Lürzer's Archive 3/22 (US edition)

Lürzer’s Archive Vol 3 2022

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ANDY GLASS CGI DIRECTOR

A RT I ST RY O F C R E AT I N G & D I R E C T I N G C G I I M AG E S CGI is an integral part of the image maker’s tool kit. As a photographer, I’m always looking to use whatever tools are in the bag to create the most photo realistic image possible.

If the subject exists, and is available, then let’s photograph it for real. If not, let’s create it in CGI and make it look photographic. CGI can be a technical and linear process. The ability to integrate CGI elements into a real-life photographic environment is the challenge, and key to creating iconic imagery.

Agencies appreciate the value of hiring a CGI director to oversee their campaigns, someone who has photographic experience and lighting knowledge to aid with the integrationand composition of CGI material, particularly when it needs to exist in a photographic scene.

Successful integration of CGI into photography involves careful pre-visualization, shoot planning, and photographic execution. When a CGI Director oversees this integration we can create images that look beautiful and real.

SKILL SET INCLUDES

• Agency communication • Character development • 3D previsualisation • Lighting • R & D into sculpture patterns • Integration into photography • Animation for video

ANDY is renowned as one of the world’s leading talents at seamless blending of photography, digital enhancement, and CGI elements. Originally a pure landscape photographer, who has spent over 20 years developing a finely tuned sensitivity to light, atmosphere and time of day that allows him to combine this with his ease of working with the most advanced digital techniques to turn complex ideas into powerfully emotional imagery.

ANDY GLASS CGI DIRECTOR

‘You don’t hire a photographer because they know how to operate all of the settings on a camera, you hire a photographer for their artistic eye.

The artist is the one who takes that tool and makes beautiful things. The supervision of CGI is no less important.

I always want an artist involved.’

‘As a photographer, Andy’s attention to detail and lighting experience, coupled with his ability to solve technical and isual pu les ma e him a per ect fit to inte rate CGI into real world photographic environments.

He is great to work with and makes the creative process as smooth and seamless as possible.’

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HELLO

We are wondering of late what’s going on behind the impressive work we love to showcase in these pages. There’s a stale perfume hanging in the air that is repugnant. It’s from Balenciaga. It makes us ask: is there something rotten at the core of the creative industry?

We didn’t think it would need saying, or restating, that the work we each do is something we should be accountable for as individuals. If we want to win recognition for good work then we must stand by what it says and how it is made. If we are part of a team producing an ad that promotes something then we must be prepared to stand collectively behind it as a legal, decent and honest thing to do. Obvious, yes?

Seemingly not, when we pick over the ashes of the Balenciaga debacle. It leaves a nasty smell that is not going to waft away quickly from the fashion industry or the wider advertising business. To recap: Balenciaga creatives and/or marketing team and/or in-house or freelance contractors and/or the dog-that-ate-my-homework somehow permitted references to pedophilia to be woven deeply into a fashion ad campaign.

This can only be seen as a terrible idea. ‘Bad’ as in not just damaging to business but as morally repugnant for 99%+ of people on the planet.

Yet there was a rush of individuals involved with this campaign keen to declare they were not responsible. Their initial comments were along the lines of “not my decision” or finger-pointing while saying, “them over there!”, or words to that effect.

Many of these embarrassed individuals were doing creative jobs in and around the disastrous shoots that produced the images with their overt and covert sordid references. It has been reported that this may have included taking the photographs (but not taking responsibility) or signing off on the work (presumably having never looked at it).

At Lürzer’s Archive we believe in free speech, freedom to provoke, freedom to offend, freedom to be wrong. That lays the environment of openness, of risk-taking, that enables breakthrough work to happen around sensitive subjects. That also means mistakes can happen.

But, as we are all taught to know from an early age, we must take responsibility for our mistakes and learn from them. We need to clean up the mess quickly, apologize fulsomely and move on with assurance that the same mistake can’t happen again. It seems weird to have to repeat this but it seems necessary.

Will Balenciaga still be around as a brand by the time you read this?

Almost certainly. But we have learned that few businesses are too big to fail these days. There appeared to be no willingness, at least in the first response, by the multi-billion fashion business to address a massive cultural and process failing, which is more significant than any individual failing. Creativity can only work for good if we build open work environments where organizations have transparent objectives and constantly examine themselves on what it means to meet a good, legal, decent, purpose. Why would we want to work anywhere else? Don’t accept yourself thinking or saying: “I was only following orders.”

Yours

Michael Weinzettl, Publisher & Editor-in-Chief Lürzer’s Archive

Vol 3/2022

1

[34]

[26]

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[146]

Contents

1

HELLO

4

THE SMALL PRINT

6

ECLECTIC

10 INTERVIEW David Raichman 16 PRINT WORK 146 CREATIVE LIVES Vivian Yong + Jody Xiong 153 FILM WORK 163 FOOD+DRINK SPECIAL REPORT Need To Know The Social Drinker The Global Bunfight Top 20 Searches 255 BACKDROP Classics Reviews Ranking

THE SMALL PRINT LÜRZER’S ARCHIVE Vol 3/2022 ISSN 0893 - 0260

Lürzer’s Archive Vol 3 2022

Cover: Agency Dentsu Creative Portugal, Lisbon Creative Direction Lourenço Thomaz, Ivo Purvis, Gil Correia Art Direction Ivo Purvis, Gil Correia Copywriter João Moura A.I. Prompt Master Fred Van Zeller Illustrator Emanuel Serôdio, Tiago Rodrigues Typographer Emanuel Serôdio Digital Artist Gil Correia, Ivo Purvis

EUR 18.90 ISSN 1727-3218 LuerzersArchive.com

Publisher & Editor-in-Chief Michael Weinzettl

Subscriptions and copy sales subs@lurzersarchive.com

Contents © 2022 Lürzer International Ltd. All rights reserved

Managing Editor Christian Hrdlicka

Distribution/Retail latrade@lurzersarchive.com

Art Director Christine Thierry

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

Brand and Design Direction SIX

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

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

Contributing Editor Maeve O’Sullivan Editorial Research Josh Lambie Ad Sales USA Claudia Coffman Ad Sales International Kate Brown Sheila King Database Coordinator Ovidiu Cristea Website luerzersarchive.com Ad sales sales@lurzersarchive.com Editorial editor@lurzersarchive.com

Lürzer’s Archive

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

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.

ECLECTIC

What inspires me In the first of a new regular upfront feature, we invite those whose work has recently entered our archive to explain where ideas come from.

MICAH WALKER Chief Creative Officer Bear Meets Eagle On Fire, Sydney I was recently in New York and picked up Pep Bonet’s book, Hellbangers.

It’s a unique photographic series that captures the thriving heavy metal community in Botswana. It’s wonderful, anything but cliché, and unlike any other book on my shelf.

JOHN LIVERIS Creative Director Another Circus, Athens Lately, I find myself enjoying all the little and big things that Covid deprived us of. This is a slow shift from an introverted to a more extroverted lifestyle through things that are completely simple (or not). For example, the everyday commute to work by using the crowded, humanly diverse and dirty metro while listening to the reissued Revolver album by The Beatles… this gives me an instant, organic burst of inspiration personally and therefore professionally.

GIULIA DE CHIRICO Senior Art Director MullenLowe MENA, Dubai I need to free my mind to feed my creativity.

Walking helps me do that.

Every day I take my time, wherever I am and I start wandering. With no destination, phone or email, I isolate myself in such an automatic action that it allows my mind to wander too. Maybe the idea doesn’t come right away, but the seed I planted in my mind will blossom sooner or later.

ISABEL RODRÍGUEZ ALBARRÁN Midweight Creative Iris, London Everyday life, especially small objects that are always there and become part of your life. Like napkins. You know, the kind of napkin or serviette that you get in Spain when you go to a tapas bar, with the name of the place and the phone number on them. And they have those little and simple, but at the same time, beautiful and timeless designs. Love those. Maybe I should start a project about napkins soon?

Lürzer’s Archive

SASCHA KUNTZE Chief Creative Officer BBH Singapore My son, 6, created this Lego creation. All by himself. No instructions. Freehand building.

No barriers to creativity. No secondguessing. No questioning if the idea is good enough.

Just a pure sense of making stuff, a sense we’re all born with and something we’re all at risk of losing every day. Unless we get reminded that we all are creative.

THASORN BOONYANATE Chief Creative Officer BBDO, Bangkok This is probably the hardest brief I ever received in my life. To take my son first time on a plane. I don’t want my son to be like those kids who are crying/screaming on the plane. So, I was planning two weeks ahead, I craft the journey including a way to prevent his ear pops from changing in air pressure and we made it! If I can do this, no brief is too difficult to do already.

FLORENCIA LODA Creative Director VMLY&R Argentina, Buenos Aires I recently read the results of a survey taken in Argentina about the number of creative women in agencies. Only 2.7% reach top leadership roles. A fact that is as sad, as it is inspiring.

I’ve never thought a number would generate so much inspiration and encourage me to continue being part of an industry that demands a change of perspective and inclusion. It inspires me to know that there is still much to do and the roles of women in creativity are essential to inspire future generations as well.

CARLOS PABOUDJIAN Creative VMLY&R Prague My inspiration comes from a crazy and chaotic bowl of concepts and images that keeps my brain pregnant. It goes from filthy trash to shiny diamonds. Nietzsche, however, is maybe my biggest overall inspiration in life. There’s also one of his quotes that I love: ‘One must still have chaos in oneself to be able to give birth to a dancing star.’

MAYA HALILOVIC Copywriter Wieden+Kennedy, Amsterdam In Nick Cave’s words, ‘my wife’s benevolent gaze’ or in my case, the benevolent gaze of my friends and family. The thought that perhaps they’ll spend a day walking through this life without noting every instance they’ve lost or gained weight, without worrying about crypto, or feeling as though they’ve got a sale-item-sized-hole in their lives. The thought that maybe they’ll see an ad that makes them feel something other than anxious for once is what inspires me.

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MARIA BRANCO Creative Copywriter Judas, Lisbon

JAIME AGOSTINI Creative Copywriter VMLY&R Brazil, São Paulo

Inspiration is just like Dolby in movie theaters, it’s ‘all around you’. In this case, around me. Sorry. For example, I take inspiration from People. Not the magazine, like, real people. Peculiar telesales and the world’s most random, weird and new facts that help me to find unexpected creative connections.

What inspires me is the exchange of ideas and experiences with people from different cultures and perspectives. Preferably at a bar.

ELLIOTT STARR Head of Copy 20Something, London I’m a big fan of this 1984 quote, from George Orwell: ‘Who controls the past controls the future. Who controls the present controls the past’. A slight personal re-interpretation of that feels pertinent, given our planetary situation. If you watch The Century of the Self, by Adam Curtis, you get a glimpse at the colossal power brands have over the way we behave and feel about ourselves, and our lives. We’re in a climate crisis. Governments won’t pull us out of this hole. By their very nature, they are too slow to act. They won’t be the lever to us making the changes we need to make, at the speed we need to make them.

People need to vote for the world they want with their wallets. With where their money goes, and where it doesn’t. The reality is, this now has more power than a political vote.

What inspires me? Using advertising to pull people into brands creating things of value.

(And doing so in a planet-positive way.) And, of course, by default, that means pulling them out of brands that are not.

CHRIS BALMOND Director Outsider, London Terminator 2: Judgment Day. It is a perfectly crafted thing.

I bumped into Arnie a few months ago and I told him as much. He seemed nonplussed. I think he’s heard it a lot.

JEN SPEIRS Executive Creative Director Droga5 Dublin This. A stat. I’m not always inspired by numbers – but after a couple of years of feeling like we have no control over anything, this feels massive.

And makes me want to put something out into the world to show the other 25% that we can make good shit happen.

HUGH O’CONNOR Art Director FCB New Zealand, Aotearoa Living in an age of having countless images at our fingertips means that my screenshots folder is always brimming with a bit of inspiration.

CAMILA RODRIGUES Creative Director Wieden+Kennedy, São Paulo Lately, there has been a strong street art movement here in São Paulo and the buildings are getting covered with these beautiful murals. As an illustration enthusiast, I feel inspired to see female artists’ work out there. The paintings have changed the face of the city and I can’t stop looking up when I’m walking around.

Lürzer’s Archive

LISA FEDYSZYN Executive Creative Director Special Group New Zealand, Auckland A nap is my most inspirational place in the world.

Making it takes indecision that turns into obsession.

It takes fine tuning, and making it fit.

It takes the bad, the brilliant, and the character to see it all through.

A lot goes into winning a D&AD Pencil.

But once you’ve made it, everything changes.

Entries now open dandad.org/awards #dandad23

Painted by a trained AI with the concept of ‘David Raichman’

INTERVIEW

The revolution has already begun With a provocative expansion of a Vermeer masterpiece for Nestlé, Ogilvy Paris announced that AI (artificial intelligence) was more than ready to make a big impact on advertising creativity. But it gets a lot more disturbing than that, as we discover in talking with the agency’s Executive Creative Director David Raichman. He explains why and how we must embrace working with AI as a creative partner.

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INTERVIEW

More than a thousand text prompts drove the AI expansion of Vermeer’s iconic image The Milkmaid, created for Nestlé’s La Laitiere yogurt brand

L[A] In recent months AI has emerged as an incredibly exciting and disruptive force in creative work. You have stood out as both a keen practitioner and a commissioner of AI work. Can you introduce us to how you have this personal interest as a creative director and as an artist?

living artists in the database. These questions will be addressed in the future and I’m not really worried about that. It’s not for everyone now because there are still some technical aspects to solve. When you want to master it, you need to go deeply into technical elements. But it’s really changing our culture of creation.

DR I was a street photographer in the past, for more than 10 years. Photography was part of my artistic activity. In recent months I saw the rise of something new that can only be made today. We are seeing a new form of art. Photography came about in the nineteenth century… but now AI, this new form of art, is going very fast. It’s evolving almost every day. It has all the conditions of a real art in that it has things that can be democratized in that many artists can use it and make their own style. All the conditions are there to see something major happening in the next couple of years. My bet is that this going to be something totally new. It is a little crazy, what we are witnessing.

L[A] How is it working in the agency? Obviously, one can experiment out there on DALL-E, or Midjourney, or whatever AI platform you prefer. But in the actual life of the agency or the creative teams, for individual creatives on their projects, how are you starting to see that come through?

At the beginning, photography was also a very technical art, which means you need to master a lot of techniques, such as how to capture light well, how to make something interesting. In the later 1800s, photography was so creative and also as technical. There were so many forms of expression. We’re not there yet in AI. We are at the point where everything needs to be explored.

We are experimenting as much as we can. We are pioneers.

People are generating millions of images daily on the key platforms, for example, DALL-E. It’s like a force that you can’t stop.

Of course, there are copyright, regulatory, legal issues.

We are all aware about that but the possibilities are so huge that you can’t stop.

L[A] What legal issues are involved?

DR For sure, there are legal aspects that will be fixed. There are issues such as how to ensure you are not using some imagery by Lürzer’s Archive

DR I was something of an ambassador for all the creatives here at Ogilvy Paris. I started to teach them how to use AI. For example, on social media, they start to use it more in their production flow, which is fine. It’s more of a hybrid world. It’s not cutting one thing out, it is bringing new possibilities. AI is not the answer to everything. If we think about AI, it is best to think about what we are trying to do that was not possible before. If it’s something that was possible before then probably AI is not a good creative answer to your brief.

AI should not be everywhere. It’s like photography. You cannot use photography everywhere in terms of expression. I want to ensure that when it’s relevant when it’s strong, our creatives have the right reflex to use AI. L[A] We see some creatives using AI as a tool of visualization and exploration, trying to see potential things that we cannot see or get to by talking or drawing. Is that how it works with you?

DR Definitely. Our creatives here can use it as an ideation tool to help them visualize concepts. It can help but sometimes it can make you go too far and you lose yourself a bit. I’m saying there is a wise usage of it. When I say wise, not so much ethical,

The Louvre Hidden Collection: Egyptian Department Vol 3/2022

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INTERVIEW

Brutalist’ Moulin Rouge, Mental Street Photography

Protest march, 1960s New York, Mental Street Photography

I mean more creatively speaking. Yes, it can unleash and unlock new ways of visualization but first you need to be clear in your mind about what you want to visualize.

mental stuff will spread broadly into culture. We are just seeing now the early stage but AI will go into culture and become mainstream very, very quickly. I think before the end of next year we may start to see some usage of it everywhere.

L[A] Besides ideation and creating a visual, do you foresee us working within a more complete experience that is highly AI-supported? The games development world is perhaps already starting to do that but could we see a broader highly immersive AI encounter for other creatives to work within? What comes next?

DR For me, what comes next are all the fields of filmmaking.

You see the research that is going on with video, creating the conditions for a future that likely will happen in only a few months.

The creative industry and the researchers behind us, the scientists, we all have in mind a dream. The dream of writing a script, describing exactly a scenario of a film, describing all the scenes second by second, and giving that to AI to generate a film. This is what’s going to happen. Not sure it will be all film but this is the most exciting field we have.

There are already early projects and we can expect to see TV shows and movies generated with AI. I tried some music videos with artists using AI and probably I will do a big one very soon. It is a little tough for just anyone to make it, technically speaking. You really need to go into the cut. For example, you need to train the AI to recognize the face of somebody if you want to have somebody in a music video because if you are not well-known, if you are not Snoop Dogg, the AI will not recognize you. So you need to train the AI. But this is one of the most exciting areas for the entertainment world.

It will also happen in other fields like architecture, fashion. Any day now, you can imagine the launch of the first AI-generated fashion line or brand. What comes next is how this very experiLürzer’s Archive

In the past, we were talking of virtual worlds, the metaverse, etc.

Thanks to AI, we will be able to create and populate these worlds quickly, easily. It’s revolutionizing almost everything.

L[A] In the work that you’re doing, what are the most immediate steps that you see there? Within the work for Nestlé you’ve made this particular application, the extended Milkmaid painting by Vermeer. That brought a lot of attention. What’s next?

DR We continue exploring the possibilities and we are very keen to work with some clients and to propose new ideas that leverage AI. It’s almost an everyday duty for all the creative department. But as I said earlier, we don’t want to use it just for the technology. We want to use it and find good application, because what is exciting, creatively speaking, for an agency, is that it’s not totally into today’s culture. We have to find what we call a societal role for this, a useful role in the work with this technology – for goods, for brands – and find a new way to make this much more meaningful.

This is a relentless effort for us at the agency.

It’s not a one-off, for us it is more a beginning.

David Raichman is Executive Creative Director / Social & Digital and Experience Creative Lead EMEA at Ogilvy Paris

David’s AI primer

1

Be prepared to work hard and open Pandora’s box (the time will fly)

2

Be demanding with yourself, master the AI. If you don’t decide, the AI will decide for you.

3 Tibetan temple, Mental Street Photography

Improve your creative possibilities: combine your skills with AI (3D, illustration, photography, etc.)

4

Understand how AI Generators work youtube.com/watch?v=1CIpzeNxIhU

David Raichman on his Mental Street Photography “I’ve trained AI to allow me to shoot with an abstract camera. For more than 10 years, I’ve practiced street photography. My encounter with generative AI was like a big bang! Suddenly, I can travel in my mind to any location or event in the world that I’ve ever dreamed of (imaginary or real) to shoot. Using text prompt, I describe to the AI, in exact detail: the place, the context, the people, the emotions I want. I am then precise to the AI about the angle of the camera, the lens, the aperture, the shutter speed, the film I would use. It is as if I were actually on location, behind my camera. And by combining my photographic style with other styles, I even discover new realities.”

5

Search for inspiration with text prompts openart.ai, libraire.ai

6

Master the art of prompt scripting with visual help and reference phraser.tech, promptomania.com

7

Stay on top of the latest evolution and techniques for AI creation (everything changes almost every day!) youtube.com/c/OlivioSarikas

8

Be curious and try experimental stuff replicate.com

9

Be inspired with AI video A music video AI generated: youtu.be/3nOFmWbMppY The story of the world in three minutes: youtu.be/Bo3VZCjDhGI

10

You usually need to pay to use AI but you can get free access to Stable Diffusion (an open source AI generator) by installing it locally on your Mac. diffusionbee.com

Vol 3/2022

14-15

PRINT

373648

Print [18–145] Client Queer Britain Agency M&C Saatchi, London Lürzer’s Archive

Creative Direction Benjamin Golik Photographer Benjamin Golik

Vol 3/2022

16-17

AUTOMOTIVE

VOLVO Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Grey, Bogotá Creative Direction Juan Jose Posada, Alvaro Giraldo, Nicolas Malpica Art Direction Juan Jose Posada, Alvaro Giraldo

Copywriter Nicolas Malpica, Diego Aguilar Digital Artist Alvaro Giraldo

JEEP Campaign

Agency BERLIN SCL, Santiago de Chile Creative Direction Eugenio Spencer, Alejandro Calleja Art Direction Gonzalo Navarro, Andres Salgado

See more of the campaign at luerzersarchive.com

Vol 3/2022

Copywriter Patricio Orellana Digital Artist Juan Ramos

18–19

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

www.jeffludes.com jeffludes

BANKING, INSURANCES

AIG VENEZUELA Campaign Diseases are the same wherever you go.

Keep your health insured during your travel.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Wings the Agency, Caracas Creative Direction Demian Campos Art Direction Demian Campos

Copywriter Demian Campos Illustrator Demian Campos

BTG PACTUAL Campaign

Agency Mora Agency, Santiago de Chile Creative Direction Victor Mora Art Direction Victor Mora

See more of the campaign at luerzersarchive.com

Vol 3/2022

24–25

BANKING, INSURANCES

MANY PETS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Uncommon Creative Studio, London Digital Artist Pics

BANCOLOMBIA Campaign Paying your bills online with Nequi.

It’s doing what you like tanglefree.

Agency ZING, CREAMOS, Medellín, Colombia Creative Direction Jose Montoya E, Susana Valencia Art Direction Mateo lezcano

See more of the campaign at luerzersarchive.com

Vol 3/2022

Copywriter Mariana Del Castillo Photographer Illustrator Pablo Agudelo

26–27

BANKING, INSURANCES

Lürzer’s Archive

AXA Campaign

Agency Publicis Conseil, Paris, Publicis, Hong Kong Creative Direction Claudia Wong, Jet Aw, Bill Ho

See more of the campaign at luerzersarchive.com

Art Direction Marcin Brzezinski Illustrator Camilo Huinca, Jacques Despres

Vol 3/2022

28–29

BEVERAGES, ALCOHOLIC

CAMPARI Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ogilvy Brasil, São Paulo Creative Direction Teco Cipriano, Mathias Almeida, Sergio Mugnaini Art Direction Guilherme Pinho, Alexandre Parme Copywriter Wagner Montanher

Illustrator Leandro Dexter, Victor Goularte, Leo Soares Digital Artist Andre Maciel, Black Madre

BEVERAGES, NON-ALCOHOLIC

LITTLE RICK Campaign

Agency Now Advertising, London Typographer Marc Donaldson, Jordan Dicks, Mike O’Sullivan

See more of the campaign at luerzersarchive.com

Vol 3/2022

30–31

BEVERAGES, NON-ALCOHOLIC

Lürzer’s Archive

STARBUCKS Campaign

Agency Rock The Agency, Bogotá Creative Direction Juan Espitia Art Direction Juan Espitia, Fabian Fernandez “Faco” Copywriter Alejandro Sarmiento Illustrator Fabian Fernandez “Faco”

STARBUCKS Campaign

Agency Rock The Agency, Bogotá Creative Direction Juan Espitia Art Direction Juan Espitia, Fabian Fernandez “Faco”, Angela “Patuk” Rocha

Vol 3/2022

Copywriter Alejandro Sarmiento Photographer Grizzly Studio

32–33

BEVERAGES, NON-ALCOHOLIC

LAVAZZA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Armando Testa, Turin Creative Direction Michele Mariani, Federico Bonenti, Andrea Lantelme

Art Direction Andrea Lantelme Copywriter Federico Bonenti Photographer Alex Prager

COSMETICS

COLGATE PALMOLIV Campaign

Agency VMLY&R, São Paulo Creative Direction Frederico Teixeira, Denon Oliveira Art Direction Luiz Ramon Evangelista, Caio Zucchi Copywriter Felipe Choi, Bruno Anibal

See more of the campaign at luerzersarchive.com

Vol 3/2022

Photographer Marcos Aquino Typographer Felipe Choi, Bruno Anibal Illustrator Denon Oliveira, Frederico Teixeira Digital Artist Henrique Oliveira, Leandro Rodrigo

34–35

COSMETICS

MOÇA SALON Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Mora Agency, Medellín, Colombia Creative Direction Victor Mora Art Direction Victor Mora

NO-APTO Campaign

Agency Cualquiera, Medellín, Colombia Creative Direction Andrés Hoyos Art Direction Kervin Miranda

Vol 3/2022

Copywriter Manuel Barbosa, María José Lema, Camila Berdugo Photographer Alejandro Henao, Pamela Angel, Ricardo Sanchez

36–37

COSMETICS

Lürzer’s Archive

JOHNSON & JOHNSON Campaign

Agency Johnson & Johnson, in-house, Godalming, United Kingdom Creative Direction Wesley Lyne, Howard Fretten Art Direction Lazarus Ioannou

Copywriter Wesley Lyne Photographer Richard Allen Typographer Lazarus Ioannou

RIOSTORE - GOSH Campaign

Agency Paper, Guayaquil, Ecuador Creative Direction Andrea Auz, Cristian Seisdedos Art Direction Cristian Seisdedos

See more of the campaign at luerzersarchive.com

Vol 3/2022

Copywriter Andrea Auz Photographer Andres Mackliff Digital Artist Gonzalo Arévalo

38–39

ENTERTAINMENT

ACTIVISION Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency DAVID, Madrid Creative Direction Pedro Sattin

Art Direction Francesc Enrich, Giulia Ferrarezi Copywriter Maud McCaffrey, Wil Carvalho

MONOPOLY Campaign

Agency KesselsKramer, Amsterdam Creative Direction Rens de Jonge

See more of the campaign at luerzersarchive.com

Vol 3/2022

Art Direction Maartje Slijpen Copywriter Rens de Jonge Photographer Erik Smits

40–41

FASHION

BATA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency SYMBIO, Prague Creative Direction Michaela Pechanová Art Direction Jaroslav Masek Copywriter Helena Johnston Photographer Wilhelm Kinga

WOOLMARK Campaign

Agency 20 Something, London Creative Direction Will Thacker Art Direction Eliott Starr Copywriter Casey Highfield

See more of the campaign at luerzersarchive.com

Vol 3/2022

Photographer Dirk Rees Illustrator Dirk Rees Typographer Samuel Guilotel Digital Artist Samuel Guillotel

42–43

FOOD

Lürzer’s Archive

LUCKY’S PIZZA Campaign

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

See more of the campaign at luerzersarchive.com

Vol 3/2022

Art Direction Italo Medeiros Copywriter Jonas Gondim Digital Artist Italo Medeiros

44–45

FOOD

Lürzer’s Archive

UGPAN Campaign

Agency Brainsonic, Paris Creative Direction Alban Penicaut Art Direction Thomas Audoin Copywriter Sébastien Combemale Illustrator Penico Corazon

BURGER KING Campaign

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Helen Rhodes, Felipe Guimaraes Art Direction Callum Prior Copywriter Marc Rayson

See more of the campaign at luerzersarchive.com

Vol 3/2022

46–47

FOOD

HABIB’S Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency AlmapBBDO, São Paulo Creative Direction Marco Gianelli, Rafael Gil, Rodrigo Almeida Art Direction Rafael Gil, Giba Mendes

Copywriter Mauro Maedo Illustrator Paulo Botelho Digital Artist Paulo Botelho

BURGER KING Campaign

Agency Wolf BCPP, Santiago de Chile Creative Direction Gonzalo Baeza, Nicolas Perez

See more of the campaign at luerzersarchive.com

Vol 3/2022

Art Direction Cristian Mugarra, Fabiola Matas, Jasper Staig Copywriter Luis Moreno, Hernan Irarrazaval, Felipe Monroy

48–49

FOOD

MCDONALD’S Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Cossette, Toronto Creative Direction Philippe Brassard, Anne-Claude Chenier, Cédric Audet Art Direction Fabio Verdone, Jessica Fecteau

Copywriter Chris Bélanger Photographer Bruno Florin

MÜLLER Campaign

Agency VCCP, London Creative Direction Emma Houlston, Colin McKean Photographer Colin Campbell

Vol 3/2022

50–51

FOOD

Lürzer’s Archive

MILKO Campaign

Agency The Newtons Laboratory, Athens Creative Direction Giannis Sorotos Art Direction Manos Vitoratos, Markella Plianthou

Copywriter Ioanna Krioni, Dionysia Lampadariou Illustrator Manos Vitoratos

MCDONALD’S Campaign

Agency DDB Colombia, Bogotá Creative Direction Gustavo Victorino, Juan Felipe Jaimes, Diego Tamayo

See more of the campaign at luerzersarchive.com

Vol 3/2022

Art Direction Andres Baquero Copywriter Juan Sebastian Cortés Illustrator Andres Baquero

52–53

FOOD

Lürzer’s Archive

LA SOBERANA Campaign for Mostro snacks.

Agency CREAMOS, Medellín, Colombia Creative Direction Jose Montoya E Art Direction Lina Garzón

Copywriter Juan Castaño, Jose Montoya E Illustrator Lina Garzón Typographer Lina Garzón

DOLE SUNSHINE COMPANY Campaign

Agency St. Luke’s, London Creative Direction Richard Denney Art Direction Pete Mould, Ella Monti, Jordan Morris

See more of the campaign at luerzersarchive.com

Vol 3/2022

Copywriter Robin Gordon, Danny Jones

54–55

FOOD

SALSAS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Paradais DDB, Guayaquil, Ecuador Creative Direction Agustín Febres-Cordero, José Serrano Art Direction Daniel Gabela, Emilia Briones, Ana Cornejo

Copywriter Andres Celis, Gabriela Ortíz, José Reinoso Photographer Bernardo Henriquez

MCDONALD’S Campaign

Agency Leo Burnett, London Creative Direction James Millers, Andrew Long

Vol 3/2022

56–57

FOOD

FRUTO DEL PAÍS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Mora Agency, Santiago de Chile Creative Direction Victor Mora Art Direction Victor Mora Digital Artist Victor Mora

MCDONALD’S Campaign

Agency DDB, Baku, Azerbaijan Creative Direction Vassilo Panagiotopoulos Art Direction Shahin Aliyev Copywriter Vassilo Panagiotopoulos Photographer Teymur Ismayilov

See more of the campaign at luerzersarchive.com

Vol 3/2022

58–59

HOUSE + GARDEN

LANTANIA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency SQUEE, Verona Creative Direction Mattia Girardi Art Direction Mattia Girardi Copywriter Nicola Ludovici

SAMSUNG Campaign

Agency Cheil, Bogotá Creative Direction David Muñoz Art Direction Jaime Jurado Copywriter Ivan Rocha Digital Artist Jaime Jurado

See more of the campaign at luerzersarchive.com

Vol 3/2022

60–61

HOUSE + GARDEN

IGP PULVERTECHNIK Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Agentur am Flughafen, St. Gallen, Switzerland Creative Direction René Eugster Art Direction Dominique Rutishauser Copywriter Patrick Lindner

ARISTON Campaign

Agency VMLY&R, Amman Creative Direction Emad Khayyat Art Direction Ghalib Brijia Copywriter Shirin Kubbaj Digital Artist Ghalib Brijia

Vol 3/2022

62–63

MISCELLANEOUS

Lürzer’s Archive

CINÉMA DU PARC Campaign

Agency Les Evades, Montreal Art Direction Martin Dupuis Illustrator Andrea Ucini

Vol 3/2022

64–65

MISCELLANEOUS

NEW YORK FESTIVALS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ogilvy Health, New York Creative Direction Erik Vervroegen, Adam Hessel, Liz Taylor Copywriter Mike Brune

Photographer Leland Bobbé Illustrator Illusion Typographer Alec Vianu Digital Artist Illusion

THE COMMITTEE FOR UKRAINIAN MUSEUMS Campaign

Agency VCCP, Prague Creative Direction Dejan Stajnberger Art Direction Marek Farkas Copywriter Miguel Molina

See more of the campaign at luerzersarchive.com

Vol 3/2022

66–67

MISCELLANEOUS

Lürzer’s Archive

NEMO SCIENCE MUSEUM Campaign

Agency KesselsKramer, Amsterdam Creative Direction Rens de Jonge, Maartje Slijpen Art Direction Teo Lugonja, Hannah Carlile Copywriter

NATIONAL MILITARY MUSEUM Campaign

Agency KesselsKramer, Amsterdam Creative Direction Gijs van den Berg Art Direction Onno Blase Copywriter Sophie Rijnaard

Vol 3/2022

68–69

MISCELLANEOUS

DEUTSCHES MUSEUM Campaign for the new German museum.

Top: Everything is science.

Bottom: Everything in your body.

Find out what’s inside yourself

Lürzer’s Archive

Top: Everything you can’t see.

Discover the invisible.

Bottom: Everything that has ever been modern. Discover how technology keeps changing our lives.

See more of the campaign at luerzersarchive.com

Agency KesselsKramer, Amsterdam Creative Direction Rens de Jonge Art Direction Tristan Roques Copywriter Sophie Rijnaard

Vol 3/2022

70–71

MISCELLANEOUS

QUEER BRITAIN Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency M&C Saatchi, London Creative Direction Benjamin Golik Photographer Benjamin Golik

PETFOOD

FAUNA Campaign

Agency YMLY&R Commerce, Buenos Aires Creative Direction Rodrigo Raices, Claudio Giovanelli Zaia, Gaston Potasz

See more of the campaign at luerzersarchive.com

Vol 3/2022

Art Direction Manuel Blanco Copywriter Rodrigo Raices Photographer Martin Kohler

72–73

PHARMACEUTICALS + OTC

Lürzer’s Archive

ORGÁNICA Campaign

Agency Thanks Agency, Mexico City Creative Direction Ángel Rodríguez Cheché Art Direction Odín Ortega

Copywriter Ángel Rodríguez Cheché Illustrator Rodo Morfín Digital Artist Rodo Morfín

DAIICHI SANKYO Campaign Get rid of low iron and get back to your awesome.

Agency Area 23, New York Creative Direction Joe Capanear, Tim Hawkey, Chris Bernesby Art Direction Eduardo Tavares, Ronnie Caltabiano, Juan Sebastian Moreno

Vol 3/2022

Copywriter Chris Bernesby, Diana Kole Digital Artist Sattu Rodrigues

74–75

PHARMACEUTICALS + OTC

VIRTÚ CBD OIL Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Gitanos, San Jose Creative Direction Daniel Montiel Art Direction Daniel Montiel

PHOTO

PROFOTO Campaign A snap of life.

Agency Wunderman Thompson MENA, Dubai Creative Direction Hassan Bilgrami, Pablo Daf Dachefsky Art Direction Jericho Dizon

Vol 3/2022

Copywriter Hassan Bilgrami Photographer Ale Burset Digital Artist Eduardo Navarro

76–77

PUBLIC EVENTS

Lürzer’s Archive

TANEC PRAHA Campaign

Creative Direction Tomas Vrana, Roman Cihalik Art Direction Tomas Vrana, Roman Cihalik Photographer Tomas Vrana

PUBLIC EVENTS

THE EUROPEAN HOUSE AMBROSETTI Campaign

Agency George, Milan Creative Direction Riccardo Ciunci, Ritz Colombo, Federico Demartini Art Direction Ritz Colombo

Vol 3/2022

Copywriter Riccardo Ciunci Photographer Roberto Broggi Digital Artist Lucy CGI

78–79

PUBLIC EVENTS

Lürzer’s Archive

LISB-ON Campaign for the electronic music festival Jardim Sonoro.

Agency Dentsu Creative Portugal, Lisbon Creative Direction Lourenço Thomaz, Ivo Purvis, Gil Correia

See more of the campaign at luerzersarchive.com

Art Direction Ivo Purvis, Gil Correia Copywriter João Moura A.I. Prompt Master Fred Van Zeller

Vol 3/2022

Illustrator Emanuel Serôdio, Tiago Rodrigues Typographer Emanuel Serôdio Digital Artist Gil Correia, Ivo Purvis

80–81

PUBLIC EVENTS

LISBON’S AMATEURS MUSICIANS ACADEMY Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency FCB, Lisbon Creative Direction Edson Athayde Art Direction Diego Torgo Copywriter Viton Araujo Illustrator Diego Tórgo

MAGNUM Campaign A tribute from one classic to another.

See more of the campaign at luerzersarchive.com

Agency LOLA MullenLowe, Madrid Creative Direction Kevin Cabuli Art Direction Diego Vieira, Yan Graller Copywriter Germán Rivera Hudders

Vol 3/2022

82–83

PUBLISHERS, MEDIA

Lürzer’s Archive

ARTE Campaign

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

See more of the campaign at luerzersarchive.com

Vol 3/2022

84–85

PUBLISHERS, MEDIA

Lürzer’s Archive

PINTEREST Campaign

Agency Uncommon Creative Studio, London

See more of the campaign at luerzersarchive.com

Vol 3/2022

86–87

PUBLISHERS, MEDIA

ARTE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency KesselsKramer, Amsterdam Creative Direction Gijs van den Berg Art Direction Maartje Slijpen Copywriter Brenda Waegemaekers

INEWSPAPER Campaign

Agency St. Luke’s, London Creative Direction Richard Denny Art Direction Graham Storey, Pete Mould, Darren Keff

Vol 3/2022

Copywriter Phillip Meyler, Phil Cockrell, Matt Harvey Digital Artist Pete Mould, Vanisha Mistry

88–89

PUBLISHERS, MEDIA

Lürzer’s Archive

MÍDIA NINJA Campaign

Agency Bolero Comunicação, Fortaleza, Brazil Creative Direction André Mota Art Direction Jorge Sobreira

See more of the campaign at luerzersarchive.com

Vol 3/2022

Copywriter Thomas Fernandes, Emmanuel Brandão Digital Artist Jorge Sobreira

90–91

PUBLISHERS, MEDIA

ARTE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency KesselsKramer, Amsterdam Creative Direction Gijs van den Berg Art Direction Brenda Waegemaekers Copywriter Onno Blase

RETAILERS

CURRYS Campaign

See more of the campaign at luerzersarchive.com

Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Jeremy Tribe, David Westland Art Direction Julia Merino Copywriter Ricardo Porto

Vol 3/2022

92–93

RETAILERS

Lürzer’s Archive

TESCO MOBILE Campaign

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Uche Ezugwu, Helen Rhodes Photographer James Day Digital Artist Dennis Tuffnell

TECNOQUIMICAS Campaign

Agency Sancho BBDO, Bogota Creative Direction Mario Lagos, Jairo Rubiano, Julián Lozano

See more of the campaign at luerzersarchive.com

Vol 3/2022

Art Direction Gabriel Muñoz, Michael Rozo Copywriter Felipe Gonzalez, Julian Navarro Illustrator Carlos Ribero

94–95

RETAILERS

AMAZON BOOKS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Droga5, London Creative Direction Christopher Chapman, Matt Hubbard Art Direction Ahmed Ellabib

Copywriter Chris Russell Photographer Spencer Murphy Digital Artist Adrian Roger, Joanna Juszczak

SERVICES

LIBRERÍA NACIONAL Campaign

Art Direction Camilo Garzon, Charles Andara Copywriter Camilo Garzon

Reading an abridged version of Moby Dick (left)/ Harry Potter (right) is to read another book.

Read the whole book.

See more of the campaign at luerzersarchive.com

Vol 3/2022

96–97

SERVICES

Lürzer’s Archive

NSHM KNOWLEDGE CAMPUS Campaign

Agency Inner Circle Advertising, Kolkata, India Creative Direction Siddhartha Sankar Ray Art Direction Siddhartha Sankar Ray

HIBERNATE STORAGE Campaign

See more of the campaign at luerzersarchive.com

Agency Dog Can Hunt, Greenough, Montana Art Direction Wade Devers Copywriter David Register Illustrator Danielle LaGoy

Vol 3/2022

98–99

SERVICES

INCLUDED Campaign All the images generated by A.I. when using these keywords were of white men.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Forever Beta, London Creative Direction Mark Campion, Paulo Areas Art Direction Darren Cox

ENTEL Campaign

Agency McCann Erickson, Lima Creative Direction Christian Caldwell, Javier Delgado Art Direction Julio Ortega Uribe, Fernando Valladares

Vol 3/2022

Copywriter Christian Caldwell Photographer Illustrator Juan Pablo Figueroa Digital Artist Juan Pablo Figueroa

100–101

SERVICES

SILIMED Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Camisa 10, Rio de Janeiro Creative Direction Bruno Richter, Victor Vicente Art Direction Pedro Bomfim, Helton Taveira

Copywriter Victor Vicente Illustrator Helton Taveira

CLÍNICA ULACIT Campaign

Agency interaction, San Jose Creative Direction Rafael Rivera Villanueva Art Direction Daniel Castillo Copywriter Rodrigo Monge, Charly Camacho Calvo

See more of the campaign at luerzersarchive.com

Vol 3/2022

102–103

SERVICES

ROYAL MAIL Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Alan Wilson, Diccon Driver Art Direction Pauline Ashford Copywriter Mike Kennedy

HIP HOP PUBLIC HEALTH Campaign Catch them all with the Lil Sugar app.

See more of the campaign at luerzersarchive.com

Agency Area 23, New York Creative Direction Eduardo Tavares, Tim Hawkey, Elliot Langerman Art Direction Arthur Daraujo, Widerson Sousa, Fabio Rodrigues

Vol 3/2022

Copywriter Thiago Fernandes Illustrator Eduardo Tavares, Arthur Daraujo, Feppa Rodriguez Digital Artist Eduardo Tavares, Feppa Rodriguez

104–105

SERVICES

Lürzer’s Archive

BESSER Campaign

Agency PB&J, Traverse City, Michigan Creative Direction Karl Bastian Art Direction Brandon Jenkins

Copywriter Karl Bastian Photographer Andy Wakeman Typographer Rick Bastian

CARSOME Campaign

Agency Flock Storikka, Jakarta Photographer Peddy Suryadinata

Vol 3/2022

106–107

SERVICES

LOCALIZA RENT A CAR Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Isobar Dentsu, Medellín, Colombia Creative Direction Rodrigo Bolivar, Oscar Martinez Art Direction Wilmar Daza, Sebastian Cano, Oscar Martinez

Copywriter Hamilton Peña, Jhon Jaimes, Juan Pablo Valencia Photographer Catalina Pupiales

UBER EATS UK & IRELAND Campaign

See more of the campaign at luerzersarchive.com

Agency Mother, London

Vol 3/2022

108–109

SERVICES

SAMSUNG ELECTRONICS CENTRAL EURASIA Campaign What happens in WhatsApp/Instagram stays in WhatsApp/Instagram.

Secure folder for apps on Galaxy devices.

Lürzer’s Archive

Agency Cheil Worldwide, Almaty Creative Direction Nurlan Satarov Art Direction Nurlan Satarov

SOCIAL + ENVIRONMENT

WIZO Campaign

See more of the campaign at luerzersarchive.com

Agency Blanco, Tel Aviv Creative Direction Daniel Bnaya Copywriter Anastasia Weizmann, Gefen Fertig Digital Artist Etay Afriat

Vol 3/2022

110–111

SOCIAL + ENVIRONMENT

REGION OF ATTICA 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, Markella Plianthou

Copywriter Ioanna Krioni, Dionysia Lampadariou, Dionisis Giampanas Illustrator Panagiotis Vassilatos

BFU - BERATUNGSSTELLE FÜR UNFALLVERHÜTUNG Campaign

Agency Ruf Lanz, Zurich Creative Direction Markus Ruf Art Direction Isabelle Hauser Copywriter Markus Ruf Digital Artist Lorenz Wahl

See more of the campaign at luerzersarchive.com

Vol 3/2022

112–113

SOCIAL + ENVIRONMENT

FUNDACIÓN MERI Campaign More than 1,000 whales were hit by ships in the last year. Discover how our technology can stop this at theblueboatinitiative.org

Lürzer’s Archive

Agency BERLIN SCL, Santiago de Chile Creative Direction Eugenio Spencer, Alejandro Calleja

Art Direction Cristian Mugarra Copywriter Patricio Orellana Illustrator Juan Ramos

SEA SHEPHERD Campaign By 2050 it will be more likely to catch fishing nets than fish. Help stop overfishing in our oceans. seashepherdglobal.org

See more of the campaign at luerzersarchive.com

Agency Ogilvy & Mather, Amsterdam Creative Direction Alison Hingle, Tolga Büyükdoganay, Desiree Leiprecht

Vol 3/2022

Art Direction Diego Lauton, Lorene Faivre Copywriter Leanne Dingwall Photographer Natascha Brandt

114–115

SOCIAL + ENVIRONMENT

EQUAL HEALTH Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency The Leith Agency, Edinburgh Creative Direction John Mcpartland Art Direction Joe Sayer Copywriter Marion Miranda

HOSPITALITY RISING UK Campaign

Agency Forever Beta, London Creative Direction Paulo Areas Art Direction Darren Cox, Paulo Areas Copywriter Miles Bingham Digital Artist Nguyet Doan

See more of the campaign at luerzersarchive.com

Vol 3/2022

116–117

SOCIAL + ENVIRONMENT

SPRING WORKS Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ogilvy Health, New York Creative Direction Adam Hessel, Liz Taylor, Mike Brune Art Direction Erik Vervroegen, Allison Black

Copywriter Teresa Kyle Photographer Bil Zelman Illustrator Illusion Typographer Alec Vianu Digital Artist Illusion

ALZHEIMER ATHENS Campaign

Agency Out to Lunch, Athens Creative Direction Anna Stilianaki, Tasos Georgiou, Yordan Petkov

Vol 3/2022

Art Direction Tasos Georgiou Copywriter Anna Stilianaki Photographer Unsplash

118–119

SOCIAL + ENVIRONMENT

GOODY’S BURGER HOUSE Campaign Top: Crimea, March 5, 2022.

Near Ukraine – Russia border.

Bottom: El Paso, January 10, 2022.

Near United States – Mexico border.

Love unites all.

Athens Pride 2022. Proud sponsor.

Lürzer’s Archive

Agency The Newtons Laboratory, Athens Creative Direction Dimitris Vikelis Art Direction Panos Nouveloglou Copywriter Vangelis Garofallou, Eva Marou

FOUR PAWS Campaign Your help can save over 1,2M dogs in Ukraine.

Agency Ogilvy Health, New York Creative Direction Erik Vervroegen, Adam Hessel, Liz Taylor

See more of the campaign at luerzersarchive.com

Vol 3/2022

Photographer Anadolu Agency Illustrator Illusion Typographer Alec Vianu Digital Artist Illusion

120–121

SOCIAL + ENVIRONMENT

GETTY IMAGES Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency AlmapBBDO, São Paulo Creative Direction Luiz Sanches, Marco Gianelli

Art Direction Rafael Gil, Antonia Zobaran, Ingryd Cruz Copywriter Fernando Christo, Rodrigo Almeida

CYCLE KIDS Campaign We are committed to working with schools to ensure the basic rights of children to a physically and emotionally healthy start in life.

Agency Ogilvy Health, New York Creative Direction Erik Vervroegen, Adam Hessel

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Illustrator Carioca Typographer Alec Vianu Digital Artist Carioca

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SOCIAL + ENVIRONMENT

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UNICEF Campaign

Agency i-Brothers, Lisbon Creative Direction Salvador Pinto, Duarte Azevedo Art Direction Marco Goncalves Copywriter Tomaz Castelão Photographer

CHILDHOOD GUARDIANS Campaign

Agency R&G, São Paulo Art Direction Rafael Gil Copywriter Gustavo Costa

The world loses 20,000 new Frida Kahlos every day.

When a girl marries her dream is over.

Report the child marriage in your area.

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SOCIAL + ENVIRONMENT

MELANOMA UK Campaign This poster darkens when exposed to UV rays.

The words are written in sunscreen.

Exposure to UV rays, even on a cloudy day, is a risk factor for developing skin cancer.

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Agency The Leith Agency, Edinburgh Creative Direction John McPartland Art Direction Joe Sayer Copywriter Marion Miranda

MINISTRY FOR CLIMATE CRISIS AND CIVIL PROTECTION Campaign Human negligence is the root cause for wildfires in Greece. Don’t be the one who starts it.

Agency The Newtons Laboratory, Athens Creative Direction Vangelis Tolias Art Direction George Pavlidis Copywriter Dimitra Andrikopoulou, Alexandros Konstantinidis

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Vol 3/2022

Photographer Giannis Georgiou Illustrator Tony Zagoraios Typographer George Pavlidis Digital Artist Tony Zagoraios

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CARDIOVASCULAR RESEARCH FOUNDATION Campaign

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Agency Harrison & Star, New York Creative Direction Daniel Jay, Glenn Batkin, Caroline Burton Art Direction Glenn Batkin, Caroline Burton

Copywriter Liz Parish Typographer Alison McElroy Digital Artist Garrigosa Studio

CLINICAL SUPPORT GROUP FOR EATING DISORDER AND ANXIETY Campaign At the GATDA clinic, we can help you lose weight and avoid losing anything else to Diabetes.

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Agency VMLYR, New York Creative Direction Joao Jackel, Fabio Ozorio, Auge Reichenberg Art Direction Rodrigo Cabello, Joao Jackel

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Copywriter Fabio Ozorio Illustrator Nakashima Roberto Jun Digital Artist Nakashima Roberto Jun

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SOCIAL + ENVIRONMENT

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UKRAINE.UA Campaign

Agency Publicis Ukraine, Kiev Creative Direction Ruslan Palamarchuk Art Direction Bohdan Strilchyk, Anna Doroshenko Copywriter Denys Urusov Illustrator Anna Doroshenko

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SOCIAL + ENVIRONMENT

A LITTLE SHELTER Campaign Top: For some, not even war is an excuse to abandon their pet. For you, can it only be the fact that you are moving out?

Bottom: For some, not even war is an excuse to abandon their pet. For you, can it only be the fact that you are not at home for long?

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Agency McCann, Athens Creative Direction Eleftheria Petropoulou Art Direction Sonia Haritidi Copywriter Maria Tzanidou Photographer Mikhail Palinchak

DEPARTMENT OF HUMAN SERVICES SA Campaign

Agency Showpony, Adelaide Creative Direction Parris Mesidis, Rory Kennett-Lister Art Direction Francisco Zuccato

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Copywriter Nic Maumill, Andy Scott Photographer David Solm

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SOCIAL + ENVIRONMENT

ARUD Campaign

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

Photographer Paolo Emmanuele Digital Artist Michèle Aschmann

EL REFUGIO DE LA NIÑEZ Campaign to raise awareness of the structural abuse of children and young people in Guatemala.

Agency DDB Centro, Guatemala City Creative Direction Victor Pardo, Julián Núñez

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Art Direction Julián Núñez Photographer Leyther Orozco Digital Artist La Salvación Studio

134–135

SOCIAL + ENVIRONMENT

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BOROUME Campaign

Agency Out to Lunch, Athens Creative Direction Anna Stilianaki, Tasos Georgiou Art Direction Tasos Georgiou Copywriter Anna Stilianaki Digital Artist Ampoo Studio

THE GREATER BOSTON FOOD BANK Campaign

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Agency Hatch The Agency, Boston Creative Direction Rick McHugh Art Direction Joe Krikava Copywriter Rick McHugh Typographer Joe Krikava

Vol 3/2022

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SPORTS

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CHIRINO FITNESS & HEALTH Campaign

Agency Wunderman Thompson, Amsterdam Creative Direction Carlos Camacho Art Direction Gustavo Dallegrave Queiroz Copywriter Carlos Camacho, Khlauss Feldhaus

Photographer Ale Burset Illustrator Ramon Cedeño Digital Artist Diego Speroni

TRAVEL + LEISURE

WILDLANDS Campaign

Agency The Public House, Dublin Creative Direction Colin Hart Art Direction Sam Caren Copywriter Mikey Curran Digital Artist Alexis Goodwin

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Vol 3/2022

138–139

TRAVEL + LEISURE

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PRONTO TOUR Campaign

Agency Tatbiki, Istanbul Creative Direction Ozan Çelebi Illustrator Başar Bellisan

AEGEAN AIRLINES Campaign

Agency The Newtons Laboratory, Athens Creative Direction Andreas Dimitroulas Art Direction Paris Godenopoulos

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Vol 3/2022

Copywriter George Tsokanos Photographer Pantelis Zervos Digital Artist CGWorks

140–141

TRAVEL + LEISURE

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CITIZENM Campaign

Agency KesselsKramer, London Creative Direction Dave Bell Art Direction Adam Morton-Delaney Copywriter Charlie Bowden Photographer Amber Pinkerton

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TRAVEL + LEISURE

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BRITISH AIRWAYS Campaign

Agency Uncommon Creative Studio, London

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CREATIVE LIVES

Wondering in other worlds For an insider’s track on Shanghai, we asked Vivian Yong, Executive Creative Director of W+K Shanghai, to discuss with Jody Xiong, founder/director at The Nine Shanghai, how they think and thrive in mainland China’s biggest and most international of cities.

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Left page: Vivian was born and raised in Hong Kong, which helps explain why she speaks three languages fluently. Her career began in 1999 at M&C Saatchi, Ogilvy and then McCann Erickson.

Her desire to experience cultural difference took her to London for postgraduate studies and then she became a writer on UK art and culture. She joined W+K Shanghai in 2012 and stepped up to ECD in 2017. She has created influential integrated brand ideas for major international brands such as Nike, Ikea, BMW, P&G, Corona & HP Omen, and has also created impactful China-based campaigns for Tiffany, Levi’s & Oppo, which were adapted for global markets. Vivian was honored in Adweek’s Creative 100 in 2021, Women to Watch by Campaign Asia in 2021 and was the Greater China Jury Chair of the Andy Awards in 2022.

This page: Jody was born in Hunan Province.

He graduated from Hunan University of Technology Business and the Central Academy of Arts & Design, and the New York Film Academy director class in China. He was digital director and visual artist for the Opening Ceremony of both the 2022 Beijing Winter Olympics and Paralympics. He worked as a creative director in leading advertising agencies for 18 years before founding his ‘creative lab’, The Nine Shanghai.

He was named Top 12 Asia’s Most Awarded Creative Leaders in CampaignBrief Asia Creative Rankings in 2021, and is the recipient of over 500 creative awards and recognitions, including China’s first Gold Lions in Design. He was named one of the top designers by Forbes China and his works have featured in NY MoMA, TIME, Wired, Huffington Post, CANAL+, and many other media outlets.

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Above: Jody’s twist on the New Year hongbao (red envelope) custom struck Vivian as ‘bold and unexpected… so clever’

VY Jody, your presence in the advertising industry is truly one-ofa-kind. Your works have a strong personal style and include almost no copy. Often you turn the brand message or the product benefit into an art installation, using visuals to guide the audiences through to a deeper meaning beneath the surface. In China, where copy and taglines are overemphasized, nobody does ads your way.

JX Thank you VY for the kind words. I was a CD in agencies for 18 years. Everything followed an established path and it felt like a production line in a factory. I had little room for my ambition or for errors. I wanted to push the boundary of advertising and do stuff that had never been done before. For many agencies that would be too risky and frowned upon. It became clear to me that I needed my own stage. So I founded The Nine (pronounced ‘Jiu Yao’ in Chinese).

The Nine is not just an ad agency or a design studio but more like a creative, or commercial art, lab. The character ‘Yao’ in ancient Chinese means ‘energy’. In the ever-changing market today, clients’ expectations are getting higher. They don’t just need a print or TV commercial. Instead, they seek more unique approaches to creative communication… perhaps a play, a performance art, a song… At The Nine, we distill human insight and integrate technology, art, design, aesthetics, entertainment and events together in our aim to connect brands and their audiences. This is why I started The Nine.

Every creator, more or less, brings their own experience and life stories into their works. What I do involves multiple disciplines and it’s really hard to define. In the music video What We Wish that we did for Times China, a real estate company, I was a creative; in Customized Love Company, where we created a 12-meter tall Coca-Cola bottle split in half, I was an artist; in Safely Feel The Real World, a brand film for Durex x Volvo, I was a film director; in Guess Which Book Is It, designed for Zhihu and Yan Ji You Bookstore, I was a sculptor; in Handheld Concert, a project we did for Rokid, a portable speaker brand, I was a stage designer; in the Experience Museum of Miaojiang Patterns displayed at the Export Expo for Guiyang Government, I was a space designer; in Twelve Maids, the cultural and creative product designed for Daming Palace in Xi’an, I was a product designer; in Intelligent Head, an 15-ton installation I did for Vatti during the Appliance and Electronics Expo, I was an architect…

Our clients are diverse, and they come with various requests, from brand upgrade, package design, art installation to spatial design, toy design and films. My role keeps changing and it allows me Lürzer’s Archive

to get a taste of different lives. Why not! At The Nine, we only have nine full-time employees. We always strive to stay sharp and be at the forefront of things. We have done many different projects but they are far from enough.

VY The Nine means you are juggling nine roles! Indeed, it is important to be versatile and take an interest in a range of things, tech, art, social affairs and pop culture… At W+K, we also endeavor to recruit talent like this. We aren’t interested in conventional advertising people; instead, we want to bring together weirdos who can create works that completely stand out in the market. In our office, we have an art director who used to be a football coach in the UK; he went on to make Dare To Become during the 2018 World Cup for Nike, a film that hypothesizes a world where China’s football team dominates the world. It is the most watched Nike film of all time. We have a copywriter who is a poet/claymaker/artist, an account person who plays chess professionally, a planner who was an actor in Taiwan.

This mix of different people allows us to create culture.

JX W+K is a world-leading creative hub. The Shanghai office has masterminded so many exceptional works. It represents the highest standard of the advertising industry in China and yet at the same time it keeps a very low profile. Your office is really special. Instead of being decorated with prizes and trophies, your staircase wall is decked with quirky portraits of your employees. How did this idea come about?

VY We believe ‘Work Comes First’ but without our people we wouldn’t be able to do any of it. So across the W+K network, we have a proud tradition of hanging portraits of employees at the entrance, created in the style of each local office. For example, portraits in our Tokyo office are in the style of 80s pop idols and our New Delhi office incorporates religious symbols in their portraits.

In China, since food plays such an important role, we came up with an idea titled Home Town Food Face where each employee selects a food from their hometown to showcase our cultural diversity.

We have a colleague, Yuting, from Beijing, whose favorite dish is Beijing hotpot. So we created an ornate crown using a copper hotpot, filled with Beijing local delicacies such as mutton slices and an assortment of vegetables. We also designed a necklace, earrings and a headband with herbs often used for the hotpot soup base, like longan, Lotus seeds, star anise, and goji berries. And for

Above: the Bloom celebrated the Paralympics with a massive smiley painting made with balloons full of colours chosen by athletes who triggered their explosion with brainwaves

Top: from What We Wish by The Nine Shanghai Above: Beginning of Spring, a large-scale performance designed by The Nine Shanghai

Ian, from Cincinnati, his favorite hometown food is from a restaurant called Skyline Chili. So we created a spaghetti hat with cheese shreds, a classic dish from Skyline Chili, and a necklace with hexagonal biscuits. Since I am from Hong Kong, my food-face consists of iconic elements from Hong Kong greasy spoon cafés, such as milk tea, pineapple buns, and a gingham tablecloth. For every portrait we hand-picked the food, consulted our designers and crafted our look and props. Everything was shot in a makeshift studio in our office gym. The images are permeated with our colleagues’ unique personalities and stories. With just a glance, you can feel the vibe of W+K Shanghai.

This reminds me of The Bloom, your Beijing Winter Paralympics project that serves to demonstrate the willpower of physically challenged individuals. You brought together people with disabilities who selected their favorite color of paint and used a brainwave-capturing device to create a vibrant artwork. It’s a powerful piece that resonated with so many people and caused a huge emotional wave. What was the inspiration?

on March 4 2022. Zhang also invited me to be the director and visual artist for a short film there to be featured in the opening ceremony. So I created a tech art installation named The Bloom. This was an art piece working with a group of disabled individuals dedicated to the Paralympics. The participants each picked their favorite colors of paint and we placed them in balloons with detonators. The brainwave-capturing device they wore sent their brain signals to trigger the balloons to detonate, causing the paints to be splashed onto a blank canvas. The mixture of vivid colors come together to form an abstract smiley face, indicating the way we welcome people from around the world. It is a tech and art experiment, an expression of the strength of the disabled.

The Bloom drew inspiration from something I did back in 2014 called Mind Art. Zhang really enjoyed it, so he asked me to bring the same concept to life in the Winter Olympics opening ceremony.

Mind Art was more like a magical surrealist experiment that came from a thought I often had about the connection between the infinite universe and us tiny individuals, and my attempts to visualize the power of minds. Mind Art itself is based on two theories: the widely accepted Big Bang theory and the ancient wisdom about the interactions between the universe and mankind. I believe everything that happens around us, everything we do, every choice we make, though they seem random on the surface, in fact contain all the information there is in the universe. In The Bloom, each participant is asked to pick their favorite color of paint and use a brainwave-capturing device to trigger the detonation. To me, this is a subtle interaction between mankind and the universe. When the paints are splashed onto the canvas, it is a visualization of every participant’s inner cosmos.

The process reflects the choice each individual makes. The final product contains all the interactive information between the individual and the universe. The theoretical basis of the Big Bang is also the visual device in this experiment. Zhang also invited Cai Guo-Qiang, a globally renowned artist, for brainstorming sessions with the team in order to calibrate this project to be more in line with the theme of the Winter Olympics. This turned our original plan upside down, and revamped The Bloom: 12 individuals with disabilities, creating a colorful smiley face around a circular canvas 8m in diameter, a symbol of friendship, peace, happiness, and togetherness. This smiley face went on to become one of the most important visual symbols during the opening ceremony. Mind control is already quite well-established technology. We also hired

JX To my surprise, last year, Zhang Yimou happened to be looking for creative talents around China. Wang Zhiou, the head of visual effect for the Winter Olympics and founder of Blackbow, a digital technology company, referred me to Zhang, and luckily I was invited to join his team as the visual effects director and visual artist for the opening ceremonies for the Beijing Winter Olympics and Paralympics. Zhang Yimou is an internationally-acclaimed movie maker and the first person to have directed the opening ceremony for both summer and winter Olympics. We had countless rounds of brainstorming sessions, discussions, presentations, revisions and re-presentations with him. He kept stressing the importance of using China’s creative power to tell a ‘romantic Chinese story’ that combines digital, design, tech, performance and art. It needed to feel ethereal, aesthetically pleasing and romantic in its tone, and take advantage of the horizontal and vertical screens available at the Bird’s Nest stadium. It was a difficult and lengthy process, full of uncertainties, surprises and excitement. The creative team led by Zhang rejected idea after idea, paving the way for ideas to become better and better. In the final plan for the opening ceremony, I was one of the visual effects directors and worked with Blackbow for two segments of the Winter Olympics Opening Ceremony: Rites of Spring and Tribute to the People.

The Winter Paralympics kicked off at the Bird’s Nest in Beijing

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Above: sneaker promo appears to Run the World for Nike atop Metro City in Beijing Right: one of 575 NFTs that W+K Shanghai created for HP Omen

Li Daquan, a tech engineer and CUSOFT, a brainwave tech company, to support the team. With their help we were able to bring the brainwave-controlled paint explosion to life. The participants may be physically challenged, but their minds are not.

By the way, I was impressed by Beijing99 that you did for Nike.

The market was buzzing for it and it earned a Clio Sport Award in 2020. 99 originally-designed jerseys, really stunning. What was the story behind the campaign?

VY It was to celebrate streetball culture in Beijing. To a lot of non-Beijingers, Beijingers have a reputation of talking big and that they like to brag. We wanted to challenge streetballers in Beijing to back up their talk with concrete actions and to show that Beijingers don’t just talk the talk, they walk the walk too. As such, we launched a basketball tournament named ‘Beijing99’ inspired by the ancient military and civilian rank system in China, with each rank corresponding to a different mythical beast embroidered on the robe courtiers wear. Our art directors worked with five illustrators and designed 99 one-of-a-kind basketball jerseys based on that system. Ten mythical beasts, including dragon, kirin, lion, leopard, and tiger, indicate 10 different ranks, with 99 jerseys to rank players’ performance on the court. The only way to get their hands on these jerseys is to fight and use their game to win one, and prove that they are one of the top 99 basketball players in Beijing.

The idea blends culture from imperial times in Beijing with Beijingers’ vibe and the competitiveness of streetballers. The three worlds collide to create the 99 unique designs. We also created a film to tease out the details of the jerseys, and placed posters designed with elements from ancient China all over famed architecture in Beijing. The entire city was lit. It was the talk of the town at the time. Thousands of players signed up to the tournament. And that was not all. As these jerseys can only be won and are not for sale in Nike stores, they began to crop up on the black market with a five-figure resell price. Unintentionally, it triggered a second-wave of discussions online.

I remember The Nine also did something similar, using a cultural symbol to create something really special, and it was the sculpture installation you built for Yan Ji You Bookstore right?

Called Guess Which Book Is It? It picked up an ADC award in New York and became a Cannes finalist. The most fascinating thing about this idea, to me, is how much it resembles lantern riddles in ancient China. They drew people in to guess what the answer is. However your riddles are not articulated through words but visually as sculptures that recreate scenes in a 3D version of classic literature. It got every bookworm intrigued to guess which book the sculptures are based on. What was the creative process like?

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JX Yan Ji You is a famous chain bookstore in China. The name is a little like a riddle. In the Chinese language, the three characters ‘yan’, ‘ji’ and ‘you’ compose the character of ‘she’as in ‘sheji’ which means ‘to design’. The store is very artistic, from the decoration to the selection of products, as it stresses the aesthetics of reading and calls for the ‘unique concept of reading’. I believe people visualize things in their heads when they read as if they are wandering in another world. So I thought I could visualize each book and the unique universe it represents through the approach of famous plots.

We chose eight bestsellers from different categories including children, finance management, literature, sci-fi, psychology, art, design and life aesthetics, etc. Then, we brought the classic plots in these books to life through sculptures and made a series of showcase designs. For example, we made a beetle lying on a bed from Kafka’s Metamorphosis; a ferocious wolf sneaking into the chimney from the famous British fairy tale The Three Little Pigs; Houdini’s escaping arts, pregnant robot, one-legged bride and the woman with beard from Shuji Terayama’s Fantasy Library, etc. In order to make it more interesting and interactive, the consumers were given chances to guess what the book is according to the sculptures and those who guessed right would be offered a discount.

This idea is, for sure, simple. But to me, only simple ideas are good ideas. Of course, the difficulty of executing it is another story.

VY Engaging the readers in interaction without saying anything is really interesting.

JX In 2006, I was a CD in DDB Shanghai. I could see through the big window from the office the huge glass sphere of the famous Metro-City shopping mall. That was when an idea flashed through my mind: what if we do something with this construction? And in 2018, you did it! You cleverly combined this sphere to the image of Earth and created Run the World for Nike by using LED digital image devices. It was a hit. How did you sell this simple yet powerful idea to the client?

VY This project is based on Nike’s repositioning of its React collections. The sneakers are seen as so comfortable and light that people from around the world couldn’t help themselves but keep running. And the power they then generate from their run must be so big that it could even make the earth go round. The client wanted us to create a stunt based on this positioning. Our creatives thought of the famous landmark of Metro-City, which happens to be a huge LED ball, and with projection it looks like the earth. If we could add a screen on top of the ball, it would seem like whoever runs there, that they are moving the Earth with their own feet.

Above: one of the Beijing99 basketball tournament special edition jerseys Left: W+K team portraits celebrate diverse food culture

It was a great idea and an easy sell. What was difficult was the execution. It took a lot of effort for us to persuade Metro-City to put up a screen on the sphere and build the treadmill on the ground, projecting images of celebrities and athletes onto the screen while they run. On the day of the event we almost got kicked out because too many people came. Luckily the team and the client worked together and finished the event despite all the obstacles. It was shocking to see that on the spot. It actually looked like Su Bingtian and Edison Chen and others made the glowing Earth go round. The event drew attention from the press and triggered wide discussions on the Internet. Our hard work paid off.

Now I’d like to talk about hongbaos (red envelopes) since we both happened to have an idea relating to it. We adopted very different approaches. May I ask first. I know about you because I saw the hongbaos with Chairman Mao that you designed during the 2017 Spring Festival. The design was so simple, it was just cutting out a piece of the cover so that it reveals the head of Chairman Mao on the bill. In recent years, a lot of Chinese designers are designing hongbaos but none of them have done anything this bold and unexpected – that hongbaos triggered sales as well as discussions.

How did you come up with something so clever?

At that time, this hongbao design was reposted by loads of people in China, because everyone likes to see the portrait of Chairman Mao (as it denotes money). It was especially interesting that my elementary school classmate, who had not been in touch for decades, reached out to me when he saw this design. I was also invited by Hunan TV, the most popular Chinese TV station, onto its variety show Happy Camp with this design. I met movie stars, and had the chance to be seen by hundreds of millions of Chinese viewers. Unfortunately, the design copyright cannot be registered because of the portrait of Chairman Mao. Every Spring Festival, tens of thousands of pirated Chairman Mao red packets go into the market. That makes my heart ache!

JX In traditional Chinese cultures, hongbao refers to a red paper packet with money inside. It is not only a carrier of gift money during celebrations, but also carries the blessings and wishes of the giver.

However, the appearance of the red pocket has not changed fundamentally since their birth. The design of Chairman Mao’s red packet originated from a project initiated by Yiku (a design website) called Hongbao from Home. At that time, they invited designers from 32 provinces and cities in China to design Spring Festival hongbaos that incorporated elements from their hometown, hoping to breathe new life into the traditional hongbao design. I guess I’m lucky because I’m from Hunan. The key words most people can think of for Hunan are: chili and Chairman Mao. Although China’s advertising law prohibits the use of the image of national leaders for business purposes, it is known that every RMB note has the head of Chairman Mao on it. It was just such a coincidence. So I cut out a circle on the hongbao, and when the RMB is slid into the envelop, it just reveals the head of Chairman Mao, and the back of the red envelope is printed with Chairman Mao’s slogan ‘The Chinese people have become rich’, which also happens to be a good New Year’s wish to the whole nation. The design is simple and effective, overturning the previous uniform design of red envelopes. The sizes of different notes are different. The cutting board I made was the size of 100 yuan since 100 yuan is red, looks festive and a natural fit with the color of the hongbao.

JX Personally, I really like the film that you guys created for Nike for the Spring Festival, The Great Chase. It perfectly shows how the Chinese people half-decline-and-accept when receiving a hongbao. It is so true and so humorous. The sneakers are featured seamlessly as well. It’s hard to imagine that this film was produced by an international creative agency and directed by a foreign director, Steve Ayson. And your partner is Ian Toombs from the US. It’s shocking that you can capture the authenticity of Chinese culture.

How do you do that?

VY I think the most interesting part of this idea is that usually, the hongbao covers up the bill, so that the recipient will not immediately know the value of the bills placed inside. But in fact, whoever receives and gives it knows all too well that any amount less than 100 yuan is considered stingy. But now, the hole on the envelope immediately makes the giver look good and the receiver happy.

What it reveals is not just a portrait on the bill, but also the hidden human feelings in the tradition, which is a very clever move!

VY Since Ian and I started working together, we both shared the vision to make W+K Shanghai a cultural hotpot. The team shouldn’t be entirely local or entirely foreign. Everyone will pour their cultural backgrounds and creative inspirations into the hotpot, so that the ideas cooked are both culturally rich and original.

The hongbao film is the product of such a hotpot team. This film came from a challenging brief. Nike wanted to make their first-ever Chinese New Year film. The reason Nike hadn’t done a Spring Festival ad for many years was because traditionally we don’t have the habit of exercising during the holiday. On the contrary, Spring Festival is the laziest day of the year for us. We sleep, we eat and repeat at home, and keep eating when we go out for a visit, so the nature of Spring Festival and the spirit of Nike are exactly the opposite! So how can a foreign sports brand tell a story that is true Vol 3/2022

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to the occasion and does not contradict the brand’s beliefs during one of the most traditional cultural moments in China? Our creative team came up with the Chinese custom of handing out hongbaos during the Spring Festival and turned it into an annual running race between an aunt and her niece spanning over a decade.

The copywriter in charge is a native of Yangzhou, China; the art director is a native of Hubei who studied in Singapore; the CD is from the US; the director is from New Zealand, and the clients are from all over the world. One of the characteristics of such a team is that they will try to dig deep into the authentic details of the Hongbao cultural scene, while at the same time they hope to tell a story that can move all people with universal human truths. I think the reason that this is a powerful film is precisely because the people in the team are not from the same province or country, so as we crafted the story we had to keep discussing because you had to explain to people from different backgrounds every detail: that meant every element was well thought out and interesting to the viewer.

JX I also saw the case you did for HP Omen, which is very creative and quirky. Is this so Hong Kong and magical because you are from Hong Kong? How do you balance your personal style with the brand’s ethos in your work?

VY Just like The Great Chase, the creative team for Omen is from all over the world! The CD is from Taiwan, the director from England, and one copywriter from Vancouver, Canada and another Guangzhou. So instead of saying it’s a Hong Kong style, it’s a creative explosion of various cultures colliding. This combination is also in line with the modern game culture.

Because many game players love to watch dramas from Europe, America, Japan, Korea, Hong Kong, Taiwan and China, and they love the video platform Bilibili, which is also a melting pot of global cultures. Therefore, it’s not that we are building the brand’s ethos but more that our creative world is as diverse as the target audience.

The background of this idea comes from a pain point of gamers, which is that society holds prejudices against them, thinking that they are addicted to the virtual world and neglect their studies and regular jobs. However, when we took over the Omen project, we did research and found that there are scientific studies that prove games can train the brain’s ability of planning, organizing and coordinating. Therefore, we came up with the brand positioning of ‘Achieve Gamefulness’, hoping to defend gamers: games are not drugs, but brain vitamins! We made three films to create a virtual world like the training ground, with characters’ brains visible through glass skulls.

Then we designed a brainwave scanning device for Omen at China Joy, the largest game expo in China, to transform the brain waves generated by gamers during fierce battles into colorful animations, so that the world can see how brains are activated and tested in game-play.

The response later proved that the line ‘Achieve Gamefulness’ really speaks to the hearts of players. This hashtag has been viewed more than 260 million times on Weibo and became a catchphrase among players.

Let’s talk about Kung Fu Water. When I saw this film, I was amazed. In addition to being unexpected and whimsical, it takes a fresh approach to present a feature of Chinese food culture: Chinese people really eat everything! If this film were launched in Europe and the United States, the food chain would probably be cows, sheep, chickens, pigs, fish and some seafood, and it would soon be over. But because this is for the Chinese audience to see, the food chain can be very long. There are a lot of strange creatures we eat!

Why do you call this film Kung Fu Water? What is its relationship with Kung Fu? JX Vivian, you mentioned that Chinese people love to eat everything, and they do! Every meal is rich and diverse, chicken, fish, shrimp, beef, bullfrog, blowfish... The pots and pans are sticky with all kinds of greasy stains, which are especially difficult to wash.

The most powerful function of the Vatti dishwasher, our client’s product, is that it uses different angles of water to rinse away the dirt and bacteria layer by layer. Bruce Lee once used water to describe the essence of Kung Fu, saying ‘be like water’ . He explained: ‘Kung Lürzer’s Archive

Fu – the best example would be a glass of water. Why? Because water is the softest substance in the world, but yet it can penetrate the hardest rock or anything – granite, you name it. Water also is insubstantial; by that I mean you cannot grasp hold of it, you cannot punch it and hurt it. So every Kung Fu man is trying to do that; to be soft like water, and flexible and adapt to the opponent.’

So, we personified the water in the dishwasher as the water man who practiced Kung Fu and took actions to rinse off stains that have also come alive. The rinsed fish spits out the chicken, the chicken spits out the bullfrog, the bullfrog spits out the pig, the pig spits out the octopus, the octopus spits out the goose, the goose spits out the cow... Finally, under the whirlwind power of the water man, the eel spits out a clean white plate. Through the form of humor and exaggeration, it reflects the powerful intelligent function of Vatti’s Trinity Health Dishwasher, which ‘washes away layers of stain’.

This dishwasher is so powerful that ordinary water will become a martial arts master who can easily eliminate all the residues and grease of stains.

We Chinese are good at developing new recipes, so there are many interesting inspirations we can use. After the film was released, some people on the Internet criticized us for ‘mistreating animals for the sake of making a commercial film’. In fact, these are all 3D animations, which in a way also reflects that our art director is quite good. For the first time, I felt happy to be dissed.

NFT has been taking the world by storm. As a leading creative agency in China, are you ready?

VY We did an NFT project for HP Omen. Like all our works, we want to make it collectible, but more importantly it needed to deliver a message. In 2021, a new law was enacted in China, limiting people under 18 to two hours of gaming per week. As a player-centric brand, Omen asked us to think about what we could do for players.

We couldn’t oppose it, so we found roundabouts and celebrated the birthdays of adult gamers who turned 18, after which point they were finally able to play as much as they wanted. Because of this law, a gamer’s 18th birthday becomes more meaningful.

We came up with the idea of using an NFT as a birthday gift.

We collaborated with a 3D animator in the UK to create an animated short film, and then turned 575 frames of the film into 575 NFTs for the 575 gamers who would turn 18 in 2021, giving them a surprise and also feeling that Omen really understands their hearts and pain points.

You also created a series of NFT collections. They’re very stylish and personal. Fans snatched them up the moment they were launched. What was the concept behind the creation?

JX On April 22, World Environment Day, I released a set of NFT collections called Waste-Sorting Blind Box under the name of my personal studio, with the theme of Waste Separation.

In Shanghai now, one has to sort personal waste based on a set of newly introduced regulations, which can seem puzzling to some. Against this backdrop, I designed 30 adorable licensed figurines using recycled trash, turning waste into objects of desire: glass bottles, banana peels, cigarette butts, expired pills, broken bulbs and used face masks etc. A series of metro posters were created for people to scan with mobile phones and participate in the Guess What Kind of Waste I Am? quiz. Winners would then have a chance to win a Blind Box. Bin-shaped vending machines were also set up in the metro stations where people can purchase Waste-Sorting Blind Boxes via their mobile phone payment system.

A graphic description of fun facts about the waste classification system is attached, raising awareness of waste separation.The difference this time is that we gave the NFT collections a more complex and grand narrative. Among them is also a hidden-gem collection, which centers around the pandemic in Shanghai. Over 6000 NFTs were sold out overnight, totalling 300k RMB in sales. It was a boost of confidence for me as it was my first attempt into the NFT world.

As a creative, I am always happy to interpret and execute the brief in the most creative and precise way to bring freshness and beauty to the client and the market. But at the same time, as creatives, we must never lose the ability to create freely.

No matter what I do, I will never stop creating. For me that is one of the greatest joys in life.

Film [154–161] Client Gucci Agency Gucci in-house, Milan Creative Direction Alessandro Michele

Art Direction Christopher Simmonds Director Mert & Marcus Production Mert & Marcus

Vol 3/2022

152–153

FILM

SAMSUNG Join The Flip Side

VOLVO Trucks A Love Story

VOLVO Electric Cars With Backup Plan

After her friend shows her the new Samsung Galaxy Z Flip4, protagonist Elena begins to see everything in similar “flip-able” form. From chairs and menus to toilet seats, the outside world just seems to mimic the design of the Flip4. Elena eventually switches smartphone and “joins the flip side”.

With Pixar-esque charm and quirkiness, this spot for Volvo Trucks shows two trucks in love.

Complete with a schmaltzy love song we see the trucks drive together, “kiss”, and even fly into clouds of romantic bliss. The spot conveys how both fun and efficiency can be married together… much like the two trucks.

In the latest global campaign by Forsman & Bodenfors, Volvo compares range anxiety with the phenomenon of low battery anxiety, showing how their plug-in hybrids provide the ultimate solution since they are “electric cars with a backup plan”.

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

Agency Forsman & Bodenfors, Stockholm Art Direction Lars Jansson Copywriter Karolina Groop

Copywriter Andrew Duncan Director Matias & Mathias Production Bacon Productions

Director Daniel Warwick Production Business Club Royale

Agency Forsman & Bodenfors, Gothenburg Creative Direction Nicolas Peyrau Art Direction Sophia Lindholm, Karl Risenfors, Leo Dal Copywriter

BMW Forwardism

VELOZ Myth Busting Myths

To convey the ever-developing nature of BMW, this inventive VFX heavy spot features renowned artworks shifting and transforming. These conversions of classic art pieces symbolize the meaning of the brand’s “Forwardism” movement; reinvention over convention.

Bringing a similar surreal energy to this spot as his other work, stand-up comedian Eric Andre directs this campaign for electric vehicle non-profit Veloz. The playful videos dispel some of the myths about electric vehicles by having actual myths interact with the cars (Sasquatch charges his car at a station while a group of Martians charge their car at home).

Agency Jung von Matt, Hamburg Creative Direction Thimoteus Wagner, Florian Kronenberg

Lürzer’s Archive

Director Shane Griffin Production AKKURAT Studios

Agency Superconductor, Los Angeles Creative Direction Ron Schlessinger

Copywriter Mike Prochaska Director Eric Andre Production pf100

Hampus Elfström Director Laerke Herthoni Production new-land London

CARLSBERG BEER Forever Fans

STELLA ARTOIS Make Time For The Life Artois

Celebrating the 30th anniversary of Carlsberg’s sponsorship of Liverpool FC, the longest partnership in the Premier League, the film was directed by awardwinning Danish director Tore Frandsen. It relives the glories of the past 30 years, taking the viewer on a visual pub crawl down memory lane through legendary moments that are frozen in time and tapping into a feeling all fans know: cheering on your club with one hand, while protecting your beer with the other.

This global campaign implores consumers to switch off from work and “make time for the life Artois” (which is infinitely more appealing).

With impressive visuals, every flip of a worktable results in more friends, revelry, and a fresh pint of Stella.

Agency

by The Network, Copenhagen Creative Direction Per Pedersen

Art Direction Luca Pannese, Lukas Lund, Alexander Winge Leisner

Copywriter Luca Lorenzini, Tim Pashen, Sigurd Larsen

Director Tore Frandsen Production Newland

Agency Anomaly, Toronto Creative Direction Dave Douglass, Neil Blewett

Art Direction Tomas Homolka Director Sam Pilling Production Pulse Films

GUHL Genuinely Close

DOZONO Rotating Ice Cream

STARBUCKS Every Table Has a Story

This tender spot for German hair care brand Guhl examines different individuals from all walks of life showering while softly singing the lyrics to Haddaway’s 1993 hit “What Is Love”. These intimate moments mixed with the emotional lyrics create a sense of poignancy and connection for the brand.

DOZONO is a hairdressing brand founded by a Japanese stylist (Dozono Ryoichi) with studios in Beijing and Shanghai. To attract more clients, DOZONO launched a campaign in June 2022 that offered ice cream to visiting clients.

This earnest 90-second spot follows Kay, a burgeoning entrepreneur who is trying to kick start her career. Every day she goes to the same table at Starbucks to work. We see her journey as she faces setbacks and application rejections. The end of the video shows that hard work pays off as her name is listed as one to watch in a fashion magazine. The spot reinstates Starbucks as an inclusive environment where every table has a story.

Agency David+Martin, Munich Creative Direction David Stephan Art Direction Stephanie Gordon

Copywriter Sabrina Brandenburger Director Justyna Obasi Production ANORAK Film

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

Copywriter Alice Gu Director Archive Li Production mixkit.co

Agency Iris Worldwide, London Creative Direction Eli Vasiliou

Vol 3/2022

Art Direction Ojea Pereiro Copywriter Isabel Albarran Director Nick Davies 154–155

FILM

NESTLE The Milkmaid

KFC Anything for the Taste

HEINZ The Unstainable Thobe

An A.I. project from Nestlé reframes The Milkmaid, a masterpiece created more than 360 years ago

by Dutch painter Johannes Vermeer, in a fresh, expanded light. The work promotes La Laitière yogurt, which has long used milkmaid imagery in its campaigns.

Based on an urban legend, this piece is a tribute to how far people will go to get their hands on the delicious taste of KFC. Proving that some will do Anything for the Taste… Anything.

Heinz have paired with Wunderman Thompson Dubai to meld cultural heritage with practicality, introducing The Unstainable Thobe. The thobe is a white garment traditionally worn by men in the Arabian Peninsula. Because the cleanliness of the robe is culturally important, Heinz teamed with specialist tailors to create a thobe that could be worn without the risk of occasional ketchup stains.

Agency Ogilvy, Paris Creative Direction Julien Bredontiot, David Raichman

Art Direction Patricia Dupuy, Frederic Siebert Director Patricia Dupuy, Frederic Siebert

Agency Ogilvy, Johannesburg Creative Direction Kabelo Moshapalo, Peter Little, Chantelle Dos Santos

Art Direction Naledi Manama Copywriter Abas Rashid Director Greg Gray Production Romance Films

Agency Wunderman Thompson MENA, Dubai Creative Direction Tiago Bastos, Pablo Dachefsky Art Direction Jericho Dizon

Copywriter Adham Abdullah, Anant Sankar Kurup Director Tiago Bastos Production studio melt

DENNY’S Grand, Dad

FARROW & BALL Farrow and Ball

This heartfelt spot for iconic Irish food brand Denny’s follows a truly Irish family tale. The title grandad is given new meaning as we see a first-time grandfather helping with small duties when a new-born child arrives. His family all thank him in a typically Irish fashion; “that’s grand, dad”. Finally, as the man holds his grandchild in his arms, he proudly announces, “it’s grandad”. With Denny’s products acting as a constant throughout the story, the video highlights the themes of comfort and family that are associated with the brand.

Creative agency BMB uses visually stunning imagery to convey Farrow and Ball’s new paint shade launch, as seven new colors swirl and illuminate the screen. The campaign includes social media snippets, DOOH and print.

Agency Droga5, Dublin Creative Direction Shay Madden, Rob Maguire, Jen Speirs

Lürzer’s Archive

Art Direction Steve Clifford Copywriter Emmet Heneghan

Director Duncan Christie Production Banjoman

Agency BMB, London Creative Direction Will Marsden, Jordan Down

Director Gus Filgate Production BITE

CADBURY Merdeka Unseen

JOHN LEWIS For All Life’s Moments

Cadbury and Ogilvy present Merdeka Unseen. The film explores the history of Hari Merdeka, Malaysia’s national Independence Day and highlights Cadbury’s long relationship with Malaysia, which has lasted for over 100 years. The spot features elderly gentleman Johan, who attended the first Hari Merdeka in 1957. While he sits in the same stadium he was in 65 years ago, video footage from the special day is projected onto the seats around him.

This ad follows the relationship between a father and his daughter throughout the years. Portraying all the milestones of a young person’s life (from their first birthday to the trials of nappy changing), this emotive spot highlights John Lewis’s new brand promise to be relevant “For All Life’s Moments”.

Agency Ogilvy Malaysia, Kuala Lumpur Creative Direction Adrian Miller, Jaz Lee

Art Direction Adrian Miller, Jaz Lee Copywriter Adrian Miller, Jaz Lee

Director Sling Ng Production Media.Monks, Directors Think Tank

Agency adam&eveDDB, London Creative Direction Feargal Ballance, Matt Gay Art Direction Richard Gayton

IKEA Bring Home To Life

BETANO Together With Benfica

Rethink and director Gary Freedman team up to prove the adage that a house is not always a home. Scored by a tentative cover of Elton John’s “Your Song”, a father gradually stocks his new flat in preparation of his family arriving. Although their new home may seem empty and lifeless, the father’s imagination fills the room with future memories of family and friends and the IKEA products bought help to bring home to life.

These three gorgeous spots conjure all the excitement of football, while also bringing the signature hues of each team to life. The jersey colours of the country’s three biggest teams: Sporting Clube de Portugal; Sport Lisboa e Benfica and FC Porto – green, red and blue, respectively – are cleverly echoed in details of the set design, costume and lighting.

Agency Rethink, Toronto Creative Direction Aaron Starkman, Michelle Spivak, Mike Dubrick Art Direction Max Bingham

Copywriter Brendan Scullion Director Gary Freedman Production OPC Production

Agency Another Circus, Athens Creative Direction John Liveris

Art Direction Konstantinos Tsagkakos, Michalis Alexiou Copywriter Despoina Karakosta

Vol 3/2022

Copywriter Darren Beresford Director Juan Cabral Production MJZ

Director Francisco Neffe Production Trix

156–157

BURBERRY Night Creatures

GUCCI Exquisite Gucci

This spot focuses on Burberry’s outerwear and begins with a group of friends on a London bus, discussing a sci-fi movie they’ve just seen.

They exit the vehicle after it comes to a halt.

Outside awaits a large, multi-limbed, otherworldly creature. But instead of sucking our Burberry-clad characters into another dimension, it ever so gently propels them into the air, helping them pirouette through the London night sky.

Demonstrating a terrific eye for detail, this campaign, helmed by Alessandro Michelle, pays homage to legendary filmmaker Stanley Kubrick.

With precision, Gucci has replicated the sets and costumes of Kubrick’s most famous films, and infused them with Gucci models, marrying brand and aesthetic style perfectly.

Agency Riff Raff, London Art Direction Ashley Dando Copywriter Megaforce

Director Megaforce Production Riff Raff

Agency Gucci in-house, Milan Creative Direction Alessandro Michele

Art Direction Christopher Simmonds Director Mert & Marcus Production Mert & Marcus

THE WOOLMARK COMPANY Wear Wool, not Fossil Fuel

LEVI’S Buy Better, Wear Longer

UBER Eats The Art of Doing Less

To demonstrate the worrying fact that “every 25 minutes, an Olympic-sized pool of oil is used to make synthetic clothing”, this visually striking spot shows a group of individuals emerging from a pool of oil. They then shed their dark oil covered shell in favor of environmentally friendly wool garments.

A fluid, visually dynamic story as a very real pair of Levi’s jeans passes from person to person across generations. The jeans age, fade and tear but hold their shape, providing comfort and stylish wear as the times change around them.

In such a fast-paced society, Uber Eats endorses downtime. This playful spot by Mother shows food being ordered with the press of a button on the Uber Eats app, allowing people to indulge in their own “unique” passions.

Agency AKQA, San Francisco Creative Direction Tim Mcdonell, Bryan Dempler, Eli Tan Art Direction Laura Pol, Hunter Patrick

Agency Mother, London Director Andreas Nilsson Production Biscuit

Agency 20something, London Creative Direction Will Thacker Copywriter Elliott Starr

Lürzer’s Archive

Director Sil van der Woerd, Jorik Dozy Production Park Village

Copywriter Alexis Justman Director Leo Berne, Clement Gallet Production Iconoclast

FILM

NRMA INSURANCE Until then we’ll be here

STORYTEL Storytel’s 1984

Showcasing two beautifully shot 60-second short films, this campaign shows the environment miraculously putting out disasters. In one, a field starts to spurt water to prevent a forest fire, while the other shows a rogue tire seemingly rolling aimlessly until it reaches a car in need of repair.

Taking a clever approach, these spots remind us that until these divine moments happen, NRMA Insurance will be there.

For this campaign for Storytel audiobooks, the creatives took the opportunity to create a film that brings viewers into 1984 without over-explaining. The aim was to make them react, reflect and connect the dots. The central idea of the campaign is that 1984 sounds an awful lot like 2022.

Agency Bear Meets Eagle On Fire, Sydney Creative Direction Ian Williamson, Paul Gregson

Director Steve Rogers Production Revolver

Agency B-Reel, Stockholm Creative Direction Zack McDonald, Christian Poppius, Afshin Moeini

Art Direction Gustav Stockman Copywriter Oskar Engman

Director Daniel Eskils Production Tarot Pictures

OCEAN SPRAY Power Your Holiday

NTUC INCOME Real Care

This light-hearted campaign for Ocean Spray shows a wobbling plate of jelly command a dreary dinner party into a dancing frenzy. The jelly adds delirious energy to the boring holiday dinner. The campaign was shown through TV, digital and social media platforms.

In a time where virtual symbols are used to convey care, this campaign for NTUC Income Insurance reminds us about the value of real care. The spot shows people faced with floating emojis which are inefficient in moments of crisis compared to the true compassion that NTUC Income shows.

Agency Orchard Creative, New York

Creative Direction David Kolbusz Director Jeff Low

Agency Bartle Bogle Hegarty (BBH), Singapore Creative Direction Janson Choo, Khairul Mondzi Art Direction Shu Min Leow Vol 3/2022

Copywriter Pamela Ho Director Marjorie Teo Production Abundant Productions

158–159

FILM

TOUCH The Human Touch

CODA Everything Evolves

Paired with a poignant cover of The Killer’s hit song Human, this futuristic spot for Singapore charity TOUCH follows a robotic assistant, Alfie, who learns the true value of human connection. With acclaimed director Roslee Yusof behind the lens, the story proves that though technology may develop, compassion and connection will remain the priority for TOUCH Community Services.

To visualize the evolution of document programs, this surreal brand campaign shows seven radically changed animals like a mole with a glowing nose and a chicken with arms chasing its chicks.

Agency Bartle Bogle Hegarty (BBH), Singapore Creative Direction Khairul Mondzi

Art Direction Grace Wong Copywriter Gwendolyn Lee

Agency Buck, Los Angeles

Director Roslee Yusof Production The Prosecution Film Company

CARRO Car’s Journey In Reverse

TELEFÔNICA BRASIL Buscape

This spot for Carro, a used car retailer, shows exactly what it says in the title: a reverse or rewound journey to the repair shop.

The critically acclaimed 2002 Brazilian crime film City of God gets a short form sequel with Buscape, a collaboration with VMLY&R Brazil and Vivo (Telefonica). The film impressively manages to both capture the spirit of the original feature film and act as a launch for the Motorola Edge 30 Ultra.

Agency TBWA, Singapore Creative Direction Andy Grant Art Direction Robert Nelk

Lürzer’s Archive

Copywriter Mark Peeters Director Christopher Hill Production Applebox Asia, Cyclopsfilms Asia

Agency VMLY&R, São Paulo Creative Direction Rafael Gil, Marcos Magario Filho, Rodrigo Almeida

Art Direction Marcos Magario Filho, Bill Queiroga Copywriter Jaime Agostini, André Jardim

Director Fred Luz Production O2 Filmes

CLOUDGO On Running

SOCIAL MOBILITY FOUNDATION Stay Down

ELECTROLUX Break The Pattern

On Running and Studio Voile have joined forces to present Cloudgo, a visually awe inspiring 360 campaign. The Cloudgo sneaker has been designed for beginner runners who might find running daunting. In this spot, Game On, the Cloudgo shoe takes the runner into a futuristic, video game inspired world, where gravity and the environment morph based on the wearer’s needs.

This campaign for the Social Mobility Foundation depicts the trials of classism as a horror film.

Dark visuals and color grading show a young man’s inner turmoil as he faces rejection from jobs in favor of sinister elitism.

Swedish manufacturer Electrolux shows the effects of fast fashion in this stylish spot.

As many people are shown carelessly throwing clothes away, the garments elegantly float through the sky until they end up in a mass landfill. We are encouraged to break the pattern of discarding clothes.

Agency Studio Voile, Zurich Creative Direction Adam Bracegirdle Art Direction Régis Tosetti

Copywriter Martin Jackson, Michel Giesbrecht Director Jonas Hegi Production Builders Club

Agency Creature, London Creative Direction John Osborne, Ben Middleton, Stu Outhwaite-Noel

Copywriter Adi Hussain Director Thomas James Production Management

Agency Forsman & Bodenfors, Gothenburg Creative Direction Patrick O’Neil Art Direction Joakim Blondell, Johan Eghammer, Staffan Lamm

Copywriter Nicholas Düfke Director Natanaël Ericsson Production Newland

SPOTIFY Be Who You Want To Be

TK MAXX Nail Christmas For Less

To capture the concept that Spotify caters to everyone’s personal preference, this campaign follows several distinctive characters and their specialized Spotify playlists, including a seemingly hard gangster emotional over a breakup and a nerdy gang with surprising taste.

This fun festive spot shows a young girl’s prowess at present buying for her family. The success of her Christmas shopping (at TK Maxx) results in the entire village high fiving her success. This bright and charming campaign is part of the brand’s pledge to help customer’s nail Christmas for less.

Agency Leo Burnett/Target, Bucharest Creative Direction Andrei Nica

Art Direction Mara Sabau Copywriter Bianca Muscalu

Director Sidney Van Wichelen Production Saga Film, Est. Now

Agency Wieden+Kennedy, London Creative Direction Paddy Treacy, Hannah Smit

Vol 3/2022

Director Max Siedentopf Production Riff Raff

160–161

FILM

REGION OF ATTICA The Monster

ENBRIDGE Tomorrow Is On

To demonstrate the importance of reducing household waste in Greece, The Newtons Laboratory has created a comprehensive campaign wherein a monster is created from garbage and terrorizes the citizens of Attica.

Featuring a rooster strutting down the streets to a cover of Stevie Wonder’s “Higher Ground”, this spirited spot brings a playfulness to sustainable energy. As the rooster walks past the town’s streets, evidence of cleaner energy can be seen taking place, pointing to Enbridge’s desire to transition to a more ecological future.

Agency The Newtons Laboratory, Athens Creative Direction Giannis Sorotos, Dimitris Vikelis

Art Direction Kiriakos Karamalakos, Manos Vitoratos, Markella Plianthou Copywriter Ioanna Krioni, Dionysia Lampadariou, Dionisis Giampanas

Director Bjorn Ruhmann Production Boo Productions

Agency Leo Burnett, Toronto Creative Direction Kohl Forsberg Art Direction Matthew McDonald

Copywriter Layton Wu Director Chris Balmond Production Circle Productions

NIKE Sport is Never Done

TRAINLINE Better Days

UPWORK This Is How We Work Now

Wieden+Kennedy, Amsterdam imbue this Nike Middle East spot with a youthful exuberance, as we see colorful, inventive visuals of children discovering what they’re capable of. The campaign aims to also get parents to encourage their kids to get involved in sport.

British singer-songwriter Craig David has collaborated with Trainline on a new song entitled “Better Days”, to promote the environmental advantages of rail travel. To enhance this positive message, the animated short music video is filled with vivid imagery of David traveling by train. The spot was created by Mother London as part of the brand’s I Came By Train campaign.

With renowned filmmaker Ivan Zacharias of Smuggler behind the lens, this campaign for Upwork uses ghoulish imagery to prove that outdated business practices are not beneficial today. Taking a literal approach, the spot follows a CEO named Jack returning from the dead to let his business know that methods used in the past are not how we work now.

Agency Mother, London Director Golden Wolf Production Stink

Agency Alto, Bedford, New Hampshire Creative Direction Jason Bagley, Jeff Dryer, Brock Kirby

Agency Wieden+Kennedy, Amsterdam Creative Direction Evgeny Primachenko, Jake Barnes, Craig Williams Art Direction Guney Soykan Lürzer’s Archive

Copywriter Ane Santiago Quintas, Aditya Hariharan Director Alaska x Production Iconoclast

Art Direction Julia Menassa Director Ivan Zacharias Production Smuggler

Lürzer’s Archive Special Report

FOOD+ DRINK Feast on inspiring creativity

MAESSTUDIO.COM photographer & director

FOOD + DRINK SPECIAL

“It was a bold person that first ate an oyster.”

Photo by kind permission of Tessa Traeger, info@tessatraeger.com | tessatraeger.com

Jonathan Swift

In 19th Century London, oysters were sold on almost every street corner. They were a staple of the poorest.

An everyday, cheap alternative to meat.

Today, of course, they are a luxury. At New York’s famous Grand Central Oyster Bar a dozen will set you back around $50. At Scott’s in London, you could pay well over £60.

These days, the food and drinks markets are changing faster than ever, and in many cases even more dramatically.

Cars may be going electric and new AI technology may be amazing us with its potential. But nothing is more essential to life than food and drink, and nothing is more susceptible to fads, fashions and full-on revolution.

Only a few years ago, veganism was seen as little more than an eccentric cult, gin and tonic was your grandparents’ favourite tipple, fast food was a first-rate idea and a big juicy steak was the epitome of aspiration.

Well, in case you hadn’t noticed, the world’s moved on.

And so has the creative work clients are demanding.

Health, diet, sourcing, sustainability, plant-based, food miles, organic and botanical are today’s marketing buzzwords.

Food got serious, you could say.

A good moment, we thought, to reflect on the past decade while investigating what might be coming our way in the next few years.

Over the following pages, we review the global bunfight between burger superbrands, McDonald’s and Burger King, look at the most searched food and drink ads from our archive, explore the trends that will set the future creative agenda, explore the explosion of small booze brands on social media and try to help prepare you for future briefs.

So, time to be bold yourself.

Order up a dozen sustainably produced bivalves with a glass of organic Sauvignon and get stuck in.

Vol 3/2022

164–165

Decoding the future FOOD + DRINK SPECIAL

Let’s assume, just for a moment, that geopolitical tensions ease.

That energy markets stabilise. And that the pandemic continues to wane.

What, in this normalized world, does the future hold for creatives working on food and drink briefs?

What buzzwords, doublespeak, jargon, or even, genuinely important language will strategists sprinkle through their documents and expect you to understand and convert into compelling creative solutions?

We turned to the futurists at Mintel for an insight into the themes and memes likely to dominate between now and 2030.

Here’s our take on their predictions.

We hope it helps.

Lürzer’s Archive

Source: Mintel 2030 Global Food and Drink Trends

Activate Activism

Consciously Consume

A clever copywriter is no longer enough. Mere intent is no longer acceptable. As well as talking the talk, brands will increasingly need to walk the walk.

Gwyneth Paltrow and Chris Martin famously had a conscious uncoupling.

Now consumers will consciously uncouple themselves from brands that fail to facilitate a more mindful approach to lifestyle and diet. They will instead support companies that make them feel better by just buying a product, knowing that they are making a small but important statement about environmentally friendly packaging and the use of precious resources in food production, distribution and retail.

Consumers will look for real, and meaningful, results-oriented activism.

When it comes to important societal issues, they will expect your clients to be leading the way on environmental issues, ethical practices, public health and animal welfare.

How committed a brand (and its marketing) is to these issues will ultimately determine the success or failure of a product.

left page: Digital artist David Butler, 200best Digital Artists 21/22 this page left: LIDL HELLAS, Dish Agency The Newtons Laboratory, Chalandri, Greece L[A] 2/2022 this page right: GOOGO GREEN Agency Ogilvy Group Thailand, Bangkok L[A] 2/2022

Vol 3/2022

170–171

FOOD + DRINK SPECIAL

Eat the planet better Consumers are hungry for change.

Generation Z is well aware that they have the planet’s future in their hands, and are determined to make a difference both personally and globally. To their mind, and rightly so, a healthier planet will only emerge if they switch to a healthier diet. Brands that show how they prioritise a consumer’s health and welfare and the planet’s future over short-term profitability will be rewarded with loyalty for years to come.

Lürzer’s Archive

Hyper smart food The once revolutionary smartphone is now ubiquitous.

Next up for transformation is the concept of smart diets – hyper-individualised approaches to eating better.

Sharing their personal data with a multitude of Internet of Things-enabled devices, consumers will customise their eating preferences. Recipes and meals designed around their personal flavour, taste and texture proclivities will become the norm, and home devices such as Amazon’s Alexa and Nestlé China’s personal smart speaker XiaoAI will evolve and provide brands with huge opportunities to collect data and influence consumer choices.

Feast on data

Harvest technology

Mental health is coming out of the closet; and food has a big role to play in our future emotional well-being.

Consumers will use data and biological tests as essential ingredients in their diet plans. Modifying their food choices to improve brain health, their state of mind and their mood. Brands that harness this trend will create individualized meal kits, mood-enhancing nutritional drinks, customized diet plans and even personalized products.

As resource shortages strain supply chains and hurt yields of conventional agriculture, science and technology will play an increasing role in feeding the world.

And consumers will overcome their fears to see the value and necessity of lab-created or engineered foods.

Already indoor vertical farming in environments more akin to high-tech factories is transforming the inner-city supply of herbs and vegetables in New York and London. Soon premium grocery brands will open branded indoor farms to offer just-picked freshness.

More and more ingredients will be grown in alternative places such as underground, underwater, even in deserts and, ultimately, out there in space.

left page: THE GREEN O Photographer Dan Goldberg 200best Ad Photographers 21/22 this page left: Digital artist Antoine Magnien, 200best Digital Artists 19/20 this page right: Agency Sancho BBDO, Bogota L[A] 5/2019

Vol 3/2022

172–173

Dan Goldberg PHOTOGRAPHER/DIRECTOR

312.225.7044 GOLDBERGPHOTOGRAPHY.COM

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FOOD + DRINK SPECIAL

The Social drinker Craft beers and niche liquor brands are all the rage and using social media to come to market.

In a departure for L[A] we look outside the conventional ad world and ask Dan Hooper, Los Angeles based Creative Director of the YesMore agency, what’s happening in today’s Instagrammable drinks world.

Photographer Tatu Garcia, 200best Ad Photographers 21/22

L[A] 2/2020

L[A] Can you tell us a little about YesMore – how long it’s been going, your clients in the US and Europe, and why social media is now such an important part of drinks marketing.

DH YesMore is a creative-led marketing agency working specifically for brands within the drinks industry. Our clients include Aperol Spritz, Grey Goose vodka, Dutch Barn Orchard vodka, Black Tower Wine and many more. We’ve just celebrated our fifth birthday and have seen a lot of changes in the social media landscape in that short amount of time. To us, it feels as if social media somehow becomes more and more integral to how brands speak to their consumers year on year. Specifically with drinks products, there’s so much important information to get across, from heritage, serving suggestions and tasting notes, that an always-on social media presence really suits a modern drinks business. Not to mention the number of new drinks brands that need to find smart and creative ways of competing with the giants. Social media is the perfect realm for this.

L[A] Our magazine is mainly about the more conventional parts of advertising – print, billboards and TV/video. But our readers increasingly have to work across media platforms incorporating social media. Do you work alongside ad agencies or separately?

What’s best for your clients? How should our creative readers work with agencies like YesMore?

DH It seems in 2022 agencies have to be able to do a bit of it all! While the traditional agencies are being asked to incorporate social media, we often are asked how to wrap print and broadcast into our work. The obvious answer is starting with a great idea (I’m sure we’ve all heard this one before!). But make sure your initial idea isn’t linked too hard to its medium. We really push for concepts that fit the brand and consumer culture perfectly, but are still loose enough for all agencies involved to be able to have some fun and adaptable for the prospective mediums.

The most painful mistake we see on a monthly basis is the above-the-line team sending cut downs of the broadcast spot for social. These can fit the bill for running as social ads with large amounts of media spend behind them, where we just push for eyes on brand and frequency of viewing. But if you want people to engage, this is not the answer.

L[A] The market on both sides of the Atlantic seems to have exploded in terms of smaller, craft brands – is that due to influencers and social media, or just a desire by consumers for something new and different?

DH It’s worth noting that new brands have been cropping up in the space steadily over the last decade, but there are slight

nuances on what’s being launched. For example the more recent boom of celebrity-led brands, and even more niche, celebrity-led tequila brands.

I feel this was really pioneered by the craft beer movement.

The beer giants got caught sleeping, all offering identical(ish) tasting plain lagers. The moment something new and interesting came onto the scene, people flocked to it.

People ultimately like finding new brands and new tastes, new ways to feel like an individual, yet at the same time being a part of a group. It’s a weird bit of human psychology and often a thin line to walk but we don’t see it changing any time soon!

L[A] The cost of entry into the alcohol market seems to have come down dramatically – is that because of social media?

In the UK, for example, literally hundreds of small gin brands have come to market as well as endless craft beers.

Is something similar happening in the US? DH Cost of entry into the market is sadly something that’s in upheaval currently. There are once again CO2 shortages and grain shortages due to the war in Ukraine. Not to mention the cardboard and glass shortages/price hikes which are a mix of Covid and the UK’s Brexit. Now with the upcoming cost of the energy crisis, I don’t think small start ups will be able to operate as low cost as they have been to date.

Gin boomed in part due to the revival of the liquid (hundreds of reasons!) and the fact that it’s a relatively simple alcohol to distill with no need to age over time. It can come straight off the still, into the bottle, then out to retail.

The same can’t quite be said here in the States. There’s not as great a love affair with the classic G&T here, the margarita seems to be more their speed. This year (2022), shoppers in the US will spend more money on mezcal and tequila than whiskey, the country’s second most popular spirit. I often compare the meteoric rise of gin in the UK to the boom of tequila/mezcal in the States.

L[A] If gin and small, local craft beers are the big trend in the UK, what are the major trends in N. America? Tequila?

What’s happened to vodka … has that become less popular?

DH Vodka is easy to overlook but it’s still the most sold spirit in the country (Tito’s to be precise). So vodka is still in the lead and by quite some margin, make no mistake. Using volume as a measure, it sold 78.1 million cases in 2021, more than double the volume of premixed cocktails which was the next category. Tequila and mezcal were fourth on this scale for reference.

I’m keeping a very close eye on tequila and mezcal brands, as are a plethora of celebrity faces – including Dwayne “The Rock” Johnson, Breaking Bad co-stars Aaron Paul and Bryan Vol 3/2022

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L[A] 5+6/2021

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Cranston; Nick Jonas, Rita Ora, Adam Levine and Justin Timberlake to name a few.

L[A] There is a clear trend among young people in Europe to drink less (not that I’ve noticed it in my own children) … is this also true in the States?

DH Younger generations are undoubtedly drinking less in the States, the World Health Organization (WHO) has reported this is actually a global trend. There are a lot of factors that go into this but from my perspective here in California, it is again due to individualism. Most times each generation wants to do something different from the last one with Gen Z being no different, looking to shed the cultural trends and traditions set by previous generations. On top of this, no generation has ever been so recorded.

The always-on nature of social media means any behavior (good or bad) can be captured and shared in seconds. What’s interesting is that the late night booze filled shenanigans that were worn as medals to be proud of by the millennial generation, is anything but for Gen Z. Apparently falling asleep with your face in your KFC bucket is now no longer something to be proud of.

Lastly, the rise of cannabis especially in California has potentially decreased spending or interest in alcohol, though the jury is still out on its exact effect at this time.

L[A] One of the big growth areas is no-alcohol beers and spirits.

What’s going on?

DH Yes, this is another trend that we’re seeing in multiple markets. The want for non-alcoholic and “functional” beverages is another area very much in growth.

In my opinion, this is another trend led by social media.

Sitting around and consuming round after round of drinks with friends isn’t all that captivating in terms of content. Instead, younger generations would rather involve themselves in activities where they’re not hindered by alcohol. Hiking, exploring, dancing, traveling are all big hitters in terms of social currency now.

Lürzer’s Archive

L[A] Can you give us one or two examples of where social media and conventional advertising have combined to create a really effective campaign?

DH This year Heineken released The Closer. A Bluetooth-enabled bottle opener that closes down your laptop once a beer is opened. A fairly simple concept but the execution was fantastic.

Their broadcast spot chimed with what many of us are feeling on the other side of the pandemic – that we all seem to be working 24/7 now. The cure to this is simply a friend cracking open a cold one... even if you are mid-meeting.

Where their social promotion was smart, was linking up with Austin Evans, a tech YouTuber with over five million followers to review the opener, reaching an audience they otherwise might not be talking to by sticking to the usual sports crowd.

While it was really fun, it did touch on a serious subject of poor work-life balance, elevating it above the usual conversations a beer brand finds itself in.

L[A] Or an example or two of where the main driver of a brand’s success has been social media.

DH Although they’re at the center of a lot of controversy, Brewdog has utilized social media in a way no big beer brand has effectively done prior. Their tone of voice lent itself perfectly to social and by linking that to a way their fans could actually support them monetarily, made for a wildly successful crowdfunding campaign.

The brand launched its latest round of crowdfunding in October 2020, with a target of £10m ($11m) over an initial 90-day period. It ended up raising £11.3m ($12.5m) from more than 24,000 backers. Something I personally couldn’t have seen happening without such a strong, always on social presence.

L[A] How do you rate the different social media platforms demographically for drinks marketing? Is Tik Tok as important as some people say?

The issue the work originally appeared in is noted.

L[A] 3+4/2021

L[A] 2/2022

L[A] 3/2022, spot for Aviation gin

DH TikTok is somewhat a gray area for alcohol marketers. As there is currently no age gating on the platform, we advise all of our clients not to advertise in the space. But with TikTok bringing in so many monthly users, it’s hard to deny the appeal.

TikTok estimates that it has about 80 million monthly active users in the US. 60% are between the ages of 16-24, so it’s definitely a younger platform than most, with Facebook’s largest age range being the 25-34 category. But the rather sizable chunk of TikTok users under the age for consumption in the US highlights how it’s not really appropriate for alcohol marketing in the US currently.

L[A] Have you spotted any particular trends in the way drink is marketed creatively? Do you have a current favorite drinks ad campaign?

DH People know that consumers don’t need to see the same frosted beer glasses and models sitting around drinking together that they’ve seen for twenty years. Ryan Reynolds is probably the best current example with Aviation American Gin and their short (often straight to YouTube) ads that serve as comedy content more than an ad. The vasectomy cocktail he created for Father’s Day in 2021 gained over 7m views and is well worth a watch.

hol brands can do to ensure a high quality (and Instagrammable!) drinking experience at home will be winning new customers.

L[A] What’s your own favourite drink (s)?

And where do you like to drink it – bar, restaurant, home?

DH I always love answering this question. I will say a mezcal margarita at home is a particular Friday night treat. They’re fun to make and refreshing after a hot day. When we go out to a restaurant I’m most likely to find a local beer, I’ll drink most styles but nothing really above 6% anymore. I have a two-year-old and have to be up at 6am most days!

L[A] Finally, is there a drinks ad campaign of the past 10 years that you wish you’d been involved in?

L[A] What are your predictions for how the drinks market will develop over the next few years?

DH Oh so many! There are easily thirty brands I wish I’d launched or designed the branding of. But in terms of a campaign that always comes back to me, it’s got to be Babe Wine’s Moving On campaign.

In the opening months of the pandemic they partnered with dating app Bumble to cover the moving costs of women who are stuck living with an ex during lockdown. Babe Wine and Bumble are all about female-first, taking the lead and making bold choices. For me this campaign just fits the brand so perfectly, I really wish I was behind it!

DH I hate to say it, but I think it’s going to be a really rough ride, especially for any small breweries, over the next year or so. Global recession on top of a multitude of other price rises and goods shortages makes it an almost impossible journey to navigate. So I think we’ll see the number of new breweries/beer brands slow. I also think we’ve just about hit peak gin, I’m not sure many retailers will take a meeting with any new gin brands having been inundated with them over the last three or four years.

With bar closures on the rise, home drinking and entertaining will become the norm, but with this, people will be looking for ways to serve interesting and high quality drinks. Whatever alco-

Dan Hooper Dan is Co-Founder and Creative Director of YesMore, a Los Angeles and Londonbased alcohol marketing agency. His Instagram channel @BrewWithAView is home to thousands of beer fans worldwide, pairing worldwide travel with the drinking of great beer. He has a monthly column in The Buyer and has written for The Drinks Business, Hop Culture, Campaign and Drinks International.

This information and full credits at luerzersarchive.com

Vol 3/2022

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Noel Barnhurst Photographer

noelbarnhurst.com

PETE WILSON OAKLAND, CA

WWW.PETEXWILSON.COM

FOOD + DRINK SPECIAL

A global bunfight Award-winning creative director Tony Malcolm explores the past, present and future of McDonald’s and Burger King advertising as these two mega brands slog it out in the world’s fast food market.

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previous spread: L[A] 1/2022 (left page), L[A] 4/2018 (right page) top: L[A] 1/2020, bottom: L[A] 4/2019

I was involved in McDonald’s advertising on both sides of the pond as a writer, CD and ECD for well over a decade. I remember when I first was asked to be on the account in the early 2000s and thinking it was a poisoned chalice to delve into the murky world of fast food.

It was also a massive opportunity to work with one of the world’s most iconic brands under the glow of the Golden Arches.

But the film called Supersize Me had made the brand into the golden arch-villain, that it was the main culprit in contributing to the burgeoning obesity crisis.

I clearly remember one shoot in Uxbridge where a woman clutching a can of high-strength lager in one hand and a cigarette in the other (which begged the question, how was she pushing her child’s buggy?) asked me what commercial we were shooting.

‘Oh, it’s for Big Mac,’ I casually replied. Her expression immediately changed to one of total disdain as she reprimanded me “You should be ashamed of yourself” before storming off in a cloud of Marlboro smoke. The whole brand had become a pariah in the UK and beyond.

ered their primeval urge to gather around flames, drink ale and cook meat. Out of the red, white and blue, there was this thing called a Big Mac from the States, that towered above those flat, uninspired offerings. Two burgers stacked between three pieces of bread with an assortment of other ingredients.

The ad was a jingle with a roll call of its ingredients as, “two all-beef patties, special sauce, lettuce, cheese, pickles, onions on a sesame seed bun”.

“I need to go and get my bony frame down to that McDonald’s restaurant and buy myself one of those monsters, with a full fat milkshake to wash it down with,” I mused.

Big Mac had arrived and there was nothing else quite like it. I was young at the time and it seemed huge in my diminutive hands.

I remember their jingle from back then saying “There’s a difference at McDonald’s you’ll enjoy”. And I did, along with smoking and underage drinking, putting paid to my earlier promise as a talented sportsman.

Now I recall the opening of the first McDonald’s in the part of London I was born and bred in. Burgers had just been the sort you could buy at Wimpy or from stands outside football grounds and fun fairs. They would appear at barbecues, when the men discov-

I became aware of this clown called Ronald who was ensconced in scrapes with a stalker called Hamburglar trying to steal his burger from him. Ronald resolved this situation by taking him and a group of children to McDonald’s to load up on calories. How Ron hasn’t been canceled in these less innocent times, I don’t know.

Then a newcomer entered the fray. The Whopper from Burger

Lürzer’s Archive

The issue the work originally appeared in is noted.

top: L[A] 2+3/2021, bottom: L[A] 1/2019

top: L[A] 5/2016, bottom: L[A] 1/2017

King with a very catchy jingle loaded with innuendo saying “mine’s a Whopper, you need two hands just to hold that thing”, which found great traction in the playground as a chant. These two gladiators entered the ring like Cassius Clay and Smokin’ Joe Frazier ready to slug it out to claim the World Heavyweight Champions belt.

Meanwhile, my own belt was feeling the strain of deciding which one was superior.

Suddenly, fast food was a cheap alternative that Brits embraced with open hearts and open mouths with the two titans of this new form of cuisine vying for our affections.

McDonald’s going for slow motion shots of bouncing crisp lettuce, succulent beef patties, fluffy looking buns, all lavished with mouth-watering sauce, lashings of onions and pickles sprinkled with sesame seeds over a beautifully browned dome.

Whopper came back with flames licking around a huge, glistening, griddle-lined patty with onions, tomatoes and lettuce spilling out of a gargantuan bun the size of two dustbin lids, claiming they’d been flame-grilled since 1954.

Great adverts started appearing making McDonald’s seem as British as fish and chips. Clever Daddy, Being Six, Birds and The Bees and A Day in The Life of McDonald’s all used emotion and humor to grow the UK’s affection for high sugar, salt and fat products.

This information and full credits at luerzersarchive.com

Eye-catching posters for ice cream going for 20p used the typography of the numbers and letter to make smiley faces appear.

Value ads utilizing dry British humor ran about how much work Alan Hansen had to do to afford a 99p Quarter Pounder. ‘Very very poor’ was all he needed to say to cover the cost of the burger.

Other tips on how to save money introduced us to the notion of strapping carpet tiles to our feet to replicate that luxurious carpet feel underfoot all over the house without forking out for expensive shag pile.

In 2003, the slogan “I’m lovin’ it” emerged as the global endline with the five-bar sting for McDonald’s, courtesy of Justin Timberlake.

But then a film was released that was to make the world start loathin’ it.

In 2004, Supersize Me saw Morgan Spurlock, a documentary maker, go to McDonald’s for breakfast, lunch and dinner, until he made himself physically sick in the name of art and nutrition.

It put the blame for obesity firmly on the doorstep of McDonald’s and started a wave of myths and stories about what other dubious practices were involved in the sourcing and manufacture of their food items. A new digital tool called the internet helped spread these rumors like wildfire.

McDonald’s had to do something radical in the UK to overcome this wave of negative publicity and be seen as the standard bearer for good and ethical practices in the UK. Vol 3/2022

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top: L[A] 2/2016, bottom: L[A] 1/2022

Ads about the provenance and quality started appearing.

McDonald’s beef was sourced from British farmers, as well as their Pentland Crown potatoes. Their chicken and eggs were free range, their cooking oil was re-used as fuel for their delivery trucks. No patty was left unturned in their desire to prove their spotless credentials.

McDonald’s UK went on the front foot and refurbed their restaurants whilst updating their menu. Their core products like Big Mac, fries, chicken nuggets, quarter pounder with cheese, McFlurry, Coca-Cola and Happy Meals remained the same, but they brought in carrot sticks and fruit bags for the kids and even the McSalad.

McCafé introduced artisan coffee to replace the stuff you could stand your spoon up in.

Beware of pick-packets ran on the London Tube warning of unscrupulous people with their eyes on your fries.

This wave of ad activity saw McDonald’s sales increase by 500% and started a series of lovely ads that planted McDonald’s products firmly into a role in everyday life, 24/7.

A brand ad for Happy Meals asked the age old question, “what is it about kids and boxes?”, showing how children’s curiosity about a six-sided container often exceeds the interest of what’s inside it.

Happy Meals underwent their own upgrade, swapping out plastic toys for e-books and more educational offerings. They became a popular carrier for new film releases, producing partnerships with studios that linked their characters with carrot sticks and fruit bags.

Their confidence was high and they produced their first brand ad in ten years.

‘Just Passing By‘ was an ode to their core menu items that put them into everyday life from breakfast in the mornings to the late night revellers coming in to line their stomachs. David Morrissey’s dulcet tones to the theme tune to The Grifters accompanied people enjoying all sorts of menu items at all times of the day.

“There’s a McDonald’s for everyone”, Mr Morrissey announced as we saw that promise in all its glory, shot beautifully by Neil Gorringe.

This confidence was echoed on poster sites with insights that extolled the virtues of their offerings like ‘Painfully Thick’ for their shakes, ‘Gherkin or gherkout’ that asked the split jury whether they left the pickle in or took it out of their Big Mac and ‘Mirror, signal, McDonald’s’ that took you off road and into the Drive-Thru. The line

The French too were feeling the confidence, putting out some wonderful poster work with their products represented in flat bold colors. No logo, just iconic imagery.

They produced a character of their own called Monsieur Happy who bears an uncanny likeness to the ever-popular Minions.

However, sales in the States were in quarterly decline due to more healthy options like Chipotle rising in popularity with millennials. They tried to halt decline with a film that claimed that Lovin’ beats Hatin’, which failed to move the needle and ultimately McDonald’s aligned all their marketing activity with the ‘agency of the future’ called We Are Unlimited with digital and data at its heart.

Burger King, which produces many items akin to those at McDonald’s, ran a film where the only item people from around the world knew them for, The Whopper, was said in all their diverse accents.

Lürzer’s Archive

The issue the work originally appeared in is noted.

L[A] 2/2020

top: L[A] 3/2017, bottom: L[A] 5/2019

The horsemeat scandal that threatened to scupper the Whopper’s sales, increased its popularity. Instead of putting people off, it encouraged them to give it a go. If the French eat le cheval, it can’t be all bad.

McDonald’s burgers were found to be devoid of any horsemeat, but they decided not to stick the riding boot in on The Whopper, mainly because they too could’ve been caught out by a beef provider not sticking meticulously to their strict guidelines.

Whopper meanwhile didn’t stop its attack on The Big Mac. They produced an ad that showed the Whopper growing moldy over time next to a Big Mac that stayed pristine due to its use of preservatives. It won many plaudits and awards, but critics say it left a nasty taste in the mouth regarding The Whopper. What madness to show your product looking anything less than magnificent.

I think this served as a singular lesson that bold and brave don’t always equal persuasive and awards don’t always reflect what is liked by the public. We are tasked with making mouths water in food advertising, not producing imagery that makes you reach for a bucket. I have lost many a good ad due to research but in this instance, even though the message was a strong one, perhaps a straw poll or vox pop would have made Burger King think twice before going out on such a fragile limb.

Much more in line with their subterfuge and cleverness was a PR campaign revealing that whenever Burger King shot its whopping offering for an ad, they had sneakily hidden a Big Mac behind it to demonstrate its inferior size.

This information and full credits at luerzersarchive.com

This was gloves-off stuff that probably irked McDonald’s, but didn’t prompt them to retaliate, preferring to keep on the winning formula of showing the Big Mac looking glorious and introducing a new range with a bigger variant, and one with bacon, to celebrate it’s 50th anniversary.

To counteract claims that McDonald’s encouraged an unhealthy lifestyle, they had started introducing academies to get kids into football in the late 90s. This initiative branched into them sponsoring the Olympic Games, The Euros and the World Cup, producing some ads that placed McDonald’s into the heart of the action, without touting food that was likely to give you a heart attack.

A lovely pitchside hoarding during the World Cup encouraged the England team to up their game by simply changing the McDonald’s logo to say c’Mon laDs. In the States, this association with sport extended to a wonderful ad to promote the Brazilian World Cup with an augmented trick shots game using QR codes on french fries packets by demonstrating some amazing real life trick shots in Brazil itself.

Today, McDonald’s is keeping up to speed with modern day life.

The idea of delivery, which McDonald’s had rejected for so long, has now become an essential part of their offering and great ads are appearing in the press both at home and abroad.

From the home of gastronomy, impressionistic ads appeared of cityscapes seen through rain spattered windows with the Golden Arches, prompting people to dial out for their McD’s rather than brave the elements.

In the UK, the Golden Arches were utilised to plot the route from Vol 3/2022

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top: L[A] 1/2021, bottom: L[A] 4/2014

restaurant to home, lighting up the destination in its golden glow.

In Canada, mobile phones were used to replicate fries and a stacked Big Mac to promote their mobile ordering service.

The McCafé range is also hilariously represented with ads mocking the pretentiousness of coffee culture and excessive prices paid for barista-served artisan coffee. McDonald’s gives you good coffee, without the faff and none of the gimmicks.

Now with the vegan movement rising in popularity, McDonald’s is venturing into the McPlant range, and it remains to be seen what other initiatives are in the pipeline.

How will Big Mac and Whopper react in this modern-day world?

Will there be a McPlant Big Mac? Will the Whopper reciprocate with a non-meat variant? Will they just continue to appeal to their loyalists with their trademark humor, like the brilliant Another Whopper on the Side of a Bus ad on a double decker outside the UK Parliament in the wake of the lies spread by (then Prime Minister) Boris Johnson to get Brexit done?

How will both brands adapt to embrace future challenges and react to unforeseen threats and how it affects their tone of voice in appealing to us with their comms? The McDonald’s brand was condemned for its slow response in pulling out of Russia in protest of the invasion of Ukraine.

McDonald’s is still failing to make an impact on their carbon footprint, belching out more cubic tons globally than the whole of Norway.

Will the World Cup in Qatar work for them in the depths of winter?

Will the LGBT and human rights issues be overlooked in the name of the beautiful game?

Planners and strategists will be chewing the fat about how to tackle these and future challenges, like sustainability, whilst introducing new vegan initiatives.

Because the world of fast food demands fast thinking and nimble footedness in reacting to global issues.

Whopper will continue to goad and irritate Big Mac even though McDonald’s will treat it like an annoying insect and try to ignore it.

Christmas is coming and, in the cost-of-living crisis, how will both brands represent their wares? Will they be doing their usual celebratory ads or go into a more penny-pinching mentality of tightening the purse strings?

Tony Malcolm, Previously CD of McDonald’s at Leo Burnett UK and ECD of McDonald’s at DDB Chicago. Presently freelance creative director and senior copywriter.

Lürzer’s Archive

The issue the work originally appeared in is noted.

Client: Weight Watchers Austria Foodstyling: Charlotte Cerny

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Archive × 20

L[A] 6/2002, Proximity BBDO, Brussels

L[A] 6/2003, AMV BBDO, London L[A] 1/2006, Absolut Vodka / in-house, New York

Lürzer’s Archive

The issue the work originally appeared in is noted. This information and full credits at luerzersarchive.com

As we look to the future of food and drink advertising, we thought it would be interesting to see what’s been influencing you most in the past two decades.

So here are some of the most searched for print ads in our archive from 2002 to 2022.

L[A] 1/2005, DLKW Lowe, London

L[A] 1/2004, CLM BBDO, Paris

L[A] 1/2005, Lowe Pirella, Milan Vol 3/2022

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L[A] 2/2007, TBWA\Chiat\Day, New York

L[A] 4/2008, AMV BBDO, London

Lürzer’s Archive

The issue the work originally appeared in is noted. This information and full credits at luerzersarchive.com

ARCHIVE × 20

L[A] 6/2010, Creature, Seattle

L[A] 2/2011, They, Amsterdam

Vol 3/2022

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L[A] 6/2011, Kolle Rebbe, Hamburg

L[A] 6/2012, Abbott Mead Vickers (AMV) BBDO, London

Lürzer’s Archive

The issue the work originally appeared in is noted. This information and full credits at luerzersarchive.com

ARCHIVE × 20

L[A] 1/2010, Ogilvy & Mather, Johannesburg

L[A] 4/2011, BBDO, Santiago de Chile

L[A] 3/2012, Ogilvy & Mather, Mumbai L[A] 1/2013, adam&eveDDB, London

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L[A] 1/2015, Ogilvy & Mather, Mumbai

L[A] 3/2015, Young & Rubicam (Y&R), Milan

Lürzer’s Archive

The issue the work originally appeared in is noted. This information and full credits at luerzersarchive.com

ARCHIVE × 20

L[A] 6/2014, DDB, Budapest

L[A] 6/2014, McCann Erickson, Istanbul

L[A] 2/2016, Africa, São Paulo

L[A] 6/2017, LOLA MullenLowe, Madrid

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GUY JOST FOTOGRAFIE www.guyjost.ch

YANNICK SCHMIDT FOTODESIGN

YANNICKSCHMIDT.COM

gregoryreidphoto.com

FOOD + DRINK SPECIAL

L[A] 2/2016, The Secret Little Agency, Singapore

L[A] 4/2018, Africa, São Paulo Lürzer’s Archive

The issue the work originally appeared in is noted. This information and full credits at luerzersarchive.com

ARCHIVE × 20

L[A] 2/2017, Arnold, Boston

L[A] 2/2019, BBDO Proximity, Dusseldorf L[A] 1/2022, VML, New York

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L[A] 3/2019, BBDO, Guayaquil

L[A] 5+6/2021, Mullenlowe Delta, Guiayaquil

Lürzer’s Archive

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ARCHIVE × 20

L[A] 5+6/2021, MullenLowe SSP3, Bogotá

L[A] 2/2022, Leo Burnett, Milan

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303.249.4112 hello@chadchisholmcreative.com chadchisholmcreative.com

PHOTOGR A P H Y + MOT I O N

E : I N F O @ L E S L I EG R O W. C O M W: L E S L I EG R O W. C O M I G : @ L E S L I EG R O W

Represented by Marianne Campbell Associates marianne@mariannecampbell.com 415 433 0353

annabellebreakey.com

FOOD + DRINK SPECIAL

…and some of our editor’s favourites

L[A] 6/2010, Prolam / Y&R, Santiago de Chile

L[A] 6/2013, Grey, Barcelona Lürzer’s Archive

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ARCHIVE × 20

L[A] 6/2010, DHM, London

L[A] 4/2014, Publicis, São Paulo

L[A] 2/2014, DraftFCB, Hamburg

L[A] 5/2013, BBDO Proximity, Singapore Vol 3/2022

OUR EDITOR’S FAVOURITES

222–223

FOOD + DRINK SPECIAL

L[A] 4/2013, BETC, Paris

L[A] 2/2014, Ruf Lanz, Zurich

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OUR EDITOR’S FAVOURITES

L[A] 3/2013, Pace, Lansing, Michigan

L[A] 2/2014, Santo, Buenos Aires

Vol 3/2022

224–225

JANICE MOSES

FOOD + DRINK SPECIAL

L[A] 6/2013, DDB, Auckland

L[A] 6/2014, Abbott Mead Vickers (AMV) BBDO, London

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L[A] 2/2014, Arnold, Boston

L[A] 6/2014, Leo Burnett, Sydney

L[A] 2/2015, Raffinaderiet, Copenhagen

L[A] 2/2015, LOLA, Madrid Vol 3/2022

OUR EDITOR’S FAVOURITES

232–233

FOOD + DRINK SPECIAL

ARCHIVE × 20

OUR EDITOR’S FAVOURITES

L[A] 4/2015, Herezie, Paris

L[A] 4/2015, Lowe Open, Bangkok Lürzer’s Archive

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LAURIE FRANKEL

REPRESENTED BY

DS REPS

NY 917 407 4292 LA 626 441 2224 SF 310 880 5529

Gareth Morgans Photographer & Director www.processphotography.com

FOOD + DRINK SPECIAL

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OUR EDITOR’S FAVOURITES

L[A] 4/2016, BBDO, Dusseldorf

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FOOD + DRINK SPECIAL

L[A] 3/2016, Abbott Mead Vickers (AMV) BBDO, London

L[A] 3/2017, Tiger Beer, in-house, New York

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OUR EDITOR’S FAVOURITES

L[A] 1/2017, VSA Partners, Chicago

L[A] 6/2017, The Community, London

Vol 3/2022

240–241

FOOD + DRINK SPECIAL

ARCHIVE × 20

OUR EDITOR’S FAVOURITES

L[A] 4/2018, DM9DDB, São Paulo

L[A] 3/2018, DDB, Chicago Lürzer’s Archive

L[A] 4/2018, Suntory Limited, in-house, Osaka The issue the work originally appeared in is noted. This information and full credits at luerzersarchive.com

@STANLEYS_POST

@STANLEYS_POST

STANLEYSPOST.COM

STANLEYSPOST.COM

amueller.com

ELIZABETH POJÉ + ASSOCIATES

vijey.studio

ELIZABETH@ELIZABETHPOJE.COM

310 487 7659

ELIZABETHPOJE.COM

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L[A] 6/2019, Gallegos United, Los Angeles

L[A] 2/2018, Grey, Toronto

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OUR EDITOR’S FAVOURITES

L[A] 2/2018, Thingy, London

L[A] 3/2017, Big Al’s Creative Emporium, London

L[A] 3/2019, David The Agency, Miami

Vol 3/2022

248–249

FOOD + DRINK SPECIAL

L[A] 3+4/2020, Dentsu, Tokyo

L[A] 5+6/2020, We Are Social, Milan

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OUR EDITOR’S FAVOURITES

L[A] 3/2020, TBWA, London

L[A] 1/2020, David The Agency, Miami

L[A] 1/2021, Grupo Gallegos, Long Beach

Vol 3/2022

250–251

FOOD + DRINK SPECIAL

It’s an extraordinary moment for the food and drink markets.

Rather than just their taste buds, consumers are increasingly thinking about the impact on the planet of their choices.

This trend will drive creativity in a more purposeful direction, whether it’s for a brand of everyday chips or a bottle of luxury vodka.

Where is it made, how is it made, is it packaged responsibly, are the ingredients grown sustainably, how will it affect my health, is the company selling it a ‘good’ business?

These and other questions are ones you and your clients will increasingly have to answer. Your challenge is to answer them in the most entertaining, creative and persuasive way possible. Are you up for it?

How’s your appetite?

Lürzer’s Archive Special Report

LÜRZER’S ARCHIVE SPORTS + FITNESS Cover: Photographer Tessa Traeger info@tessatraeger.com tessatraeger.com

FOOD+ DRINK

Lürzer’s Archive

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 © 2022 Lürzer International Ltd. All rights reserved The contents of this magazine may not be reproduced in whole or in part without prior written permission from the publisher, Lürzer International Ltd. Lürzer’s Archive is a trademark of Lürzer International Ltd, London.

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

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

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

Beets: Jon Bielaski Drinks: Kate Ince Soup: Paula Wilson We’re a full service production company in Canada providing representation to an awardwinning roster of commercial photographers /directors. Each specialize in their own field with their own vision and personality.

We work with agencies and clients to create AH HA moments.

andrea@ahharepresents.com 647 892 8062 ahharepresents.com

B RUCE SP HOTO

Bruces_Photo brucesphoto.com taylorsmithfoodstylist.com

Backdrop [256–264] Jimmie Durham Self-Portrait (detail), 1987

Vol 3/2022

Courtesy of the artist and kurimanzutto, Mexico City / New York

254–255

CLASSICS Our revisit of travel and leisure ads from Lürzer’s Archive 1997, 25 years ago.

Lürzer’s Archive

Top: Legend has it that the inventor of champagne was a venerable old monk by the name of Dom Perignon. Alas the good Dom never experienced Korean Air service for himself. But his namesake flies with us, on every trip. And our first class passengers certainly enjoy the company.

Dom Perignon champagne is just one more pleasant surprise you‘ll find on Korean Air, and perhaps, one more reason you should fly with us.

Client Korean Air Agency Ogilvy & Mather, Hong Kong Art Direction Kevin Geeves Copywriter Troy Sullivan Photographer Francois Gillet

Bottom: Dirt roads aren’t for getting there fast.

Claim: Wyoming.

Like no place on earth.

Client The Wyoming Division of Tourism Agency Riddell Advertising, Jackson, Wyoming Art Direction Jeff Martin Copywriter Jim Hagar Photographer Harry De Zitter

Top: Client Thomson City Breaks Agency DDB, London Art Direction Jerry Hollens Copywriter Mike Boles

Bottom left: Client Play Land Agency DDB, Vancouver Art Direction Ian Grais Copywriter Alan Russel Photographer Hans Sipma

Vol 3/2022

Bottom right: Client Sarawak Tourism Board Agency Batey Red Cell, Singapore Art Direction Khai Meng Tham Copywriter Malcolm Pryce Illustrator Michael Lui, David Chin

256–257

REVIEWS

Jimmie Durham

Humanity is not a completed project Museo Madre Naples Exhibition runs until 10 April 2023

It is a bold move, even provocative and unlikely to go without criticism, to mount an exhibition of the American artist Jimmie Durham. When he died at 81 in Berlin in 2021, he was more embraced and admired in Europe than back in the US, where discussion is sucked back to whether he was or wasn’t entitled to say he was part-Cherokee and be an activist for the rights of Native Americans, a role he once held quite successfully for many years … until he didn’t. His work was/is sometimes seen as a bit racist for referring to the (claimed) size of his very own, possibly part-Cherokee, penis. What can you safely talk about these days?

But in bella Napoli he had and has a bella figura, at least spiritually speaking, something of a love affair with the city that now continues thanks to the wonderful Madre museum giving him a first major posthumous show in its palazzo. For a man who was quite the joker and provocateur on many fronts, this would amuse. Failed at home, never more feted abroad.

This show is worth getting along to for the location alone: Naples is a living museum to be enjoyed as a spicy accompaniment to Durham’s work. In the historic center, where Madre discreetly lurks, all around is a mass of graffiti, an outpouring of provocative art that is both disgraceful and strangely uplifting. Jimmie must feel very much at home.

For those wanting a more considered critical note, consider how Durham really messes with our ideas of identity and authenticity, personal and political. He is a trickster whose work may be upsetting to prevailing normative values but whose methods can be learned from for sure. He could certainly produce work to get noticed and sell his ideas. Or, at least, his thoughts. Respect the style, even as you might interrogate the content.

Typical Naples street rich with ‘unapproved’ mixed-media

Right page: Jimmie Durham Self-Portrait (detail), 1987 Top: Xitle and Spirit, 2007 Above: Self-Portrait Pretending to Be a Stone Statue of Myself, 2006 All three Durham images courtesy of the artist and kurimanzutto, Mexico City / New York Lürzer’s Archive

REVIEWS

Make Break Remix The rise of K-style Published by Thames & Hudson 303 pages, €21.35

Images this page are from Make Break Remix

Lürzer’s Archive

You may have heard of, or indeed be a fan of, K-Style. It’s been around for a while, this exuberant flowering, a sort of coming-of-age within Korean culture that differentiated it from all the international influences. Putting a start point on it is hard, but has been building increasingly powerfully over perhaps the past 30 years, emerging with democracy and the maturing of postwar South Korean society as a whole. This evolution, writes author/editor Fiona Bae, saw Korea move from exporting cars to exporting culture. She goes on to say: “Ultimately K-style is a bold and brave attitude pioneered by young Koreans remixing everything they find to be cool with zero inhibition … K-style celebrates new-found confidence, pride and independence.” That quote encapsulates the slightly breathless hype that the book brings to the subject but which is perhaps to be expected. The subject is rich in hyperbole, that is its essence. Somehow that makes it so very much of its time, these times.

Make Break Remix could be a useful manifesto for a culture ministry in some other small nation wanting to punch above its weight. Although don’t forget to have the economic muscle that South Korea built up first.

Excess all areas HTSI

The Financial Times has long been one of the best English language weekend print newspaper reads, even for those of us not especially interested in the money markets.

The arts reviews, columns, interviews and covetable property section are the perfect accompaniment to a slow-start Saturday.

It includes not one but two magazines. One, FT Weekend, is an awardwinning but relatively standard-format production with high-class serious writing (and a clever quiz). But there is also an over-sized and, in many ways, over-the-top, color supplement to drool over. Full of outrageously expensive items nobody but a newly minted tech billionaire or mega-bonused banker would consider affordable, the title seemed born of a more ostentatious age.

How to spend it, as it was called, was like a slap in the face for mere ordinary salaried mortals. We were clearly failures since we could only look incredulously at a suit or dress that each cost more than our annual clothing budget.

Despite being found among the leftovers at Colonel Gadhaffi’s Tripoli compound in 2011, which might have soiled the publication’s reputation, it wasn’t until Covid took its toll and then the Ukraine war hit the global economy that it all began to look a bit too out of touch with reality. Even when the revered designer Jony Ive guest-edited the magazine, the title sat uncomfortably with both his aesthetic and his content.

So the FT renamed it a few months back – sort of – and called it HTSI. Remarkably, the content is the same. Still out of reach to all but the 0.005%.

And it is still, in our opinion, one of the best designed and produced supplements published.

But will the new name really change perceptions of this visual homage to extreme wealth?

We somehow doubt it.

Vol 3/2022

260–261

REVIEWS

The Obsessed Otaku, Tribes and Subcultures of Japan Published by Gestalten 288 pages, €39.90

Thanks are due to Tokyo-based photographer, director and writer Irwin Wong for producing this fascinating document on contemporary subcultures of Japan (or some of them). He appreciates that the seemingly outlandish behavior of others throws an interrogative light on our own less exotic lifestyles. If people get so much fulfilment out of dressing up and conducting themselves in such extreme, and generally harmless, ways, why don’t more of us do it? Besides making the pictures, Wong also interviews many of the subjects at some length. This is a part to treasure in the book, as it goes places that an Instagram feed or a more mainstream social anthropologist report might not go. Wong did not take what people said without contextualizing it: “I interviewed each subject and supplemented that knowledge with research into the background of each subculture by reading newspaper articles or academic papers.” So you can have the cake and eat it in terms of intimate encounters with the weirdos and yet also take the more Olympian view of an analyst. Wong notes that, “the one thread connecting all these disparate subcultures is the utter devotion their proponents show to their lifestyle. Whether spending over 50 million yen on customizing a truck or building a full-size army vehicle from scratch in a truck, the otaku, or supernerd, pursues their hobby to a point beyond all common sense and reason.”

He doesn’t flinch at this but wonders whether the rest of us are brave enough to show the world what we really love. “The people in this book are the nails of Japanese society that refuse to be hammered down,” he writes, referring back to a Japanese phrase that suggests those that stick out – those with flair and difference – will get beaten down. All hail the otaku!

Random inspirations – from cosplay characters to the adoption of a one-eyed masks – fuel wildly diverse appearances by the otaku.

All images from Photo Irwin Wong, The Obsessed, gestalten 2022.

Lürzer’s Archive

Image: Jon Tyson | Unsplash

Open for entries from 14 Feb.

cresta-awards.com

The creative standard

Rankings 2022 The race for agency of the year Some of the world’s most respected names in advertising are currently vying for top spot in our 2022 agency rankings.

It’s so close at the top, in fact, that three are tied for third place.

Here’s the current top five.

1 2 3 3 3

Mother, London adam&eveDDB, London Droga5, New York BBC Creative, Manchester Publicis Conseil, Paris

We will announce the final rankings for this year after adding work published in this issue. Keep an eye on the website during January for all the final 2022 results.

A less familiar new entry in the Top 10 Tying for sixth place in our rankings at the moment is an agency that not everyone will know as well as the illustrious names above.

It is The Narrow Street, Bangalore. The agency already has had four campaigns selected this year and we expect to see them continue to carve out a global reputation over the coming issues. Check out the LA-selected work on our website now.

A new rankings coming soon As part of LA’s new look and new website we will update the rankings system in 2023, enlarging both the type of work we celebrate and archive, as well as the way in which we calculate the rankings. Watch out for announcements online early next year.

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