Lürzer's Archive 226 (International edition)

Lürzer’s Archive Issue 226

EUR 18.90 ISSN 1727-3218 LuerzersArchive.com

Project: NewSwiss Michel Jaussi Represented by renehauser.com

JAUSSI.COM

WHATEVER WORLD WIDE

BERND OPITZ.COM

Let’s shoot until it’s not too late. www.balinth.com

watc h th

e film

Philipp Rathmer Photography

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M I C K A E L G O M E S .C O M

MICKAEL GOMES P H O T O G R A P H E R

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BEREZA STUDIO

CIPRIANMIHAI.COM

cooeeitalia.com

UPFRONT

As you probably know, the task we set ourselves here is to filter the great river of creativity that runs through the world of communication.

We do that to find the material that can help us all do our work better.

And, of course, by showcasing the best we not only help you have more fun and perhaps be more productive but we focus the limelight, and even help shape fame, for both the known and the unknown talents out there. As we all stand on the shoulders of others to take our work forward, so we all appreciate being thanked when we provide the shoulders. Not a week goes by when we are not amazed by how we live in a world of creative wonders.

However, it came to our attention that we could do more. With every printed issue, and with every online updating of the Lürzer’s archive, we add to the body of knowledge and to the roll call of credited creative talents and companies. And yet there was something missing. Where was the cumulative “taking stock”? Where was the progress report? And so that is something we have sought to fill with the very first ACE Report, the substantial special feature of this issue.

It’s a prototype, of sorts.

It stands for the “Annual of Creative Excellence” and is, in some ways, just a proposal for you all to engage with.

Tell us what kind of summary of the year of creative output, what lists of names and works and whatever, what other, might actually be useful. We have ideas but yours may be better.

Image: Asia // The Experience Co., page 13

In line with producing our new rankings in ACE, we have also revived our sometimes much-loved, sometimes much fought-over, and sometimes cause of pain … the Lürzer’s Archive Rankings. They are now live and in full again on our website, available in many permutations as you try out the various filters. And they are about to get more substantial and refreshed! To get into the race for glory this year, you just need to submit your works, all for free, of course, and then wait to find out if they get the seal of approval from the editors. A key change, and a reason why we have brought it back, is because we are now open to all kinds of creative work … and therefore a more representative competition of creative excellence can take place in our rankings, open to all the talents and companies. Good luck. Again, it’s a work in progress. Give us your thoughts.

Also “new” with this issue, is a different kind of opening out to you all. For the first time, we hand over our Reviews section in its entirety to one guest team. Many thanks to Sascha Kuntze, CCO at BBH Singapore, for taking on the task, or at least tasking his creative colleagues. You can be the judge on their judgements but I know I’ve been inspired and added at least one destination to my travel list (clue: it’s in Japan).

And thank you all for your support and engagement, your participation of many kinds. It’s the collective process of striving and building together our creative insights and expertise that has come to be a great joy.

Lewis Blackwell, Director

Lürzer’s Archive

Vol 1/2024

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Contents

1

UPFRONT

4

THE SMALL PRINT

6

ECLECTIC Underrated / Overrated

10 PRINT WORK 111 FILM WORK 121 ACE REPORT Annual of Creative Excellence 2024 138 INTERVIEW Alex Schill 160 INTERVIEW Liz Taylor 203 BACKDROP Classics Reviews from BBH Singapore

THE SMALL PRINT LÜRZER’S ARCHIVE Issue 226 1/2024

Lürzer’s Archive Issue 226

ISSN 1727 - 3218 ISBN 978 - 3 - 903909 - 09 - 0 Cover: Client Gleis 21 Agency Madonna.Studio, Zurich Creative Direction Massimiliano Madonna Art Direction Tanja Richli, Julian Huber Illustrator Tanja Richli, Julian Huber Typographer Tanja Richli EUR 18.90 ISSN 1727-3218 LuerzersArchive.com

Curator Michael Weinzettl

Website luerzersarchive.com

Contents © 2024 Lürzer International Ltd. All rights reserved

Managing Editor Christian Hrdlicka

Ad sales sales@lurzersarchive.com

Art Director Christine Thierry

Editorial editor@lurzersarchive.com

Brand and Design Direction SIX

Subscriptions and copy sales subs@lurzersarchive.com

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.

Contributing Editor Maeve O’Sullivan

Distribution/Retail latrade@lurzersarchive.com

Editorial Research Josh Lambie

All other inquiries, check website or email help@lurzersarchive.com

Ad Sales USA Claudia Coffman

Published by Lürzer International Ltd. 151 Wardour Street London W1F 8WE United Kingdom

Ad Sales International Kate Brown Sheila King Online Editor Rosie Haine Database Coordinator Ovidiu Cristea Marketing Rachel Dennis Elise Farrow Operations Anja Parchet

Lürzer’s Archive

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.

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

Director Lewis Blackwell Printed by Print Alliance HAV Produktions GmbH Druckhausstr. 1 2540 Bad Vöslau Austria printalliance.at

PECF Certified This product is from sustainably managed forests and controlled sources PEFC/06-39-10

www.pecf.at

ECLECTIC

What is the most underrated – or overrated – craft in advertising?

Stars behind recent Archive works share their insights.

JESSICA THOMPSON Creative Director The Hallway, Sydney So many underrated crafts come to mind. The art of knowing when you’ve done Enough. Of trusting your gut.

Of not shouting at your traffic manager. But my 2024 focus is on the art of simplicity. The temptation of extravagance is hard to resist, but if there was an award for best use of restraint, the contenders would be striking.

ANDRIANA RODAKOU Art Director The Newtons Laboratory, Athens The craft of making coffee. Crafting a cup of coffee may initially appear trivial, yet it embodies the essence of those seemingly insignificant daily rituals that nourish creativity, such as working with ceramics, engaging in dance, experimenting with a new recipe, or sketching passersby.

Creating anything, even things seemingly unrelated, is the optimal method for fostering creativity.

CHRIS DACYSHYN Executive Creative Director Bleublancrouge Advertising, Toronto The most underrated craft in advertising is the ability to write a provocative case video opening that hooks people instantly and drags them in. The meat of the video script often tends to write itself. But those openers can make the difference between the best of show and the one that got away.

CACÁ PASSOS Creative Director The Weber Shandwick Collective, São Paulo Craft’s richness lies in the profound bond between creator and creation.

Unique and expressive, it embodies care, manual skill, and passion – it transcends mere performance or response time. Craft is about feelings and intricate process, whereas AI, lacking these vital steps, proves overrated in capturing the essence and soul of true craft.

CLAIRE CROTEAU & DIANE DESCLAUX Creative team, Rosa, Paris SOPHIE RIJNAARD Copywriter Weekend Creative Agency, Breda, Netherlands I suppose the most underrated craft, or knowledge, in advertising, is everything but advertising: everything we intend to sell or promote lives in a way bigger context. Culturally interesting work is more likely to sprout from a newspaper article than an advertising course, in my humble opinion.

Lürzer’s Archive

The most underrated craft in advertising is minimalist art. This trend is very close to advertising thinking, since it requires a very clear concept, a purist approach to what is said and shown, and provokes thought in people.

Advertising should simplify life, not complicate it.

DAN ZECCHINELLI Creative Vice President Filadélfia Comunicação, Belo Horizonte, Brazil The most underrated craft in advertising is shitty drawing. As a copywriter, I can think visually, but my drawing skills suck. So I usually draw scamps and thumbs in any paper available, to feel the potential of an idea. Deal with it, Midjourney.

ANA PINTANÉ Copywriter PS21, Madrid I would love to recall the value of craft ... in copywriting. Those perfectly written lines that come with the most beautiful ads. One of my favorites, Honda’s The Cog: “Isn’t it nice when things just ... work?” Seven words perfectly chosen that put the final bow on one of the most beautifully executed ads ever.

CÉSAR SEPÚLVEDA Executive Creative Director God, Guayaquil, Ecuador SAKSHI CHOUDHARY Group Creative Director Ogilvy, Chicago Somewhere in our chase to be techforward, quick and safe, we dismissed the idea of treating advertising as art. I’ve been most inspired by art, cinema and music of all kinds. All three of which have become underrated in our industry. In a world that hates advertising, only something beautiful and profound will move people.

Print is probably one of the most underrated crafts in advertising today. It’s easy to hide a weak idea in a video when you have one or two minutes to justify it. Good creativity needs no justification, it’s simple. And to do it right you need skills in art, copy and message simplification.

SARAH LEVITT Creative Director Revolt, London Funny is a brand’s superpower and the most underrated craft in advertising. 90% of consumers say they’re more likely to remember a funny ad and 72% would select a humorous brand over the competition, making laughter the most powerful creative enhancer of receptivity.

So why are we not honing our funny bones and perfecting our punchlines? Here’s a pic of me, doing just that.

Vol 1/2024

6–7

ECLECTIC

BENJAMIN VENDRAMIN Chief Creative Officer WP Narrative, New York Overrated: creating TV commercials. The last bastion for TV commercials is the Super Bowl. If you have any inclination left to watch them, this is it – the remnants of a bygone commercial art form and era. The reality is, for the most part we do everything in our power to avoid what feels like an antiquated form of advertising.

Underrated: writing. The craft of writing has gone down the proverbial shithole. With our attention span so diminished, less value has been given to the written word – the power of wordsmithing to influence and drive an intended response. Bad grammar and typos are the norm.

ALEX PINEDA Chief Creative Officer TBWA, Helsinki Underrated: The power of copyonly ads. They blend the wit of pure copywriting with the beauty and simplicity of typographic design.

Overrated? Well, AI is superb as a tool, but I feel it’s too much just thinking it can do the work alone.

PEDRO MARTOLI Senior Creative Art Director Dentsu Creative, Lisbon Escape visual hype. Photos and illustrations shine, but layers over layers overshadow the unsung hero – the layout. Art direction is storytelling.

Don’t hide the idea. Craft a narrative with powerful visuals and a killer layout.

Too many layers won’t rescue a weak story and can ruin a good one.

LUKAS WIETLISBACH Creative / Art Director Freelance, Zurich With all the new amazing tools, I think craft is becoming more underrated every day: the art of keeping an idea pure and simple and not adding more than necessary just because it’s technologically possible.

FOLKE KÜHLHORN Art Director Åkestam Holst, Stockholm Music is, in my opinion, a craft that goes highly overlooked in creative processes. It really can make or break an idea. Yet, I’ve found that discussions around it usually come up later rather than early. Too much time is spent coming up with smart ideas appealing to people’s minds. But with music, you can take a shortcut straight to their hearts. Let’s stop thinking and start singing.

Lürzer’s Archive

LUISA MARÍA MEJÍA ZULUAGA Copywriter CJ Martins Publicidad, Manizales, Columbia A mistake has been made and there must be a culprit. Although not a craft per se, the skill of taking responsibility and accepting mistakes is, in its own way, an underrated task for those brave enough to save the heads of the rest of their team.

DISCOVER & CONNECT WITH THE WORLD’S GREATEST CREATIVES UPCOMING CONNECTIONS EVENTS • MILAN: MAY 21ST • NEW YORK: JUNE 6TH • BERLIN: JULY 2ND • STOCKHOLM: SEPTEMBER 5TH • CHICAGO: SEPTEMBER 10TH • GENEVA: OCTOBER 3RD • DALLAS: OCTOBER 29TH • LONDON: NOVEMBER 14TH • ATLANTA: DECEMBER 3RD

VISIT LEBOOK.COM

PRINT

Print [12–109] Client New Zealand Transport Agency Agency FCB New Zealand, Auckland Creative Direction Hywel James, Leisa Wall, Peter Vegas Lürzer’s Archive

Art Direction Marcelo Dario Copywriter Gaetano Perry Illustrator Jake Foreman

Vol 1/2024

10–11

ACCESSORIES

DRESDEN VISION Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Notice Corp., Sydney Creative Direction Eran Thomson Art Direction Eran Thomson

Copywriter Adam Hunt, Eran Thomson Photographer Firat Meric

AD AGENCIES

ASIA // THE EXPERIENCE CO. Campaign

Agency Asia // The Experience Co., in-house, São Paulo Creative Direction Rafael Genu, Vico Benevides, Manoel Michael Art Direction Vico Benevides, Manoel Michael, Matheus Abitbol

Vol 1/2024

Copywriter Rafael Genu Photographer Rodrigo Pirim Digital Artist Gabriel Castilho

12–13

AUDIO + VIDEO

Lürzer’s Archive

SENNHEISER Campaign

Agency Ogilvy, Amsterdam Creative Direction Tolga Büyükdoganay Art Direction Diego Lauton Copywriter Federico Botella Photographer Ale Burset

AUTOMOTIVE

JEEP DAHRUJ CAMPINAS Campaign

See more of the campaign at luerzersarchive.com

Agency DMC Propaganda, São Paulo Creative Direction Thiago Taufic Art Direction Thiago Taufic Copywriter Renato Bruno Neto

Vol 1/2024

14–15

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

www.jeffludes.com jeffludes

AUTOMOTIVE

Lürzer’s Archive

HYUNDAI Campaign

Agency Jung von Matt/Neckar, Stuttgart, Germany Creative Direction Matteo Maggiore, Luis Paulo Gatti, Valerio Mangiafico Art Direction Luis Paulo Gatti, Hamza Hatim, Mia Petersen

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Matteo Maggiore, Mike Petersen Digital Artist Ricardo Moreira

18–19

AUTOMOTIVE

SMART ISRAEL / COLMOBIL Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency No, No, No, No, No, Yes, Tel Aviv Creative Direction Gideon Amichay Art Direction Yaron Itzhakov, Zeev Ravid, Gil Aviyam

Copywriter Erez Hadar, Rony Schneider, Ouriel Ferencz, Erez Hadar Illustrator Gil Aviyam

M&M RESTORATIONS Campaign

Agency Lewis Communications, Birmingham, Alabama Creative Direction Spencer Till Art Direction Andy Cargile Copywriter Steve Skibba

See more of the campaign at luerzersarchive.com

Vol 1/2024

Photographer Spencer Till Typographer Spencer Till Digital Artist Andy Cargile

20–21

AUTOMOTIVE

Lürzer’s Archive

HYUNDAI Campaign

Agency Jung von Matt/Spree, Berlin Creative Direction João Peixoto, Sarah Buggle Art Direction Goncalo Martinho, Alejandro Gabarda

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Harvey Wilks, Yashkumar Bhut Photographer Jules Esick Digital Artist Recom Berlin

22–23

BANKING, INSURANCES

Lürzer’s Archive

ANYTIME Campaign

Agency Ogilvy Greece, Athens Creative Direction Konstantinos Thanasakis, Panos Sambrakos, Nikos Vavakis Art Direction Konstantinos Thanasakis Copywriter Nikos Chatzidakis

BEVERAGES, ALCOHOLIC

MELISSANIDI DISTILLERY Campaign

Agency Hueman, Belgrade Creative Direction Nikolina Popovic Art Direction Nikolina Popovic Copywriter Nikolina Popovic

See more of the campaign at luerzersarchive.com

Vol 1/2024

24–25

BEVERAGES, ALCOHOLIC

Lürzer’s Archive

LOUIS XIII COGNAC Campaign

Agency Hands Agency, Paris Creative Direction Matthias Tomasino Photographer Coco Amardeil

See more of the campaign at luerzersarchive.com

Vol 1/2024

26–27

BEVERAGES, NON-ALCOHOLIC

PEPSI Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Special Group, Sydney Creative Direction Nils Eberhardt, Simon Gibson Art Direction Nils Eberhardt Copywriter Simon Gibson

Photographer Danny Eastwood Illustrator Tom Martin Typographer Julian Schreiber Digital Artist Mark Sterne

CRAZY WATER Campaign

See more of the campaign at luerzersarchive.com

Agency TRG, Dallas Creative Direction Jim Baldwin Art Direction Jim Baldwin Copywriter Jack Westerholt Illustrator Jon Flaming

Vol 1/2024

28–29

BEVERAGES, NON-ALCOHOLIC

COCA-COLA / MCDONALD’S Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ogilvy & Mather, São Paulo Creative Direction Rubens Casanova, Alexander Davidson (Big) Art Direction Pedro Minari Felippe, Thyago Neves, Danilo Kykuta

Copywriter Joao Soares, Talita Sztokbant, Gustavo Nassar Digital Artist Ariel Saraiva, Caio Saavedra

STARBUCKS Campaign

Agency Rock The Agency, Bogotá Creative Direction Daniel Piza Art Direction Fabian Fernandez “Faco” Copywriter Daniel Piza Illustrator Jhonatan Díaz

See more of the campaign at luerzersarchive.com

Vol 1/2024

30–31

BEVERAGES, NON-ALCOHOLIC

HÄLSSEN & LYON Recruitment campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency häppy, Hamburg Creative Direction Sascha Hanke Art Direction Gianluca Coscarelli Copywriter Boris Spiel Photographer Dirk Weyerv

CIGARS + CIGARETTES

RIZLA Campaign for a French rolling paper brand.

Agency Buentipo Anchor, Bogotá Creative Direction Joffre Carmona, Juan Herrera, Andrés Rubio

Vol 1/2024

Art Direction Juan Pablo Parra Copywriter Daniel Rodríguez Photographer Eduardo Wallace

32–33

COSMETICS

BRAUN Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Grey, London Creative Direction Javier Campopiano Art Direction Pedro Rosa Copywriter Roberto Kilciauskas

WAHL Campaign for the new Style Selector app.

Agency Hoffman York, Milwaukee Creative Direction Mike Roe, Pat Kopischkie Art Direction Brady Welsh Copywriter Mike Roe, Samm Dowell

Vol 1/2024

34–35

FASHION

Lürzer’s Archive

HAVAIANAS Campaign

Agency AlmapBBDO, São Paulo Creative Direction Rafael Gil, Marco Giannelli Pernil, Rodrigo Almeida Art Direction Mozar Gudim, Rafael Gil, Isabela Lourenço

Copywriter Rodrigo Almeida, Daniell Rezende Photographer Mariana Valverde Illustrator Rafael Gil Digital Artist Rafael Gil

FOOD

MCDONALD’S Campaign

Agency Leo Burnett, London Creative Direction Mark Elwood Copywriter Josh Merriam, Chanelle Merriam

Vol 1/2024

36–37

FOOD

HEINZ Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Wieden + Kennedy, London Creative Direction Juan Seville Art Direction Simon Allen, Patrick Silla

Copywriter Simon Allen, Patrick Silla Photographer David Stewart

LES PRODUCTEURS DE LAIT DU QUÉBEC (PLQ) Campaign

Agency Lg2, Quebec Creative Direction Luc Du Sault Art Direction Vincent Bernard Copywriter Nicolas Boisvert Photographer Benoit Brühmüller

Vol 1/2024

Illustrator Vincent Bernard, Charles-Étienne Brochu Digital Artist Marc Rivest, Olivia Lapierre-Fortin, Isabelle Bélanger

38–39

FOOD

KFC Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Mother, London Photographer Martin Poole

CAMPBELL COMPANY OF CANADA Campaign

Agency Zulu Alpha Kilo, Toronto Creative Direction Zak Mroueh, Brian Murray, Jenny Glover

See more of the campaign at luerzersarchive.com

Vol 1/2024

Art Direction Michael Romaniuk, Ana-Marija Matic Copywriter Marco Buchar Typographer Ana-Marija Matic

40–41

FOOD

HELLMANN’S Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ogilvy UK, London Creative Direction Juliana Paracencio, Rob Butcher Art Direction Nick Shay Copywriter Anja Muller Digital Artist Bruno Rodrigo de Miranda

KFC Campaign

Agency Republica Havas, Miami Creative Direction Tony Waissmann, Josafat Padilla, Ali Armas Art Direction Ali Armas, Ivan Henao

See more of the campaign at luerzersarchive.com

Vol 1/2024

Photographer Eduardo Wallace, Gonzalo Corrado Illustrator Diego Chiliano

42–43

FOOD

MCDONALD’S CANADA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Cossette, Montreal Creative Direction Alexandre Jutras, Cedric Audet Art Direction Philippe Leblanc Copywriter François-Julien Rainville Illustrator Daniel D’Avila

MAGNUM Campaign

Agency LOLA MullenLowe, Madrid Creative Direction Tomas Ostiglia, Kevin Cabulli, Jorge Zacher Art Direction Pedro Mezzini

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Augusto Callegari Photographer Ale Burset, Yan Graller, Alan Chung

44–45

FOOD

HEINZ Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Rethink, Vancouver, Canada Creative Direction Aaron Starkman, Mike Dubrick, Xavier Blais Art Direction Zachary Bautista, Claudia Barbiero

Copywriter Geoff Baillie, Nicolas Dubois Photographer Pierre-Nic Lessard

DOMINO´S PIZZA Campaign

Agency The Newtons Laboratory, Athens Creative Direction Giannis Sorotos, Dimitra Andrikopoulou Art Direction Ioanna Terekidou

See more of the campaign at luerzersarchive.com

Vol 1/2024

46–47

FOOD

Lürzer’s Archive

CADBURY Campaign

Agency VCCP, London Creative Direction Angus Vine Art Direction Amber Frisenda

See more of the campaign at luerzersarchive.com

Vol 1/2024

48–49

FOOD

DOMINO´S PIZZA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Newtons Laboratory, Athens Creative Direction Giannis Sorotos, Dimitra Andrikopoulou Art Direction Argiro Paschou

FURNITURE

DESIGNER BATH Campaign

Agency Strange Animal, Myrtle Beach, South Carolina Creative Direction Roger Baldacci, John Boone Art Direction John Boone

Vol 1/2024

Copywriter Roger Baldacci Photographer Tim+Tim, Vitalik Radko Digital Artist Nick Bleil

50–51

HOUSE + GARDEN

Lürzer’s Archive

ZIPPO Campaign

Agency Ogilvy & Mather, New York Creative Direction Jon Wagner, Andy Forrest, Nicola Wood

Art Direction Haeun Kim Photographer Ale Burset

IKIGROW CONSUMERS Campaign

Agency Blue Noodles, Chennai, India Creative Direction Anantha Narayan Art Direction Anantha Narayan Copywriter Anantha Narayan Digital Artist Albert Dal-E

See more of the campaign at luerzersarchive.com

Vol 1/2024

52–53

HOUSE + GARDEN

Lürzer’s Archive

B&Q Campaign

Agency Uncommon Creative Studio, London Photographer James Day

See more of the campaign at luerzersarchive.com

Vol 1/2024

54–55

PETFOOD

STELLA & CHEWY’S Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Knife & Luck Pictures, Atlanta Creative Direction Roy Torres Art Direction Carolyn Bowler Copywriter Nate Goodwin Illustrator Nache Ramos

PHARMACEUTICALS + OTC

IMPACT BIOMEDICINES Campaign

See more of the campaign at luerzersarchive.com

Creative Direction Adam Hessel Art Direction Alec Vianu Illustrator VianuImageLab Typographer Alec Vianu

Vol 1/2024

56–57

PHARMACEUTICALS + OTC

Lürzer’s Archive

DUREX Campaign

Agency McCann Worldgroup, Athens Creative Direction Dimitra Karagianni Art Direction Stevi Gkesiou Copywriter Sotiris Bountouris

PUBLIC EVENTS

NEW YORK FESTIVALS Campaign

Agency Ogilvy Health, New York Creative Direction Adam Hessel Art Direction Simone Rubio, Eduardo Basque, Sean Green Copywriter Tom Callan, Rafael Campeao

See more of the campaign at luerzersarchive.com

Vol 1/2024

Photographer Eduardo Basque Illustrator Illusion Typographer Eduardo Basque, Sean Green Digital Artist Illusion

58–59

PUBLIC EVENTS

ORBEH STUDIO Campaign Poster(s) made to illustrate the 10 principles of the Burning Man festival 2023.

Lürzer’s Archive

Art Direction Guillermo Flores Illustrator Guillermo Flores

See more of the campaign at luerzersarchive.com

Vol 1/2024

60–61

PUBLIC EVENTS

Lürzer’s Archive

ROYAL SHAKESPEARE COMPANY Campaign

Creative Direction Daniel Evans, Tamara Harvey Art Direction Louise Richardson Photographer Seamus Ryan

See more of the campaign at luerzersarchive.com

Vol 1/2024

62–63

PUBLIC EVENTS

Lürzer’s Archive

PARIS 2024 Campaign

Creative Direction Joachim Roncin Illustrator Ugo Gattoni

See more of the campaign at luerzersarchive.com

Vol 1/2024

64–65

PUBLIC EVENTS

GLEIS 21 Campaign promoting events – from movie nights to knitting courses – held at Swiss cultural center, Gleis 21.

1 Metzgete is a Swiss version of Thanksgiving 2 Knitting café 3 Theatre day 4 Cinema

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Madonna.Studio, Zurich Creative Direction Massimiliano Madonna Art Direction Tanja Richli, Julian Huber

Illustrator Tanja Richli, Julian Huber Typographer Tanja Richli

CINÉMA DU PARC Campaign

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

Vol 1/2024

66–67

PUBLISHERS, MEDIA

ARTE Campaign for a documentary series featured on Arte, the Franco-German TV station.

Capital B. Who does Berlin belong to?

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency KesselsKramer, Amsterdam Creative Direction Gijs van den Berg, Maartje Slijpen Art Direction Blanca Campins

NETFLIX Campaign

See more of the campaign at luerzersarchive.com

Creative Direction Marc Isken Photographer Markus Mueller Digital Artist Elisabeth Winter

Vol 1/2024

68–69

PUBLISHERS, MEDIA

NETFLIX Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency media.monks, Bogotá Creative Direction Cesar Castaño, Alejandro Cussó, David Correa Art Direction Alejandro Cussó, David Correa, Edna Gualdron

Copywriter Cesar Castaño, Jaime Andrés Tovar, Sergio Gil Illustrator Edna Gualdron, Lucía García

FX NETWORKS Campaign

Agency ARSONAL Design, Culver City, California

Vol 1/2024

70–71

RETAILERS

KOTSOVOLOS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Newtons Laboratory, Athens Creative Direction Giannis Sorotos Art Direction Vassilis Papadopoulos

Copywriter Dionysia Lampadariou, Elias Toufexidis Photographer Marios Theologis

MALL DEL SOL Campaign

Agency God, Guayaquil, Ecuador Creative Direction Cesar Sepulveda, Jose Leon Fon Fay Art Direction Ronald Moreano, Andres Zuleta Copywriter Ricardo Portes, Roberto Zevallos

Vol 1/2024

Typographer Andres Zuleta Digital Artist Cesar Sepulveda, Ronald Moreano

72–73

RETAILERS

IKEA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Milk, Vilnius Creative Direction Rimantas Stanevicius Art Direction Aurelija Maceikaite Copywriter Audrius Darguzis

DECATHLON Campaign

Agency Cheil, Santiago de Chile Creative Direction Alejandro Orozco Art Direction José Osorio, Angelo Baltierra Copywriter Darien Prado

See more of the campaign at luerzersarchive.com

Vol 1/2024

74–75

SERVICES

KUMON ESPAÑA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Honest, Barcelona Creative Direction Alejandro Arriagada, Xavier Sole, Pablo Cominetti

Art Direction Xavier Sole, Pablo Cominetti Copywriter Pablo Cominetti, Carlota Arboix

HOCHSCHULE OFFENBURG Campaign

Agency brand.david Kommunikation, Munich, Germany Creative Direction Andrea Zeiller Copywriter Michael Brepohl

See more of the campaign at luerzersarchive.com

Vol 1/2024

76–77

SERVICES

BACKUS - AB INBEV PERU Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Juju, Mexico City Creative Direction Humberto Polar, Andres Briceño Art Direction Alexis Callan, Giovanni Rozo

Copywriter Carlos Castillo, Diana Flores Photographer Alex Freundt

NHS ENGLAND Campaign

Agency Havas Lynx, Manchester Creative Direction Rob Jenkins, Angus Prior Art Direction Rob Jenkins Copywriter Angus Prior Digital Artist Justin Metz

Vol 1/2024

78–79

SOCIAL + ENVIRONMENT

Lürzer’s Archive

A LITTLE SHELTER Campaign

Agency McCann Worldgroup, Chalandri, Greece Creative Direction Aleka Papadia, Panos Pagonis

Art Direction Konstantinos Tsagkakos, Michalis Alexiou, Christos Onoufriou Copywriter Despoina Karakosta

DYRENES BESKYTTELSE Campaign

Agency &Co. / NoA, Copenhagen Art Direction Martin Storgaard, Mathias Trads Digital Artist Morten Grundsøe

Vol 1/2024

80–81

SOCIAL + ENVIRONMENT

PAWS NY Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Klick Health, Philadelphia Creative Direction Rich Levy Art Direction Bernardo Romero, Andrea Bistany

Copywriter Amy Fortunato Photographer Lightfarm Studios Digital Artist Milton Menezes, Rafael Vallaperde

APLA FOUNDATION Campaign

Agency Havas Worldwide, Santiago de Chile Creative Direction Fernando Condeza Art Direction Cristian Pizarro Copywriter Ricardo Vera Photographer Mairo Arde

See more of the campaign at luerzersarchive.com

Vol 1/2024

82–83

SOCIAL + ENVIRONMENT

THE TIMES GROUP Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency VML, Kolkata, India Creative Direction Senthil Kumar, Arjun Mukherjee Art Direction Sourish Mitra, Purnajyoti Kundu, Diptanshu Roy

Copywriter Arjun Mukherjee Illustrator Illusion Digital Artist Illusion

WWF Campaign

Agency Studio 85, Guayaquil, Ecuador Creative Direction Stalin Segovia, Alejandro Marotta Art Direction Stalin Segovia, Jason David Blanco

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Alejandro Marotta, André Farra Digital Artist Stalin Segovia

84–85

WWF Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency & Co, Copenhagen Creative Direction Claus Collstrup Art Direction Claus Collstrup, Jonathan Slyngborg Fjord Copywriter Sophie Hotchkiss

PROVIDENCIA Campaign

Agency VML, Bogotá Creative Direction Juan Jose Posada, Oscar Muñoz, Juan Cárdenas Art Direction Juan Jose Posada, Oscar Muñoz, Charles Andara

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Camilo Garzon, David Tolosa Illustrator María José Pachón Peláez Digital Artist Banana Ponch Studio

86–87

SOCIAL + ENVIRONMENT

PAPYRUS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency TBWA\MCR, Manchester Creative Direction Gary Fawcett, Lisa Nichols Art Direction Tom Holmes

Copywriter Glenn Scholefield Photographer John Allen Digital Artist Daniel Bickerton

ALEXIA ORTIZ Launch campaign for the book “Las dos muertes de Flor González” by Mexican writer Alexia Ortiz.

Agency BBDO, Mexico City Creative Direction Benjamin Pedrero, Camilo Plazas Art Direction La Salvación Studio, Andrea Avendaño Copywriter Andres Rivera

See more of the campaign at luerzersarchive.com

Vol 1/2024

Photographer Andrea Avendaño Illustrator Juanamatu Rivera Typographer Andrea Avendaño Digital Artist La Salvación Studio

88–89

SOCIAL + ENVIRONMENT

ASSOCIAÇÃO SALVADOR Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Dentsu Creative Portugal, Lisbon Creative Direction Ivo Purvis Art Direction Sergio Lobo, Emanuel Serôdio

Copywriter Nuno Leal Illustrator Rogério Puhl

ASSOCIATION AGAINST ALZHEIMER’S DISEASE Campaign

Agency Republica Havas, Miami Creative Direction Tony Waissmann, Martin Stuart, David Thackeray Art Direction Martin Stuart

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter David Thackeray Photographer Lucila Blumencweig

90–91

SOCIAL + ENVIRONMENT

FUNDACIÓ VICKI BERNADET Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ogilvy, Barcelona Creative Direction Enrique Almodóvar Art Direction Laura Grandío Copywriter Manuel Marcos Photographer Pep Avila

SOCIAL + ENVIRONMENT

AWARE.ORG Campaign

Agency Clockwork, Johannesburg Creative Direction Gregory Walker, Marc De La Querra, Jacques Shalom

See more of the campaign at luerzersarchive.com

Vol 1/2024

Art Direction Kat Lutge Copywriter Gregory Walker Illustrator Elio Moavero

92–93

SOCIAL + ENVIRONMENT

AMNESTY INTERNATIONAL AUSTRIA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Demner, Merlicek & Bergmann, Vienna Creative Direction Sebastian Kaufmann, Alistair Thompson, Lukas Hueter Art Direction Corina Lindner, Patrick Bohacek

Copywriter Robin Kappacher, Luca Werner-Tutschku, Enzio Kloss Photographer Oliver Jiszda, Mahir Jahmal

UNICEF Campaign

Agency Havas Worldwide, Santiago de Chile Creative Direction Kenneth Foweraker Art Direction Víctor Torres, Fabián Ovando

Vol 1/2024

Copywriter Ricardo Börgel Digital Artist Semilla Studio

94–95

SOCIAL + ENVIRONMENT

Lürzer’s Archive

NABS Campaign

Agency Ogilvy Health UK, London Creative Direction John Mcpartland, Nick Schanche Art Direction Cameron Billing

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Nick Schanche Illustrator Israel Kujore, Freddie Rowland, Saasha Akighir, Naki Narh, Céline Moya

96–97

SOCIAL + ENVIRONMENT

STANDWITHUS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Blanco, Tel Aviv Creative Direction Daniel Bnaya Art Direction Roni Bracha Copywriter Guy Alkabets Digital Artist Daniel Bnaya

AMNESTY INTERNATIONAL Campaign

See more of the campaign at luerzersarchive.com

Agency Cossette, Montreal Creative Direction Alexandre Jutras, FrançoisJulien Rainville, Anne-Claude Chenier, Marc-Antoine Vallée Copywriter Steven Morie Illustrator Karolis Strautniekas

Vol 1/2024

98–99

SOCIAL + ENVIRONMENT

Lürzer’s Archive

QUEBÉC FOREST INDUSTRY COUNCIL Campaign

Agency Cossette, Quebec Creative Direction Richard RochetteVilleneuve Art Direction Baillargeon Nicolas Copywriter Sebastien Forget Digital Artist SHED

PUBLIMETRO Campaign to unveil the truth behind corruption in Colombia.

Agency Grey Colombia, Bogotá Creative Direction Oscar Muñoz, Juan Cárdenas, Juan José Posada Art Direction Oscar Muñoz, Juan José Posada, Charles Andara

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Sebastian Benitez, Camilo Garzon Illustrator Oscar Muñoz, Charles Andara

100–101

SOCIAL + ENVIRONMENT

SOUP KITCHEN LONDON Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Wonderhood Studios, London Creative Direction Jack Croft, Stacey Bird Art Direction India Penny

Copywriter Tad Buxton Photographer Lizzie Mayson

REINSERTA Campaign

Agency Grey, Bogotá Creative Direction Mauricio Guerrero, Mauricio Sanchez, Alexis Ospina Art Direction Mauricio Sanchez, Francisco Escalante, Mario Berber

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Mauricio Guerrero, Gerardo Vila Alonso, Alexis Ospina Digital Artist Mario Berber, Francisco Escalante

102–103

SOCIAL + ENVIRONMENT

BITS OF FREEDOM Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency KesselsKramer, Amsterdam Creative Direction Gijs van den Berg Art Direction Blanca Campins

Copywriter Matthijs Van Rumpt Photographer Tristan Roques Digital Artist Martin van Zwol

NEW ZEALAND TRANSPORT AGENCY Campaign

Agency FCB New Zealand, Auckland Creative Direction Hywel James, Leisa Wall, Peter Vegas

See more of the campaign at luerzersarchive.com

Vol 1/2024

Art Direction Marcelo Dario Copywriter Gaetano Perry Illustrator Jake Foreman

104–105

SPORTS

BITI’S HUNTER Campaign for Biti’s Hunter sports shoes, celebrating the start of the Chinese Year of the Dragon with a dragon illustration composed of the brand’s own shoes.

Hard Foot, Soft Stone.

A Vietnamese proverb meaning unwavering determination (foot) triumphs over obstacles (stone).

Lürzer’s Archive

Agency Dentsu Redder, Ho Chi Minh City Creative Direction Livio Grossi Art Direction Raphaël Almazan Copywriter Lam Tran Digital Artist Illusion

TRAVEL + LEISURE

VOLARIS Campaign

Agency Teran\TBWA, Mexico City Creative Direction Diego Muñoz, Pablo Cárdenas, Adrian Coy Art Direction Juan Sebastián Moreno, Jaime Gonzalez, Efrén Hernandez

See more of the campaign at luerzersarchive.com

Vol 1/2024

Copywriter Sidney Reyes, Luis Arriaga Photographer Diego Arrigoni, Luis Niño, Studio Base If Digital Artist Studio Base If

106–107

TRAVEL + LEISURE

CITIZENM Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency KesselsKramer, Amsterdam Creative Direction Gijs van den Berg, Joe Crowther Art Direction Gijs van den Berg

Copywriter Charlie Bowden Photographer Max Den Hartog

EUROWINGS Campaign The beauty of free space.

Fly to Italy/France/Portugal/Norway with a free middle seat and enjoy the comfort of added space.

See more of the campaign at luerzersarchive.com

Agency Scholz & Friends, Hamburg Creative Direction Jens-Petter Waernes, André Huber, Francis Cazal, Christian Dallmeier, Johan von Suchodoletz

Vol 1/2024

Art Direction Matthias Spaetgens, Martin Keipert Copywriter Michael Yousaf

108–109

Time to shine Cresta Awards 2024

We all want to win.

Alas, there's no Cresta trophy above.

For advertising's most beautiful and sustainable award, go to cresta-awards.com/categories Then ask us to help you enter.

cresta-awards.com

Film [112–119] Client Doordash Agency Hard Work Club Creative Direction Meghan Kraemer

Director Henry Scholfield Production Spy Films

Vol 1/2024

110–111

FILM

VOLKSWAGEN The Lighthouse

APPLE Midnight

APPLE New Driver / One More

Marking Volkswagen’s first brand campaign in seven years, DBB Sydney and director Steve Rogers opted for telling an understated but effective story. Portraying a lighthouse keeper’s simple life, the film follows him going about his daily tasks. One of the few luxuries he affords himself is the occasional drive in his Volkswagen around the quiet island.

Teaming up with acclaimed Japanese film director Takashi Miike, Apple’s 19-minute epic live-action film is an adaptation of the manga series Midnight, which follows a taxi driver who is caught up in a deadly chase. The film, shot entirely on iPhone 15 Pro, deftly mixes live action and manga, demonstrating the quality of the iPhone’s camera.

Agency DDB, Sydney Creative Direction Matt Chandler

Agency TBWA\Media Arts Lab, Tokyo

Apple’s duo of spots employ a madcap style to emphasize the new features included in iPhone updates. The first film portrays the common anxiety a father feels when his slightly reckless first-time driver child sets off on the road. The iPhone’s Check In notification tells him that she arrived safely, putting his mind at ease. The second shows a young boy practicing karate chopping through wooden blocks. Thanks to his uncle’s iPhone 15 Plus (and its extended battery life), the futile activity can be filmed all through the night.

Director Steve Rogers Production Revolver

Director Takashi Miike Production Olm, Inc.

Agency TBWA\Media Arts Lab, Los Angeles

Director Andreas Nilsson Production Biscuit Filmworks

COCA-COLA Epic Night Out

GOODBOYBOB Lab Rats

Infusing Thai gastronomy with rap backbeats, Ogilvy Singapore’s vibrant campaign for Coca-Cola harkens back to the classic rap culture of 90’s music videos and even includes a collaboration between rapper F.HERO and celebrity chef Chef Pom. The video also includes an added touch of interactivity where fans can discover easter eggs to win Coca-Cola-related prizes.

With a delightfully twisted sense of humor (that animal rights groups might not fully endorse), Erich & Kallman’s spot for goodboybob coffee shows two scientists prove that it is the best coffee around … by getting confirmation from a talking lab rat.

Agency Ogilvy & Mather, Singapore

Agency Erich and Kallman, San Francisco Creative Direction Phil Crowe

Lürzer’s Archive

Creative Direction Nikhil Panjwani, Hugo Suíssas, Tiago Silva

Art Direction Sadhna Saku Director Julien & Quentin Production Hamlet

Director Erich Joiner Production Tool

APPLE Little Garlic

ORANGE / APPLE Dream Big

CRUZCAMPO Gitana

As part of Apple’s annual Chinese New Year celebration shot on an iPhone, the Year of the Dragon is marked by this 15-minute film. The film explores Gen Z issues in China and follows a young girl called Wei. The tale of self-discovery takes a fantastical route as Wei is shown to have the ability to shapeshift and modify her age, personality, and gender, further highlighting the theme of identity at the heart of the story.

Making effective use of plus-sized props, Apple and Orange’s collaboration shows people walking down an everyday street with giant possessions (baseball cap, helmet, handbag) to amusingly highlight the iPhone 15’s 5x zoom capabilities.

In a celebration of Spain’s culture, Ogilvy Spain has woven a fantastical tale for Cruzcampo beer wherein a flamenco doll comes to life and roams the streets. The dancer brings a vibrant energy and traditional Spanish flair to the campaign.

Agency Publicis Conseil, Paris Creative Direction Fabrice Delacourt Art Direction Raphael Halin

Agency OgilvyOne, Madrid Creative Direction Guillermo Fernandez-Huerta, Juan Pedro Moreno, Javier Senovilla

Agency TBWA\Media Arts Lab, Shanghai Art Direction Li Anran

Copywriter Pan Yiran Director Marc Webb Production Radical Media

Director Ophélie Stavropoulos Production Big Productions

FORGED IRISH STOUT That Settles It

STELLA ARTOIS Steal Artois

Employing intricate hand-drawn animation by Dublin-based agency Third Mind Design, the ad uses swirling visuals of black and white, resembling a pint of Forged Irish Stout. Tradition is also incorporated in the spot, which shows a blacksmith forging the beer pump for the stout, crafted from steel.

The theft of Stella Artois glasses from bars has become a common global occurrence. So much so that Stella Artois has partnered with VML Chile, David New York and Rebolucion to create an apparel line designed for stressfree robbery of the glassware.

Agency Third Mind Design, Dublin Creative Direction Max Fedorov, Emily Fedorov

Copywriter Sam Kirwan Production Pocket Animation, Third Mind Design

Agency VMLY&R, Santiago de Chile, David, New York

Creative Direction Jaime Díaz, Jaime Cano, Felipe Oliva Art Direction Martin Crespo, Sebastian Castillo, Paul Veloso

Vol 1/2024

Copywriter Javier Zambrano, José Pedro Rodríguez, Camila Retamal

Director Nono + Rodrigo Production Agosto

Director Ivan Vescovo Production Rebolucion

112–113

FILM

MANSCAPED The Boys

EVERY MAN JACK Still Smell Good

With an original take which bypasses advertising regulations, this spot by Pereira O’Dell revolves around two miniature figures which represent a man’s privates. The eccentric take encourages proper men’s grooming for hygiene company Manscaped.

The durability of Every Man Jack’s deodorant is put to the test when a man faces various calamities such as falling off his bicycle and into a hornet’s nest. Backed by a catchy original song, which highlights that he still smells good, the campaign is bolstered by the punchy humor of agency Party Land.

Agency Pereira & O’Dell, New York Creative Direction Jason Apaliski, Fernando Passos, Julie Rutigliano

Art Direction Thomas Hinkamp, Lily Ramos Copywriter Sophia Held

Director J.J. Adler Production Twentyfour Seven, Ruckus

Agency Party Land, Los Angeles Creative Direction Robert Teague Art Direction Eli White

Director Michael Illick Production Food Chain Films

HALLS Just Breathe Through It

MAGNUM Find Your Summer

KIT KAT Have AI Break

When a risky text is sent to the group chat of an office (including the grumpy-looking boss), an office worker uses Halls gum to keep his composure. The spot forgoes dialogue for smooth editing and camera work to establish tension and comedic relief.

While the depths of frosty winter may not put someone in the mood for ice cream, LOLA MullenLowe’s ad for Magnum may entice you. Shot in gorgeous black and white, the cinematography captures both the chilly season and the slivers of sunshine that break through the clouds, which reminds us to find moments of summer whenever we can.

Playing on their iconic slogan “Have a Break, Have a KitKat”, the Courage agency added in a topical AI approach to this campaign. The creative team prompted the AI to have a break before answering their prompt, leading to more accurate responses, proving that breaks at work can even benefit artificial intelligence.

Agency David, Madrid Creative Direction Pedro Sattin, Sebastien Rouviere

Lürzer’s Archive

Director Santiago Dulce, Julieta Cabrera Production Hogarth

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

Art Direction Pedro Mezzini Copywriter Augusto Callegari Director Juan Cabral Production MJZ / Labhouse

Agency Courage, Toronto Creative Direction Matt Miller, Tommy Yong

Copywriter Emma Lorenzi Production Alter Ego

FRITO LAYS Happy Groundhog Lay’s

GANZO Life is Timeless

PHILIPS Baristina

With a delightful spin on the iconic 1993 comedy Groundhog Day, actor Stephen Tobolowsky (from the cast of the original movie) finds himself in a time-loop saga of his own. In an eightpart series, each spot shows him becoming increasingly bewildered by the repetitious cycle of buying a bag of Lay’s potato chips at a supermarket checkout.

Filmed with a poetic stillness, Ganzo’s campaign captures the fluid nature of memories. The campaign features characters who stumble across a memory and, through thoughtful cinematography, are brought back to that moment.

Bringing coffee back to basics, Droga5 London’s spot for Philips Baristina declares that we should do away with the pomposity that is found in coffee culture. Instead of latte art and specially sourced ingredients like yak butter, the Baristina prides itself on the simplicity of a quality espresso.

Agency Maximum Effort, Santa Monica, California / Kimmelot, Los Angeles

Director Oren Brimer Production Maximum Effort

Agency CCC Media House, Tokyo

Director J.B. Braud Production AOI Global

Agency Droga5, London Creative Direction Matt Hubbard

PALACE SKATEBOARDS / GAP Palace Gap

KAYAK Don’t Do It Yourself

Infused with indie filmmaking spirit and 90’s skater culture, Palace’s collaboration with Gap follows a group of child skaters in San Francisco.

The spot also includes a welcome cameo by Spice Girl Melanie C and a quirky sense of humor (which includes the kids driving down the street in a car, pondering that life goes by too fast).

Metasearch engine Kayak advises against DIY attitudes in this trio of eccentric spots by New York agency Supernatural, which sees a farmer try her hand at being a scarecrow, a man becomes a literal vacuum cleaner, and an office worker tries to fish for salmon … in a koi pond.

Agency Gap, in-house, New York Director Will Robson-Scott Production Somesuch

Agency Supernatural Design, New York Creative Direction Johan Leandersson

Copywriter Nathan Frank, Prit Patel, Jørgen Sibbern

Vol 1/2024

Director Filip Nilsson Production Object & Animal

Director The Perlorian Brothers Production MJZ / Labhouse

114–115

FILM

BASATA The Outcasted Kiosk

MTN Babies

The shrinking opportunities of a vendor’s business are taken to literal lengths in fintech company Basata’s spot, wherein the walls of the merchant’s kiosk close in on him (until, of course, he updates his transaction method to include Basata).

Taking things back to basics, this charming campaign for the African mobile network Mtn by TBWA Hunt Lascaris shows toddlers inadvertently helping with very adult problems. Their innocent tinkering with mobile phones leads to stock market advice, contract negotiation and even international trade deals.

Agency DDB Egypt, Cairo Creative Direction Mohamed Zoheir

Art Direction Alaa Mansour, Ahmed Abdelrahman Copywriter Islam Khaled

Director Omar Boraay Production Everyone

Agency TBWA\Hunt\Lascaris, Johannesburg Creative Direction Juliet Honey, Stephanie van Niekerk, Jared Osmond

Art Direction Juliet Honey Copywriter Jared Osmond Director Chloe Coetsee Production Darling Films

ASML Standing on the Shoulders of Giants

PLUTO TV Couch Potato Farms

TALITA Mission Talita

To celebrate the anniversary of Asml, the world’s leading supplier of semiconductor chips, LePub Amsterdam has employed its own tech-based tribute. With the use of AI prompts and human craftsmanship, the film honors the accomplishments of visionaries such as Gordon Moore and Isaac Newton, showing the impact their work has had on modern life.

While being deemed a couch potato may seem derogatory in most cases, Pluto TV’s spot embraces the term, showing a field full of literal potato-human hybrids watching their favorite shows using the free streaming service.

Swedish anti-sex trafficking organization Talita has teamed up with Åkestam Holst to ethically repurpose the infamous video game Grand Theft Auto. Whereas the original game has a reputation for violence, the modification designed for the campaign involves players saving prostitutes.

Agency Le Pub, Amsterdam Creative Direction Jessica Kersten, Andrey Tyukavkin, Sandrine Le Goff Art Direction Alejandro Gutierrez Lürzer’s Archive

Copywriter Nikolay Malchev Director Rune Milton Production Chemistry

Agency Haymaker, Los Angeles Creative Direction Sean Farrell, Chuck Monn, Colin Nissan

Copywriter Andrew Ault, Jonathan Carl, Leslie Lechner Director Stacy Wall Production Imperial Woodpecker

Agency Åkestam Holst, Stockholm Creative Direction Joakim Khoury

Art Direction Caroline Andersson Copywriter Stephanie Moradi Director Nisse Axman

DOORDASH Doordash Canada

DOORDASH Flowers Are for Every Valentine

SUNRISE Life Is Full of Surprises

Offering a colorful three-act set of spots, Doordash Canada’s trilogy by Hard Work Club revolves around a potentially ruined party after the birthday cake is damaged. The vivid world of the campaign gives credit to the Doordash drivers, who deliver a new cake by the third act, saving the party.

Wittily challenging the notion that giving flowers as a gift is only for women, Gut Miami’s campaign for Doordash implores us to not wait until the funeral to present the bouquet, showing animations of deceased men singing a jaunty song about wanting flowers while they are still alive.

Featuring a nice twist on telecom advertising, thjnk’s spot for Sunrise reminds us to look up from our phones so that we don’t miss the surprises that life throws at us. The specific example in the video is a girl in an elevator who is oblivious when Swiss sporting superstars Roger Federer and Marco Odermatt walk in.

Agency Hard Work Club, Toronto Creative Direction Meghan Kraemer

Director Henry Scholfield Production Spy Films

Agency GUT, Los Angeles Creative Direction Bruno Acanfora, Ariel Abramovici Art Direction Sebastian Beretta

Copywriter Nacho Perez Elgorriaga Director Fran Colombatti Production Landia

Agency Thjnk, Zurich Creative Direction Alexander Jaggy, Pablo Schencke Art Direction Luca Stancheris

Copywriter Maira Weidmann Director Martin Werner Production Pumpkin Film

PUCK Selfless Shelves

RUGBY AUSTRALIA There’s Something in the Water

In a homespun case of ingenuity, FP7 McCann/Dubai’s Selfless Shelves mini docs show Lebanese women repurposing their empty jars to sell homemade products. After the financial crisis in Lebanon devastated employment for women in rural areas, this initiative led to several of them entrepreneurially selling jars in local Carrefour supermarket stores.

Portraying the graceful athleticism of professional rugby, director Richard Bullock’s ad for Rugby Australia shows actual rugby players plunging into water, performing stunts that resemble playing a game underwater.

Agency FP7 McCann, Dubai Creative Direction Federico Fanti, Aunindo Sen, Bana Salah

Copywriter Richard Bullock Director Richard Bullock

Art Direction Choi Co, Nada Selim, Francesco Negri Copywriter Aliza Siddiqi, Shaza Yousef, Liam Galt

Director Elie Fahed Production Craft, Tres Content

Vol 1/2024

Production Revolver

116–117

FILM

COURAGEOUS CONVERSATION GLOBAL FOUNDATION America Erased Bringing to light the omission of key figures and facts from the school curriculum in America, Wieden and Kennedy New York has partnered with non-profit Courageous Conversation Global Foundation to rectify recent book banning. The aim of the project is to allow students to discover the accurate history of their country, even if the truth is uncomfortable.

Agency Wieden + Kennedy, New York Creative Direction Marques Gartrell Art Direction Macaihah Broussard

Copywriter Monica Roebuck Director Omar Jones Production Riff Raff

CHILDREN OF THE STREET SOCIETY Don’t Put Your D*ck Here

ALZHEIMER’S SOCIETY The Long Goodbye

Using a humorous tactic to approach a serious issue, Canadian agency Will lists examples of places where a man should not stick his member (including a fan, a dartboard and an ant’s nest).

The point is driven home by the end of the video that the real danger for young boys is sharing private pictures of themselves online, putting them at risk of sexual predators.

Aided by a touching script, this poignant campaign for the Alzheimer’s Society by New Commercial Arts centers around a son’s emotional eulogy at his mother’s wake. As he recalls the different parts of his mother’s personality that were lost to Alzheimer’s, we are hauntingly reminded of the long goodbye that accompanies the disease, and the work that the charity does to aid those affected.

Agency Will Creative, Vancouver Creative Direction Lisa Lebedovich

Art Direction Allison Chambers Copywriter Danielle Haythorne

Agency New Commercial Arts, London Creative Direction Ian Heartfield Art Direction Peigh Asante

CHANGE THE REF The Shotline

SCARBOROUGH HEALTH NETWORK FOUNDATION Scarborough Grit

Developed by Mullenlowe US for activist group Change The Ref, The Shotline is an automated platform that hauntingly uses AI technology to recreate the voices of those who have been killed by gun violence in the US. The personal messages, detailing their murder, have been sent directly to policymakers in order to review current gun laws.

To showcase the almost superhuman abilities of the Scarborough Health Network, the campaign shows hospital staff freeze time, develop several arms for proficiency and mop a seemingly never-ending corridor. All of these fantastical scenarios conclude by asking the audience to imagine what the hospital could accomplish with more funding.

Agency MullenLowe, Boston Creative Direction Tim Vaccarino Art Direction Tucker Stosic

Lürzer’s Archive

Copywriter Nick Gonzales, Annie Turner, Kieran Murray Production Edisen

Agency Lifelong Crush, Toronto Creative Direction Skye Deluz, Shannon McCarroll

Art Direction Skye Deluz Copywriter Shannon McCarroll

Director Pensa Cola Production Steam Films

Copywriter Jules Middleton Director Charlotte Regan Production Knucklehead

RENASYS, OCEAN SEWAGE ALLIANCE The Dirty Protest

DISASTERS EMERGENCY COMMITTEE The Locker

Uncommon London’s film takes an unconventionally blunt approach to addressing sewage pollution … by having a petition signed with ink that contains sewage from drain pipes. These petitions are then sent to relevant politicians to address the issue. The somewhat stomach-churning demonstration reinforces the seriousness of the environmental situation.

Marking the one-year anniversary of the earthquakes that devastated Turkey and Syria, Don’t Panic’s film for the Disasters Emergency Committee provides a fly-on-the-wall perspective of the natural disaster. The film effectively captures the harrowing experience of an earthquake from the point of view of inside a locker.

Agency Uncommon Creative Studio, London Director Jonas Roth, Emil Asmussen

Production Blenderday Studio

Agency Don’t Panic, London Creative Direction Rick Dodds

Art Direction George McCallum Copywriter Rick Dodds, Ada Tyler

Director Eugen Merher Production Academy

AUSTRIAN NATIONAL TOURIST OFFICE Authentic Intelligence

LUFTHANSA Every Story Starts With A Yes

TOURISM TASMANIA TasmanAI

In a reaction to the omnipresence of ChatGPT, the Austrian National Tourist Office has countered with a coy take on the AI sensation with a campaign called Chat SkiPT, which centers around a website where people can ask skirelated questions and get answers from actual Austrian ski instructors.

The personal stories of flight passengers are the central concept of Lufthansa’s campaign by Serviceplan, as the airline delves into its traveler’s individual journeys. The film forges a connection between the guests on the flight and their seat number, highlighting the relationship Lufthansa has with its passengers.

The fascination with AI is playfully scrutinized by an unlikely source … the Tasmanian tourist board. The video shows a beleaguered artist who accepts prompts in the same vein as AI, in the Tasmanian wilderness (although, he admits, it might take him longer to complete the prompt).

Agency Serviceplan Austria, Vienna Creative Direction Axel Spendlingwimmer Copywriter Michael Maier

Agency Serviceplan, Munich Creative Direction Till Diestel

Director Niklas Schwärzler Production SOVISO Filmproduktion

Director Marcus Ibanez Production Iconoclast Germany

Vol 1/2024

Agency BMF, Sydney Creative Direction David Fraser, Rees Steel, Casey Schweikert Art Direction Imogen Wtzell-Ramsey

Copywriter Declan Harrick Director Taylor Ferguson Production Goodoil Films

118–119

400 pages of talent, inspiration and unfair advantage.

The 200 Best Photographers Edition 11 from Lürzer’s Archive. luerzersarchive.com

Lürzer’s Archive Special Report

The ACE Report [Annual of Creative Excellence 2024]

Belgium-based, award-winning photographer and filmmaker, Jef Boes, combines art direction with a keen eye for storytelling.

His diverse portfolio spans international campaigns, commercials, music videos and documentaries, showcasing his passion and unique style.

Talent represented by ILA. WWW.JEFBOES.BE

IMAGE FOR ZIGGO/VODAFONE BY JEF BOES

BOES P RO DUCTI O N

RE PRE SE NTAT ION

FOU N DAT ION

AMSTERDAM MELISSAWEG 23 1033 SP, NL

ANTWERP WAPENSTRAAT 14 14 B2.01, BE

PARIS 41 RUE DE L’ÉCHIQUIER 75010, FR

ACE REPORT 2024

The three letters – A, C and E – stand for Annual of Creative Excellence.

Simple as that promise is, it opens up a devilishly complicated task.

Welcome to the first Lürzer’s Archive ACE Report In the coming pages, we present the first-ever ACE 100 Agencies and ACE 100 Works. We also relaunch Lürzer’s Rankings with a taster of the detailed rankings that exist in full online with their supporting data. We’ll also deliver not one, but two interviews with creative leaders at the top of their game: first is the CCO of our top-ranked agency, and second, the CCO of the network that is perhaps the most-rated across various competitions and reports over the last three years. Love them both, take issue with them … it’s hard to ignore their credentials and their vision. More on that in our round-up back page.

Meanwhile, why did we take on producing these new ACE Rankings and why is Lürzer’s relaunching its own Rankings? It’s not as if the creative world is short of lists.

However, here at L[A], we feel it’s time to sift and filter the stream of creative data. Our take is to try and strengthen the focus on creativity and who does it. This is a first attempt at ACE and we are very open to feedback that we can use to finetune ACE 2025.

L[A] has for 40 years focused on selecting, reviewing and analyzing the very best in advertising creativity. We are not alone, of course. We also appreciate the great work done by many awards juries every year and, indeed, other commentators out there. We love the discussion of creativity and the cut-and-thrust of trying to pull out trends and what’s truly outstanding. The ACE Report is an attempt to assimilate and yet stand a little aside from that mass of judgements and opinions. We aim to give a refreshed perspective back over what has happened … and point up the directions for what we might do next.

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ACE REPORT 2024

Our usual task here at Lürzer’s is a fascinating quest to recognise and showcase the hot creativity, rating the emotional and intellectual excitement of encountering innovation and craft excellence rather than the trend towards weighty or worthy case studies. But we appreciate there is a fascination in the creative industry for the measurable. Indeed, the industry lives by the measurable. Numbers help drive performance, and reports and rankings influence what is looked at most and who works with whom. It’s where creativity comes up against one aspect of the primordial nature of existence … who gets to eat better and who gets eaten.

So we bow to this and, once a year, with the ACE Report we will take stock of the (many) numbers that fall out of various rankings and awards.

So here it is, ACE number one, and for more about the methodology please turn to the back of the Report.

One of the sources, of course, is the L[A] Rankings, relaunched with this issue. We also list here the highlights of some of the many tables available in L[A] Rankings. For the full lists and support data, please go online to luerzersarchive.com/rankings.

If anything, the L[A] Rankings in this first ACE report serve as an alternative selection to the main aggregated ACE rankings, a more focused and in many ways different take. That’s because until now the L[A] rankings only measured work in print and film advertising. However, in 2024 all kinds of creative works can and will be submitted and assessed at L[A]. Whoever comes out on top of the tables at year-end will stand to celebrate big-time in the next ACE Report, so be sure to submit!

In contrast to the L[A] Ranking, the two new tables we present for the first time in these pages are fully reviewing the mass of what makes up the creative awards culture. But the ACE Agency 100 and the ACE Work 100 come with a different twist.

With the ACE Work 100 we drew on a selection of key but differentiated global awards (Cannes, Cresta, D&AD and The One Show).

We then balanced those with any information our editors deemed as significant in varying them, particularly drawing on the two well-known aggregator rankings of World Creative Rankings and WARC. We also used a wide range of other indicators around work that were getting noticed and fast-rising reputations. Some added value, some decreased values in our ultimate rankings.

For example, ACE Work 100 is likely to represent a piece of work in a high position that has had high-level and repeated global acclaim. If that’s one of several pieces of work that the agency behind it has produced, then they will be high on the agency table.

In an attempt to counterbalance the tendency to promote one or two pieces of work into many categories, we’ll introduce a “one hit wonder” effect. This will be where awards success is down to just one widely-entered piece of work, which will lead to some downgrading in the overall agency rating. We’re not saying they are gaming the system … but we’d just like to focus on the work, not the entry strategy. It’s early days and we have much to finetune in this regard.

On which subject, we would really welcome your feedback and suggestions as to how we can produce rankings that reflect the values you care about most. Take this first ACE Report as a prototype for you to help us develop.

Lürzer’s Archive

Many more ways of analyzing the creative quality, as work or as talents, could be devised. Help us nail the information you would like to see. Is it the best writers, the best young talents, the best AI prompters or the best CCOs? Do tell us. And also … submit your work or agency now as it is, after all, free!

Ranking AGENCIES

ACE REPORT 2024

Top 100

The ACE 100 AGENCIES lists the top 100 advertising agencies who stood out for creative excellence. They get there based on many thousands of jury decisions around the world over the past year or more, which have been aggregated and averaged, and further weighed and reviewed and compared with other data sources.Then our editors have a final filter as they endeavour to sift out the impurities and see more clearly where the real quality lies. It is a work in progress.

We will say more soon at luerzersarchive.com about ACE methodology and the race to feature in the next ACE Report.

Agency

Agency

1

Serviceplan, Munich

6

BETC, Paris

2

FCB, New York

7

Rethink, Vancouver / Toronto / Montreal

3

adam&eveDDB, London

8

We Believers, New York

4

BBDO Canada, Toronto / Montreal

9

Leo Burnett India, Mumbai

5

Ogilvy UK, London

10 DDB, Chicago

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Ranking Top 100

Agencies

Agency

11 Area 23, New York

12 Marcel, Paris

13 Impact BBDO, Dubai

14 Dentsu Inc., Japan

15 Wieden+Kennedy, Portland

16 TBWA\Media Arts Lab, Los Angeles

17 David, Madrid

18 Klick Health, Toronto

19 Ogilvy Thailand, Bangkok

20 VML, New York

Lürzer’s Archive

Agency

21 TBWA, Paris

22 Performance Art, Toronto / Montreal

23 Droga5, New York

24 And Us, Dubai

25 Dentsu Creative, Toronto

26 Saatchi & Saatchi, Dubai

27 McCann Worldgroup, New York

28 Africa, São Paulo

29 Wieden+Kennedy, New York

30 The Monkeys, Sydney

ACE REPORT 2024

Agency

Agency

31 Saatchi & Saatchi, Dusseldorf

36 Havas, Paris

32 Colenso BBDO, Auckland

37 Publicis Conseil, Paris

33 BBH, New York

38 VML, Mexico City

34 Nord DDB, Stockholm

39 Dentsu Creative, Lisbon

35 DDB, Mexico City

40 David, São Paulo

41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70

71 TBWA, Sydney 72 Horizon FCB, Dubai 73 Neverland, London 74 Abbott Mead Vickers (AMV) BBDO, London 75 Edelman, London 76 Ogilvy, New York 77 FCB, Lisbon 78 The CHEP Network, Melbourne / Brisbane / Sydney 79 Geometry Ogilvy, Tokyo 80 Wunderman Thompson, Riyadh 81 Ogilvy Honduras, Tegucigalpa 82 Ogilvy, Johannesburg 83 Prime Weber Shandwick, Stockholm 84 Weber Shandwick, Paris 85 VML Wunderman Thompson Commerce, Noida 86 Thinkerbell, Melbourne / Sydney 87 VML Commerce, New York 88 Innocean Worldwide, Berlin 89 El Ruso de Rocky, Madrid 90 FCB, New Delhi 91 Arnold Worldwide, Boston 92 Herezie, Paris 93 Bear Meets Eagle On Fire, Sydney 94 Publicis Middle East, Dubai 95 Fred & Farid, Paris 96 DDB Mudra Group, India 97 Leo Burnett, Sydney 98 Ogilvy, Mumbai 99 draftLine, Buenos Aires 100 Leo Burnett, London

Virtue Worldwide, New York TBWA\Chiat\Day, New York BBDO, New York Try Norway, Oslo Ogilvy Germany lePub, Milan Uncommon Creative Studio, London DDB Colombia, Bogotá Mischief @ No Fixed Address, New York FCB, Toronto VML, Sydney McCann Worldgroup, London Energy BBDO, Chicago Edelman, New York Havas Germany, Dusseldorf FCB, Chicago 180LA, Los Angeles GUT, Buenos Aires Cheil Worldwide, Seoul DDB, Paris Cheil China Havas, London Special Group, Sydney David, Buenos Aires McCann Worldgroup, Warsaw R/GA, Sydney Grey, Buenos Aires LOLA MullenLowe, Toronto Angry Butterfly, Toronto Saatchi & Saatchi, New York

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PHOTOGRAPHY / DIRECTION / DIGITAL / CGI / AI

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Lürzer’s Archive

INTERVIEW

Service culture Serviceplan tops our first-ever ACE 100 agency list … but this remarkable independent network out of Germany wasn’t always a creative titan. We interview the long-time CCO Alex Schill on why all that he really loves can’t keep him coming back for more from advertising.

L[A] How did you get into advertising?

Alex Schill I never wanted to be in advertising. I wanted to be a doctor. I had a place to study medicine in the city of Giessen in Germany and I was already looking for an apartment there. Then, I also got accepted at the High School of Fine Arts in Berlin. It was in 1989 when the Berlin Wall came down and it was 1990 when I started my studies. So I went to Berlin for the reason that I thought it was really cool to be there at that time and at the High School of Fine Arts.

Berlin was then perhaps the hottest place to be on Earth, I would say. My four years of studying in Berlin was the most crazy time because everything was … changing. You had the east side of Berlin, you had the west of Berlin. We opened a nightclub with friends in an abandoned slaughterhouse. The crazy places became the crazy nightclubs. And besides that, I was studying at the High School of Fine Arts. And then after my studies, I got my first job at Springer & Jacoby, which was in Hamburg and the most creative agency in those days.

L[A] Why did you think to go into advertising rather than, say, paint pictures?

AS I more or less ran into it without planning. People from Springer & Jacoby came to the school, they gave lessons and they asked students to do campaigns or whatever as an exercise. I had an offer from them half a year before I ended my studies. I thought: ‘OK, that sounds interesting. I have friends in Hamburg, it is a nice city. It’s a cool agency … why not?’

L[A] And the aspiration to be a doctor … ?

AS I still wanted to be a doctor. I never wanted to be in advertising. But I have a good relationship with advertising because I enjoy

life more than advertising. I do advertising but I do not live for it. I have to be honest. And maybe it’s good to have a little distance, to be able to step outside and look at what we’re doing because this is a crazy business. One should not lose yourself in something too much. It helps to have a broader horizon for looking at things in life.

So I started with Springer & Jacoby as a junior copywriter.

L[A] You were working with the words rather than as an art director …

AS Well, I checked out everything. Besides medicine, I wanted to be a designer as well. I was unclear where I should go. But I came down to copywriting because I enjoy the power of words. How you put the letters into words and how you put the words together into sentences … and then you can write a poem. Or you can do propaganda like in the terrible times of wars … and what’s going on today.

You can put them together to make people cry. You can put them together to make people live. This was fascinating for me. You can do it in very short sentences or you can write books.

It was not so much about doing the best advertising, it was more about how to put the words together to make them really work.

If we write a script for a TV spot or whatever, how do we put the words that people love? Or: how can I write long-form copy? Sometimes I still can quote the first copy that I wrote for Mercedes Benz … the copy was about the wings. The Mercedes …

L[A] Gullwing Mercedes [Mercedes 300 SL]?

AS Yes. It was first produced in 1954 and that year was what the copy was all about. Putting words together to pull people into the story … that fascinated me.

L[A] So in 1994 you joined Springer. How did that develop?

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INTERVIEW

AS I was not so much interested in selling the things but had a fascination with putting the words together so that people are really attracted. But then pretty fast I became creative director, and then CCO of Springer & Jacoby [2003]. And then I got kicked out after 12 years because Springer & Jacoby were sold. Even though we were quite successful at the time.

L[A] And then Serviceplan?

AS I met Florian [CEO of Serviceplan since 2002, son of the founder Dr. Peter Haller]. And from 2006 until today, I’m here.

Obviously, I talked to many agencies and almost by chance, I met Florian. In the beginning, we were not much interested in each other. For about 35 years Serviceplan, since starting, had never had a creative head. They were very successful … very reliable, very German, very consistent in what they did. When I started there were around 600 people in one office in Munich. They were not interested in awards. I don’t think they won an award in the first 35 years, more or less.

I was not much interested in Serviceplan because it was totally uncreative and Florian was not interested in me because it was not in the genes of the agency to be creative. But we met, we liked each other and we said, ‘Well, what would happen if … ?’ In those days it was more like either you had a big network or you had a hotshot creative agency. We said, ‘What would happen if we bring the two together?’

Maybe one plus one is three. Then we would have an offer where clients can buy crazy stuff and yet can be sure that it really works. I was fascinated by the idea and Florian said, ‘There’s no need for me to do it but I would love to do it.’ I said, ‘Well, there is no need for me either but I would love to do it, so let’s try.’ But I didn’t want to move to Munich. And because the people that were around me and my crew were all in Hamburg, we decided to open an office in Hamburg. The first office outside of Munich, which still exists.

I started in 2006 with Serviceplan and two years later became the CCO for all offices, which were then very little. I became the partner of Florian on what was effectively the board level.

Lürzer’s Archive

L[A] Creativity got in …

AS It was an amazing journey we took. We didn’t change many of the people. It was more like being the lighthouse for creativity and sparking the idea that creativity is an amazing thing to do, that it’s more fun to do things with creativity. You can sell stuff without being creative but it’s more fun to sell it with creativity. Then we started an amazing journey … and now we have become number one! Sometimes in Germany, sometimes in Europe, sometimes in the world, sometimes in different award shows. Today we have around 6,000 employees. So, that’s an amazing story from one office in Munich to let’s say 35 offices around the world. And still being 100% independent, which is very important for us.

L[A] The ownership is … ?

AS The ownership is with the partners, I’d say. From being a family-owned business, today we call it a partner-owned company because in all offices, the managing directors – whether suits, creative, strategists, whatever – they own substantial shares of their own company. Majority is with the Serviceplan Group but the office management owns substantial shares.

This is a crucial difference between Serviceplan Group and other agencies in that we give substantial shares to our partners. We are really partners. We are not looking for managers … we look for partners. So I think we have no hierarchies because we are working as partners.

L[A] In the US you are getting more of a presence, with minority stakes in Pereira O’Dell and L&C, Lanfranco & Cordova.

AS It’s like we have two ways of growing. In the US, it’s very difficult, I have to say, because for German or European agencies jumping to the US, most of them fail. Our first attempt, we failed as well. And so there are two ways. Either we hire or we find partners, and we start from scratch with them as an agency. This is the thing that we prefer, to be honest. On the other side, there are examples

Left: A minimalist design language created for MINI communicates the car’s advanced technology.

Above: Serviceplan launched WASTECARE, a skincare range that uses the natural benefits of the waste water from innovative textile start-up Aizome.

Above right: Serviceplan’s packaging for Freedom Grams, a US cannabis brand that campaigns for the release of people imprisoned for cannabis use.

where we buy into agencies. Either we buy the minority or we buy the majority. Generally, we prefer to buy the majority. But in the US, we found perfect partners with Andrew [O’Dell and PJ [Pereira].

So, we said, ‘OK, we go in with a minority share.’ And then we build around Pereira O’Dell. We then build the House of Communication, which is what we do in every country. House of Communication means that we have mainly the three columns that we strongly believe in, which is Serviceplan for creative and content, Plan.net, which is tech and platform business, and Mediaplus, which is media and data. So, these are the three columns that we combine mainly in every House of Communication around the world.

L[A] How long has that model been operating?

AS Well, the House of Communication is the basic idea of the older Mr. Haller, when he started the agency in 1970. By the beginning of the ‘90s, or even the end of the ‘80s, there were already the three columns. If we put together these three things, at least these three things, we can come up with a very good result for the client.

L[A] So, that model you take to working with your new partners as you bring them in, like Pereira O’Dell?

AS Yes … obviously, at the same time, it’s a little expensive because we have to fund three companies.

We have Pereira O’Dell, which is a creative agency. We have Mediaplus, and we have Plan.net also in the House of Communication in the US. Now Andrew and PJ are running Serviceplan Americas, which is the House of Communication in New York. And this is basically the structure everywhere where we go. We go to create a House of Communication. We still have a company which is called Serviceplan, but the basic creative agency is Pereira O’Dell. And we just recently bought a minority share in L&C as well, to cover a little of the Hispanic market. They are in the same building.

L[A] And why do they want to work with you? Is it because you’re bringing that more robust structure for them?

AS I think what makes us attractive to Pereira O’Dell, L&C, or others, is that we are truly independent. They can talk to the owners of the whole thing. They talk to a partner and not to a network manager who is driven by numbers or, even worse, by a stock exchange.

Being this size, around 6,000 people and 100% independent still, we are still making our own decisions. That’s unusual. We can decide matters by sitting together in a small group. This makes us very fast.

This can make us brave. Sometimes because we just want it, because we just believe even if the numbers say no but our stomachs say yes, then we can decide to go like that.

We give stakes of the real business and we expect people to work like an entrepreneur. We expect people to drive the business.

It’s a little bit like being independent but with a huge backbone that’s also independent and that helps, as it is there if something goes wrong. You do not sell your soul to a network or to whatever, some people sitting somewhere around the world making decisions solely based on numbers. You can build your own business and yet you’re not alone.

Even if we have different names, sometimes with Plan.net and Serviceplan, we are one company. So, you talk to your partner. And you know the partner because in every house we have cafeterias, we have terraces. It’s important that we all sit together, that you know the people. You go in, get your coffee and while you’re doing that you meet someone who is maybe working in media or is working in tech. So, it’s not like calling someone you do not know, but someone to who you may ask ‘Can you help me?’

L[A] Why not just call it all Serviceplan?

AS Heavily discussed! No, we have clients that only ask for media.

And they feel more comfortable with a media agency than with something that is all in. And, also, historically, it’s grown like that. I think we were the first integrated agency before someone invented the word integrated. Let me show you the first plan now.

When I entered the company I said, ‘Let’s change the name.

I can’t go to creative pitches with the stupid name of Serviceplan.’

But there is a plan, from 1970, all set down, written and drawn.

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INTERVIEW

This is the original Serviceplan [holds large framed diagrammatic plan]. This is a service plan, and it says …

L[A] It’s in German: please translate.

AS It sets out everything for an integrated agency here. It talks about brand and brand experience. It talks about CRM. It talks about … activations. It goes on about media. It even talks about distribution. It covers everything that you have to do to be successful. This is the service plan.

L[A] It was a big vision from the off.

AS It says in the future, the ‘holistic’ concept will be relevant. And this is from 1970. This was before any of the networks came to the idea and said, ‘Let’s offer an integrated approach.’ This was in 1970, and that was when the founders came up with it. This is the plan for how to service a client to be successful.

This is still the DNA and the basis. Clients, if they come to us, they know that they can get highly creative products, but they also know that we can make it work. So, we don’t sell it because we think it’s funny. We sell it only if we know that it will work. And even if we are not asked to, we bring media experts to the pitch, and we bring tech experts to the pitch. Even if we are just asked for a campaign, we might bring someone from Plan.net, from the tech as well. ‘If this is the campaign, if this is the insight that we are following, you have to adjust your website as well. Even if we are not the agency, you have to do this, and this, and this.’ Then we bring someone from the media who can say: ‘We are sure that it will work because we checked. If we do it like this then it will work. Please feel free to hand this to your media agency or hand the business to us.’

L[A] It’s great that that vision has sort of come true because that vision was there from the … But of course, things have continued to change, and the nature of what advertising is today is so different to what it was 20 years ago and then 50 years ago.

How does that sort of live in Serviceplan today when you’re thinking about the pillars, the columns, or you’re thinking about which agencies you should acquire or partner and work with?

Lürzer’s Archive

I’m sort of asking where it is going? How do you stay on top of things and expand? Creativity seems to be very different today from what it was then and the nature of the media that advertising is in. You produce these amazing projects with innovative products and with the kind of experiential things that are so far from what advertising has been.

AS The basis of everything is that we are our own partner. You mentioned our spatial offering now. So we just hire the right people who are interested in developing that. We are not built like a pyramid, so it’s not everything going through my table. We deeply trust the partners that join our company. And if they are experts in spatial … they lead that. For example, see the iii Museum that we did for an Iranian art collector.

It’s an amazing project driven by people who joined our group.

It’s not driven by me. We find the right partners to cover that area.

And the thing is there will always be TV spots. In the ‘80s, there were only TV spots. Maybe in the future, there are still TV spots but this will probably not be the only major thing that we do in a campaign.

Perhaps we are doing a museum, or a special experience, or we are inventing products. We are also inventing products for O2 Telefonica, for example.

We are thinking about what would be a good virtual product to sell there. Things like that. So, we do not concentrate solely on producing campaigns or whatever, but we want to cover the whole thing. Which, again, is something that I especially like a lot – just to cover everything and to look around everything.

L[A] So, what do you describe yourself as?

Because it’s not solely advertising, is it?

AS We do advertising but we’re doing more than advertising.

With O2 Telefonica now we are building music studios to produce music and content, and to do cultural marketing. We are covering artists and we are producing young artists. We take the young artist and believe in the young artists and might put their songs on a TV spot, or we do a podcast with them … whatever. We start from a different angle to the business. We do not call ourselves an advertising agency solidly because we are doing a broader communication role.

Left page: The iii Museum is a massive virtual art gallery for an Iranian collector, challenging borders and also a prototype for new museum experiences.

Left: Dot Pad, a smart tactile graphic display for the visually impaired, is one of several award-winning products that Serviceplan has collaborated on with Dot Inc. Above: The Munich House of Communication features a 130m x 6m typographic light installation.

L[A] ‘Communication’ is the link?

AS Communication is probably the thing. But it’s about finding the right insights. For example, with the cultural marketing agency, I think it’s a very good example where we have to step down from the stage of communication down to the audience. We are becoming part of the audience in order to really understand it. We have specialists go into the subcultures to understand how we could get our brands to be properly in that culture.

If we don’t reach a specific community anymore through advertising, then we must do something else. We have to produce an artist and put concerts out there and stuff like that. We tackle the problems from different angles. We can also come in with product ideas and with designs. This is crucially important.

For example, what we did with the Dot Corporation. We have a very long-term relationship with the company Dot, developing products. The first product was the watch. Then we came in with tech innovations from our side. So, the braille translator was a technology that we invented, and then they put it on their brand, on the Dot. We do some design on that. It’s a true partnership. We took shares in what was a startup and we still own shares in the company.

This is not advertising. Sometimes people say, ‘What are you doing for Dot?’ I say, ‘It doesn’t matter because we are partners, we own shares on Dot. And sometimes we do packaging. Sometimes we do design. Sometimes we do technology. Sometimes we’re just advising.’ This is not what traditional agencies do. But if we see a chance and if we think it’s interesting, that leads me to a key point, I think: we have the power to do something good also in the world.

We have enormous power.

L[A] How does this work?

AS People listen more to brands than to politicians these days, so brands have to take a stand. We are the advisors of brands so we can help brands to be lighthouses for people, and people need lighthouses to follow. They need some purpose and whatever. They need an opinion. I think this is what our mission is. It’s way more than to do some funny stuff, to put the right media behind it, or to come

up with the latest tech. It’s to give guidance on the side of a brand to societies that are lost in our political systems these days.

L[A] So this is how we can do more in this industry, this is where we can go next?

AS We have to understand the amount of power that lies in creativity. Every change is driven by creativity or innovation. You have to innovate to change the world. We have these tools in our hands.

We have this together with brands who need to understand that they have the power to be lighthouses and a guide to their customers, or to society … to people. And then they can gather people behind the brand because they understand what the brand stands for.

An agency cannot be the lighthouse because nobody follows an agency – people follow brands. In the combination of these two there is enormous power for preventing the world from bad and putting some good out there. I don’t mean finding some stupid purpose that a brand should cover but that a brand really must have something to say. And they must say it out loud. If they believe something is right or something is wrong, they should just say it, and people will appreciate it.

L[A] The industry needs the best talent to do that well. How does this industry better attract great young talents to work in it?

One thing we have heard is that the industry is losing out to other seemingly sexier occupations, when once it was hot.

AS I think I see it turning again. In the last few years, it was hard to attract people to come into advertising because we had to work a lot, especially after Coronavirus times. You have to go to the office to work long hours and stuff like that. And for, in the beginning, not much money, to be honest. It was difficult. But I think now as the whole business is changing and people understand that advertising agencies are not only doing advertising.

In this industry, you do not have to be in business for five years or ten years until you get a break where you can reach people. In advertising, as a junior, you can write the social media posts that really hit everybody during the Super Bowl and you reach millions of people. You can do campaigns for good. You can find clients.

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INTERVIEW

Above: the popularity of MINI polar bear character Nanuq led to the launch of a special polar-bear car paint option. Created by new Serviceplan Group US partners, Pereira O’Dell.

Right: ‘Dyslexia Unetided’ campaign raised awareness of how 1 in 5 people live with dyslexia.

Right page: Serviceplan’s new House of Communication in Munich includes a remarkable art collection.

With our skills, we can identify people who can change the world and we can help them become more successful.

tising is part of my life, but not all. I do advertising the same as I do motorcycle races or whatever. I love old motorcycles.

L[A] And you didn’t even want to do this.

L[A] Yes, you are a fan of these. Do you do the mechanics on the bike as well as the racing?

AS I never wanted to do work in advertising. But even if I never wanted to be in advertising, I have been doing it now for 30 years and I still love it because I see a little from the outside the power we have.

L[A] How do you get any space for yourself at the end of all this?

Managing all this, and bringing all this together, working with however many people you are working with, it’s endless in some ways.

AS It’s a question that most creatives get sooner or later: where does the inspiration come from? I am happy I have a distance from advertising in a way and that I am fascinated by life. My problem is that if you put me somewhere, in a museum or whatever … I dive in.

Just recently I got fascinated by Russian avant-garde, the art era in the 10s, and the 20s, and the 30s. I could spend days just focusing on this, because suddenly I got so fascinated by that. I could dive so deeply into that.

Just to be alive is the best inspiration, not to sit every day in an office or somewhere. The stories are told outside, so you have to go outside. You have to talk to people. People are fascinating. What frustrates me the most is that I have to sleep some days!

There are so many things to explore and to experience but I have to protect myself occasionally. Sometimes I do not go to the museum because I know if I go to the museum I’m, again, lost in something that I see there. Sometimes I need to get a little quiet and rest.

What I always teach my children is to see the things that are not immediately there. So, to find something that is not here. If you buy something, you have to see how it should be in the end. If you start with communication, you have to see what you want to achieve.

And just follow that vision, and this is how I live my whole life. AdverLürzer’s Archive

AS I’m not very good at doing the engines but I have the vision. I can see what the bike will stand for in the end. I really go into that.

Life is so beautiful. There are so many things out there to explore. Do not close your eyes to the things that are out there. If you really can, light the fire in yourself to be interested in things.

L[A] What AI development do you have at Serviceplan?

AS At Serviceplan now we have an AI studio, and we built up a House of AI, as we call it, working across countries to connect those working with AI and the knowledge. I’m not so frightened about whether we can do text or copies faster with AI. This will happen. But the fascinating thing is to understand data and media, to understand how through media, AI can put the asset out there.

AI understands dramatically faster and better if something works or not. If an asset is not working, it can be replaced automatically. So it will be. There are completely different ways of using AI that are way more important and way more fascinating than whether AI can do a better picture than a human for less money. Yes, this will happen, and we all have to deal with that. But it is not the main thing.

We have to collect the data on the problems that we want to solve and then we put AI on it to make us understand the data.

For all my career, I always come to a point where I say, ‘Oh, I’m a little bored now. I did my 50th TV spot. I’m going … ’ And always something comes up that changes the whole situation. Now, again, with AI this will turn around everything and all the possibilities that we have. And so I’m fascinated, again, with advertising!

Alex Schill is the global Chief Creative Officer of Serviceplan.

TIM TADDER

STILLS AND MOTION

t im t ad der. c om 858.205.2455

Ranking WORKS

ACE REPORT 2024

Top 100

From big-budget global integrated campaigns from massive networks to shoestring-budget and all-hands-helping work out of start-up agencies... the ACE 100 Works runs the gamut. Each masterpiece of creativity racked up recognition, awards and more to then be reviewed by our editors rating and appear in this table. Perhaps some of them changed the world for the better, we hope. And being each sits a great team. Here we name the work, the agency and their client but many more credits may be due. We have listed some of them online at Lurzer's Archive or plan to soon.

Check luerzersarchive.com/work and forward your credit if due!

Title / Agency / Client

1

MCENROE VS. MCENROE FCB, New York Client: Michelob Ultra

2 MISSING MATOAKA BBDO Canada, Toronto / Montreal Client: Muskrat Magazine

3 BACKUP UKRAINE Virtue Worldwide, Copenhagen Client: Polycam / UNESCO

4 HACK MARKET Marcel, Paris Client: Back Market

5 THE BLACK ELEVATION MAP Performance Art, Toronto / Montreal Client: Black & Abroad

Title / Agency / Client

6 CHILLBOARDS DDB, Chicago; adam&eveDDB, London; Nord DDB, Copenhagen Client: Molson Coors 7 THE GREATEST Apple, in-house, Cupertino, California Client: Apple

8 THE BRIDGE Klick Health, Toronto Client: Paws NY

9 ANNE DE GAULLE Havas, Paris Client: Fondation Anne de Gaulle

10 THE FIRST DIGITAL NATION The Monkeys, Sydney Client: The Government of Tuvalu

Vol 1/2024

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Ranking Top 100

Works

Title / Agency / Client

11 APOLOGIZE THE RAINBOW DDB, Mexico City; Ladoble, Mexico City Client: Skittles

12 DATA TIENDA DDB, Mexico City; Ladoble, Mexico City Client: WeCapital

Title / Agency / Client

20 MORNING AFTER ISLAND Ogilvy Honduras, Tegucigalpa Client: Grupo Estratégico PAE

21 PHARRELL WILLIAMS – CASH IN CASH OUT I Am Other, New York Client: Pharrell Williams

13 THE UNBURNABLE BOOK

22 NATIVE SPORTSCASTERS

Rethink, Vancouver / Toronto / Montreal Client: Penguin Random House

We Believers, New York Client: AB Inbev

14 THE HORNICULTURAL SOCIETY Ogilvy UK, London Client: Relate

15 CHEAT COOKIES Saatchi & Saatchi, Dusseldorf Client: Oreo

16 DOT PAD Serviceplan, Munich; Serviceplan, Seoul Client: Dot Incorporation

17 THE MISSING CHAPTER Leo Burnett India, Mumbai; Whisper, Mumbai Client: Procter & Gamble

18 SHOUT VMLY&R Commerce, Mexico City Client: Movistar

19 KNOCK KNOCK Cheil Worldwide, Seoul Client: Korean National Police Academy

Lürzer’s Archive

23 INFLUENCERS' FRIENDS DDB Colombia, Bogota Client: AB Inbev

24 PHONE IT IN Colenso BBDO, Auckland; Drum Agency, Auckland Client: Skinny

25 CLASH FROM THE PAST Wieden + Kennedy, Portland Client: Supercell

26 THE LAST PHOTO adam&eveDDB, London Client: Calm (Campaign Against Living Miserably)

27 SCROLLING THERAPY Dentsu Creative, New York Client: Eurofarma

28 FITCHIX VMLY&R, Melbourne Client: Honest Eggs Co.

ACE REPORT 2024

Title / Agency / Client

Title / Agency / Client

29 ME, MY AUTISM & I

32 HIGH VALYRIAN LESSONS

Havas, London Client: Vanish

Duolingo, in-house, Pittsburgh, Pennsylvania Client: Duolingo

30 THE SINGULARITY

33 BLACK-OWNED FRIDAY EVERY DAY

Squarespace, in-house, New York Client: Squarespace

BBH, New York Client: Google

34 THE FORGOTTEN TEAM

31 EYEDAR Area 23, New York Client: Horizon Therapeutics

35 I WILL ALWAYS BE ME 36 WHERE TO SETTLE 37 THE RIFT 38 TOXIC INFLUENCE 39 THE COST OF BEAUTY 40 SEE MY SKIN 41 THE TATTOO DUO OVER 42 BURGER GLITCH 43 OREOCODES 44 BILL IT TO BEZOS 45 ARE YOU PRESS WORTHY? 46 PROJECT CONVEY 47 SOLAR IMPULSE – PRET A VOTER 48 STAYBL 49 BRING HOME THE BUD 50 CHATPAT 51 GUN SURVIVOR REVIEWS 52 DREAMCASTER 53 SAMSUNG UNFEAR 54 FREEDOM GRAMS 55 NIGHT CREATURES 56 QUEST FOR DYSLEXIA

Dentsu Creative, Lisbon Client: Amnesty International

VMLY&R, New York McCann Worldgroup, Warsaw Serviceplan, Munich Ogilvy UK, London Ogilvy Toronto / London Edelman, New York BETC, Paris DAVID, São Paulo VML Commerce, New York Angry Butterfly, Toronto TBWA\Chiat\Day, New York 180LA, Los Angeles Publicis Conseil, Paris Havas, New York; Havas Germany, Dusseldorf Wieden + Kennedy, Portland; Africa, São Paulo FCB, New Delhi, FCB, Chicago, FCB Kinnect, Mumbai Energy BBDO, Chicago FCB, New York Cheil Spain, Madrid Serviceplan, Munich Riff Raff Films, London; Burberry, in-house, London Cheil, Hong Kong; Cheil PengTai, Beijing Ogilvy Thailand, Bangkok

57 THE INNOCENT EYES/ LEF T AND RIGHT/THE BATTLE/ CONTACT LENS 58 ESCAPE: FUCK/PAIN/HELL Ogilvy Germany 59 DOT GO. THE FIRST CUSTOM- Serviceplan, Munich IZABLE OBJECT RECOGNITION APP FOR THE VISUALLY IMPAIRED 60 NEWSPAPERS INSIDE Impact BBDO, Dubai THE NEWSPAPER 61 MIDDLE SEAT LOTTERY Special Group, Sydney 62 THE ART OF SELF EXAMINATION David, Buenos Aires 63 TOUCH CARD McCann, New York 64 UNEXPECTED ENCOUNTERS BETC, Paris 65 GENDER SWAP BETC, Paris The CHEP Network, Melbourne / 66 FLIPVERTISING Brisbane / Sydney; Ogilvy PR, Sidney

67 HEINZ KETCHUP FRAUD 68 THE POSTPONED DAY 69 BEAUTIFUL MUTATIONS 70 PLASTIC FISHING TOURNAMENT 71 THE ELECTIONS EDITION 72 SCRATCHBOARDS 73 PORTUGUESE (RE)CONSTITUTION 74 OUTHORSE YOUR EMAIL 75 HAVE A WORD 76 ADLAM: AN ALPHABET TO PRESERVE A CULTURE 77 DOGS WITHOUT BORDERS 78 EVEN MORE CONFUSING TIMES 79 RAISE YOUR ARCHES 80 SMART FILL 81 A FLAMMABLE PLANET 82 CLASSIFY CONSENT 83 AIRTEL 175 REPLAYED 84 SHARE THE JOY (APPLE) 85 SELF-CHECK OUT 86 BREAKCHAINS WITH BLOCKCHAIN 87 SHE (J&B) 88 INTERFACE INTERRUPTION 89 MAYO MCHACK 90 LIFE EXTENDING STICKERS 91 INSIDE JOBS 92 CALL OF ADVENTURE 93 THE SECRET OF WAKANY 94 SPOKESCANDIES ON PAUSE 95 AIZOME WASTECARE 96 #BRINGBACK2011 97 A.I KETCHUP

Rethink, Vancouver / Toronto / Montreal Grey, Buenos Aires Dentsu Inc., Tokyo We Believers, New York Impact BBDO, Dubai; Impact BBDO, Beirut DAVID, Madrid FCB, Lisbon SS+K, New York; Peel, Reykjavik; M&C Saatchi TALK, London Ogilvy UK, London McCann, New York VMLY&R Health Spain, Madrid; VMLY&R, New York;VMLY&R, São Paulo David, Madrid Leo Burnett, London; OMD, London VMLY&R Commerce, Mumbai Nomint, London TBWA, Sydney; TBWA\Eleven, Sidney; FleishmanHillard, Sidney Leo Burnett India, Mumbai TBWA\Media Arts Lab, Los Angeles Saatchi & Saatchi MEA, Dubai Horizon FCB, Dubai

El Ruso de Rocky, Madrid Mischief @ No Fixed Address, New York Edelman, London Grey, Bogotá DDB, Paris Publicis Middle East, Dubai BETC, Paris AMV BBDO, London Serviceplan, Munich Leo Burnett India, Mumbai Rethink, Vancouver / Toronto / Montreal 98 E-NTERPRETERS Fahrenheit DDB, Lima 99 THE GLITCH BBDO Group Germany, Dusseldorf 100 SCHOOLGIRL NEWSCASTERS Impact BBDO, Dubai Vol 1/2024

152–153

carioca.ro

carioca.ro

carioca.ro

INTERVIEW

Ogilvy consistently tops network rankings for creativity, with strong performances from multiple offices worldwide. What’s the secret?

Global CCO Liz Taylor opens up to L[A] with unique insights on her professional vision and her personal inspirations.

MAD Lürzer’s Archive

Image: Gassi Ólafsson

WOMEN Vol 1/2024

160–161

INTERVIEW

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L[A] When you think of ‘creative excellence’ in advertising, what comes to mind?

Liz Taylor For me, creative excellence is a way of operating. You only have ‘excellence’ in the creative product if you internalize an idea of what that means and a way of working to achieve it.

Having systems for staying on top of creative trends and facilitating learning and industry engagement for our talent; for coming together as a community to vet, debate and collaborate to make work – and each other – better; for understanding and maintaining both agency and client vision, goals business strategy in how we partner; and for making sure that we’re aligning our creative efforts to the right industry honors.

I know that might sound a little unromantic coming from a creative but, in my experience, creative excellence is about how you perform at a high level again and again. In the past year, Ogilvy’s global network has been repeatedly recognized atop the major industry lists and honors. That’s not a brag, but neither is it a coincidence. It’s how we turned falling fish into a miracle business, helped India’s small business economy stay afloat through the pandemic, and just upended years of Super Bowl marketing campaign norms. I have the best job in the world getting to gush about what Ogilvy makes – but I get to do it because we’ve made excellence the throughline of our entire creative culture.

I’ll put it succinctly: Don’t settle any step of the way. Not on the brief, the idea, the writing, art direction, design, craft, UX – even the comps. One of my favorite Ogilvy-isms is about ‘divine Lürzer’s Archive

discontent’, which describes the state of always being a little restless, a little dissatisfied with the way things are. To always seek out ways to do it differently, better, with more surprise and impact. To come at everything with high standards. The highest.

Be passionate. Put care into all you do. That’s excellence.

L[A] Over many years, there have been suggestions that creativity in advertising is becoming less important – at one time to media buying, at another time to the influence of social media, and perhaps now because of the ‘threat’ of AI. What do you think of its survival chances?

LT Advertising is creativity – there’s no separating the two. But the art and practice of advertising is always changing. Because we are always changing.

We – and I mean big ‘we’, not just ad people – are constantly coming up with new ideas, innovating to make what we already have work better for us, measuring the impact of that, and then opening up even more new opportunities. For our industry, creativity is the thing that makes that go round. Creativity informs the practice, the practice reinvests in the ability to be creative.

It’s a virtuous cycle. And not media buying, nor social media, and no, not even AI, has ever been a threat to creativity. They are a boon to it.

There are two truths I’ve experienced as a creative and an ad person that I think offer something here. The first is flexibility.

What we do only works if we are willing to follow the spark, fan the

Films and case studies can be viewed in full within this feature online at luerzersarchive.com

4

1 Museum Of Feelings 2 The Lost Class, Change The Ref 3 Turn Your Back, DOVE 4 Morning After Island, Grupo Estrategico Pae 5 Shah Rukh Khan-My-Ad, Cadbury

5

flame a little bit. When something new and exciting occurs at any step of the process, you’re better served adapting, embracing, adjusting. The second is that the success of any project comes from the chemistry of the team. Trust, partnership, collaboration. These are what allow magic to happen. It doesn’t matter how many bells and whistles you have otherwise – a team that can step away from ego, can welcome the POV of others, and actually wants to build something together – that’s the definition of strength in creativity and advertising. No one makes anything alone.

L[A] Is creativity an essential aspect of good advertising?

LT The operative word here is ‘good’. All advertising, good, bad or in-between, is built upon creativity as a practice, right? The bare bones process of ‘come up with the idea, make something that represents the idea, put that thing into the world’. But the best advertising combines creativity with a real human need, real human impact.

One of my guiding philosophies is that a great idea, a great human insight, will always prevail. A great idea is more important than anything else you add to it – though technology, data, and media can and should be key ingredients in bringing that idea to life.

Creativity’s super power is that it can literally change lives.

So why not start there? You just have to want to use creativity that way, and not settle for anything less.

LIZ TAYLOR’S WORK 1 Museum Of Feelings, SC Johnson, Ogilvy, 2015 Can a $4 candle inspire people’s feelings? We created a modern, data-driven, beautifully designed, immersive interactive experience in the heart of NYC to answer this question. The building was a mood ring of the city based on a unique algorithm tied to the product benefit: scent, mood, feelings. It became a top tourist destination during the holidays and had wait times of 4+ hours. It was written up by the likes of Wired, Travel + Leisure, Vanity Fair and The New York Times and we gave the world a whole new way of looking at a traditional CPG brand. This client had never done something like this before, and I’m endlessly grateful for their belief in the power of creativity, their willingness to try something new, and their partnership along the way. We won with consumers. We won in award shows. And this work changed the trajectory of my career.

2

The Lost Class, Change The Ref, Leo Burnett, Chicago, 2021 We took on the NRA in the most unexpected way [at Leo Burnett Chicago]– by turning pro-gun advocates into anti-gun spokespeople. The backstory of how this work came to be will stick with me forever. Change the Ref was started by parents who lost their son in a school shooting, an all-too common tragedy in the U.S. The haunting idea here was to hold a graduation ceremony for the 3,044 students who would have graduated that year if they hadn’t Vol 1/2024

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INTERVIEW

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6

lost their lives to guns. We invited well-known gun advocates to give the commencement speech, ultimately addressing 3,044 empty chairs. I have spent a large portion of my creative career trying to tackle gun violence in America for personal reasons that hit too close to home. I don’t do it to win awards. Some say the creative efforts aren’t having the impact they need to. It doesn’t mean we shouldn’t keep trying, and I will never stop.

The following are from Ogilvy, 2022-2024: 3

Turn Your Back / Cost of Beauty / Black Hair is Professional, DOVE It’s a dream to work with an iconic client like Dove where the relationship runs so deep, as it has done for us at 60 years strong.

At the heart of our partnership, and all three of these campaigns, is a commitment to creating actual impact. #TurnYourBack fought digital distortion from creating dangerous beauty norms, Cost of Beauty illuminated the real-life harm of online beauty content on young people, #BlackHairIsProfessional took on race-based hair discrimination in the workplace. In the process, each one changed hearts and minds, drove brand engagement, and even went so far as to affect policy change and legislation. Real, consequential change in people’s lives.

Lürzer’s Archive

6 Heaven Fish, Regal Springs 7 Michael CeraVe, CeraVe 8 Can’t B Broken, Verizon 9 IKEA Second-Best, IKEA 10 Corona Extra Lime, Corona 11 Even More Confusing Times, Burger King 12 Burger Glitch, Burger King

4 Morning After Island, Grupo Estrategico Pae Never underestimate the power of creativity to change the world.

When a ban on emergency contraception pills in Honduras – that incurs up to six years in prison for using them – led to a surge in underage girls giving birth, we knew we had to do something entirely out of the bounds. Literally. We created Morning After Island, a simple physical platform off the coast of Honduras in international waters where women could take the pill without risk of penalty. Simple, stunning, life-changing. And a defiant act in furtherance of women’s rights, which are under threat all over the world. I think about this work on a weekly basis.

5 Shah Rukh Khan-My-Ad, Cadbury For all those years creatives heard ‘personalization at scale’ and cringed, this campaign made that promise into something palpable. Harnessing ground-breaking technology, we found a way to support thousands of local businesses in India through the pandemic in the most creative way possible – by using machine learning to create custom advertisements featuring Bollywood’s biggest star. A Cannes Titanium winner and Grand Prix in Creative Effectiveness – it doesn’t get bigger than that.

Shah Rukh Khan-My-Ad was forward-thinking, industrychanging creativity that drove real business results, not only

Films and case studies can be viewed in full within this feature online at luerzersarchive.com

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for the Cadbury brand, but for the broader India economy.

No small feat in the world’s most populous country.

6 Heaven Fish, Regal Springs Every year in the Yoro region of Honduras, a curious phenomenon occurs – fish fall from the sky as a result of water cyclones. Working with Regal Springs, a leader in sustainable fish production, we took this curious event that’s viewed by locals as a miracle and turned it into just that. Heaven Fish became its own thriving business that created new occupations and bolstered an economy, for starters. New product lines are continuing to generate benefits for the Yoro community while creating opportunities for other local farmers, artisans and tradespeople. A distribution center has been opened and the product is being exported throughout Central America. The multiplier effect of creativity – wow.

7 Michael CeraVe, CeraVe This campaign rewrote the playbook on Super Bowl teasers. It is a shining example of how a brand can co-create with people, and proof of the power of social and influence to build, tease and take people’s anticipation to new levels. A thoughtful, strategic and hilarious way to get the world chattering. And it all ultimately sold

the biggest reason to believe in the brand: that it was developed by dermatologists (not Michael Cera). Functionality and funny are a winning combo.

8 Can’t B Broken, Verizon Who says a product demo can’t be Super Bowl-worthy? This is another example of creatively taking on functionality, and not shying away from the scrutiny of a cultural moment like the Big Game.

The idea here was to prove to the world that you have the best network by truly testing it. Who better to do that with than one of the biggest stars in the world – Beyoncé – someone who breaks the internet on a regular basis with her music and mogul moves?

Through an outlandish series of scenarios within the spot, to an actual album drop at the end, we showed no amount of fan-driven duress can stop Verizon from delivering for its customers.

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IKEA Second-Best, IKEA, DAVID Madrid / INGO Hamburg, L[A] 2/23 Corona Extra Lime, Corona, DAVID Bogotá Even More Confusing Times, Burger King, DAVID Madrid, L[A] 2/22 Burger Glitch, Burger King, DAVID São Paulo, L[A] 2/22 Vol 1/2024

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INTERVIEW

Places, People, Items That Inspire

ART Weird, quirky, humorous, ironic, unexpected – my favorite kind of art is art that makes me smile, giggle, give a sideways grin. Knowledge Bennett’s Cojones Series with Madonna is a hard yes, David Shrigley’s Fucking Ace print – I love the crude-meets-cleverness of his work – or a naked Kermit the Frog from the ever-playful Donald Robertson. Give me an oversized NWA – Straight Outta Compton cassette by Julien Roubinet, a Leo Luccioni potato chip geode sculpture, and a giant pickle rug handmade by Moira Quinn, of course. These are actual pieces you can see if taking a turn though my home. We moved a couple years ago after both kids were out of the house, and design and art curation became an even bigger obsession for me. I have to give a shoutout to my friend and art curator Anna Cerniglia of Johalla Projects for all the care and help.

Everything was chosen to spark conversation and contradiction, rooms where curiosity and meaning can unfold and be enjoyed.

Lürzer’s Archive

BOOKS I identify as the ultimate bibliophile. I surround myself with books on everything – the wall of my office is a cascade of art, fashion, design, travel, architecture, interior design tomes. Reading-wise, I average a book a week with dysfunctional memoirs as my go-to, like Educated, Dry, The Glass Castle, The Year of Magical Thinking, The Liars’ Club, A Heartbreaking Work of Staggering Genius, I’m Glad My Mom Died. But stepping beyond real life, even when it’s not my own, is essential, so I make sure to rotate in great fiction. The Extraordinary Life of Sam Hell, Heaven and Earth Grocery Story, The Heart’s Invisible Furies, The Goldfinch are some that have left a mark. If you want to venture into the mind of Liz Taylor, start with the bookshelves and bedside piles.

FURNITURE I have a thing for mid-century modern chairs. There, I said it.

But I just love the simultaneous sense of modernity and nostalgia. There’s nothing like taking a seat in The Egg, The Womb, The Tulip, The Swan, The Panton, or The Eames recliner – please and thank you. Functionality, practicality, beauty and an effortless design sensibility. Who doesn’t want to be enveloped by that after a long day or on a lush weekend morning? It suits.

TV AND MOVIES One thing about traveling between our 120+ global offices throughout the year is that I’m a captive audience, and I’m totally fine with that. I will take any excuse to sit and consume great content – shows like The Bear (shoutout to Chicago), Barrie, Beef, Fleabag, The Last of Us, The Marvelous Mrs. Maisel, Severance, Succession, Squid Game, Ted Lasso. And all the talked-about movies. Killers of the Flower Moon, Poor Things, The Holdovers, the dynamic duo that is Barbenheimer … How much space do I have, because the list goes on? I can’t get enough of the craft that goes into great TV and film – the story arcs, the structure, the character development, dialogue, set design and wardrobes (swoon) … I live for the binge of it all.

HEDGEBROOK My love of dysfunctional memoirs is certainly tied to the fact that I’m writing one of my own. Taking on a labor of personal love and exploration like that requires a cabin in the woods, without internet, with absolute solitude, where time and space to write are the currency of life. Built specifically for women writers (Gloria Steinem sits on the board), I’ve done three separate writing retreats here, and each time I walk away feeling closer to where I’m going with my story. One day I will finish my book, and some day after that, I’ll hopefully host a masterclass retreat here.

Liz Taylor’s apartment. Photography by Ian Vecchiotti.

CAMP WANDAWEGA If Wes Anderson went to camp, it’d be here. It is the most well-art directed and peaceful lakeside place I’ve ever encountered. Owned by some of my good friends, and former Ogilvy-ers, I’ve been coming here for years – for the relaxation, absolutely, but also for the chance to relive all our summer adventures. Archery, shuffleboard, banana boats and s’mores. It’s a wholesome, meticulously designed existence and I’m here for it.

THE BEACH Sand in my toes, salt in my hair, book in my hand, the sound of waves in the background, the vastness of the world stretched out in front of you. Beach days have a way of keeping you present from start to finish, with their casual consistency and easy pace. This is my happy place. It’s the IRL version of Headspace for me. Maldives.

Mexico. Maui. St. Barths. Greece.

Whitsunday. Bora Bora. Oak Street.

I never met a beach I didn’t love.

CHÂTEAU DE TOUFFOU When I first took on my current role, I had the privilege of spending time here with Herta Ogilvy, David’s widow.

Touffou was David Ogilvy’s home from 1973 until his death in 1999. Touffou was always more than just David’s retirement refuge. It was the inspirational basecamp from which he went forth to make speeches all over the world, hosting clients and Ogilvy executives. The stories. The gardens. The bookshelves. The desk. The history. What a profound experience. David’s legacy and teachings are a gift. It’s an honor to be the Global CCO of the house that David built. I feel an immense responsibility to keep his legacy alive and kicking.

Vol 1/2024

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Cynthia Turner

alexanderandturner.com

represented by marianne campbell associates

mariannecampbell.com

annabelle breakey shaun fenn randal ford sara forrest will graham margaret lampert rj muna matthew turley

marianne@mariannecampbell.com

+1 (415) 433 0353

Ranking L[A] Rankings: An Introduction With the return of the Lürzer's Archive Rankings, as part of our new website, we present here a taster of some of the rankings available.

The following pages provide a snapshot of three-year rankings – our default setting. Individual years, plus five, 10 and all-time perspectives are also available.

Various tables are sampled here but many more variants can be generated on the website. Much more information is available online to subscribers, with those ranked being linked to the works that have driven their position. The rankings are live, they will keep changing in response to the latest inclusions in the archive.

CLIENT

1

Historically, L[A] Rankings have only been derived from film and print or outdoor work. However, now all kinds of creative work can be submitted and will count towards the rankings if they get accepted. We are also expanding the disciplines credited to represent the wider range of roles.

There are significant differences between L[A] rankings and more conventional creative awards. For one thing, it is absolutely free to enter. For another, a piece of work is only entered once, can only "win" one spot in the archive, one award. To be on top of the L[A] rankings indicates repeated creative excellence.

Top 20

last 3 years

McDonald's

2 Ikea

3 Burger King

4 Amnesty International

5 KFC

9 Netflix

13 Starbucks

15 WWF

6 Greenpeace

10 Cinéma du Parc

14 McDonalds Canada

18 B & Q

7 Nike

11 Unilever

15 Domino's Pizza

19 Heineken

8 Volvo

12 Samsung

15 Heinz Ketchup

20 Sushi Market

Lürzer’s Archive

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

AGENCY

1

Top 20

last 3 years

Mother, London

2 Abbott Mead Vickers (AMV) BBDO, London

3 Uncommon Creative Studio, London

4 adam&eveDDB, London

5 Ruf Lanz, Zurich

6 The Newtons Laboratory, Athens

7 KesselsKramer, Amsterdam 8 Bartle Bogle Hegarty (BBH), London

9 Creamos, Medellín

13 Harrison & Star, New York

17 LOLA MullenLowe, Madrid

10 VCCP, London

14 Grey Colombia, Bogotá

18 MullenLowe SSP3, Bogotá

11 TBWA, Paris

15 Leith Agency, Edinburgh

19 BBC Creative, Manchester

12 Publicis Conseil, Paris

16 Sanco BBDO, Bogotá

20 Les Evades, Montreal

Vol 1/2024

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Ranking CREATIVE DIRECTION

Top 20

last 3 years

1

Markus Ruf

2

Adam Hessel

3

Jose Montoya E

4

Jaime Duque

5

John Mcpartland

6

Juan Jose Posada

10

Abolaji Alausa

14

Danielle Knecht-Lanz

17

Mario Lagos

7

Benjamin Marchal

11

Tomas Ostiglia

15

Tim Jones

19

Dimitris Vikelis

7

Faustin Claverie

12

Giannis Sorotos

15

Rodrigo Almeida

20

Oscar Muñoz

9

Gijs van den Berg

13

Tim Hawkey

17

Erik Vervroegen

Lürzer’s Archive

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

It’s hard to reach the top.

Top. Top. Top.

Nr. 1

US + Worldwide 2020

Adam Hessel

Nr. 1

US + Worldwide 2021

Adam Hessel

Nr. 1

US + Worldwide 2022

Adam Hessel

Adam Hessel – Top 10 of L[A]’s World Agency Rankings for Creative Directions for the last 3 years.

selected

Ranking ART DIRECTION

Top 20

last 3 years

1

Rafael Gil

2

Jaime Duque

3

Isabelle Hauser

4

Juan Espitia

4

Matthias Spaetgens

6

Juan Jose Posada

7

Martin Dupuis

10

Luis García

15

Eric Vervroegen

18

Ruben Ruiz

8

Mario Moosbrugger

10

Charles Andara

16

Eduardo Tavares

20

Thomas Hoffmann

9

Glenn Batkin

13

Saji Johnny Kundukulam

16

Nicholas Capanear

10

Oscar Muñoz

14

Demian Campos

18

Fito Chipana Ramos

Lürzer’s Archive

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

Ranking COPYWRITER

Top 15

last 3 years

1

Markus Ruf

2

Jose Montoya E

3

Camilo Garzon

4

Eduardo Vargas

5

Jaime Duque

6

Gustavo Costa

8

Eva Marou

12

Ronald Larson

13

Mani Cáceres Méndez

6

Saji Johnny Kundukulam

8

Vangelis Garofallou

13

Victor William

15

Thomas Hoffmann

8

David Register

11

Demian Campos

Lürzer’s Archive

Mendez Ugarte

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

PHOTOGRAPHER

Top 17

last 3 years

1

Ale Burset

2

Jef Boes

3

Carioca

4

Köhler Studio

5

Alex Telfer

6

James Day

9

Jonathan Knowles

11

Dan Goldberg

11

Nicky Hamilton

7

Sofie Barfoed

10

Julian Calverley

11

Jean-Francois Seguin

11

Nuno Correia

8

Leyther Orozco

11

Andy Mahr

11

Michel Jaussi

11

Ross Brown

Vol 1/2024

178–179

ANDY ANDERSON | www.andyandersonphoto.com | andy@andyandersonphoto.com | +1 208 587 3161 | instagram.com/andyandersonphoto |

Represented by HEATHER ELDER | www.heatherelder.com | heather@heatherelder.com | +1 415 931 7709

Ranking DIGITAL ARTISTS

Top 23

last 3 years

1

Illusion

2

Carioca

3

Diego Speroni

4

Moreira Studio

5

Rafael Gil

6

Gonzalo Arévalo

11

Alice Blue

16

Christo Penev

16

Anders Martin Jensen

7

La Salvación Studio

11

Ricardo Salamanca

16

Daniel D'Avila

16

Demian Campos

8

Michèle Aschmann

13

Blaupapier

16

FLAECK

16

Lorenz Wahl

9

Nuts Studio

14

Salamágica

16

Mladen Penev

9

Tobias Stierli

15

Charles Andara

16

Salonen Postproduktion

Lürzer’s Archive

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

Ranking ILLUSTRATOR

1

Illusion

2

Charles Andara

3

Black Madre Atelier

4

Adrian Méndez Akamine

5

Carioca

5

Jaime Duque

7

Luis Acha

Lürzer’s Archive

Top 10

8

Owen Gent

last 3 years

8

Fabian Fernandez "Faco"

10

Miguel Angel Lopez

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

BRAD BR AD P ICK ICKAR ARD D

BRADPICKARD.NET

Ranking DIRECTOR

1

The Sacred Egg

1

Steve Rogers

3

Nick Ball

4

Jeff Low

5

Andreas Nilsson

6

Tom Hooper

6

Kim Gehrig

Lürzer’s Archive

Top 10

8

Tom Kuntz

last 3 years

8

Juan Cabral

8

Sam Pilling

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

8

Mark Zibert

-------

REPRESENTS 917 559 4803 JANICEMOSES.COM

archive’s top 10 in bending, twisting and

cgi

>

creative imaging

>

motion

>

post-production

>

hacjob.com

-------

improving reality.

Ranking PRODUCTION COMPANY

1

Riff Raff

2

Biscuit Filmworks

3

Smuggler

4

Academy Films

5

MJZ

6

Prettybird

7

Somesuch

Lürzer’s Archive

Top 10

8

Outsider

last 3 years

9

Pulse Films

10

Blinkink

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

oobest

[photographers] 23/24 – Edition 11

Represented by: B&A (Europe) Art Department (USA) Beam Photography (France) Superstudio (Scandinavia)

@PatrikJohall

Ranking USA + CANADA Bourne in the USA

AGENCY

One of the most popular usages of the L[A] Rankings is to search by country. While it's impressive to be in the top 100 on a global scale, it is perhaps even better if you are in the top 10 or 20 in your own country, spotlit for the interest of any passing partners, clients or employers.

As an example, here are various results from the USA submissions. All but one of the tables show three-year views on agencies, photographers and digital artists. To that we have added the 10-year-agency view, which gives one of our all-time favourite creative leaders, David Lubars, outgoing chair and global CCO of BBDO, a nice retirement present (we suspect it won't be the only one he gets).

Online, you can search by other disciplines, over other times, in other places ... it's a lot of fun. For example, if you tweak US agencies to a one-year view then you see that in 2023 Alma DDB Miami and Mischief@no fixed address are rising fast up the charts.

By the way, our charts also include an algorithm that ages older entries ... so nobody can sit on the laurels too long. That said, there are a couple of giants who sit atop the all-time US charts who won't be caught any time soon ... we won't name them here, go and check out our live rankings. And, if you want a masterclass or two, just check out the "view all works" option on those names!

Wherever you are, now is the time to get busy submitting. We have a little catching up to do with the new creative areas that we added. To help overcome this we have opened the date range of submissions so that you can submit a work from up to one year back if it has not been submitted before. All work accepted into the archive will generate points towards the 2024 end-of-year ranking.

1 2 3 4 5 6 7 8 9 10

Lürzer’s Archive

USA

Top 8

Canada

Top 4

USA

Top 10

Canada

Top 3

Alice Blue Alexander & Turner Boundless Creativity Cary Ng Daniel Dociu Filtre Studio Hac Job Sean Mosher-Smith Weston Fuller Matt Carpenter

DIGITAL ARTISTS 1 2 3

Top 5

Jean-François Seguin Mathieu Lévesque Lindsay Siu Nathalie Anctil

DIGITAL ARTISTS 1 2 2 2 2 2 2 2 2 10

Canada

Andy Mahr Dan Goldberg Bil Zelman Adrian Mueller Dana Hursey Jeff Sciortino Nick Hall Fernando Decillis

PHOTOGRAPHER 1 2 2 2

Top 10

Les Evades Montreal Cossette Communications Group Montreal Cossette Toronto Leo Burnett Toronto Rethink Toronto

PHOTOGRAPHER 1 1 3 4 4 4 4 8

USA

Harrison & Star New York Area 23 New York Ogilvy Health New York Wieden + Kennedy Portland Alma DDB Miami Goodby Silverstein & Partners San Francisco Intouch Group New York MMB Boston Mischief @ no fixed address New York Fred & Farid Los Angeles

AGENCY 1 2 3 3 5

last 3 years

Brad Pickard Anson Liaw Jonathan Kemp

Full ranking data, national and global, as well as calculation criteria, is at luerzersarchive.com

DIRECTOR | PHOTOGRAPHER

R E P R E S E N T E D I N LO N D O N BY S O W W O R L D W I D E . C O M A N D I N LO S A N G E L E S BY E L I Z A B E T H P O J E . C O M

gill@harniman.com | harniman.com | instagram @harnimanphoto

P. 303.249.4112 CHADCHISHOLMCREATIVE.COM

ACE REPORT 2024

The method in the madness We hope you have been stimulated by the ACE Report. This matters whether you are in it, work with the people and companies who appear in it, or are perhaps now thinking of working with them. Or compete with them. All options are available. We just want you to engage and find it useful.

There has been a lot of work behind the first ACE Report. This is, of course, not just all our work at Lürzer’s Archive. We are very much standing on the shoulders of others. The data in these pages is based on the depth of work created, and then the work judged in many competitions, work reviewed and commented on in many places, and so forth. In truth, there are years of human resources sitting behind all those achievements that our team has sifted, filtered further, questioned and discussed, and finally now celebrates in presenting these lists for your use.

To those outside the world covered in these works and by these companies and people, it can look a bit mysterious, arcane, or overblown. It’s advertising is it not? Or at least “communication” if we go a bit wider in our description these days, of the works that we cover. Somebody might ask why it has to be so complicated, so precious. Is it overblown?

We can but refer to something Alex Schill says in his interview with us. He has a storied career at Serviceplan, a great creative leader, but he’s seemingly not that passionate about advertising. And yet he is passionate, a little crazy almost, about what advertising can do for the world when combined with great creativity and innovation. We are 100% with that thought and attitude.

We are also with Liz Taylor in her inclusive and engaging creative leadership. Her broad enthusiasm for inspiration sources certainly inspired us. This is an industry for precise yet enthusiastic vision-setting coupled with an endless appetite for creative inter-

Lürzer’s Archive Special Report

The ACE Report [Annual of Creative Excellence 2024]

rogation. The sharp yet unlimited focus she somehow represents reminded us of the need for all of us to constantly hone our craft.

(By the way, that portrait, that ‘Mad women’ headline … it came from Liz.) Advertising, or whatever we should call its sprawling disciplines now, is only primarily interesting – to us at least – for the creativity, not for the vast amounts of money, or the jobs, or the mass of media tied up in it. At L[A] we believe advertising is significant when it demonstrates an ability to shape culture and society with its ideas. Increasingly, this is not through entertaining spots or eye-catching posters but through life-changing creative ideas, often in experiences and products, that redefine communication media. That said, the traditional media are still strong elements.

Almost everything is “integrated” these days. So what should we be measuring and treasuring? If it is not here in our first Annual of Creative Excellence, then tell us. Actually, if it is here, then tell us … reinforce us to make the right choices as well as to evolve.

This report is intended as our first annual round-up of the measuring of creative excellence … after 40 years of publishing. It also marks the point at which we relaunched our own live rankings at www.luerzersarchive.com, which is a free competition for recognition and archive of the best. As we approach that 40th anniversary, we have finally (not before time) opened out to review the full breadth of communication work, should it be submitted. So please test our submissions system and our new critical judgment.

Our ACE processes may need further tuning, as will our own rankings online. We strongly welcome your engagement. It will help build towards a second ACE report in early 2025. We do that with the intention to help you be stronger, wherever you are around our global community.

Published by Lürzer International Limited 151 Wardour Street London W1F 8WE United Kingdom Printed by Print Alliance HAV Produktions GmbH Druckhausstr 1 2540 Bad Vöslau Austria printalliance.at Contents © 2024 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.

Lürzer’s Archive

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.

filtrestudio.com Artistic CGI, retouch, post-production Represented by Jodie Zeitler 312.286.1871

HOW MANY S R E K A M E G PEOPLE CHAN DOES IT TAKE TO FIX A LIGHT BULB?

Y R T S U D N I N A The creative & media industries are in constant need of new perspectives, fresh ideas and different ways of thinking.

Brixton Finishing School are looking for changemakers like yourself to help us in our mission to grow work ready talent from communities across the UK. Support and partner with us to help make change.

FIND OUT MORE

brixtonfinishingschool.org/support-and-partner This ad was donated by Mother

Backdrop [204–213] James Turrell House of Light

Vol 1/2024

202–203

CLASSICS Our revisit of food ads from Lürzer’s Archive 1999, 25 years ago.

Lürzer’s Archive

Top: Client Venice Agency DM9DDB, São Paulo Art Direction Pedro Cappeletti

Copywriter Jáder Rossetto Photographer Fabio Bataglia Illustrator Pedro Cappeletti

Bottom: Client Heinz Agency Leo Burnett, Chicago Art Direction Sarah Block

Copywriter Dave Reger Photographer Andrew Martin

Top left: A huge portion of shredded potato with bacon, cheese and onion in a crispy coating.

Client Bird´s Eye Agency DLKW Lowe, London Art Direction Melanie Forster Copywriter Nick Welch Illustrator Liselotte Watkins

Top right: Parmalat Hot Ketchup.

Client Parmalat Agency DM9DDB, São Paulo Art Direction Eugênio Duarte Copywriter Alexandre Lucas Photographer Fabio Bataglia

Vol 1/2024

Bottom: Left: Your waist before Diet Shake.

Right: Your waist after Diet Shake.

Client Nutrilatina Agency Young & Rubicam (Y&R), São Paulo Art Direction Rogério Lima Copywriter Isabella Paulelli Photographer Felipe Hellmeister

204–205

REVIEWS

Lürzer’s Archive

Vol 1/2024

206–207

REVIEWS

James Turrell House of Light

Experiencing James Turrell’s site-specific work is an act of transcendence, as it leads you out of the walls of a museum, far from the bustle of the city. In the quiet of Tokamachi, Japan, enter this unique sanctuary of light and space: The House of Light, a guesthouse, meditation house and art installation in one. Here, visitors find themselves in a new spiritual realm where boundaries between art and life, self and other, blur and fade.

The House of Light welcomes just three families to share the accommodation each night. As I lay down beside my fellow guests on tatami mats beneath the Skyspace, where colour-changing LED lights frame the sky in an open skylight, distractions quickly melted away, leaving us with only the present moment to savor. Time seemed to stand still as we gazed at the square aperture above us. Sharing a roof with strangers had never felt more intimate. No scrolling on our smartphones, no social barriers — just the silent communion of souls connected by a shared experience. As the pitch-black sky commanded our full attention, the outside world faded away, and I was left with only my thoughts and the shared warmth of those around me.

Michelle Kok Art Director BBH Singapore

Previous spread: House of Light, An attempt to understand the duality of day and night, Orient and Occident, tradition and modernity.

Left: The fibreglass bathtub lets you touch the lights in the water.

Above: Only guests staying overnight can experience the changing sky and the gradual change in the indirect lighting. © House of Light

Lürzer’s Archive

What if you train AI to play Pokémon?

Sometimes it’s good to bring a gun to a knife fight, and this content does just that. shorturl.at/fzW69

Everyone’s talking about AI. But few people know how AIs are trained. That’s what makes this project special. It’s an illuminating explanation of how AIs can be trained, using Pokémon as an example.

The creator, Peter Whidden, is a guy from YouTube who’s great with code and technology. He explained how he trains it by simulating its actions, movements, and success in completing tasks. He even gives virtual rewards based on the AI’s success in catching Pokémon, leveling up, and not dying.

By the end of the video, you will understand how computers respond to a task, what challenges them, and how to improve their responses.

For his project, he uses reinforcement learning (a type of machine learning) to train an AI to play Pokémon games. What I love the most about this is that there’s a degree of over-complication that makes it a bit of a satirical usage of the technology. While people are using AI to solve bigger and more complex problems, it can be a tool to experiment and create a conversation.

Overall, the video explains how the technology works – in this case, training an AI to play Pokémon – in a simplified manner that makes the content very interesting, and serious, yet highly credible – a great combination that has led to 6 million views on YouTube alone. He also pays close attention to how he visualizes the data, by overlapping the training data, creating a simplified iconography, and creating a story arc about the AI and its training journey that makes you want to root for its success.

What’s also great is that he shared his code and learnings on GitHub, where anyone can download and run the simulation themselves.

Nico Tangara, Creative Technologist BBH Singapore

Images: Nico Tangara

Vol 1/2024

208–209

REVIEWS

Wallflower Sights & Sounds of Singapore A online film series that makes time capsules out of the colors, vibes and people of iconic spaces in Singapore. instagram.com/wallflowerssg

Bird-watching, people-watching … now we’ve got space-watching. On this hectic little island called Singapore, an online film series is dedicated to uncovering precious breathing space in the little things. Started in 2021 by local artists, this multi-disciplinary project documents oft-overlooked sights and sounds to help Singaporeans rediscover the city’s everyday beauty.

Each film lets us linger in a certain time and space on the island – mornings at Tiong Bahru, sleepy afternoons at Toa Payoh, or nightfall in Geylang – and immerses us in a playful remix of its true colors, sounds and people.

Sometimes the creators would keep the lens still, and let us experience the scene like we’re there. One film shows a lone heron idling in the swamps of Sungei Buloh, unaware of a crocodile close by. As they hold the shot, it’s hard not to hold your breath. Sometimes the film walks a tightrope like an explorer with infinite interest and limited time, going with the flow of the place while still taking care to capture the elements that make it special.

One thing’s for sure: the creators aren’t shy about letting their personality shine through. On top of idiosyncratic cuts and soundtracks that express the vibes unique to each spot, they literally inject color into the everyday by featuring spray-painted local staples like the tingkat (food container) and the kopi (coffee) cup, all wonderful ways to refresh the mundane with tinges of new.

In a fast-developing city where spaces come and go, this series will become an invaluable time capsule for locals to revisit and reminisce over.

For those who’ve never been to Singapore, I’m happy to say: a wonderful journey awaits you.

Judy Au Copywriter BBH Singapore

Wallflowers. A multidisciplinary project by local artists showcasing the overlooked sights & sounds of Singapore.

Lürzer’s Archive

Koel Calling The sound that some Singaporeans love, others hate, and everybody gets woken up by anyway: the ‘uwu’ calls of the Koel Bird.

Here in Singapore, we rise not to the crowing of the rooster but the iconic mating calls of the male Koel Bird – also named the uwu bird by locals, who are clearly done with it.

Nothing screams morning blues like “uwu, uwu” vibrating through the neighborhood at the break of dawn. The Koel hides well away from view in the trees, but its loud resonant cries make it sound like it’s everywhere all at once.

Imagine a powerful soprano doing the same drill for hours on end.

Usually it would get replies from a female Koel with equally grating enthusiasm, and sometimes, now immortalized in a viral clip, the screams from a very angry man who just wanted to sleep.

No matter who you are and where you live in Singapore, the Koel Bird disturbs all. Our frustration unites us in a somewhat wonderful way.

The persistence of the Koel has certainly done a number on our hearts. It is hard to imagine waking up without its cries punctuating our mornings. Some Singaporeans overseas would even play YouTube recordings to ease their homesickness. Even I find myself strangely missing their cries these days, now their mating season (October to March) is over.

So, imagine my delight one evening when a lone Koel decided to interrupt my walk and screamed his little randy heart out. He loomed hidden in the shadowy leaves, but in my mind I saw a diehard romantic with his head held high, undeterred by time of day and lack of replies, proudly singing his song.

Judy Au Copywriter BBH Singapore

© 2023 Bird Society of Singapore

Vol 1/2024

210–211

REVIEWS

The Distraction The Umbilical Brothers, Australia Find out where they’ll be touring next here: umbilicalbrothers.com

If you’ve ever used the phrase “the TikTokification of culture”, you’re probably terrified of the TikTokification of culture. It seems it’s only a matter of time before the theaters have shuttered, and the children are burning books for light to film dance trends. Is it possible a duo called The Umbilical Brothers will save us? Perhaps not – but their new show The Distraction – while billed as “enabling your screen addiction” – is a defiant reminder of the power of live comedy theater.

In a 75-minute ADHD barrage, the show smashes together the energy of live performance and the spectacle of cinema, creating a nonstop hilarious fever dream of a sketch revue that blends physical comedy and green screen mischief created live on stage. Think – dumb TikTok skits elevated into something more by the theatrical craft and commitment of a pair of artists who have been doing this for decades.

The Australian duo first started performing together in the early 90s and have perfected a style of puppetry, pantomime, vocal mimicry, and audience participation that has been dubbed “microphonic mime.” Their new show’s inclusion of green screen effects seems like a natural extension that’s a perfect response to the content we consume in this era, and one executed with flair – even if it’s just for an extended bit about a man whose head literally explodes when his mind is blown. The effect is something that feels like Monty Python for the 2020s or live-action Looney Tunes.

The Distraction is now touring and definitely worth a watch.

And what’s great is that while the show does include some mature content, it’s safe for kids 10 and up – and will probably blow their minds (though not literally).

Luke Somasundram Associate Creative Director BBH Singapore

Next level comedy, or as the New York Times wrote: silly behaviour of the highest calibre. © 2024 The Esplanade Co Ltd

Lürzer’s Archive

OH! Stories Singapore New World’s End: An Immersive Audio Experience Book an audio tour here: ohstories.sg

What if all it took to time travel was a pair of headphones? That’s the promise of New World’s End, an immersive audio experience created by Singapore’s OH! Stories.

The audio walking tour invites you to explore a lesser-known part of Singapore, both geographically and historically. You’ll discover the historic Jalan Besar neighborhood and the long-gone New World Amusement Park, a place emblematic of a forgotten era of Singapore’s history – a time of glittering cabarets and soulful jazz and neon alleys that twist like smoke.

Your guides on this journey are the characters Kiran, a cinema projectionist, and Rosa, a cabaret dancer, audio ghosts who’ll show you their old haunts and memories – through back alleys and hidden fantasy rooms across Jalan Besar. The experience is a unique way to trace Singapore’s past and a treat for anyone who’s a sucker for historical fiction or Jazz Age love stories.

While the tour is a permanent installation, the best time to experience it is at night from Wednesday to Sunday. It’s not just perfect for the mood of the piece, but you also escape Singapore’s oppressive heat. Plus, you can end your tour at Exit Stage Left, a concept bar that serves up a sensory conclusion to the story of Kiran and Rosa.

Luke Somasundram Associate Creative Director BBH Singapore

Tradition meets modernity. Kampong Gelam is one of the oldest neighbourhoods in Singapore. © 2023 OH! Stories

Vol 1/2024

212–213

How to work with Lürzer’s Archive

Read … in print and online. There’s even more to us than what’s inside this lovely copy of the magazine in your hands.

This is issue 226. We hope you love it — but it works even better if you have at your fingertips our content from 40 years of previous issues. Search for and enjoy all of it on our recently redesigned and upgraded website. Our archive of great creative works is truly unique in its curation, always selected with impartial and independent expertise. We show no fear or favor in seeking out the best creativity and craft in advertising. Plus you can find bonus content online that doesn’t appear in print.

Enter … submit your work for inclusion in the world-famous archive. It’s free!

Our submission system now takes all forms of work. We welcome not just traditional film, print and outdoor, but all parts of the amazing integrated media of today’s advertising. Any questions? Ask us.

Partner or advertise … there are many ways in which you can position your work and business with us, supporting and developing Lürzer’s Archive in the process. Our team can work with you on the best creative and business solutions. Just tell us how you want to grow your brand in the creative world.

200best … we are currently inviting participants for 200best digital artists book. As an artist, or a commissioner of digital art, you can take part.

Submission is free.

Shop online … subscription is the best way to ensure you don’t miss the latest issue of Lürzer’s Archive, along with full access to our fast-developing online services. You can also buy individual copies and our books. Plus, soon, we plan a few other engaging L[A] products that will be exclusively available in the online store.

Bespoke service … for bulk orders, educational institution licenses, and group enterprise contracts, please contact us.

Sign up … do you get our newsletter? Be sure that we have your current email address so you can stay on top of the latest from Lürzer’s, including special offers. Register at luerzersarchive.com.

Client La Fabril, Agency JANA, Santo Domingo, L[A] 225.

For help with any of the above, just drop us a line at support@lurzersarchive.com Now please enjoy this issue (we often begin at the back, too … ).

Lürzer’s Archive

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

@StudioKnowles