whitney Museum, Tate Modern, Guggenheim, MoMa, Design Museum in London, MALBA in Buenos Aires, Bauhaus Archiv in Germany, Niterói in Brazil… I’m the kind of person that goes to museums when traveling. Miami has great art spaces too, like the Pérez Art or Artech house.

L[A] What are some of the projects you guys at LATAM in Miami are involved in at the moment?

AP This is the most difficult question so far, because of all the non-disclosure agreements we have with our clients. But I can say that we are currently working a lot for Amazon Prime Video; releases, providing influencers, content creation and strategy end to end, organizing screening events and even designing key artwork for their series (the posters you see when a content is launched). And we are having fun with Amazon Music handling social networks in many LATAM markets.

We are also working on a few metaverse-related projects for a CPG brand and a big retailer in the region, collaborating with our MBCS colleagues from Spain.

Lürzer’s Archive

There are some addressable content campaigns going live as I type for Johnson & Johnson in LATAM North and LATAM South. We do personalized content at scale for them, ensuring the campaign concept can reach audiences in a relevant way in different touchpoints and phases of their consumer journeys.

Lastly I would disclose that since we are media born, we have a close relationship with media partners such as Snap. So we are working on proactive ideas for our clients to bring the latest in AR and creative technology to the briefs we have in our hands.

This is just one example of the content partnerships we provide to our clients.

L[A] You’ve been a professor at Miami Ad School for more than five years now. How did you get involved with them and what are the most rewarding aspects of this for you?

Wow, I didn’t even notice that five years had gone by. It’s been a relationship that I treasure. I was recommended by Eric Jakubavicius – a great comms planner – to Bernardo Geoghegan, Buenos Aires Miami Ad School Director. So I started as an invited teacher for one course. Then they liked the content that I had prepared and offered me to start participating in the Comms Planning Bootcamp. I got to judge for the APG (Planners & Strategists Global Association) in Argentina thanks to them too, that was a great experience. This year I will be participating in the Branded Content course.

I really enjoy sharing the experiences I had while working in different agencies and sharing with others what we are up to is always exciting. My two favorite things are passing to others the latest that I’ve learnt thanks to agency work and meeting new people. You get to teach people that are already in the business, so it often feels more like sharing sessions than traditional teaching experiences.

DIGITAL

GREENPEACE Los Santos +3°C Who says games are just for entertainment? Greenpeace launched Los Santos +3°C, an alternate version of the famous game Grand Theft Auto (GTA), which takes the effects of the climate crisis to the biggest city in the metaverse. Available to gamers for a period of time on the Kings Roleplay server, the idea is to motivate people to pressure governments to declare a climate emergency by inviting the public to sign Greenpeace’s new petition.

Agency VMLY&R, São Paulo Creative Direction Rafael Pitanguy, Beto Rogoski, Jeferson Rocha, Guilherme Aché,

Denon Oliveira, Frederico Teixeira Art Directon Felipe Paganoti, Thiago Dias

Copywriter Igor Pontes, Lucas Veloso, Yuri Facioli Illustrator Segue.Pro, Rafaella Tuma

[AP] ‘Greenpeace is a brand that always surprises me with their executions.

In this case, I really like how they took advantage of gaming to reach younger audiences with a strong and clear message about how the actual climate crisis will have a deep impact and will completely change the world they know today, even inside gameplay.’

Digital Artist Rodolfo Martins, Felipe Paganoti Production Produka Director Marcelo Raimondi

tinyurl.com/37hpuk56

ACTIVISION CALL OF DUTY®: VANGUARD Vanguards of Photography A spectacular crossover action: two well-known war journalists on a virtual mission in Call of Duty to address the realism of the video game on the one hand and the dangerous work of this professional group on the other.

Agency GUT, Miami Creative Direction Ariel Abramovici, Bruno Acanfora

Art Direction Andy Tamayo Copywriter Alexander Allen

[AP] ‘I really like how they managed to create a campaign featuring the gameplay but taking it to the next level adding an artistic touch. The unexpectedness of the real life war photographers and how the case is presented is completely unusual and innovative for the category.’

Director Matt Ogens Production m ss ng p eces

tinyurl.com/36mn44tx

Vol 2/2022

162–163

DIGITAL

SAMSUNG Samsung x Ibai

FORD Directional Gloves

A soccer game in Minecraft? With more than 100,000 spectators? By collaborating with Spanish streamer and e-sports pro, Ibai Llanos Garatea, Samsung aims to teach the younger generation how technology and innovation can improve people’s lives in a way that is both entertaining and informative.

An original concept from Ford to improve the safety of cyclists in road traffic: gloves that are connected to personal GPS navigation systems via Bluetooth. Vibrations indicate the direction of travel, so cyclists don’t have to look down at their screen or listen to instructions in noisy traffic.

[AP] ‘Everybody is talking about the metaverse, every day another PR stunt appears. What I like about this case, it’s that it is tangible and it gets results.

It’s a smart way of innovating in Minecraft (round ball). Along with the strong partnership with one of the most globally known streamers (Ibai, with 10M Twitch followers) Samsung creates a new space for its brand with an ownable proposition.’

Agency Mediabrands Content Studio (MBCS), Madrid

Creative Directon Alfonso García Valenzuela, Pablo Malillos

Art Direction Sara Vázquez Copywriter Pablo Rufete

[AP] ‘Innovation in the mobility category is leaving traditional brands behind.

I really like how Ford nailed this tech use to further communicate in an innovative way that they care about safe driving, not only when driving a Ford automobile.’

Agency BBDO Argentina, Buenos Aires Creative Direction Christian Rosli, Joaquín Campins, Matías Harbek, Yago Fandiño

Art Direction Omar Barrantes, Martin Puiatti Copywriter Eugenio Novas, Alberto Valencia Production Donhkolan

tinyurl.com/ycx53a3c

WWF The other reality

REPORTEROS SIN FRONTERAS The Anti Narco-Corridos

To raise awareness of animal conservation and endangered species, WWF teamed up with Google to bring these animals to life through augmented reality technology. Type jaguar or anteater into the search engine on a cell phone or tablet and see them appear, right under your nose.

‘Narco-Corridos’ are traditional Mexican songs that glorify drug lords. The response was a number one song by the well-known protest singer Vivir Quintana. In collaboration with Reporters Without Borders, she pays tribute to the journalists murdered by these drug lords.

[AP] ‘The craft is perfect and the technology is so simple and accessible that the message can get through to a massive audience with an easy to use and easy to understand experience for all ages. Educational content and awareness building all in one.’

[AP] ‘A smart way to hack the songs that are played on the most popular digital platforms. Such a tension being brought up about how narcos in Mexico can penetrate culture communicated in a relevant and innovative way.’

Agency VMLY&R, Buenos Aires Creative Direction Fernando Tchechenistky, Florencia Loda, Martín Kukso

Agency Publicis, Mexico City Creative Direction Diego Wallach, Mario Carbajal, Bárbara González

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Art Direction Iván Soto, Juan Cruz Ardanaz Copywriter Joselyn de Almeida Digital Artist Bitgeyser

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Art Directon Martín Moreno, Agustina Pont

SESOCIO / FUNDACIÓN BOMBEROS DE ARGENTINA Error periodico

A.L.M.A. I don’t remember

To draw attention to the under-reported devastation caused by forest fires and generate donations for firefighters, this case decided to redirect people using a simple technique. Make a (typical) typo while typing the web address of the most popular news channels and land on specially generated websites that share dramatic stories on this topic.

Short-term memory lapses can be the first sign of Alzheimer’s Disease.

This action by professional sports club, Racing Club, and the Association Against Alzheimer’s Disease, in which RC captain Leo Sigali ‘lost’ his memory during an interview, used the popularity of football in Argentina to raise awareness of early signs of the disease.

[AP] ‘I really admire how making involuntary mistakes when trying to browse major news platforms is used in this awareness campaign. This is just an excellent example on how to position sites with a digital strategy in a creative way, where the message and the idea are all that matters.’

‘This case could seem like a PR stunt, but in my opinion it has a digital core, since it planned to spark a conversation in digital. A brilliant way to create awareness of a disease that is not talked about as much as a match result.

Being discussed in a soccer environment is not expected and triggers all the buzz it deserves.’

Agency HOY, Buenos Aires Creative Direction Tony Waissmann, María Luján Donaire, Damián Palopoli, Santiago Ledesma

Art Direction Hernán Damilano, Charlie Meza Directores Guido Cassini

Agency HOY, Buenos Aires Creative Direction Santiago Ledesma, Damian Paolopoli, Tony Waissmann

Art Direction Charlie Meza Copywriter Kike Raboy

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tinyurl.com/yc483m5u

DOVE Toxic Influence

LASKA CHARITY STORE Upcycle Merch

The influence of social media on today’s youth cannot be underestimated.

In Toxic Influence, mothers and their daughters confront toxic beauty advice on social media and how it’s become normalized for many girls around the world.

Upcycling clothes and doing something for the environment at the same time that was the idea behind this case by the Ukrainian Laska Charity Store. Shoppers can buy discarded clothes that have been refurbished, and even customized with their own logos.

[AP] ‘Loved Dove’s experiments. Their legacy in creating disrupting communication is always a must see, and this time what they do using deep fakes is truly amazing. I really admire how it completely changes the storytelling, causing an impact not only to those viewing the video but to the protagonists as well.’

[AP] ‘Sometimes what I like the most is to see cases from different regions and when I saw this one I completely flipped. Not only is the idea behind upcycling merch brilliant, but the craft of the video asset is amazing, the digital communication assets and the site are really good when evaluating their user experience.’

Agency Ogilvy, London Creative Direction Daniel Fisher, Francesco Grandi Art Direction Helen Giles

Agency Bickerstaff.734, Kyiv Creative Direction Illia Anufriienko Art Direction Victoria Moskofidi

tinyurl.com/3n79x6hh

Copywriter Phil Gull Production Smuggler Photographer Caitlin Cronenberg

Copywriter Maryna Cherniavska Photographer Tanya Spasi Sohrani Director Eugene Gozheyshyi

Production Adje Prodburo, Ribs studio

merch.laskastore.com/en Vol 2/2022

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DIGITAL

ASDRA Numbers Syndrome

NIKE Play New

To mark World Down Syndrome Day, this campaign wants to make the number of people affected visible across a wide range of social, professional or geographical groups. Because only if these people can be seen, will their living conditions improve.

Shocking or a new reality? The latest Nike campaign in still strictly Catholic Argentina focuses on the first transgender professional footballer. Her message, and the message of the brand: Football, a sport ‘together for all.’

[AP] ‘In this case, digital becomes a tool to make visible what is being left behind. This is not about selling a product or a service, rather using digital capabilities for good in a tangible way. There’s an actual result in the numbers that will make it possible for this underserved community to get more attention and support from different organizations to make the lives of those with Down Syndrome better.’

Agency Wunderman Thompson Argentina, Buenos Aires Creative Direction Sofia Cursach,

Laura Valle, Juan Gussalli Art Direction Fernando Rossini, Solana Viton, Luciano Campanelli

Copywriter Nicole Cejas Photographer Juan Salvarredy Digital Artist Natalia Taffarel

[AP] ‘This is such a disruptive case coming out of Argentina, where the passion for soccer goes beyond reason. It’s beautifully crafted, sweats all that Nike energy and aims for inclusion. Digital is the platform that the brand chose to tell Mara Gomez’ story and as branded content, the campaign has a rich narrative that fully engages the audience.’

Agency R/GA, Buenos Aires Creative Direction Mariano Jeger, Juan Ignacio Calvo, Andrés Juárez

Art Direction Eloy Krioka, Christian Boiteux Copywriter Martín Rodríguez

Director (spots) Matías Petric, Supernova Production (spots) Pantera

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numberssyndrome.com

ANNE FRANK HOUSE The Bookcase for Tolerance

DELL TECHNOLOGIES, INTEL, ROLLS-ROYCE, MND ASSOCIATION I will always be me

The Holocaust didn’t start in Auschwitz or Bergen-Belsen it started with words. It started with intolerance and acts of exclusion, discrimination and persecution, which were followed by horrendous acts. Launched on the International Day for Tolerance, The Bookcase for Tolerance reinforces the need for education and tolerance through the power of personal stories.

One of those examples where modern technology can change people’s lives for the better: A special book that helps people living with motor neurone disease (MND) keep their voices – by reading a story that helps explain what they’re going through.

[AP] ‘What I like most about this case, is that using augmented reality we can reach younger audiences with classic stories for them to experience them interacting directly with the storytelling. Digital becomes a generational bridge for those stories that we should never forget.’

[AP] ‘When I saw this for the first time, I thought ‘a case 6 minutes long?’

But then when you press play you become deeply touched by the struggle that people diagnosed with MND go through. The role of technology and digital here is so important to help them not lose what makes them feel connected with others: their voice.’

Agency Innocean, Berlin Creative Direction Gabriel Mattar, Ricardo Wolff, Bruno Oppido

Agency VMLY&R, New York Creative Direction Wayne Best, Niraj Zaveri, Tal Shub, Carlos Pabon

tinyurl.com/42ahtrmu Lürzer’s Archive

Art Direction Marlon von Franquemont, Gonçalo Martinho, Leon ‘Papito’ Lirim Celay

Copywriter Reinier Gorissen, Antonio Neto, Javier Granados

tinyurl.com/yckw75bt

Illustration Nicholas Stevenson Digital Artist The Mill

Director Simon Frost, Ben Hanson Production Borderland

Lürzer’s Archive Special Report

SPORTS +FITNESS The values and the visions that push shape-shifting quests

K A I - N E U N E R T. C O M

SPORTS + FITNESS SPECIAL

Words Maeve O’Sullivan

Vibrant ‘blaze orange’ is seared into the minds of generations of American children who grew up eating Wheaties.

The self-appointed ‘Breakfast of Champions’ has featured hundreds of US sporting greats on its luminous cereal boxes over the years, from Lou Gehrig through to Serena Williams.

Vol 2/2022

168–169

SPORTS + FITNESS SPECIAL

From icons to humans

As we’ve found in our latest report, when it comes to sports and fitness in advertising, what happens outside of competition has become as important as what happens on the field, in the pool or on the track these days.

While sports champions remain a fixture of advertising, the brand stories they help to tell have changed dramatically. As Taylor Gessel of General Mills, Wheaties’ parent company says, the brand “has reserved its boxes for champions who use their sports platforms for something greater” (quote source here).

Two years of on-again, off-again lockdowns has made us more conscious than ever of our own vulnerability, so perhaps this shouldn’t come as a surprise.

We continue to thrill to breathtaking moments of endurance and skill but more than ever, we also want the back story. We want to be inspired by the human – the bumps along the road, the little wins, the defeats and the triumphs.

It’s hard to have a conversation about sports and fitness in advertising without mentioning giants like Nike and adidas. And they (rightly) feature prominently in these pages, having been the source of some of the truly great advertising of the last few decades. However, we hope you’ll also enjoy being reminded of the variety of brands using sports and fitness as a powerful visual shorthand. Using themes of strength, endurance and ‘winning against the odds’ in advertising can help us tell powerful stories, connect people with a brand’s values and, of course, to buy their stuff, whether it’s the latest high-end training equipment, a refreshing beer, or energy packed breakfast cereal.

We’ve trawled Lürzer’s Archive for the best work drawing on sports and fitness from the last ten years and we also spoke to people behind the last few years’ most interesting print, online, social media and TV campaigns that position sports and fitness at the heart of our lives.

Four-time Grand Slam champion Naomi Osaka and Olympic gymnast Simone Biles have earned their place in the record books. While doing so, they have also helped to set a new standard for athletes by sharing their vulnerability with fans.

Marybeth Ledesma sees moments like this translating into a shift in advertising to show “a more unfiltered experience”. She says, “We’ve watched these real, raw moments happen at the Tokyo Summer Games, tennis matches, etc – and it proves being an athlete isn’t only about physical strength but involves mental strength too and how overcoming both at the same time can be hard.”

Campaigns are now recognising the enormous sacrifice that comes along with sporting excellence. Droga5’s Olympics campaign for Team Canada and Lululemon opens to a solitary athlete training, and visibly struggling, while a voice over reads Oscar Wilde’s ‘The Selfish Giant’.

A notable example of the shift in perception over the last ten years can be seen in the groundbreaking campaigns for the Summer Paralympics created for UK TV station, Channel 4. ‘Meet the Superhumans’ blasted across every media channel available

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2 1 LULULEMON The Selfish Giant Agency Droga5, New York 2 CHANNEL 4 Meet the Superhumans Agency 4Creative, London 3 CHANNEL 4 Super. Human Agency 4Creative, London 3 Lürzer’s Archive

Celebrity is the cover story for deeper conversation.

Alex Bennett-Grant, We Are Pi

ahead of the London 2012 Games and transformed perceptions of what had been the overlooked follow up to the Olympics.

Ten years later, and while an equally powerful campaign for the postponed 2020 Paralympics still celebrates the incredible achievements of the athletes, “Super. Human” also shares occasionally eye-watering and heartbreaking detail of the injuries and sacrifices they go through to achieve their goals. What was a relatively brief reference in the 2012 campaign, has become the heart of the latest one.

Part of this trend can be explained by the control Osaka, Biles and others have of their own public images through numerous social media platforms, allowing them to share stories and connect with fans directly, unfiltered by an ad campaign.

“Today, athletes pretty much build their own brands before we even get to touch them,” says Jeff Schermer. For all of the justified complaints of overly curated content being shared on social media, fans are responding to the flaws, the bad days, the heartbreak of a life in sports, and importantly, a new generation of athlete is comfortable sharing those stories. “The unique thing about sports celebrities is that we get to see their ups and downs week in and out,’ says Owen Lee. “This vulnerability, overcoming

hardship and personal setbacks are things that we can relate to and brands now feel more comfortable being part of that story.”

Alongside a shift in what we look for from celebrities, we are seeing a more rounded approach to fitness. COVID-19 has made us hypervigilant about our own and our loved ones’ health.

It also made us see fitness in broader terms, rooted in physical and mental wellness and community, according to Alex BennettGrant. That doesn’t mean celebrity doesn’t play a role, he says, but “community is at the heart of it, like using celebrity athletes to drive community engagement and get people active.” Local heroes have a bigger role to play in advertising, says Nick Steel.

“It’s not about being the best. It’s about being the best of you,’ he says. “A lot of campaigns are focusing on real people, real connections and real personal achievement because that’s the thing that inspires us.”

“You Never Sport Alone”, We Are Pi’s campaign for sports retailer Intersport and FCB Inferno’s long running “This Girl Can” campaign for government organization Sport England bring these themes to life in campaigns that use real people enjoying sport and fitness for its own sake, and also as a way to connect with family, friends and community.

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4 INTERSPORT/NIKE You Never Sport Alone Agency We Are Pi, Amsterdam

5+6

5 SPORT ENGLAND This Girl Can Agency FCB Inferno, London

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170–171

SPORTS + FITNESS SPECIAL

The role of tech and data

Creatives tend to see data as an enemy, but more often than not it points to the solution. It defines the problem we need to solve, and creativity needs a problem to thrive.

Owen Lee, FCB Inferno

Lürzer’s Archive

Since FitBits hit the market in 2009, we’ve gotten used to data capturing our every movement, right down to our heartbeats. As we see athletes turn up in the latest cutting edge gear at major sporting events, ad campaigns are also making use of the latest technology to find creative ways to connect with audiences.

Jose Ramirez, says, “At every sporting event, there are hundreds of pieces of technology capturing the athlete’s biometrics, crowd noise levels, and everything else in between. You can argue that even the photographs that journalists take are pieces of data.” This insight, alongside scouring thousands of images, led to the campaign “Joy is the Ultimate Trophy” for Michelob Ultra Campaign.

Ramirez continues, “Our approach was to find data to help crack our idea and ultimately bring it to life.”

Social media continues to have a powerful role to play. Becky McOwen-Banks believes that all brands are built on social. Vayner Media has been working with TikTok on “changing the perception of hard core sports fans that TikTok is the channel where they live the joy of the sport they love.” Vayner Media has used social media campaigns for the EUROs, Africa Cup of Nations, Six Nations, Bundersluiga to connect with audiences emotionally and draw insights that are applied to larger campaigns that go beyond social into outdoor and TV, meaning the connection could be experienced by many more people and last much longer. “The work on social did the emotional piece, enabling the sponsorships of events to really make sense beyond that match or series,” says McOwen-Banks.

For Alex Bennett-Grant, a big part of being a creative business is to apply “cultural intelligence” to the huge amount of data clients will inevitably have already gathered. Bennett-Grant says, “They’re coming to us for something to translate and to make actionable”. And he believes that ‘cultural intelligence’ is likely to become even more important when it comes to “figuring out how to crack the code for web3 and metaverse marketing…In the end, it’s a recognition that as much as you can try to retain participation in physical, traditional outdoor sport, the universal sport is boundless. And we’re having to build out far more sophisticated strategies for community.”

2+3

1 MICHELOB ULTRA Joy Is The Ultimate Trophy Agency GUT, Miami 2 TIKTOK AFCON campaign wrap film Agency VaynerMedia London

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3 TIKTOK EUROS 2020 campaign wrap film Agency VaynerMedia London

Vol 2/2022

172–173

SPORTS + FITNESS SPECIAL

Diversity – in front of and behind the camera

At the time of writing, a Sunday night TV commercial was spotted touting an upcoming ‘men’s football’ game. Not so long ago, ‘football’ meant men were playing unless ‘women’s’ was tagged on. Campaigns increasingly reflect the rich mix of people participating in sport – whether that’s by gender, ethnicity, ability, body shape or life stage – but they also show a wider range of activities.

Of course, advertising can also play a role in provoking change.

‘Dream Crazy’ by Wieden+Kennedy for Nike featured former NFL quarterback Colin Kaepernick in 2018. Supporting Kaepernick at a time when the United States was deeply divided was a brave move and one that shows the role advertising can play in cultural conversations.

The strength of many of these campaigns must also lie in advertising’s own shift towards more diverse representation.

Ledesma notes that “The need for more diverse representation and perspective applies to the teams on the project (both client and agency), the talent on screen, the talent behind the camera, the production crew.” And she says everyone wins when that happens. “This trickle effect invites better ideas and more unexpected storytelling.”

This also appears not to be a passing fad. What kicked off in June 2020, certainly in some markets, is showing no signs of disappearing, says Bennett-Grant. “Since we started talking more actively about representation, since Black Lives Matter and George Floyd, the permission to talk and the appetite to listen and to enact change as it was, was ignited. I’ve been quite pleased to see that that momentum hasn’t stopped.” Although, ‘representation’ can mean different things in different markets.

He says, “EMEA – Europe, the Middle East and Africa – has got so much variety… it’s very difficult to get alignment on what representation looks like in markets like that… some of that is prejudice, but some of it’s just that we have different definitions of diversity here.”

HarrimanSteel prioritised having an all-female crew and a female director to help tell the women’s footballer stories on the ‘Dare to be FE/NOM’ for the Nike Women’s World Cup. For Nick Steel, challenging misrepresentation is having an impact on attendance figures. “It’s great to see, I think they’ve had really high attendance at the last two Barcelona women’s football matches. So I think football is coming through and it’s getting there,” he says.

For Jose Ramirez, sports is, “kind of a mirror image of our industry… Luckily, it seems like the teams who bring forward the kind of ideas that challenge representation in sport are naturally teams who embody that same spirit in advertising, otherwise, they wouldn’t have gotten to the idea they had. Everyone’s perspective makes the work better.”

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1 NIKE Dream Crazy Agency Wieden + Kennedy, Portland 2 NIKE Women’s World Cup Agency HarrimanSteel, Amsterdam

Lürzer’s Archive

What’s next?

We are seeing no end of creative uses of sports and fitness in advertising.

How it gets in front of consumers continues to evolve. With the era of the metaverse upon us, is there still a role for more traditional channels? “Of course, traditional media won’t be as dominant as it was, but I don’t think we should write it off just yet,” says Lee. “Sport provides us with peak moments when we all come together for big events. Broadcast media is good at that. Billboards are perhaps the last real broadcast medium that everyone experiences and the Super Bowl proves that ads can be as much a sport, as the sport itself.”

Bennett-Grant’s focus is on Web3. “We’re all trying to crack stakeholder fandom,” he says. “We interviewed the founder of NFT FC, an Australian community platform, which allows fans to have a stake in up and coming young footballers careers. So, through this NFT community platform, you can help fundraise and then you’ll have a stake in that player’s future.”

According to Bennett-Grant lots of brands are looking at closely at this, so agencies would be wise to get on board.

For Ledesma, it still comes back to ideas. She says, “There will always be a need for traditional channels and even with emerging platforms, the challenge still remains: how do we cut through the clutter with a unique POV and storytelling that goes beyond being your best and giving it your all?”

Tony Davidson echoes this sentiment,

Our job in advertising is to stand out whatever the medium. It feels like many marketeers have forgotten this.

OUR THANKS TO Alex Bennett-Grant, Founder, We Are Pi; Tony Davidson, ex-Global Partner and ECD, Wieden+Kennedy; Mary Beth Ledesma, Group Creative Director, Droga5; Owen Lee, Chief Creative Officer, FCB Inferno; Becky McOwen-Banks, Executive Creative Director, Vayner Media; Jeffrey Schermer + Jose Ramirez, Associate Creative Director, GUT Miami; Nick Steel, Founder, Harriman Steel.

Lürzer’s Archive

ANDY MAHR W:: mahrimages.com E:: andymahr@mac.com p:: 214.732.3243

// R:: Patti Schumann E:: PATTI@SchumannCO.COM p:: 312.925.1530

martinlugger.com

SPORTS + FITNESS SPECIAL

Lürzer’s Archive

GOLD’S GYM 2019

Agency CAZAR Publicidad, Santo Domingo Creative Direction Salvador Lister Marin, Freddy Montero Galva Art Direction Marcos Zorrilla

Copywriter Salvador Lister Marin, Freddy Montero Galva Illustrator Marcos Zorrilla Digital Artist Marcos Zorrilla

POWERADE 2019

Agency Circus, Lima Creative Direction Diego Medvedocky, Carlos Tolmos Art Direction Edwin Mayuri Copywriter Josh Ruiz Cordova

Vol 2/2022

Photographer Ale Burset Digital Artist Diego Speroni

182–183

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Top: YO BK 2017

Agency JWT, New York CD Chris Dealy AD Bona Jeong CW Kyle Provo PH Vincent Dixon DA Philippe Lepaulard

Bottom: MUNDO YOGI 2019

Agency Atalah, Orlando CD José Atalah AD Eduardo Flores CW José Atalah PH Germán Fernández IL Eduardo Flores

Top: DARJEELING 2015

Agency Herezie, Paris CD Mathieu Nevians, Andrea Stillacci, Olivier Henry AD Raphael Stein PH Vincent Dixon

See more of the campaign at luerzersarchive.com

Bottom: TRIYOGA STUDIOS 2018

Vol 2/2022

Agency Thingy, London CD Dave Dye AD Dave Dye CW Dave Dye PH Clare Park

184–185

SPORTS + FITNESS SPECIAL

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Top: REEBOK SPORTS CLUB 2012

Agency CentoeSeis, São Paulo CD Ricardo Chester, Sergio Magalhães AD Teco Cipriano, Maurício Mori CW Mathias Almeida, Alessandro Garcia IL Stina Persson

Bottom: YMCA 2019

Agency Ogilvy, Montréal CD Martin Gosselin AD Preto Murara CW Antoine Leclerc PH Jocelyn Michel

Top left: KINGDOM OF SPORTS 2014

Agency Kolle Rebbe, Hamburg CD Heiko Schmidt, Kay Eichner, Sascha Hanke AD Moritz Hake, Ralf Bierhenke CW Johannes Wölfel PH Arthur Mebius

Top right: ALPHA SHOWDOWN 2011

Agency 3e The Life Time Agency, Chanhassen CD Tom Kunau AD Brian Bjerketvedt CW Todd Norem IL Krzysztof Domaradzki

See more of the campaign at luerzersarchive.com

Vol 2/2022

Bottom: GOLD’S GYM 2009

Agency Jotabequ Grey, San Jose AD Héctor Acuña CW Osvaldo Baldi, Warren Madrigal DA Noelia Badilla

186–187

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Lürzer’s Archive

ADIDAS 2019

Agency TBWA\Chiat\Day, New York Creative Direction Julia Neumann, Chris Beresford-Hill, Amy Ferguson

Art Direction Angelo Maia Copywriter Ricardo Franco Photographer Nadia Lee Cohen

AELTC – WIMBLEDON 2019

See more of the campaign at luerzersarchive.com

Agency McCann, London Creative Direction Alexei Berwitz, Rob Webster Art Direction Olly Wood

Vol 2/2022

Copywriter Matt Searle Typographer New North Press ⁄ Craft

188–189

SPORTS + FITNESS SPECIAL

Lürzer’s Archive

Top: DECATHLON 2010

Agency Young & Rubicam (Y&R), Paris AD Guillaume Auboyneau PH Yann Le Pape DA Pierrick Guen

Bottom left: ADIDAS 2018

Agency TBWA\Neboko, Amsterdam CD Thomas Jullien, Darre van Dijk AD Benjamin De Villiers CW Andrew Maaldrink PH Loupe Amsterdam IL Ingi Erlingsson DA Marc Van Der Meer, Valentino Marazziti, Alphonso De Wilde

Bottom right: DAVID LLOYD 2019

Agency TBWA, Manchester CD Gary Fawcett, Lisa Nichols AD Ant Harris CW Zoe Harris PH Lol Keegan

Top: MIZUNO 2009

Agency 180 Grados, Santiago de Chile AD Cristian Seisdedos, Daniel Trujillo CW Rodrigo Larrain PH Rodrigo Sanchez IL Manuel Carrasco

See more of the campaign at luerzersarchive.com

Bottom: GO SPORT 2016

Vol 2/2022

Agency TBWA\RAAD, Dubai CD Manuel Borde AD Gabriel Gama CW Guilherme Grossi IL Girish Sapalya

190–191

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Top: VICTORY 2010

Agency Grey, Dusseldorf AD Regner Lotz CW Moritz Grub IL Hajo Müller, Madlen Alex

Bottom: RIOSPORT 2013

Agency Giovanni+DraftFCB, Rio de Janeiro CD Felipe Rodrigues AD Felipe Gomes, Thiago Di Gregorio CW Daniel Brito, Pajunk Otto DA Iluminata Produtora de Imagem

Top: ADIDAS 2010

Agency Iris, Sydney AD Tom Hoskins CW Jon Kelly PH Billy Plummer IL Ronald Acevedo DA Steve York

See more of the campaign at luerzersarchive.com

Bottom: ASICS 2012

Vol 2/2022

Agency Borghi/Lowe, São Paulo CD José Borghi, Fernando Nobre AD Daniel Massih, Lindsei Barros IL Eder Súria

192–193

SPORTS WORLD WIDE.

BERND OPITZ.COM

Over 400 pages of talent, inspiration and unfair advantage.

The 200 Best Ad Photographers worldwide 21/22 from Lürzer’s Archive. luerzersarchive.com

MORITZ ATTENBERGER.COM

SPORTS + FITNESS SPECIAL

LIBERO 2020 Campaign for football magazine Libero.

Lürzer’s Archive

Agency David, Madrid Creative Direction André Toledo, Saulo Rocha, Pancho Cassis

Art Direction Camilo Jimenez Copywriter Sebastien Rouviere Illustrator Sazky

Top: ADIDAS 2012

Agency Heimat, Berlin CD Ove Gley, Ole Vinck AD Patrick Düver, Franziska Kriehn, Lukas Schneider CW Dominik Maass, David Kauder DA ACNE

See more of the campaign at luerzersarchive.com

Bottom: JIM RICKEY 2012

Vol 2/2022

CD, PH Christian Aslund

198–199

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Lürzer’s Archive

EQUINOX 2016

Agency Wieden+Kennedy, New York Creative Direction Sean McLaughlin, John Parker

See more of the campaign at luerzersarchive.com

Vol 2/2022

Art Direction Mathieu Zarbatany Copywriter Rajeev Basu Photographer Steven Klein

200–201

www.maxdraeger.com max@mountain-visuals.com // +43 660 8838116

SPORTS + FITNESS SPECIAL

Lürzer’s Archive

RECORD 2015

Agency Ogilvy & Mather, Lisbon CD Jorge Coelho AD Tiago Prandi CW João Guimarães, Edgar Sousa IL André Kano DA Ricardo Capote, RedWorks Portugal

Top: RUGBY UNION DONAU 2015

Agency Ortner & Weihs, Vienna CD Christoph Weihs, Roland Ortner AD Christoph Weihs CW Roland Ortner PH Christoph Meissner DA Julia Müller Maenher

See more of the campaign at luerzersarchive.com

Bottom: DECATHLON 2009

Vol 2/2022

Agency Young & Rubicam (Y&R), Paris AD Julien Vallon CW Montassar Valy PH Louis Decamps

204–205

Houston, Texas 832-654-9572

robert@robertseale.com www.robertseale.com

TIM TADDER

STILLS AND MOTION

t im t ad der. c om 858.205.2455

SPORTS + FITNESS SPECIAL

Lürzer’s Archive

Top: ROTWILD 2019

Agency Oliver Voss, Hamburg CD Till Monshausen, Ludwig Rist, Annika Mandel AD Annika Mandel, Marian Paul, Alexandre Levesque CW Conrad Witten, Tim Bolte

Bottom: BACCIO 2014

Agency Camara\TBWA, Montevideo CD Martin Carrier AD Germán Ferrés CW Germán Ferrés, Diego Varela, Diego Sierra PH Ale Burset DA Murilo Viviurka Marcondes

Top: PROTEST BOARDWEAR 2010

Agency KesselsKramer, Amsterdam AD Ewoudt Boonstra CW Zack McDonald PH Vincent Skoglund, Isabella Rozendaal

See more of the campaign at luerzersarchive.com

Bottom: ALIS 2014

Vol 2/2022

Agency TBWA, Copenhagen CD Tobias Lykke Aggergaard AD Mikkel Møller PH Morten Bengtsson DA Kim Bredahl

210–211

+39 347 3319723 MANUELKOTTERSTEGER.COM

SPORTS + FITNESS SPECIAL

Lürzer’s Archive

Top: SOÖRUZ 2012

Agency Publicis Conseil, Paris CD Olivier Altmann, Fréderic Royer AD Charles Morand CW Roland Martin PH César Ancelle-Hansen, Jacques Demarcillac

Bottom: MARAMAR DIVING SCHOOL 2017

Agency Filadelfia Comunicação, Belo Horizonte AD Rafael Gil CW Leandro Neves, Tiago Pereira PH Mark Tipple IL Rafael Gil DA Rafael Gil, Marcelo Branquinho

Top: PROTEST BOARDWEAR 2010

Agency KesselsKramer, Amsterdam AD Ewoudt Boonstra CW Zack McDonald PH Dustin Humphrey

See more of the campaign at luerzersarchive.com

Bottom: SOULS THONGS AUSTRALIA 2013

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Agency TRACK, Hamburg CD Stefan Setzkorn AD Arne Heins CW Nicola Gross, Michelle Salybaugh PH Stefanie Boehm, Patrick Mcfeeley

214–215

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Top: GUSTAVO BORGES GYM 2017

Agency Heads Propaganda, Curitiba, Brazil CD Fabio Miraglia AD Keith Lauer, Thiago Ferreira CW Karen Lopes IL Keith Lauer

Bottom: ARENA 2010

Agency Young & Rubicam (Y&R), Milan AD Andrea Fumagalli CW Vicky Gitto PH Garrigosa Studio DA Alex & Alvaro Torrens

Top: MORMAII 2010

Agency Ogilvy & Mather, São Paulo AD Denis Kakazu, Paulo Engler CW Erick Stossel PH Rodrigo DA Vagner Alves

See more of the campaign at luerzersarchive.com

Bottom: USA SWIMMING 2016

Vol 2/2022

Agency Colle+McVoy, Minneapolis CD Mike Caguin, Derek Till, Erik Kvalseth AD Kelly O’Halloran CW Allie Gehan, Caroline Henry PH Peter Poby DA Eric Skaare, Cynthia Henseler

216–217

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Lürzer’s Archive

Top: GATORADE 2011

Agency TBWA\Chiat\Day, Los Angeles AD Lori McMichael CW Donna Lamar PH Chris McPherson, Roger Erickson

Bottom: NEW YORK PILATES 2010

Agency This is Real Art, London AD Paul Belford CW Paul Belford PH Laurie Haskell

Top: ATHLETIC CLUB BILBAO 2012

Agency Dimension, San Sebastian, Spain CD Fernando Riveros Butrovic AD Fernando Riveros Butrovic, Iñaki Huegun Viglione, Jose Alonso CW Matias López Navajas, Guillermo Viglione PH Jose Luis López de Zubiria IL, DA Ricardo Salamanca TYP Jose Alonso

See more of the campaign at luerzersarchive.com

Bottom: VILA OLIMPICA GYM 2012

Vol 2/2022

Agency Agencia Mood, São Paulo CD Aaron Sutton, Eugenio Piva Tonelli AD Guilherme Jorgetti, Marcelo Anache PH Rodrigo Ribeiro

218–219

SCOTTMCDERMOTT.COM

RANDYCOLE.COM

RC

RANDYREPRESENTS COLE

randy@randycole.com randycole.com

adamskipeek.com

CODYPICKENS.COM

RANDYCOLE.COM

RC

RANDY COLE REPRESENTS

SPORTS + FITNESS SPECIAL

Words Dan Wieden

L[A] 6/1993

Left page: L[A] 5/2018

A Sense of Cool: Nike’s Theory of Advertising For 50 years Nike has pioneered and extended the territory of sports and fitness marketing. W+K has been the lead agency on that journey, delivering an unsurpassed stream of groundbreaking work.

Back in 1992, co-founder Dan Wieden set down his insights on the output past and future with this seminal article in the Harvard Business Review.

All work shown is by Wieden+Kennedy.

The issue the work originally appeared in is noted.

This information and full credits at luerzersarchive.com

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L[A] 2/1994

L[A] 4/2014

L[A] 6/1997

L[A] 2/2014

The people at Nike taught my partner, David Kennedy, and me how to advertise—and how not to advertise. Back in 1980, when David and I first started to work on the account, Nike made it very clear that they hated advertising. They had developed close relationships with athletes, and they didn’t want to talk to them in any phony or manipulative way. They were obessed with authenticity, in terms of both the product and the communication. And they had a sense of what was cool.

Those attitudes have guided all of Nike’s advertising. We try to make honest contact with the consumer, to share something that is very hip and very inside. We don’t translate the inside jokes because we figure it’s OK if the people who are faddish don’t understand. Either you get it or you don’t. It’s more important for us to be true to the athletes by talking to them in a way that respects their intelligence, time, and knowledge of sports.

This approach to advertising seems to be in synch with the times, and I think that’s why people respond to Nike ads. Products Lürzer’s Archive

and services today have to have value and live up to their promise, but a spec sheet approach to marketing won’t sell anything. As the world gets more dehumanizing, people want the trust and familiarity of a long-standing relationship. Building that relationship requires a brand with a personality and advertising.

Personality is the difference between the surrogate monkey parent and the real thing: the surrogate might have the nutriment, but everything else is missing, and the relationship never forms.

In the business world, brand-building creates the personality that allows people to bond. The Nike brand, for instance, is very complex. Sometimes it’s humorous, other times it’s very serious— but it’s always as if it were coming from the same person.

Advertising creates the environment for the relationship.

To me, it takes the place of the human contact we once had as consumers. In the beginning, people had relationships with the shopkeeper, and any advertising simply supplemented that relationship. Today things are so complex that advertising needs

All work shown is by Wieden+Kennedy. The issue the work originally appeared in is noted.

L[A] 6/1997

L[A] 6/1993

L[A] 4/2003

L[A] 200 Best Illustrators 14/15

to embody that relationship by making contact in more than a superficial way.

The process of creating brands and relationships is also the process by which you create the values our culture operates on, so it has a huge ethical component. The ethical dimension makes our work seem like much more than the movement of goods and services. And it can be scary. I remember sitting here one night with campaigns spread out all over the place getting ready to present to Nike the next morning. I felt we needed to tie things together, so I said, “Ok, I’ll just do it.” That became “Just Do It,” a slogan that spread all over the world. I realized then what a big, big stage this is and how important it is to be responsible for what goes on here.

I don’t mean to suggest that this is a noncontroversial agency. I don’t feel it’s our job to produce stuff that doesn’t upset people.

Being provocative is ultimately more important than being pleasant.

But you have to know what you’re doing when you walk into the room with broad swords.

This information and full credits at luerzersarchive.com

Our awareness of the ethical issues is also a factor in the positive response to Nike ads. The general public can sense when something is destructive or at least not very positive. In fact, I think a lot of big ad firms are struggling right now precisely because they’ve ignored the ethical component of advertising. They’ve relied on manipulation and cunning, which were effective in the 1980s when greed and self-interest prevailed, and they haven’t moved beyond that.

I admit that Nike’s product category has made it easier for us to be honest and open. Although at one level, all we’re really doing is selling sneakers, there’s something about athletic shoes and clothes that can inspire enthusiasm or even altruism. There’s an honest-to-goodness belief that we’re sellng something that will help people. It’s like an ancient call to a way of life that isn’t going to harm the environment or mess you up. It keeps us charged up about what we’re doing.

Published by kind permission of the Harvard Business Review, all rights reserved. hbr.org Vol 2/2022

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L[A] 1/2020

L[A] 4/2020

L[A] 6/2000

L[A] 3/2020

L[A] 3/2010 L[A] 5/2020

L[A] 2/2018 Lürzer’s Archive

All work shown is by Wieden+Kennedy. The issue the work originally appeared in is noted.

L[A] 3/2014

L[A] 3/1995

L[A] 1/2002

L[A] 2/2012

L[A] 3/2002

This information and full credits at luerzersarchive.com

Vol 2/2022

230–231

SPORTS + FITNESS SPECIAL

Over the past pages you have seen our pick of the best, boundary-pushing sports and fitness creative work that has appeared in Lürzer‘s Archive over the past decade and more. It‘s been selected to reflect trends highlighted by the experts who contributed to our opening report. And in the republished article by Dan Wieden we gain insights into the vision that lies behind, almost inarguably, the strongest brand in the territory.

Let‘s end with a quote from just one of the great Nike ads, one that captures where sport meets fitness meets the everyday quest in life... in the words of basketball (and brand) hero Michael Jordan:

I’ve failed over and over and over again in my life.

And that is why I succeed.

Lürzer’s Archive Special Report

SPORTS +FITNESS The values and the visions that push shape-shifting quests

Lürzer’s Archive

LÜRZER’S ARCHIVE SPORTS + FITNESS Cover: Agency Golin, Chicago Creative Direction Kari McCarthy Photographer Tim Tadder Client Humana Published by Lürzer International Limited Henry Wood House 2 Riding House Street London W1W 7FA

Printed by Print Alliance HAV Produktions GmbH Druckhausstr 1 2540 Bad Vöslau Austria printalliance.at Contents © 2022 Lürzer International Ltd. All rights reserved The contents of this magazine may not be reproduced in whole or in part without prior written permission from the publisher, Lürzer International Ltd. Lürzer’s Archive is a trademark of Lürzer International Ltd, London.

Submissions We welcome published work, as individual or campaigns, in print, OOH, film, digital, experiential and all other marketing categories.

Please submit at luerzersarchive.com The submitter must have the authority to grant Lürzer’s Archive the rights and permission to reproduce, edit, comment editorially on the submission and to use the submission in print, online and in any marketing material for Lürzer’s Archive. All work is featured free of charge.

We accept no responsibility to return unsolicited material and reserve the right to accept or reject any material for any reason.

jon-godwin.com

Backdrop [236–246 236–246]] Frida_02 Carlos Paboudjian VLMY&R Prague

Vol 2/2022

234–235

zachancell.com

CLASSICS Mass-market quirky humour versus upmarket sexual tension in our revisit of fashion ads from Lürzer’s Archive 1997, 25 years ago.

Lürzer’s Archive

Top: Client Levi’s Agency Bartle Bogle Hegarty (BBH), London Art Direction Tiger Savage Copywriter Mark Goodwin Photographer Bruce Brown

Bottom: Client Kookai Agency CLM BBDO, Paris Art Direction Anne De Maupeou Copywriter Nicolas Chauvin Photographer Les Guzman

Top: Ad for the Prada brand of fashion and accessories which, with its underwater colors and extreme fetishization of the product, have been copied by countless other fashion campaigns.

Client Prada Agency Prada, in-house, New York Photographer Glen Luchford

Bottom: Motifs from the 1997 print campaign for Gucci, reflecting the enormous image gain this brand experienced after Tom Ford took over.

Vol 2/2022

Gucci Agency Gucci, in-house, Amsterdam Photographer Mario Testino

238–239

REVIEWS

Cresta Climate Challenge

Young creatives fight environmental apathy

How do you stop a thing like climate change? A global onslaught of effective campaigns will be part of the answer. From G20 agreements through to how we put out our personal waste, the fight is to get all to change their attitudes, agreements and — quickly — real actions.

The Cresta Climate Challenge, a competition created by the Cresta Awards and supported by Lurzer’s Archive and other international media, sought to mobilise the younger end of the creative industry to help drive that action.

It called on students and creatives under-26 to submit work that could be shared with organisations internationally to raise awareness and provoke action on climate change. Prizes and publicity, not to mention helping save the planet, were on offer.

Mother Nature’s Power. Nicolas Bori, Marco Henn/Filmakademie Baden-Württemberg The top winner is a remarkable student film, Mother Nature’s Power, three years in the making by a team from Filmakademie Baden-Württemberg.

Directed by Nicolas Bori and produced by Marco Henn, the film employs powerful cinematography and sfx to present a tale about young people turning away from government advice and mistakes on the environment.

Instead, they look at nature itself for guidance, in the form of a shaman-like Mother Nature figure. However, the film concludes that people can’t rely on any such figure and the youth of the world must take action urgently to fix the climate change challenges themselves.

Lürzer’s Archive

Runners-up in the student category were students from the Royal College of Art, Adira Andlay and Xin Wen, with a globally scaleable experiential workshop for empowering community action.

Sense Of Place. Adira Andlay, Xin Wen

This Is. Arne Desmet

The Perceivable Solutions. Jannes Deschacht In the Young Creatives category, a worldwide trawl of entries remarkably led to no single winner but to two commended entries — both from Belgium. Jannes Deschacht of TBWA Belgium devised a campaign that encouraged people to realise the collective power of small changes.

Arne Desmet took the other honour with his highly customisable and share-able campaign kit, This Is.

Vol 2/2022

240–241

REVIEWS

The festive spirit… and its hangover

Edinburgh Festival 2023 On this spread is our pick from the recent past Edinburgh Art Festival…

Ishiuchi Miyako was a significant retrospective at the Edinburgh Art Festival of the pioneering Japanese photographer, which took place at Stills Centre for Photography. Now 75, Ishiuchi displayed works from three of her projects, responses to clothing found at Hiroshima, and items belonging to Frida Kahlo and Ishiuchi’s own mother. This shows one of the lipsticks her mother used.

Global creative festivals are curious beasts. They start out as one thing and through success, desperate reinvention, or just the patina of the years, gradually grow into something else. For example, in 1987 in Austin, Texas, the locals wanted to put a stake in the ground for their local creative and music scene. And so SXSW was born. With all respect to Texas talent, the annual spring event is now very different as a global hub for encountering the overlap in music, tech, art and business. All the better for that, most would say. But growth is not always great. Some 30+ years before that the Cannes Lions International Festival of Creativity kicked off as a modest review of film ads, put on by the society of screen advertising associations.

It was a business promo that gradually spread into other advertising areas.

Then exploded. Now owned by a company that states its goal as ‘specialist information, analytics and e-commerce optimisation’, Cannes has spread into whatever can sustain the ravenous creatures it needs to feed. Creativity can seem a long way from what is discussed or done in its name.

But massive growth and creative focus can be happy bedfellows. For that story, let’s go back further, to 1947 when in the blackened buildings of postwar Edinburgh the world’s biggest creative festival, by some way, began.

The Edinburgh International Festival was meant to focus on theatre but immediately begat a breakaway, the Edinburgh Fringe… and to cut a long story short this annual shindig through August can now encompass more than 3,000 different acts and events across 300+ venues. Theatre, comedy, art, books, film and photography, music, performance of indeterminate crossover… it’s all there, in a cluster of highly creative festivals that sit close together, with a collective spirit and yet also in friendly competition for audience. The world turns up but there always seems room for a few more.

Unlike Cannes, you can buy into just as much as you want of it, at almost any budget level (quite a lot is free or very cheap). You can turn up, tune in, tune out and leave (for a holiday or perhaps work) and then come back for more… it is there for the month.

It is, like SXSW, and many other creative festivals of different size around the world, arguably much closer to what an advertising creative festival should be about. All kinds of creativity are drawn in, as indeed advertising needs to do. With the crossover and integration of advertising with other culture, media and technology never greater, why does the ad industry blow its budgets going to an old-school one week ad ghetto in the south of France? On this spread is some of our pick from the recent past Edinburgh Festival… and now we are looking ahead. Perhaps a dip into a rising star on the art itinerary: for example, why not visit Kochi-Muziris Biennale 22-23 in Kerala this December?

It’s truly diverse and open in many ways. Advertising needs to open its travel itinerary to the real world of creativity, the one that can feed its content rather than its bank account. It has nothing to lose but its chains to Cannes.

The veteran Scottish artist Will MacLean exhibited at the Edinburgh City Art Centre during the Festival, displaying a unique blend of mixed-media crafts to deliver a mode of poetic documentary.

Right page: A new installation in woodland at Jupiter Artland, Edinburgh, a massive bronze by the British artist Tracey Emin, which depicts a naked masturbating woman.

Lürzer’s Archive

REVIEWS

Ken Fulk

The Movie In My Mind

The extravagant interiors of Ken Fulk may have passed most of us by, as do many an interior or even an entire building. Designers and architects, like ad creatives and quite a few others, tend not to have their name writ large on the things they envision and help make. But in Fulk’s case once you know the name, you can’t help spot the invisible signature. Everything that is… well, very extravagant in a richly contemporary way, looks like it could be from the bejewelled hands of Fulk. It is entirely appropriate that Assouline has published a wonderful monograph on his work, written by Fulk, with further surprising words by the investigative reporter Ronan Farrow, and great photos

by Douglas Friedman. Assouline do this so well. It’s sumptuous, as it should be. More importantly, Fulk’s work kind of is important in getting a grip on the aesthetics and values of our time. The title, The Movies In My Mind, captures well what he is shamelessly up to, something we would all like to indulge.

The fantasy space in the head is writ large in rearranged atoms for us all to experience. Even if we are not of the class that gets invited into his client’s realms, we can at least view these lavish pages. His fictional movies made interiors will be rich material for set designers to remix into other visions, coming to an establishing shot near you soon. It might not be healthy but that’s how fantasy rolls.

Published by Assouline 352 pages, €95

Casa Grande, Mexico, by Ken Fulk. Photo: Douglas Friedman

Lürzer’s Archive

Ray Johnson

Please Send To Real Life The Morgan Library and Museum, New York Exhibition runs until 2 October themorgan.org

If Ray Johnson had not jumped off a bridge in 1995, would we have had this quietly spectacular exhibition of beautiful and banal, obsessive and original, insistently disposable images? Probably not. He may have got his act together to build a successful career and more substantive body of work, trumping and obscuring this output. Or he may have destroyed the 5,000 or so images in a fit of despond, these images all shot on disposable cameras, now finally elevated to museum status with the Morgan show. The images are diverse and yet are wrapped by both a melancholy air and the enchantment that time brings. There is a strange lightness, a joie de vivre, that quite belies the trajectory of Johnson’s life, and yet perhaps their qualities can be read in hindsight to signal a tormented mind.

More significantly, the images have a pioneering quality about them in how they defiantly, sometimes hilariously, reject the slick, in their exploration of the vernacular and of chance in the everyday. There is considerable silliness and wit, a fair bit of whimsy and yet also profound meditative moments. Many photographers and artists, and more commercial creativity, has drawn and enlarged this space of the uncooked playful image, but Johnson’s work can be seen as both a precursor and an unrivalled, independent eye. Worth a visit if you can, or catch up online.

Above: Ray Johnson and Suzi Gablik, 1955 Left: Path of headshots and back steps, spring 1992 Right: Billboard, summer 1992

Vol 2/2022

244–245

REVIEWS

Carlos Paboudjian AI Interaction midjourney.com

Frida_06 (above) and WTFwonderland_04 (right).

From a series of AI-generated images created/directed by Carlos Paboudjian.

Lürzer’s Archive

Prague based VMLY&R creative Carlos Paboudjian has been wowing social media with his use of new AI technology (still in beta) from midjourney.com to create extraordinary sets of images inspired by Frida Kahlo, the movie Amelie and, his latest work, a dystopian take on Disney-like theme parks.

Unbelievable as it may seem, there is no conventional artist or photographer involved in the image creations, though. Just words. That’s right… just words.

Write a brief with a few inspiring terms, submit into the program… and this is the quality of output you can expect.

Carlos says he does a lot of experimentation with different word group juxtapositions to ‘inspire’ the AI to the results. “I will use technical terms and then put something like ‘Caravaggio-esque’ or ‘I want junkie style’.”

The program apparently can think about these referential inputs and their possibilities across 500 or more dimensions (we have four, including time). “What you get back is what you have put in, what you are looking for… but it is not the image you had in mind.”

Any of you still sceptical of the creative potential of AI? No, we’re not either.

Photo & Film +32 478 60 53 01

bram@bramdeclercq.eu www.bramdeclercq.eu

Jonathan Knowles Photography & Film jknowles.com | +44 (0)20 8741 7577

@StudioKnowles