Lürzer's Archive issue 225 (US edition) 4/23

Lürzer’s Archive Issue 225 4/2023

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UPFRONT

Back in 1987, before many of you were born, an (almost) boyish me joined the emerging team of talents that was Lürzer’s Archive. The publication was an innovation.

It was for me, in some ways, a dream job.

The magazine had been launched in 1984 by famous ad creative and agency-builder Walter Lürzer. It set out to provide a unique record of the best new advertising work worldwide. Walter was filling a gap in the market for which he, in effect, was the first, and a very demanding, reader. The magazine was unprecedented in what it did and, as with many unprecedented things, faced more operational challenges than anticipated. I was part of the build-up of resources required to take on the immense task of finding, sifting and presenting the very best work, anywhere from Argentina to Zanzibar, and all the places in-between.

I learnt on the job and had to learn fast. And I have never stopped learning. That’s probably why I am still here today after what has been a lifetime for many of you. Creativity moves remorselessly forward and it has been my task and pleasure – and honor – to track and celebrate the ever-changing creative zeitgeist.

Since Walter sadly passed away in 2011, I have held the titles of both Publisher and Editor-in-Chief. This was, in truth, at times a heavy burden. Finding and choosing the best work was enough, while heading up the business more broadly was not truly where my passion lay.

In the last couple of years or so, much of the responsibility has shifted with Lürzer’s new owners. The commitment, fresh ideas and investment from Lewis Blackwell and the late (and much missed) Alan Page has revitalized and strengthened our work. You have already seen a redesign of the magazine and a relaunch of the website, and there are major new features coming online very soon – Rankings and Profiles – plus more innovations in the pipeline for 2024. Yes, it is our 40th anniversary year and we will mark it in style.

Gottfried Helnwein, The Visit 4, 2021-2023, Reviews page 192.

This year will see us widen the range of submissions we look for and develop how we cover the best work online and in print. As a result, this seems a good time for my own role to develop. We will bring in more researchers, and more ways of judging and editing. I am going to step across to a new position as Curator, still hands-on but in a role that might help me better contribute to the quality and evolution of bringing in and judging that new work. My name and words might still feature here from time to time, but the editing and publishing tasks will be shared more widely across our strengthened team.

So there’s some fresh news right upfront. Not the most notable thing in history since 1987 but it’s a big change for me! Please keep reading, keep showing us your work, indeed ever more of it. My title may change but I plan to be here helping Lürzer’s Archive remain at the forefront of innovation … as always, with your kind support.

Michael Weinzettl, Curator Lürzer’s Archive

Vol 4/2023

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Contents

1

UPFRONT

4

THE SMALL PRINT

6

ECLECTIC 1 or 0?

10 INTERVIEW Joaquin Cubria 18 PRINT WORK 125 FILM WORK 134 INTERVIEW Tara Ford 139 FOOD + DRINK SPECIAL REPORT Can we escape red and yellow?

187 BACKDROP Classics Reviews

THE SMALL PRINT Lürzer’s Archive Issue 225 4/2023

LÜRZER’S ARCHIVE Issue 225 4/2023 ISSN 0893 - 0260 ISBN 978 - 3 - 903909 - 08 - 3 Cover: Client Supergalactic Brands Agency Contentious, Inc., New York Creative Direction Steve Whitter Art Direction Steve Whittier Copywriter Bill Roden Illustrator Drew Robinson

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Contents © 2023 Lürzer International Ltd. All rights reserved

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Brand and Design Direction SIX Contributing Editor Maeve O’Sullivan

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.

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ECLECTIC

1 or 0?

To shed light on our digital lives, we asked recent stars of these pages a simple question: which is better, 1 or 0?

Discover the victor of the numerical face-off below. The answer may feel binary but there’s more to it than that.

ABI STEPHENSON Senior Creative BETC, Paris Zero.

Zero fucks given.

Zero worries.

Zero complications.

Zero bullshit.

Zero barriers in the way …

Zero is nothing but an opportunity.

PHILIPPA GROB Creative Director Freelance, Vienna It takes just one spark to start a fire.

One notion to change a whole story.

In a society of abundance, limitation is maximization. Take just one photograph of what you want to capture. Focus.

Present only one concept to your client.

Be confident. One is enough, one is all.

DANIELA OSORIO Head of Content The Juju Agency, Bogotá

I wouldn’t choose zero, but rather double zero.

Remember Y2K? When we believed that the first second of 2000 would be ‘00’, causing machines to confuse it with 1900 and potentially triggering a computerized apocalypse that would forever alter the world we knew?

That has to be one of our top sci-fi tales, starring the underestimated zero.

ERICA BYRNES Group Creative Director Area 23, New York In numerology, the number zero is often associated with potential and possibilities.

You have the power to create your own reality. The world is your oyster.

Zero is nothing but an opportunity.

WALID KANAAN Chief Creative Officer TBWA\RAAD, Dubai I go for zero without hesitation.

It’s not because I come from a culture that invented the number, but more for what it represents: It’s the starting point, a blank canvas, for everything.

The foundation for new ideas, new horizons, and new perspectives.

Zero is a void waiting for you to fill it, it’s an open invitation.

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CARLOTA BARTOLI Art Director Knock Brand Design, Barcelona ‘Zero’ is the nothingness, but in its circular form it includes the whole. That is why, in my opinion, it represents something greater than any other numerical value. ‘Zero’ is the void that symbolizes opportunity, a horizon open to any possibility, It is a number that frightens and excites at the same time.

VERA LÄNGER Creative Director Artificial Group, Budapest I want to be a zero. I try to be a zero. Why? It may seem like the symbol of nothing. However, when placed behind a number, it provides a tenfold increase in strength. So, when I stand behind my team, I try to provide them with the same boost and make their talent shine ten times more.

MARY VAMVAKA Associate Creative Director Freelance, Athens I have sat at this izakaya zero times. And this is great. Because I can dream of going back to Japan and sitting there. And that’s better than having sat there once. I have zero favorite works.

This is how I can always chase a better one. Zero is my white canvas. It’s real and imaginary. Just like ideas. Or this article you are currently reading.

I choose zero.

HUMBERTO MALDONADO Associate Creative Director Alma, Miami

TODD MACKIE Partner and Chief Creative Officer Broken Heart Love Affair, Toronto One is something. Zero is nothing.

And if you’re going to try and create something brilliant, you need to start with something. An insight, an observation, or a desire. You can only capture a heart if you know where you’re going. So, start somewhere.

Start with something.

One / zero.

To be the one or to feel whole?

So much meaning in what seems to have no value.

One is the start, what comes after nothingness.

Zero is infinitely balanced, a blank slate. Oneness makes you feel whole. And being at zero makes you feel free.

Yet, my favorite number is three.

Vol 4/2023

6–7

ECLECTIC

GIANNA KATOPODI Creative Director Ogilvy, Athens I’d say that zero is more interesting, at least to me. It’s more than a number.

It’s the shape that mouths take when the brain reaches that zero ‘oh’ moment. A moment of epiphany, of orgasm or an ‘oh shit’ moment. Definitely an interesting moment in my opinion.

SARABJIT SINGH Group Creative Director Mullenlowe Lintas Group, Mumbai Binary one is the fundamental building block of the ever changing digital world, shaping our modern lives, from the devices we use to the information we access. Lastly, why did the on state of the binary number one always get invited to computer parties? Because it had a way of sparking up the place!

EMILY ADKINS Art Director Freelance, Chicago The number one to me is new beginnings.

Optimistic and full of possibilities, it is the first step out of your front door into the great, big, adventurous unknown.

Page one. First chapter.

Zero is nothing but an opportunity.

Lürzer’s Archive

CORA PEREZ FERNANDEZ Creative Director the community, Miami Although visually, zero is way more tempting than one, the answer is clear that one is the winner. And it’s because one is the number that changes it all.

One kiss can tie you to someone forever, one experience can change your opinion about something, and one good idea can change the course of your career.

CRAIG SCHLESINGER Creative Director Anomaly, New York I prefer the number one because ovals are objectively terrifying. (Circles too, but let’s stay focused.) What’s inside that empty space? What could fit in there? Could I fit in there? Will I get stuck inside? Is that how my story ends, lost in a zero?

JENS PETTER WÆRNES Managing Executive Creative Director Scholz & Friends Group, Hamburg One. One is a moment.

One is individual.

One is free.

One life.

One universe.

One love.

One is first, best, and unique.

One big, brilliant idea.

One is the loneliest of numbers, unless it pairs up with other great ones.

One is beautiful.

HENRIK KNUDSEN jsragency.com

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Gut feeling Latin network GUT blew away all other top contenders at the last Cannes Lions by taking best agency, best independent agency and best independent network of the year. Then the founders sold a controlling stake to a major client … that’s quite a 12 months. We talk with Joaquin (‘Joaco’ to his friends) Cubria: he is a CCO (of Buenos Aires office) and a Partner within the overall business.

Lürzer’s Archive

© Chini Bolsón Vol 4/2023

10–11

INTERVIEW

L[A] Hi, Joaquin. Thank you for making the time.

Do you know Lürzer’s Archive?

Joaquin Cubria Yes. Thank you for inviting me. I’ve been a subscriber for ... well, I’m 48, so I’m from the era where we taught ourselves advertising, especially in South America, by reading Lürzer’s Archive and a few other publications. We taught ourselves using magazines and annuals from award shows. So I’m very familiar with it.

L[A] So how did you start out?

JC When I was in fifth grade at school I had a friend and his father was an art director at Leo Burnett, which was probably one of the only big ad agencies then in Buenos Aires.

I remember going to my friend’s house and seeing this oldschool art director. He would draw things and would storyboard films. Seeing that, I thought, ‘This is a cool job to do.’

So I always wanted to do that, and I was close friends with this guy. He was also the first person I knew to have a Macintosh; I was fascinated by what you could do with it, the games you could play on it. So I was driven to it. I don’t remember wanting to do anything else but advertising.

When I finished high school I started working at Grey, in the production department for two years. I knew someone and knew that I would be working for free, not getting paid, just an internship.

So I did that for two years and then I was able to switch to creative and start all over again, trying to build a portfolio and a reputation. I worked at a few small agencies and then I joined BBDO when it started in Argentina.

When BBDO started in Argentina it was probably one of the worst times ... Well, now it’s a very hard time, but this was perhaps the worst moment, economically, for Argentina before this one, back in 2001. We were almost close to bankruptcy as a country and that’s when we started BBDO. There was also 9/11, so these were not inspiring times to start a project. But I was part of that team of six people at the start, and when I left six years later, we were around 60 people or so and well-known with good work.

Then I left for Ponce. It was an agency in Argentina that worked a lot on Unilever global projects like Lux and Axe – all those Axe ads from the 90s and 2000s. I worked there for four or five years but left in the middle to go to Ogilvy for six months, then Lürzer’s Archive

I came back as an ECD. So my first executive creative director experience was at Ponce Buenos Aires.

I did that for two years and then left to help start David. I was David’s first hire even before it was an agency. Buenos Aires was the first David office and then it opened up to São Paolo and then Miami a few years later. I was at David all the way through from 2012 to when we started GUT in 2019.

L[A] What led to the need to start another agency?

JC Well, GUT is largely the same group of people. The founding team of David – which, of course, was Gaston Bigio and Anselmo Ramos as founders, plus me, Ignacio Ferrioli, Ricky Casal, Fernando Ribeiro was head of planning, and others.

This group had started David and I think we got to a point where there were things that we couldn’t change inside a holding company [David is owned by Ogilvy] and rules that we had to play by, which didn’t always seem fair to us, like if the business is doing well and we want to retain talent, yet we cannot pay bonuses at the level we want to because that doesn’t fit in with the guidelines of the holding company.

We were also being affected by such things as being charged for using services that we weren’t actually using, and stuff like that. We wanted a level of independence and felt that we couldn’t achieve that there.

Also, I think a breaking point was when Gaston and Anselmo tried to make all of us who are now partners at GUT, partners at David and the holding company said something like, ‘No. That’s not happening.’

L[A] What is this chemistry that has led a group of you to set up and work together across multiple agencies now?

What keeps you together?

JC There’s an element to what I call GUT success that can sound weird when you say it yourself. But it’s undeniable that in five years we’ve created a network that is very successful, at least in terms of what we do.

A very important element to that success is that we know each other so well. Even though we operate as a network and have offices very far apart, all of us operate in a very similar way, in the way in which we approach briefs, in which we build relationships with clients.

Left: New Iconic Kisses is one of GUT’s many performance-changing works for Mercado Libre, Latin America’s biggest online marketplace.

Above: El Gerente became a true-life documentary movie spawned from the drama of an earlier campaign created by GUT to promote Noblex televisions. Together, they transformed brand recognition during the 2018 and 2022 FIFA Men’s World Cups.

So when you’re in need, as a brand, of making a jump from one office to another, or even of bringing offices together into an effort for a global or regional campaign, or something like that, there’s no friction. Our inter-office work is very frictionless.

My earlier experience, even in these agencies’ networks within a holding company that we created ourselves, was that when we had a project that we were sharing either with Brazil, with Miami, or whoever it was, there could be some friction: ‘Is this your business? Is this my business? Who’s going to make the most out of it? Who’s going to …?’

That doesn’t happen within GUT. We know each other so well. We’re friends, it’s like, we’re collaborating. The best part of this is that you’re not wasting energy and time making sure that you’re not being stabbed in the back.

Everything goes into the work. We don’t waste much time working out how to approach things.

It’s not that we have a style but I think there’s a transparent and intuitive way of doing things that applies to most of us. We’re all ad nerds, we like the same stuff, and we all grew up admiring the same advertising as well.

Then we might try to find a way around certain, I would say, bureaucratic procedures or ways of working because, in Latin America, you usually need to find your way around things because there isn’t enough budget to sustain the same processes over time, and so you need to try to get to the same level of quality, spending less money and putting less time into it.

L[A] There’s definitely not a style, there’s just a lot of good work. But is there some commonality there? As you say, you definitely appreciate the same things. There are maybe some influences that you could perhaps point to that are common.

Is there some link there?

L[A] Tell us a bit about your working week.

JC It’s undeniable that, as we grew, we brought in talents and became more diverse in every possible way. But we’re all connected culturally … Gaston is Argentinian, Anselmo is Brazilian and he’s been living more time abroad than in Brazil in his 50-something years, and yet there’s still Latin DNA in it.

When we started out, we admired the best of British advertising and the best of American … we also got European, just the best of it, like the best of French ads, and the best of Dutch, everything that was happening there.

We learned that through Lürzer’s or through the D&AD Annual, or through The One Show. We all, in some way like things set in a proper way, and we still care a lot about how we write things, which is something that I think general advertising these days doesn’t do so much.

We can work on a line for days. We’re obsessed with saying as little as we can, but saying it in the right way.

L[A] So tell us a bit about working in Buenos Aires now.

We know that there’s an economic crisis.

How does that manifest itself in creative work?

JC One of the things I admire most from the people who are still based in Buenos Aires and working down here is how they manage the stress of life together with the work.

This country forces people to spend a lot of thinking time on just surviving. ‘How am I going to pay rent? What am I going to do with the money I have in local currency and I need to invest it in a way that protects its value …’

I don’t think most people from abroad would survive what happens here.

JC We don’t depend that much on local brands. We have, I would say, probably four local brands, and the rest of the work is stuff that we do globally or regionally, or in cooperation with most of the biggest accounts with our Mercado Libre and Mercado Pago brands, which is a marketplace down here – just like Amazon but in Latin America.

On those we work in collaboration with Mexico and Brazil offices. So that’s like a mixed dynamic that we have on almost every regional brief. I oversee some of that stuff from here as well. Then we do global projects. We’re working for Coca-Cola right now on a really cool thing that’s going to launch next year. We’re working a lot for Europe.

We try to find a balance that is probably 60% abroad and 40% local work in our revenue – something around that. Then what happens is, for instance, like three years ago, we started connecting with clients in Mexico, and we did a good job for one client and then that client gave us another brand, and then another one.

When word got out, a few more brands came in, and then in the end, it turned into an office. But it started in Buenos Aires, and the same thing happened with Amsterdam.

Vol 4/2023

12–13

INTERVIEW

We started working on European projects and then, at a certain point, you realize if you want to make the relationship sustainable you need to open an office there. We do not open offices and wait for brands to come in. We usually build those relationships starting from Buenos Aires, and we build a local team and move onwards from there.

L[A] What roughly is the headcount around the offices in different places?

JC In Buenos Aires we are close to 100 people. In Brazil we’re close to 160, I think. Miami, same size as Buenos Aires, 100. Mexico is between 40 and 50, and then you have ... well LA’s a smaller office. They’re like 10, 12, something like that, and Amsterdam is the same.

When we start an office either one of the partners travels there, moves there, or we assign a partner as a boosting partner.

So we make sure that the hires we make understand our ways of working, that there’s someone that’s very much from our core, making sure that relationships and business runs as we would do it.

L[A] What is the common language?

JC English. I’m amazed by Brazilians. Brazilians speak great English, perfect Portuguese, and pretty decent Spanish. But it will usually go in English.

L[A] Do you and other creative leaders personally work on creative briefs?

JC We have, I would say, a very accessible team structure.

We are still very involved in the creative and strategic approach to what we do. Sometimes, I work with ECDs, sometimes I work directly with teams. We’re not structured in a big bureaucratic way of doing things.

What we are very careful of is that we try to be very clear about who leads each project. We’re not getting opinions from everyone and everything because that makes it impossible to move forward in the end.

We have regular creative meetings with the ECDs or CCOs from each office, and we share work there and they go like, ‘Oh, but you could do this better, or try to ... What if you approach it this way?’

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It’s like, ‘I have this idea and I’m doing it this way.’ And you’re getting opinions but even if this comes from a founder, you don’t have to be doing what he says. It’s just an input to work and that can be useful.

When it comes from a collaborative perspective, and when you give an opinion or when you receive an opinion, you understand that that’s just about the work and how to be objective about it. That’s very useful. So we do that a lot.

L[A] So moving on to the work itself. Can we talk about a key piece of work, a key client that helped GUT develop?

JC Yes, it’s not maybe one specific piece of work I want to highlight but it’s the kind of work that we have been doing for a brand that helped that brand transform or grow exponentially.

That relationship was with Mercado Libre.

It’s a founding brand to us because ... well, Mercado Libre is bigger than Amazon in Latin America, so you have the scale. It’s the number one regional marketplace. It operates from Mexico down to Argentina. It was originally an Argentinian company, but it spread. It’s already turning 25, so it’s spread a lot.

It’s so big and it’s been all over the place for so long. Brazilians think it’s a Brazilian brand, for instance, which isn’t really a common thing to happen. But when we started the agency five years ago, we were invited to pitch and we were just an agency of five people down in Buenos Aires.

The brand has a very startup mindset. It still works in that way. So they went something like, ‘We will have two very big agencies pitch and have this new agency with people that are very respected and let’s also hear what they can do for us.’

There was one thing in that briefing that said, ‘You can do anything but change the tagline and our positioning.’ Obviously, what we did was change their positioning and their tagline. And even though they weren’t expecting that to happen, when they saw it they recognized that that was their next move and that they had to do that.

They came to the agency and said something like, ‘Are you sure you can grow at the pace that we need you to grow in order to make this happen?’

There wasn’t a previous relationship with the client, so it was super brave on their end to trust us that way. And it worked. I can send you a few numbers on the exponential growth of Mercado Libre in the last five years. They’re one of the

The Artois Probability campaign mixed curatorial expertise and AI guesstimates to stir up discussion on which of the European Old Masters may have documented Stella Artois being drunk across the centuries, adding to the brand’s deep heritage strength.

L[A] 3/2023

few Latin American brands to be included on the most recent Time100 Most Influential Companies or got into the Kantar BrandZ Most Valuable Global Brands list.

Of course, that certainly doesn’t all have to do with us. But a big part is the brand narrative and how they started doing things that were culturally appreciated in the region and became a brand that’s super relevant, especially during Covid.

L[A] What happened with the brand then?

JC We had them change their logo during Covid. They made a series of concerts for musicians, one-on-one concerts of musicians and front-line workers, directed by Juan Cabral, and very intimately. They did a lot of crazy stuff.

They did a lot of relevant work for different communities.

They built the idea of this democratic brand in LATAM that gives access to people and influences their lives in many ways. This happens when you literally use their app or their ecosystem, but is also cultural, like, being one of those brands that helps the region to a better way of living.

L[A] What stands out as the most “fun” work you have put out?

JC Probably Stella Artois ... It’s one of those things that start very small from the observation of, ‘Oh, the beer is from 1366 … then could that beer in that painting be a Stella Artois?’

So a very small thought, but also a very sharp and interesting, curious observation from our creatives that spotted what that could become. Out of home, and print ads, and collaborating with art critics to study an old painting and tell us what are the chances that that is a Stella Artois.

That was how it started but then the Argentinian crisis got in the way. Suddenly there were budget limitations for the client and they ended up saying, ‘We’ve spent all our money and cannot launch this right now.’

So it got postponed to the next year. In the extra time we had we started questioning it, ‘How can we make this better? Can we bring some technology into it?’ We started trying to replace the role of the art critics with tech that was being fed by art critics on one end and by a lot of research on the brand history on the other one, and how we could cross those two things.

That was a lot of fun. I love those projects where you really need to go back to the books and study. ‘Okay, let’s see. What are

the things that we need to cross on the brand side? What was the distribution then, where it was produced and what year it started moving from Leuven into Brussels … What were the artist movements in Belgium that were happening at that time? How many of those paintings have beer in them?’

The most thrilling part of it is that you don’t know if it is going to lead you somewhere or not. So when you find sweet spots, where the crossing of information gives a good result, it is ‘Whoa!’

It goes from a very small observation of ‘could or could not be’ into an, ‘it is!’ and that’s amazing. So that was fun.

L[A] Yes, you could have been really disappointed, with a big waste of time, if it turned out there was little chance of the paintings featuring a Stella Artois … it was a journey into the unknown.

JC Yes. There was a fun part of it, which was that it would make it better even if you had some results where the chances [of the painting showing a Stella as the beer] were really low, but you needed some that were really high as well.

But, with that risk, I think those are the kinds of projects that are more fun, where not everything depends on you and you’re not certain of the results. You need a client that’s willing to deal with failure as well, to go on that journey and understand that it might lead nowhere.

L[A] How far with that do you go before you share an idea with the client which is maybe not going to go anywhere?

JC Because it started really small, as a print-out-of-home campaign proposal at first, without interactive elements in it, we had touched base with some art critics. In Buenos Aires, there is the National Museum, which is where we ended up holding the event, and a few critics who are very specialized in European art of the period are based there.

So we tapped into one of them. He told us there was a very high possibility in some cases because there was this Belgian movement of painters that was really strong at that time.

So we checked that out at the very beginning and then later when we brought the tech element into it [to calculate the likelihood of the beer being a Stella in different paintings], that was more on our end.

We explored that ourselves and went back to the client.

Vol 4/2023

14–15

INTERVIEW

They got really excited and they were then able to invest so that we could take it to the next level.

L[A] So you took a risk initially … ?

JC Oh, we have done a lot of that. When we’re sure about the potential of an idea, we may spend money on it if it’s needed just to prove it.

L[A] Let’s talk about the talent that you work with in your teams of young people. Is it very different for those who come into a creative department today than when you were starting out?

How has it changed in the sense of the creative skills or the attitude required, and also in the actual work done as a creative?

JC I tend to think that the profiles that come to the agency are pretty much like we were, and still are, in terms of the kind of work that they like or their ad nerdiness. Where they bring some freshness into our way of thinking has more to do with tech, or approaching things from a tech perspective. And that’s really valuable.

In essence, though, I think it’s still about having people who appreciate good advertising. As our work doesn’t fit into a certain style, I think we can attract the creatives that are looking at advertising against going into the entertainment industry, or somewhere creative like that because they see that what we do can involve that kind of work as well.

Last year, for example, we did a feature film for a brand, Noblex. We did this together with Paramount Plus, which streamed on the platform and was a huge success.

Noblex is a TV manufacturer here in Argentina, facing all the difficulties of competing with LG, Samsung, Sony and all the Japanese high-tech brands, but they’re sponsors of the national football team.

This story starts when we worked with them at David, during the 2018 World Cup qualifiers and Argentina was in danger of not getting to the finals in Russia. They literally just qualified in the last match that they played.

So we launched a promo that said if you bought a TV during the qualifiers and Argentina didn’t make it to the World Cup, Noblex would give you your money back. They sold all the TVs. That became a cultural thing in Argentina. There were a lot of memes created about the CEO of Noblex, all of it organic.

With that happening, we created this social persona on Twitter of the CEO of Noblex, that people were bullying. He started answering people and talking about the national team, Lürzer’s Archive

talking about football, and it became a very big thing. It was a success story because in the end Argentina qualified – but only in the last match they played – and so he didn’t have to pay back all those TVs! Before the Qatar World Cup in 2022, the brand wanted to do something again. The story had been so successful that Paramount wanted to do a feature film about this story of the CEO, who at that point was really just a Twitter account. The idea was to turn that account into a real person and tell that story in a feature film about how he dealt with that pressure.

So they invested in it and Paramount bought the story. We were involved in the creation of the script and the shooting. I have a cameo in the film at 10 seconds! That was a lot of fun. It’s called The CEO, in English.

L[A] It’s still amazing what you can do in advertising, isn’t it?

And GUT has achieved a lot in a short space of time.

Where do you go from here?

JC Well, 60% of the agency was recently bought by Globant, a tech company. There comes a point where it’s really hard to do everything on your own. We always said we were going to try to grow as far as we could by ourselves but then on the next level, it would not be into a holding company because we had come from there and we know what that is like.

We also said that in order for our culture and our way of doing things to survive, there needs to be someone who’s helping fund our growth but is not going to tell us how we should do things.

They should want to support us to do the things that we do well.

So if we were acquired by an ad company or a holding company or a comms business, whatever, we’re going to end up in the wrong place … that’s typically how all these mergers end up. We felt we needed an investor that was either an entertainment company or a company that comes from entertainment or from a tech company. We needed somebody that would give us knowledge on something that we know but could know a lot more about, and help us find situations where we can collaborate if needed, but where we still operate independently most of the time.

Globant has been our client for four years already. We have created some good stuff for them. They know us, they hear us, and it came to a point where they went like, ‘Oh, can we be the ones that give you …?’

L[A] They believed in you and saw where that could go …

Joaco’s list INSPIRATION Bruce Lee’s Enter The Dragon blew my mind as a kid.

A classic 16mm projection at birthday parties.

Star Wars IV, V and VI (Star Wars, The Empire Strikes Back, Return of the Jedi).

I’ve probably watched them more than 20 times.

Left: GUT had PedidosYa, Latin America’s largest delivery app, use its promo power to help grassroots Argentine football clubs survive, drawing on the origin stories of great footballers.

Above: GUT’s amusing work for Globant projected the tech leader’s outstanding qualities. The admiration was reciprocated when the international digital leader bought a majority stake in GUT.

Breaking Bad + Better Call Saul.

Flawless.

All That Jazz.

Never get tired of it.

3 Billboards Outside Ebbing, Missouri.

A modern gem.

RECENT GREAT READS

JC This is the challenge ahead of us. How do we collaborate with them to keep growing? I would say this may mostly, initially, be in the APAC region as we haven’t really been there. We’ve been working there but from this side of the world which makes it tougher.

L[A] Can you share a little about Globant?

JC They’re everywhere in the world. They’re a public company in the US and pretty big. I’m thrilled with how we crossed our way of doing things with their knowledge and their tech muscle as well, because they’re developers.

They work with gaming companies like EA, they work with Disney on experiences in the theme parks. They do things like the bracelets that make your experience in the parks frictionless. All those user experience things, they work there.

So there are a lot of opportunities to work together. I think that they’re going to help us with our clients and we’re hoping to take the way we do things to some of their clients … and they have a long list.

I think our biggest challenge now is, ‘How do we make the most out of this acquisition that they’ve made?’ In the end, they are investing in us.

L[A] Yes, this is an exciting new phase for you and GUT. We wish you well!

JC Cool. I’m a big fan of Lürzer’s. It’s a pleasure to be giving back to what the magazine gave me when I started.

How do you like to relax?

I remember a campaign from Waterstone that had an amazing headline that read: you can take a book anywhere & vice-versa.

Nothing clears my mind from worries like reading and listening to music.

Where do you like to travel to?

New York, Madrid, London and Rome … my favorite four places on earth, when I’m away from home.

Last thing I read was from an ex-ad copywriter Jorge Abel Muñoz.

His debut novel Nada Contra qué Chocar is amazing.

Check it out if you read Spanish.

Then almost everything written by: Martin McDonagh (but particularly the Leenane Trilogy and Pillowman) Nick Hornby (especially How To Be Good, Funny Girl and Juliet, Naked) Chuck Palahniuk (check out Pygmy for a great laugh)

ALL-TIME FAVORITE ADS BY OTHER PEOPLE I’m sure readers know the best from the last 10 years.

So I’ll travel back in time for classics.

Undisputed #1:

Skittles – Touch

Other gems:

Nike – Write The Future Telecom – Yawn Renault Clio – Gueropa Got Milk – Don’t Eat The Cake The Independent – Don’t Read Levi’s – Flat Eric The Guardian – Three Little Pigs Sony – Play Doh

JOACO’S INTRO TO GUT WORK Noblex – The CEO Mercado Libre – New Iconic Kisses Stella Artois – The Artois Probability Pedidos Ya – World Cup Delivery Pedidos Ya – Eat Like a Champ Mercado Libre – Freedom Comes in All Sizes Globant – Globant AI

What’s one thing our readers should know about Buenos Aires?

It’s on the road to nowhere but it’s absolutely worth the long flight.

Stay at least five days.

All-time ads and GUT work can be viewed in full with the online version of this feature at www.luerzersarchive.com

PRINT

Print [20–123] Ajinomoto Agency Cappuccino | IPG DXTRA, São Paulo Creative Direction Cassio Guiot, Cacá Passos, Vitor Elman

Lürzer’s Archive

Art Direction Cacá Passos, Caroline Cravo Copywriter Cassio Guiot, Polianna Lima Illustrator Heitor Amatsu Digital Artist Cacá Passos

Vol 4/2023

18–19

AUDIO + VIDEO

JBL Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Havas Worldwide, London Creative Direction Vicki Maguire, Rob Greaves, Sam Daly Art Direction Emily Camacho

Copywriter Alex Jones Photographer Lucrecia Taormina Illustrator Jonny Meakin

CLARO Campaign

Agency God, Guayaquil, Ecuador Creative Direction Cesar Sepulveda, Jose Leon Fon Fay Art Direction Cesar Sepulveda, Ronald Moreano

See more of the campaign at luerzersarchive.com

Vol 4/2023

Copywriter Ricardo Portes, Roberto Zevallos Digital Artist Cesar Sepulveda, Raro Creative Lab

20–21

represented by fox creative 323-828-8272 info@foxcreative.net

www.jeffludes.com jeffludes

AUTOMOTIVE

VOLVO Campaign

Lürzer’s Archive

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Agency WILD FI, Montevideo Creative Direction Juan Pablo Alvarez, Germán Ferrés, Gastón Garrido Art Direction Yamil Sahid, Bruno Spagnuolo

Copywriter Maite Spinelli, Juan Sebastián Vallejo Digital Artist Sofía Armas, Renzo Saxlund, Agustina Mantovani

FORD MOTOR COMPANY Campaign

Agency VML, San Juan Creative Direction Javier Claudio Art Direction Javier Claudio Digital Artist Javier Claudio, Radhames German

Vol 4/2023

24–25

AUTOMOTIVE

KIA MOTORS EUROPE Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Innocean Worldwide, Berlin Creative Direction Gabriel Mattar, Ricardo Wolff, Maso Correa Heck Art Direction Leon Celay, Will Cega, José Gomes

Copywriter Pedro Lourenco, Javier Granados, José Gomes Photographer Arw Vaz Illustrator Lana Bäumle Ferreira, Will Cega Typographer Francesca Borgonovo

LOCALIZA Campaign for a car rental company.

Agency Maloca73, Belo Horizonte, Brazil Creative Direction Dan Zecchinelli Art Direction Estevao Domingues

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Vol 4/2023

Copywriter Dan Zecchinelli, Ildeu Filho, Vanessa Pereira Digital Artist Estevao Domingues

26–27

BANKING, INSURANCES

HISCOX Campaign Top: If a client blames you for mixing up 20’ and 20’’, we can help protect you.

Lürzer’s Archive

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Agency Uncommon Creative Studio, London

123 ASEGÚRATE Halloween campaign for dental insurance.

Agency Athos Bolivia, Santa Cruz de la Sierra Creative Direction Fernando Fernandes, Pablo Jove Art Direction Fito Chipana Ramos, Alvaro Cuentas Paredes, Ruben Ruiz

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Copywriter Victor William Mendez Ugarte, Mani Cáceres Méndez, Daniela Hernández Photographer Leslie Capobianco, Maybeth Acevedo, Thalía González

Vol 4/2023

Illustrator Adrian Méndez Akamine, Vale Montoya, Luis Acha Typographer Rebeca Gutiérrez, Ruben Escobar

28–29

BANKING, INSURANCES

Lürzer’s Archive

PIRAEUS BANK Campaign

Agency The Newtons Laboratory, Athens Creative Direction Vangelis Tolias Art Direction Andriana Rodakou Copywriter Alexandros Konstantinidis

BIZUM Campaign is for a payment platform integrated in the N26 app, that connects your phone number with your bank account.

Agency Manifiesto, Madrid Creative Direction Driss Abrouk Art Direction Bruno Bueno, Placi Zamora Copywriter Nani Albéniz

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Vol 4/2023

Illustrator D.A.Q, Ausias Perez, Mercedes Bellido, Victor Begante Digital Artist Irene Mansilla

30–31

BEVERAGES, ALCOHOLIC

CENTRAL CERVECERA DE COLOMBIA Campaign

Lürzer’s Archive

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Agency Sancho BBDO, Bogota Creative Direction Jose Ariel Hernández, Juan Fernando Alba Fandiño, Fernando Guevara Remolina

Art Direction Andres Lancheros, Sebastian Romero Arboleda, Dilson Iván Tilaguy Vega Copywriter Fernando Guevara Remolina Photographer Nathalia García Bustos

OTOMONI Campaign for a craft beer subscription service that produces a series called “Japanese Beer Odyssey”.

Tonight moon watching.

To enjoy while watching the moon.

This is a pear-flavored beer.

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Agency Meaning, Kobe, Japan Creative Direction Kohei Morikami Art Direction Takeshi Fujimoto Photographer Koji Kuruma Typographer Takeshi Fujimoto

Vol 4/2023

32–33

BEVERAGES, ALCOHOLIC

AB-INBEV Campaign Stella Artois is the main sponsor of Barcú, one of Colombia’s most renowned art events. The agency used this as inspiration for this campaign.

Lürzer’s Archive

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Agency draftLine Colombia, Bogotá Creative Direction Daniel Rincón, Camilo Gomez Art Direction Christian Avendaño Cendales Copywriter Diego Henao

GUINNESS IRELAND Campaign

Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Nicholas Hulley Art Direction Louis Prenaud Copywriter William Brookwell Photographer Linda Brownlee

Vol 4/2023

34–35

BEVERAGES, NON-ALCOHOLIC

CAFÉ DE COLOMBIA Campaign

Lürzer’s Archive

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Agency Mass Digital, Bogotá Creative Direction David Patiño, Miguel Leal Art Direction Pablo Camacho, David Patiño, Jhon Garzón

Copywriter Miguel Leal, Nicolas Clavijo, Gabriela Vivas

BUENCAFÉ Campaign

Agency C.J. Martins, Manizales, Colombia Creative Direction Mario Betancur, Cristian Peláez Art Direction Santiago Martínez, Jorge Beltran

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Vol 4/2023

Copywriter Luisa Maria Mejia Illustrator Karen Gallego Digital Artist Karen Gallego

36–37

BUILDING INDUSTRIES

ACRO REAL ESTATE Campaign Building a sweet future for you.

Shana Tova.

Honey is the most known symbol for the Jewish New Year Rosh Hashanah for wishing Shanah tovah u’metukah.

Lürzer’s Archive

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

Copywriter Erez Hadar, Ouriel Ferencz, Rony Schneider Digital Artist Yaron Itzhakov, Gil Aviyam

CALBRIDGE HOMES Campaign

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Agency TRGR Advertising, Calgary, Canada Creative Direction Todd Blevins Art Direction Brad Connell Copywriter Andrew Payne Photographer Perron Jean

Vol 4/2023

38–39

COSMETICS

FOLIGAIN Campaign

Lürzer’s Archive

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Agency Geeks Ecuador, Guayaquil Creative Direction Stalin Segovia, Alejandro Marotta Art Direction Stalin Segovia Copywriter Alejandro Marotta, André Farra

RIOSTORE / GOSH Campaign

Agency Paper, Guayaquil, Ecuador Creative Direction Cristian Seisdedos, Andrea Auz Art Direction Cristian Seisdedos, Lusiana Navia, Michelle Mite

Vol 4/2023

Copywriter Andrea Auz, Lily Menoscal, Paula Murilo Photographer Andres Franc Digital Artist Gonzalo Arévalo

40–41

FASHION

TRIUMPH Campaign

Lürzer’s Archive

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Agency Herezie, Paris Creative Direction Etienne Renaux, Paul Marty Art Direction Pauline Lesage

FASHION

BOODY Campaign

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Agency The Hallway, Sydney Creative Direction Jessica Thompson Art Direction Hannah Scott-Stevenson

Vol 4/2023

42–43

FOOD

Lürzer’s Archive

LASS CHISS Campaign

Agency Creamos, Medellín, Colombia Creative Direction Jose Montoya E Art Direction Luis García Copywriter Jose Montoya E Illustrator Johana Vargas

PRESSBYRÅN Campaign Experience the feeling of freshly baked perfection on Cinnamon Bun Day.

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Agency Åkestam Holst, Stockholm Creative Direction Joakim Khoury Art Direction Folke Kühlhorn Copywriter Henrik Billing

Vol 4/2023

Photographer Stefanie Andersson Digital Artist Stefanie Andersson

44–45

FOOD

AJINOMOTO Campaign

Lürzer’s Archive

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Agency Cappuccino | IPG DXTRA, São Paulo Creative Direction Cassio Guiot, Cacá Passos, Vitor Elman Art Direction Cacá Passos, Caroline Cravo

Copywriter Cassio Guiot, Polianna Lima Illustrator Heitor Amatsu Digital Artist Cacá Passos

VALIO Campaign

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Agency TBWA\Helsinki Creative Direction Alexander Pineda Art Direction Timo Lemmetti Copywriter Netti Genberg

Vol 4/2023

46–47

FOOD

Lürzer’s Archive

BURGER KING COLOMBIA Campaign

Agency Proximity BBDO, Bogotá Creative Direction Gina Lee, Emerson Yepes Garcia Art Direction Juan David Alonso, Leonardo Gutierrez

Copywriter Emerson Yepes Garcia, Daniela Ruiz Illustrator Laura Camelo, Lady Murcia

MCDONALD’S CANADA Campaign

Agency Cossette, Montreal Creative Direction Jason Hill, Alexandre Gadoua, Cedric Audet

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Vol 4/2023

Art Direction Lisa Chen-Wing, Alexandre Jutras, Sébastien Robillard Copywriter Cedric Audet

48–49

FOOD

CASA ROJA Campaign

Lürzer’s Archive

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Agency Casa Roja, in-house, Guayaquil, Ecuador Creative Direction Fernando Larrea Franco Art Direction Fernando Larrea Franco

Copywriter Fernando Larrea Franco Illustrator Feniacate Digital Artist Feniacate

NAPOLINA Campaign

Agency Lucky Generals, London

Vol 4/2023

50–51

FOOD

ARCOR BOLIVIA Campaign

Lürzer’s Archive

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Agency Athos Bolivia, Santa Cruz de la Sierra Creative Direction Fernando Fernandes, Pablo Jove

Art Direction Fito Chipana Ramos, Alvaro Cuentas Paredes, Ruben Ruiz Copywriter Victor William Mendez Ugarte, Mani Cáceres Méndez

Illustrator Adrian Méndez Akamine, Ruben Escobar, Arturo Suman Typographer Thalía González, Rebeca Gutiérrez, Claudia Pedraza

YUCATAN Campaign

Agency 1947, Santa Cruz de la Sierra, Bolivia Creative Direction Ferju Cuevas, Rodsel Ticona Art Direction José Fickert

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Vol 4/2023

Copywriter Ferju Cuevas Photographer Photodelica Digital Artist José Fickert

52–53

FOOD

JOHNNY ROCKETS Campaign

Lürzer’s Archive

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Agency Athos Bolivia, Santa Cruz de la Sierra Creative Direction Fernando Fernandes, Pablo Jove Art Direction Fito Chipana Ramos Ramos, Alvaro Cuentas Paredes, Ruben Ruiz

Copywriter Victor William Mendez Ugarte, Mani Cáceres Méndez, Daniela Hernández Photographer Leslie Capobianco, Thalía González, Maybeth Acevedo

Illustrator Adrian Méndez Akamine, Vale Montoya, Luis Acha Typographer Rebeca Gutiérrez, Ruben Escobar Digital Artist Alvaro Cuentas Paredes

HOUSE + GARDEN

ZIPPO Campaign

Agency Ogilvy & Mather, New York Creative Direction Jon Wagner, Menno Kluin, Martha West, Will Montgomery

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Vol 4/2023

Art Direction Brian Gartside, Peter Hahn, Haeun Kim Illustrator Illusion Digital Artist Illusion

54–55

HOUSE + GARDEN

Lürzer’s Archive

CAMSA Campaign

Agency C&P Bolivia, Santa Cruz de la Sierra Creative Direction Victor Mora Art Direction Javier Serrano Copywriter Josue Núñez Digital Artist Javier Serrano

SLEEPZONE Campaign

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Agency Adpro Communications, Amman Creative Direction Hatem Soliman Art Direction Mohammad Nazer Copywriter Nicolas Mukarker

Vol 4/2023

56–57

HOUSE + GARDEN

HAVELLS Campaign

Lürzer’s Archive

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Agency Mullen Lintas, Gurgaon, India Creative Direction Nisheeth Shrivastav, Sarab Jit Singh, Nisheeth Shrivastav Art Direction Sarab Jit Singh, Vipul Kundra

Copywriter Arvind Murali, Nisheeth Shrivastav Illustrator Cocktail Art

LA FABRIL Campaign

Agency McCann Ecuador, Quito Creative Direction Israel Barahona Art Direction Alexis Guanín Copywriter Israel Barahona, Eduardo Gómez Photographer Diego Aguilar

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Vol 4/2023

Illustrator Natalí Toapanta, Wendi Lozano, Santiago Loján Typographer Sebastián Rodríguez, Valeria Bermeo Digital Artist Alex Morales

58–59

HOUSE + GARDEN

Lürzer’s Archive

MARIA BEATA Campaign for a brand of portable ashtrays.

Agency Lola Normajean, Lisbon Creative Direction Leandro Alvarez Art Direction Pedro Martoli, Luis Ferreira Borges, Dany Oliveira

Copywriter Fabio Loureiro, Enzo Sunahara Photographer Mendo Dornellas

SAMSUNG Campaign

Agency Cheil Worldwide, Hong Kong, Cheil Pengtai, Beijing Creative Direction Paul Chan, Lili Jiang, Ivan Au, Eva Yan

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Art Direction Yammi Yeung, Fangshuo Han, Dory Liu, Kattie Yuan Copywriter Paul Chan, Lili Jiang, Eva Yan

Vol 4/2023

Illustrator Illusion Digital Artist Illusion

60–61

MISCELLANEOUS

THE NATIONAL LOTTERY Campaign

Lürzer’s Archive

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Agency adam&eveDDB, London Creative Direction Ben Tollett, Mark Lewis, Matt Finch Photographer James Day

MUSEUMVERENIGING Campaign

Agency KesselsKramer, Amsterdam Creative Direction Rens de Jonge, Maartje Slijpen Copywriter Brenda Waegemaekers Photographer Eva Roefs

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Vol 4/2023

62–63

MISCELLANEOUS

KRÖLLER-MÜLLER MUSEUM Campaign

Lürzer’s Archive

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Agency KesselsKramer, Amsterdam Creative Direction Gijs van den Berg Art Direction Onno Blase Copywriter Sophie Rijnaard Digital Artist Vera van de Seyp

PAULO MARIANO Campaign

Art Direction Paulo Mariano Copywriter Paulo Mariano Photographer Paulo Mariano Digital Artist Paulo Mariano

An immersive project using Artificial Intelligence to depict an alternative journey of Pope Francis during his visit in Portugal.

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Vol 4/2023

64–65

MISCELLANEOUS

JFK PRESIDENTIAL LIBRARY & MUSEUM Campaign

Lürzer’s Archive

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Agency Troup, Chicago Creative Direction Matt Dimmer, Chris Sadlier, David Whaite

PHARMACEUTICALS + OTC

CSL VIFOR Campaign

Agency Cherry, London Creative Direction Kieran Delaney Art Direction Kieran Delaney Copywriter Michael McGowran, Serkan Yaman

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Vol 4/2023

Illustrator Dawid Planeta Typographer Graeme Garden Digital Artist Dawid Planeta

66–67

PHARMACEUTICALS + OTC

GSK Campaign

Lürzer’s Archive

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Agency Tank Worldwide, Toronto Creative Direction Sebastian Benitez, Marty Martinez, Amanda Kitchen Art Direction Camilo Monzón Navas Copywriter Bernardo Rodriguez Ponds, Francisco Aguilar

BIOMUNE PHARMA Campaign

Agency R&G, São Paulo Art Direction Rafael Gil

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Vol 4/2023

68–69

PUBLIC EVENTS

FOCUS FEATURES Campaign for a film distribution company.

Lürzer’s Archive

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Agency Arsonal Design, Culver City, California

CHANNEL 4 Campaign

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Agency 4Creative, London Creative Direction Andy Vasey, Dan Warner

Vol 4/2023

70–71

PUBLIC EVENTS

THE CHICAGO INTERNATIONAL FILMFESTIVAL Campaign

Lürzer’s Archive

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Agency Ogilvy & Mather, Chicago Creative Direction Mark Bruker, Sakshi Choudhary, Michael Blocher

HOUSE OF ST.BARNABAS Campaign

Agency The Corner, London Creative Direction Tom Ewart Art Direction Andrew Minchin Copywriter Conrad Jones

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Vol 4/2023

Photographer Jo Sidey Typographer Andrew Minchin Digital Artist Andrew Minchin

72–73

PUBLIC EVENTS

WEEKEND OF SCIENCE Campaign How do games work?

How does a cat work?

How does a leg work?

How does the world work?

Pay-off: Come and have a look at what science can do.

Lürzer’s Archive

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Agency Part of a Bigger Plan, Amsterdam Creative Direction Christian Borstlap Art Direction Christian Borstlap

Copywriter Christian Borstlap Illustrator Christian Borstlap Typographer Christian Borstlap

DOCSBARCELONA Campaign

Agency 42 Studio, Mollet del Vallès, Spain Creative Direction Xavi Clavijo Art Direction Xavi Clavijo Copywriter Jordi M. S. Photographer Erik McLean

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Vol 4/2023

74–75

PUBLISHERS, MEDIA

NETFLIX Campaign

Lürzer’s Archive

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Agency Jellyfish, Paris Creative Direction Thomas Guilhot, Alexandre Boutry Art Direction Antoine Dezes-Richard Copywriter Gauthier Lempereur Illustrator

PRIME VIDEO Campaign

Agency The Usual Group, Bogotá Creative Direction Camilo Garzon Art Direction Charles Andara Copywriter Camilo Garzon

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Vol 4/2023

Illustrator Charles Andara Digital Artist Charles Andara

76–77

PUBLISHERS, MEDIA

ARTE Campaign

Lürzer’s Archive

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Agency KesselsKramer, Amsterdam Creative Direction Gijs van den Berg, Maartje Slijpen Copywriter Brenda Waegemaekers Photographer Daniel Gebhart de Koekkoek

APPLE TV+ Campaign for Season 3 of the sucessful science fiction series For All Mankind.

Agency Arsonal Design, Culver City, California

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Vol 4/2023

78–79

PUBLISHERS, MEDIA

PENGUIN RANDOM HOUSE Campaign

Lürzer’s Archive

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Agency Cheil Worldwide, Hong Kong, Cheil Pengtai, Beijing Creative Direction Paul Chan, Lili Jiang, Ivan Au, Woody Hu, Chen Xiao

Art Direction Ivan Au, Woody Hu, Yammi Yeung, Chen Xiao Copywriter Paul Chan, Lili Jiang, Nan Yi

Illustrator Illusion Digital Artist Illusion

RETAILERS

CENCOSUD COLOMBIA Campaign

Agency The Juju Colombia, Bogotá Creative Direction Andres Norato, Kevin Vaquez, Maria Camila Aldana Art Direction Juan Espitia, Ana Maria Lopez, Johan Ramirez

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Vol 4/2023

Copywriter Paula Hernandez, Natalia Pinto Digital Artist Enrique Wilches

80–81

RETAILERS

IKEA Campaign

Lürzer’s Archive

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Agency Grabarz XCT, Hamburg Creative Direction Matthias Hoffmann, Moritz Pupke Art Direction Franziska Fischer, Natalie Krzyz, Marcus Wilder

Copywriter Alexander Rose, Louisa Baum, Laura Türk

ILLA CARLEMANY Campaign

Agency Knock, Barcelona Creative Direction Marc Vila, Juanra Alfaro Art Direction Carlota Bartolí Copywriter Àlex Barredo Digital Artist Martí Bru

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Vol 4/2023

82–83

RETAILERS

DENNER Campaign

Lürzer’s Archive

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Agency thjnk, Zurich Creative Direction Alexander Jaggy, Pablo Schencke, Lukas Amgwerd

Art Direction Lukas Wietlisbach, Lukas Frischknecht Copywriter Lukas Amgwerd, Tobias Röben

KASTNER SERVICE Campaign for an Austrian wholesaler for food retail and catering.

Now also with care products for hair and beards.

Agency Brokkoli Advertising Network, Vienna Creative Direction Patrik Partl, Phil Hewson

Vol 4/2023

Art Direction Maik Wollrab Copywriter Moritz Pleininger Photographer Oliver Gast

84–85

RETAILERS

Lürzer’s Archive

IKEA Campaign

Agency Mother, London

CENCOSUD COLOMBIA Campaign

Agency The Juju Colombia, Bogotá Creative Direction Kevin Vasquez, Saskya Tamayo, Leonardo Valencia

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Vol 4/2023

Art Direction Juan Espitia, Saskya Tamayo Copywriter Kevin Vasquez

86–87

RETAILERS

MINUTOCORP Campaign for a shopping center.

Lürzer’s Archive

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Agency BBDO Ecuador, Guayaquil Creative Direction Carlos Vergara, Ernesto Ravelo Art Direction Diego Espinoza Copywriter Renato del Salto Illustrator

JUMBO COLOMBIA Campaign

Agency The Juju Colombia, Bogotá Creative Direction Andres Norato, Kevin Vasquez

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Vol 4/2023

Art Direction Juan Espitia, Ivan Gutierrez Copywriter Leonardo Valencia, Nathalia Gonzalez

88–89

RETAILERS

Lürzer’s Archive

EBAY Campaign

Agency EssenceMediacom, New York Creative Direction Benjamin Vendramin, Paola Mounla, James Barkley Photographer Conde Nast

SUPERGALACTIC BRANDS Campaign for a cannabis shop.

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Agency Contentious, Inc., New York Creative Direction Steve Whitter Art Direction Steve Whittier Copywriter Bill Roden Illustrator Drew Robinson

Vol 4/2023

90–91

SERVICES

ACBEU ENGLISH COURSE Campaign

Lürzer’s Archive

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Agency Propeg, Salvador, Brazil Creative Direction Emerson Braga Art Direction Eduardo Fialho, Gustavo Batinga

Copywriter Emerson Braga Photographer Diego Mello Digital Artist George Rutherford

PROCOLOMBIA Campaign for a government agency in charge of promoting Colombian non-traditional exports, international tourism and foreign investment.

Agency Havas Colombia, Bogotá Creative Direction René Baquero Art Direction Jose Prieto Copywriter Santiago Arango

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Vol 4/2023

92–93

SERVICES

Lürzer’s Archive

UBER Campaign

Agency Mother, London

UBER Campaign

Agency Mother, London Creative Direction Oli Rimoldi, Anthony-Daniel Montagne Art Direction Liy Grant, Georgia Armstrong

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Vol 4/2023

Copywriter Liy Grant, Georgia Armstrong Typographer Mike Mercer Brown

94–95

SERVICES

BVS Campaign

Lürzer’s Archive

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Agency Jandl, Bratislava Creative Direction Alexandru Strimbeanu Art Direction Lukas Fecko Copywriter Viliam Šedivý Illustrator Lukas Fecko

SOCIAL + ENVIRONMENT

VISION ADVERTISING Campaign

Agency Vision Advertising, Cairo Art Direction Ashraf Foda Illustrator Sherine Abulmagd

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Vol 4/2023

96–97

SOCIAL + ENVIRONMENT

FOUR PAWS Campaign

Lürzer’s Archive

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Agency Ogilvy Health, New York Creative Direction Adam Hessel, Tom Callan, Sean Green Art Direction Eduardo Basque, Sean Green

Copywriter Tom Callan, Rafael Campeao Illustrator Illusion Digital Artist Illusion

AURORA ALIMENTOS Campaign

Agency Agência T12, Chapecó, Brazil Creative Direction João Fernando Lucas Art Direction Matheus G. Corseuil Copywriter Liciane T. Amorim Digital Artist Midjourney

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Vol 4/2023

98–99

SOCIAL + ENVIRONMENT

#BRINGTHEMHOMENOW This campaign is based on take off for classic ads because its audience is the advertising industry.

Lürzer’s Archive

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Agency Blanco, Tel Aviv Creative Direction Daniel Bnaya

TEMA Campaign

Agency Medina Turgul DDB, Istanbul Creative Direction Ertuğ Tuğalan, Ahmet Terzioğlu, Cem Erguvan Art Direction Çarman Çifter Photographer Ufuk Soyhan

Swimming in the lake is forbidden.

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Vol 4/2023

100–101

SOCIAL + ENVIRONMENT

GOVERNO DO ESTADO DO RIO DE JANEIRO Campaign

Lürzer’s Archive

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Agency Propeg, Salvador, Brazil Creative Direction Bernardo Cople, Emerson Braga Art Direction Lenilson Lima, Artur Bueno

Copywriter André Choairy Photographer Cival Jr Digital Artist Ricardo Moreia

CYCLE KIDS Campaign

Agency Ogilvy Health, New York Creative Direction Adam Hessel Art Direction Erik Vervroegen, Alec Vianu, Sean Green Copywriter Tom Callan, Rafael Campeao

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Vol 4/2023

Photographer Mark Seliger Illustrator Eduardo Basque Typographer Eduardo Basque Digital Artist Simone Rubio

102–103

SOCIAL + ENVIRONMENT

UNICEF SLOVENIA Campaign Unicef organised a charity concert for the Ukrainian Youth Orchestra, which fled to Slovenia after the outbreak of war.

Lürzer’s Archive

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Agency Luna \TBWA, Ljubljana Creative Direction Janez Rakusček Art Direction Ljubo Bratina

PROVISA FAMILY Campaign Left: We help build life projects for low-income children, giving them access to an ethical education with values.

Right: Through our charity and philanthropy programs, we support many families in vulnerable situations.

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Agency Creamos, Medellín, Colombia Creative Direction Jose Montoya E Art Direction Luis García, Johana Vargas

Vol 4/2023

Copywriter Mariana Salazar, Jose Montoya E Illustrator Johana Vargas

104–105

SOCIAL + ENVIRONMENT

Lürzer’s Archive

GIRL VS CANCER Campaign

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Helen Rhodes, Adam Newby Art Direction Lucy Johnstone

Copywriter Grace Chambers Photographer Katie Burdon

STIFTUNG DEUTSCHE DEPRESSIONSHILFE UND SUIZIDPRÄVENTION Campaign for German Depression Aid Foundation.

Agency Grabarz & Partner, Hamburg Creative Direction Ralf Heuel, Ralf Nolting, Tim Lehnebach Art Direction Alberto Espeja, Lucas Rocha

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Vol 4/2023

Copywriter Márcio Bittencourt Photographer Philipp Rathmer

106–107

SOCIAL + ENVIRONMENT

BRITISH RED CROSS Campaign

Lürzer’s Archive

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Agency VCCP, London Creative Direction Paul Cohen Photographer Kerry Harrison Digital Artist Stanley’s Post

G10 FAVELAS Campaign

Agency AlmapBBDO, São Paulo Art Direction Rafael Gil

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Vol 4/2023

108–109

SOCIAL + ENVIRONMENT

Lürzer’s Archive

GENENTECH Campaign

Agency Grey, New York Creative Direction Brent Singer Art Direction Michelle Liuzzio, Jamie Morgan, Juliano Domingues

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Vol 4/2023

Copywriter Talia Rapp, Marisa Monaco Photographer Alex Telfer

110–111

SOCIAL + ENVIRONMENT

Lürzer’s Archive

RESCATE ANIMAL Campaign

Agency God, Guayaquil, Ecuador Creative Direction Cesar Sepulveda, Jose Leon Fon Fay Art Direction Ronald Moreano Copywriter Germán Demey, Ricardo Portes

MENOPAUSE MANDATE Campaign

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Agency Dark Horses, London Creative Direction Sarah Levitt, Matt Roach Typographer Yuriko Ui

Vol 4/2023

112–113

SOCIAL + ENVIRONMENT

CALIFORNIA COASTAL COMMISSION Campaign

Lürzer’s Archive

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Agency Barrett Hofherr, San Francisco Creative Direction Jamie Barrett Art Direction Daisy Serafini

Copywriter Brad Kayal Illustrator Ted Bluey, Annika Ide

UNICEF SWITZERLAND AND LIECHTENSTEIN Campaign

Agency UNICEF Switzerland and Liechtenstein, in-house, Zurich Creative Direction Felix Freese Art Direction Grit Wolany

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Vol 4/2023

Copywriter Felix Freese Digital Artist Tanya Rey

114–115

SOCIAL + ENVIRONMENT

WWF Campaign

Lürzer’s Archive

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Agency McCann Erickson, Dusseldorf, Germany Creative Direction Pedro Americo Pahl Art Direction Pedro Americo Pahl Copywriter Antonia Kistner

SPORTS

UNITE MARTIAL ARTS Campaign for a martial arts academy.

Agency The&Partnership, London Creative Direction Adam Mcgowan, Dan O’Keeffe Art Direction Adam Mcgowan Copywriter Dan O’Keeffe

Vol 4/2023

116–117

SPORTS

Lürzer’s Archive

HELLY HANSEN Campaign

Creative Direction Jean-François Seguin Art Direction Elodie Laurent Photographer Jean-François Seguin Digital Artist Peter Asbjorn

TRAVEL + LEISURE

DECOLAR Campaign

Agency REF+, São Paulo Creative Direction José Carlos Gonsalves Art Direction Andreia Gonçalves

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Vol 4/2023

Copywriter Brayhan Oviedo Photographer Daniela Cuevas Digital Artist Felipe Ajala

118–119

TRAVEL + LEISURE

ZOO BRATISLAVA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Jandl, Bratislava Creative Direction Alexandru Strimbeanu Art Direction Lukas Fecko, Zlata Golecova Copywriter Jakub Jurica Illustrator Zlata Golecova

GREAT OUTDOORS COLORADO Campaign

Agency Sukle Advertising & Design, Denver Creative Direction Mike Sukle Art Direction Katie Dondale

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Vol 4/2023

Copywriter Curtis Smith Photographer John Johnston Digital Artist Matt Carpenter

120–121

TRAVEL + LEISURE

FERIENWELT GUIDO MASSAR Campaign

Lürzer’s Archive

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Creative Direction Pit Hofmann Art Direction Pit Hofmann Copywriter Pit Hofmann Typographer Pit Hofmann

TAP AIR PORTUGAL Campaign

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Agency Bar Ogilvy, Lisbon Creative Direction Joao Amaral, Nuno Rica Art Direction Pedro Magalhães Copywriter Joao Castanho Illustrator Pedro Magalhães

Vol 4/2023

122–123

Film [126–133] Client Nike Agency Wieden + Kennedy, Shanghai Creative Direction Zhong How, Ruby Li

Art Direction Alex Litovka, Edmund Chang Copywriter Pat Cholavit Director Henry Scholfield Production Hamlet Vol 4/2023

124–125

FILM

VOLKSWAGEN Car of Your Life

TOYOTA Present From The Past

Taking a unique angle to automotive advertising, this video focuses on the scenarios that Volkswagen vehicles find themselves in. Whether it be the aftermath of children’s parties, parked at the side of a lake while people skinny dip or even at the owner’s personal nightclub, we are reminded that the human element is important to Volkswagen.

In time for the holidays, Saatchi & Saatchi’s spot for Toyota reminds us that family and memories should be at the center of the festive season. When a young woman receives the gift of a camera and vintage photos from her grandmother, she sets out to faithfully replicate them (with the assistance of her 2024 Tacoma).

Agency Voltage, Brussels Creative Direction Frank Marinus Art Direction Tom Cole

Copywriter Ellen Stoffels, Regine Smetz, Manu De Wit

Director Joe Vanhoutteghem Production CZAR

Agency Saatchi & Saatchi, Los Angeles Creative Direction Leo Circo, Sandra Luciano Art Direction Andrew Reizuch, Jerry Underwood

Copywriter Scott Ellman, Randy Quan Director Lisa Gunning Production Imperial Woodpecker

APPLE On With the Show

BOSE Sound is Power

FINTECH BLINK Abu Uncensored

In celebration of the halting of the writer’s strike in Hollywood, Apple both exalts the filmmaking potentials of the new iPhone 15 and the various film crew members behind the camera that often go unappreciated (all scored to an appropriate rendition of the classic show tune There’s No Business Like Show Business).

Written and directed by polymath Donald Glover, the ad follows Glover through a typical day and uses extensive tracking shots to portray (and slightly parody) the busy schedule of the Renaissance man. With smooth editing, we see Glover make various decisions while he is on the move, leading up to finally listening to a snippet of a song with Bose headphones.

A younger man, an older matchmaker and Benjamin Franklin are brought together in this mischievous spot from Ogilvy Bolivia for the fintech app Blink, bringing an effective cheekiness to the cash delivery brand.

Agency Apple in-house, Cupertino, California

Lürzer’s Archive

Director Steve Rogers Production Biscuit Filmworks

Agency Gilga, Los Angeles Creative Direction Donald Glover

Director Donald Glover Production Doomsday Entertainment

Agency Ogilvy Bolivia, La Paz Creative Direction El Turco Medina

Director Julio Barragán Production Makina Films

FIELMANN Your Glasses

TIMBERLAND This is Not a Boot: The Story of an Icon

DESJARDINS INSURANCE Sizeable Care

In a delicate campaign from Mother Berlin for optician brand Fielmann, we see the lives of the individuals behind the glasses. Focusing on the personal stories of those who wear the glasses ties the brand to the intimacies of people’s lives and their specific needs.

Presenting a fresh snapshot of a brand while summarizing its history is no easy feat, but this 47-minute film directed by Tom Gould manages to achieve this for Timberland. Bringing in cultural icons to discuss the importance of the brand, mixed with appealing visuals, the shoe brand’s history is vividly brought to life.

Serving as a charming visual metaphor for the necessity of Desjardins insurance, Canadian agency Bleu Blanc Rouge’s spot follows a jolly giant as he helps citizens through everyday problems.

Agency Mother, Berlin Creative Direction Alexander Nowak, Stefan Wittemann Art Direction Raffael Kormann, Maria Rojo, Gregorio Marangon

Copywriter Ramona Hartmann, Julia Sumpf, Larissa Hunekohl Director Joanna Nordah Production Anorak Film

Agency Timberland, in-house, Stratham, New Hampshire

Director Tom Gould Production The Sweetshop

Agency Bleublancrouge, Toronto Creative Direction Chris Dacyshyn, Julie Markle Art Direction Bruce Harris

NIKE More Than Warmth

NIKE Imperfect You

This campaign portrays the extreme warmth that its winter jacket collection can offer. Set in an icy labyrinth where a team of scientists test the warmth of the apparel, some of the fantastical examples of the heat provided include being able to cook sweetcorn in your hand while wearing the jacket and causing plants to bloom when in proximity.

Overwhelmed by modern pressures, the film follows Japanese teenager Aika as she goes on a journey through time to see the cultural differences of women throughout the ages in her country. Guided by a blue orb that turns into a football, Aika meets Japanese women from previous time periods and realizes that they also faced similar societal constraints. Sport is shown as a healthy antidote to these pressures throughout history and Aika is inspired to embrace her imperfections.

Agency Wieden + Kennedy, Shanghai Creative Direction Zhong How, Ruby Li Art Direction Alex Litovka, Edmund Chang

Agency Wieden + Kennedy, Tokyo Creative Direction Erwin Federizo, Max Pilwat

Copywriter Pat Cholavit Director Henry Scholfield Production Hamlet

Art Direction Kazuhi Yoshikawa, Josh King Copywriter Andrew Miller, Marina Danjo, Kiran Strickland

Vol 4/2023

Copywriter Brandon TralmanBaker Director Joachim Back Production Partners Film

Director Georgia Hudson Production Park Pictures

126–127

FILM

SMIRNOFF We Do Atomic

AVIATION GIN Pumpkin Spice Season

MILKPEP OK2Milk

With a playful use of VFX, McCann New York and production house The Mill demonstrate the social connectivity that Smirnoff creates by showing characters fluidly morphing into distinct orbs as they connect and mix with each other.

In fantastically profane fashion, movie star/gin impresario Ryan Reynolds scolds the autumnal pumpkin spice season, exclaiming that we should be focusing on Negroni Week. This ties in with Reynold’s liquor brand Aviation Gin, which he co-owns.

Adding a dollop of playfulness to the modern concept of milk shaming, this “PSA” is presented

by Queen Latifah. The dangers of non-lactose privilege listed include a man who ordered milk with a meal resulting in his date leaving and a man’s milk-chugging frat party days coming back to haunt him.

Agency McCann, New York Creative Direction Guilherme Racz, Pete Johnson, Cristina Reina

Director The Sacred Egg Production Riff Raff

Agency Maximum Effort, Santa Monica, California

Director Oren Brimer

Agency GALE, New York

CHILI’S You Deserve Them More Than Kids Do

KFC Eau D’uardo

In a bid for adults to also indulge in the guilt-free joys of so-called “kids’ food” like chicken crispers, this campaign shows a stone-faced adult interviewing children about grown-up responsibilities. Asking hard hitting questions like, “Do you worry about your credit score?” and, “How’s your asset liquidity?”, the spot for Chili’s argues that adults deserve the pleasures of fast food more than kids do.

The pretensions of boutique perfume advertising are hilariously parodied in Madrid agency PS21’s campaign for KFC. Complete with random desert scenery and moody red lighting, two models pose with the perfume (which is in the shape of a chicken drumstick, naturally).

Agency Mischief, New York Creative Direction Greg Hahn, Kevin Mulroy, Bianca Guimaraes Art Direction Tanner Thompson

Agency PS21, Madrid Creative Direction Rubén Sánchez, Victor Blanco Art Direction Gonzalo Cordero, Ruben Caja

Lürzer’s Archive

Copywriter Dana Buckhorn Director Hank Perlman Production Hungry Man

Copywriter Alfonso Moreno, Ana Pintané Director Amar Hernández Production Macaronesia

KRAFT HEINZ Deliciously Predictable

BURGER KING Hijacking Christmas

With an array of practical effects and vivid visuals, Johannes Leonard takes an unpredictable spin on the predictability of oven chips. With a charming surrealism, we are taken through scenes with a variety of characters (including a talking tree and a texting mermaid) who, in musical fashion, sing about the certainty of things in life. One of these certainties is the predictable deliciousness of Ore-Ida Oven Chips.

The perennial Christmas hit Driving Home For Christmas by Chris Rea has been repurposed for the holiday season by Burger King. With new lyrics, the cover is sung by a GPS guiding listeners to Drive (Thru The) Home (Of The Whopper) For Christmas.

Agency Johannes Leonardo, New York Creative Direction Nathan Frank, Hunter Hampton, Jeph Burton

Director Will Wightman Production Blinkink

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Helen Rhodes, Felipe Guimaraes Art Direction Callum Prior, Chloe Stephenson

JUST EAT Did Somebody Say?

TESCO Become More Christmas

PENNY The Kids

To highlight the diverse range of foods offered on delivery platform Just Eat, McCann London created a mashup of two very distinct styles, opera and rap. With added verses to the, “Did Somebody Say Just Eat?” jingle, the video shows pop star Christina Aguilera and rapper Latto reciting the options available on the app.

The phrase “getting into the Christmas spirit” is taken to literal extremes when a family starts to physically morph into manifestations of the festive period such as snowmen and Christmas trees. The jolly ad was produced by BBH London for UK supermarket chain Tesco.

European discount supermarket chain Penny continues its string of socially conscious campaigns with The Kids, a film showing the issues that children must deal with. From social media affecting body image to concerns about global wars, the video ends by reminding us to pay attention to children’s anxieties.

Agency McCann, London Creative Direction Alexei Berwitz, Rob Webster Art Direction Adam Taylor-Smith

Art Direction Marjorie Vardo Copywriter Prit Patel

Copywriter Stephen Yeates Director Dave Meyers Production Radical Media

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Felipe Guimaraes Art Direction Wil Maxey

Copywriter Elliott White Director Marco Lafer, Gustavo Moraes Production Iconoclast

Vol 4/2023

Agency Serviceplan, Munich Creative Direction Moritz Dornig, Matthäus Frost, Alessia Coschignano

Copywriter Marc Rayson, Charlie Pendarves Director Yannick Hausler, Joe Azad Production Black Sheep Studios

Copywriter Florian Joester, Pauline Sawatzki, Sebastian Bialon Director Gregory Ohrel Production Akkurat Studios 128–129

FILM

BOOTS Thank You Santa

MARVIS Marvel Your Routine

ACADOMIA Acadomia Squabbles

In the giving spirit of the festive season, a mother and daughter venture to the North Pole to give Santa a gift after her child asks, “Who gives presents to Santa?” Offering presents to people who help them along the way, they finally reach the house of Father Christmas. In a nice twist on tradition, they drop something down his chimney (some appropriate Boots travel socks).

Employing a vibrant, hallucinogenic animation style, Italian toothpaste brand Marvis show that the all too often dull task of brushing your teeth can be redefined to become a fresh pleasure.

Since time immemorial, parents have been nagging their children to finish their homework.

With the help of French tutoring company Acadomia, all studies are completed ahead of time leaving exasperated parents to complain about the tidiness of their kids’ bedrooms and how efficient they are at doing chores.

Agency The Pharm / VMLY&R, London Creative Direction Steve Wioland, Matt Woolner

Copywriter Jonathan Thake Production Rogue Films

Agency Le Pub, Milan, Italy Creative Direction Domenico Manno Art Direction Ann Jennifer Tiamzon, Emanuela Gein Lombardi

Copywriter Natasha Anatra, Francesco Codemo Production Awolff

Agency Rosa, Paris Creative Direction Gilles Fichteberg, Jean-Francois Sacco, Jean-Patrick Chiquiar Art Direction Claire Croteau

Copywriter Diane Desclaux Director Rudi Rosenberg Production Division

COURAGEOUS CONVERSATION GLOBAL FOUNDATION Driving While Black

NETONNET The Fight for Low Prices

In a dark satire of “driving while black” racial profiling, Goodby, Silverstein & Partners teamed up with Critical Mass to create a campaign which addresses the dangers that driving as an African American can bring. Made for the Courageous Conversation Global Foundation, the launch video for the fictional car exhibits a variety of features to assist black drivers in preventing profiling (many of the designs are based on the details of real occurrences). the agency’s support of small businesses and entrepreneurial spirit.

When a cardboard superhero lands in the middle of a city, à la Iron Man, people’s first reaction is understandably one of shock. That is until they realize that he is fighting to keep prices low for Scandinavian retailer NetOnNet in this quirky spot.

Agency Goodby Silverstein & Partners, San Francisco Creative Direction Anthony O’Neill, Rony Castor

Lürzer’s Archive

Art Direction Ben Burgoyne Copywriter TShea King, Alanna Johnson

Director Andrew Proctor Production The Mill

Agency Forsman & Bodenfors, Gothenburg, Sweden Creative Direction Joakim Blondell, Andrea Sundström, Emelie Bang

Art Direction Joakim Blondell, Emelie Bang Copywriter Andrea Sundström Director Torben Kjelstrup Production Immigrant

ALLAN GRAY Everything Comes Around

ROYAL MAIL In Good Hands

With cinematic grace, this stylish black and white film for South African investment management company Allan Gray, follows a young trumpeter through the years. As he makes a name for himself through the jazz era, his style eventually goes out of fashion but he keeps playing. Decades later his talent is rediscovered and we see him invited, now an old man, to perform in front of an adoring crowd. The story acts as a nice example of how patience can be rewarded, much like a financial investment.

The small moments of dedication and hard work of the people behind the postal service drive this campaign for the Royal Mail. Backed by a voiceover reciting an original poem by acclaimed poet Roger Robinson, the ad ends by reminding us that our mail is in good hands.

Agency Accenture Song, Johannesburg, South Africa

Creative Direction Harry Mackenzie, Graeme Jenner

Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Alan Wilson, Diccon Driver, Ant Eagle

Director Sam Coleman Production Patriot

Copywriter Tim Riley Director Tom Green Production Horton Stephens

ADP The 25th Hour

THE HARRIS PROJECT Let’s Play a Game

MONTEFIORE-EINSTEIN There’s Magic in All of Us

While some companies may wish for an extra hour in the workday to maximize productivity, the reality would be much more troublesome.

To portray this, HR brand ADP shows what life would be like with a 25-hour workday. After a solar flare adds an extra hour to the day, companies navigate around the new 25/7 environment (which includes added office naps!).

In this PSA for The Harris Project by Havas New York, an innocent drinking game leads one girl into substance abuse. The need to raise awareness for integrated treatment for those who may develop co-occurring disorders (C.O.D.) is urged poignantly.

From Alto New York and directed by Oscarwinning filmmaker Tom Hooper, this Christmas advert features a boy with cerebral palsy using eye-tracking technology to unleash a tale of giant dog blimps in the streets of New York.

Agency Arnold Worldwide, Boston Creative Direction James Bray, Justin Galvin, Sam Mullins Art Direction Sam Mullins

Copywriter Justin Galvin Director Wayne McClammy Production Hungry Man

Agency Havas Worldwide, New York Creative Direction Tyronne Schaffer, Lindsey Rock, Christian Serna

Director Daniel Wolfe Production Love Song

Vol 4/2023

Agency Alto, New York Creative Direction Chris Groom, Antony Goldstein

Director Tom Hooper Production Smuggler

130–131

FILM

MOBIL CHILE The Other Race

DUTCH STATE LOTTERY Believe in Luck

Using a strong visual metaphor of rally racing to describe the race to detect and stop cancer, Mobil urges women to do regular selfexamination during breast cancer month. The hopeful statistic that ends the video, that nine out of ten women who detect breast cancer at an early stage overcome it, highlights the importance of the campaign.

In a Hollywood-esque story that could turn kitschy, this delightful spot for the Dutch State Lottery’s 2023 New Year’s Eve draw shows a man teleporting forward in time. As an old man married to his wife, the story then begins skipping back through their romance, eventually landing back on the present day. In a nice twist, the lead character chooses to follow his future partner instead of the winning lottery ticket.

Agency Porta, Santiago de Chile Creative Direction Felipe Porte, Juan Schacht Art Direction Benjamín Sánchez

Copywriter Julio Salazar Director Matías Montecinos Production Triciclo films

Agency TBWA\Neboko, Amsterdam Creative Direction Dennis Baars, Erik Falke, Dare van Dijk

Art Direction Dennis Baars Copywriter Erik Falke

Director Ismael Ten Heuvel Production Pink Rabbit

POSTMATES This is Your Brain on Food

TIENDA INGLESA The Time Machine

MONICA LEWINSKY Stand Up to Yourself

With frenetic energy, Mother L.A.’s campaign for food delivery service Postmates investigates the brain’s reaction to certain types of food. While the ads are not exactly scientifically accurate, the kaleidoscopic animations aim to portray the emotional experience that some foods bring (Mother enlisted different artists to get their interpretations for each food type).

Driven by an absorbing narrative, Publicis Impetu’s film for Uruguayan retail chain Tienda Inglesa uses a time-traveling premise for the brand’s 154th anniversary. Connecting the story of a boy in the 1930s with the modern day, the film concludes with a wholesome twist.

In a profound look at the effects of bullying, Mischief has teamed up with American activist Monica Lewinsky to explore the harm that self-bullying causes. As several people are shown addressing someone else by reading hurtful words like “loser” and “disgusting”, it is revealed that these are words they have used to describe themselves. The harshness of the words reinforces the need to discourage self-bullying.

Agency Mother, Los Angeles

Lürzer’s Archive

Agency Publicis Impetu, Montevideo Creative Direction Mario Taglioretti, Juan Ignacio Roldós Art Direction Mariana Rivero, Juan Pablo Avegno, Santiago Varese

Copywriter Julieta Batista, Santiago Varese, Rocío Velasco Director Oliver Garland Production Olga Lee

Agency Mischief, New York Creative Direction Greg Hahn, Kevin Mulroy, Bianca Guimaraes Art Direction Tanner Thompson

Copywriter Dana Buckhorn Director Dylan Maranda Production Sequoia Content

UBER Best Friends

WWF Italy Toys

WWF Up in Smoke

In an oversimplification of the company’s business model (“getting food and going places”), film icon Robert De Niro becomes young actor Asa Butterfield’s Uber buddy. The light-hearted spot by Mother London shows the pair traveling around, clothes shopping and going to play ping pong.

Adding a welcome playfulness to the animal charity video genre, Accenture Song’s spot for the World Wide Fund for Nature demonstrates the “abuse” that the charity’s free toys go through.

Made with affecting animation for the World Wide Fund for Nature, this groundbreaking spot communicates the dangers that fossil fuel emissions risk to our environment by using real smoke in the animation. The film, released to coincide with the COP28 conference, follows a young girl in a haunting, smoke-filled landscape.

The conclusion emphasizes the need for world leaders to adopt renewable energies.

Agency Mother, London

Director David Shane Production O Positive

ISLAND WIDE REALTY With a quirky homespun charm, Ogilvy’s promo for local New York real estate agent Tony B. (produced on a pro-bono basis) exemplifies the agency’s support of small businesses and entrepreneurial spirit.

Agency Ogilvy, New York Creative Direction Mike Motch, Austin Mankey, Doug Fallon, Steve Fogel

Director Randy Krallman Production Smuggler

Agency Accenture Song, Milan, Italy

Director Wolfberg

Agency Nomint, London Creative Direction Christos Lefakis, Yannis Konstantinidis

Director Yannis Konstantinidis Production Nomint

CRUZ VERMELHA – RED CROSS SÃO PAULO Help Plus In a clever parody of online streaming services, Red Cross São Paulo has created a faux platform called Help Plus where the monthly subscription profits go towards donations for the charity. Built around the concept of the “subscription guilt” that can be felt when not streaming enough films, the campaign allays any guilty feelings by using the fee for humanitarian aid (while also advertising humorous fake films and summaries).

Agency Lew’Lara\TBWA, São Paulo Creative Direction Rodrigo Tortima, Fernando Lyra, Rodrigo Damatta

Art Direction Guilherme Sakosigue, Fernando Lyra, Rhalybe Aizann

Vol 4/2023

Copywriter Rafael Miessi, Lucas Alcorta Production Movietrailer

132–133

Lürzer’s Archive

INTERVIEW

Dogs, kids, curiosity … and work, work, work Tara Ford is busier than ever. Now combining Chief Creative Officer of Accenture Song for Growth Markets while still holding the CCO tiller at The Monkeys Sydney.

She found time for us and opened up on the personal side of creative leadership.

L[A] What is your morning routine?

L[A] Do you have any phobias?

Tara Ford Up early. Exercise. Dog walking. Kids lunches. Making myself ready for public consumption ...

TF Not really a phobia, but I don’t like it when things get too comfortable and I’m repeating myself. I like to get out of my comfort zone and do something challenging. If I’m too comfortable I feel like I may lose my edge.

That, and I don’t like cockroaches.

L[A] What is the most exciting part of working on a new brief?

TF Dreaming up the ideas. It’s the most inspiring part that never gets old. Nothing trumps that feeling of hearing an idea that’s fresh and new for the first time.

L[A] Can pressure or stress be a positive factor in the creative process?

L[A] Aside from your work as CCO for both Accenture Song and The Monkeys, you have an extensive background as a judge of creative content. How does this feed into your creative work and management role?

TF I don’t think stress enhances performance, but I think when the stakes are high it can bring about greatness. Especially when everyone on the team wants the same thing and is pushing in the same direction together.

TF Judging creative work can be like a masterclass. You’re in a room with some of the industry’s best creative minds and getting to hear their perspectives and insights regarding the work. Even better if the judges are from around the world and have different backgrounds. It gets you out of your own bubble. And that can be very inspiring and expanding.

The other thing that’s so important is of course the work. You get to see the best of the year, see how people are thinking and applying creativity and technology. You get a sense of the culture of our industry and how creatives and clients are responding to the world. It keeps you up to date with the best of the industry on a global level.

L[A] If you could only recommend one book to someone to inspire them, what would it be?

TF

Rick Rubin’s The Creative Act has been a good one recently.

L[A] Do you have any role models in your life? If so, who would they be and what qualities do they have that you admire?

TF Vivienne Westwood was someone incredibly inspiring. An incredible creative vision that was uncompromising and singular.

Starting in the punk era and powering on with style, strength and individuality for decades.

Vol 4/2023 1/2023

134–135 10-11

INTERVIEW

L[A] How do you relax?

TF Drawing. Walking. Patting my dogs. Being with my kids. Al though that last one can go the other way as far as relaxing goes.

L[A] What fictional character do you identify the most with?

Why them?

TF The Terminator because I’m tenacious as hell. Although maybe I should say Sarah Connor because she ended up being the more tenacious character.

L[A] What does being “innovative” mean for you?

TF Questioning the status quo. Breaking down an existing system and using creativity and technology to build something new. Experimentation. Travels into the unknown. Being open to something that is unproven and has never been done before.

L[A] In 10 years, what will people be nostalgic for?

TF The smartphone maybe. It’s such a part of our lives, but it will evolve into something else. Driving a car. People are very romantic about driving and that too will never be the same. The everyday things we take for granted will disappear or change beyond recognition.

L[A] Is there a quote or mantra that you live by?

TF No guts no glory.

I have always taken chances to push into the unknown. There really isn’t any point being mild in this business, or in life.

Lürzer’s Archive

L[A] What do you think are the biggest misconceptions about working in advertising?

TF It’s not just about thinking up fun stuff. There are so many parameters and constraints you need to work to as a creative. Also, the time and care it takes to make sure an idea lives. People don’t realize how hard it can be to get a great idea out into the world in its original unharmed and beautiful state.

L[A] Which song would you pick that sums up your life?

TF

Van Halen’s Jump … but in reality, it’s probably Rihanna’s Work.

L[A] In what environment do you feel the most creative?

TF Big bustling cities make me feel alive and inspired. But going deep into nature is rejuvenating and brings space, clarity and creativity in another way. I need both.

L[A] For the COP27 conference, your work for the South Pacific island nation of Tuvalu presented a haunting concept of a country becoming solely digital due to the effects of climate change. In what ways can such campaigns create real socio-political change and how important will they be going forward?

TF That work was more than a campaign in that, if no real climate action is taken, Tuvalu will become a digital nation for real. They will have no choice. The film launching the concept at COP27 was designed to be a wake-up call for the world, that this is really happening, and the devastating effects are not a distant concept, they are here. So, in that way it was a concept that straddles both climate adaptation and mitigation. We know that Tuvaluan Minister Simon

WORK Left page: The First Digital Nation, Tuvalu Government Tuvalu, a low-lying Pacific nation, is facing an impossible challenge. At the current rate of global sea level rise, the entire country will be submerged in decades.

In his speech at COP27, Minister Simon Kofe announced a radical plan for survival: Tuvalu will become the world’s First Digital Nation. The team devised that by recreating Tuvalu in the metaverse, piece-by-piece, the country can preserve its culture, history, and government services, long after its land disappears. The digital nation is at the center of the fight for a new definition of statehood under international law – a way to protect Tuvalu’s sovereignty and place on the world stage.

This page top: Play it Safe, Sydney Opera House Play it Safe is one of our most recent projects to celebrate the Sydney Opera House’s 50th birthday. Since 1973, the Sydney Opera House has stood as a monument to the power of brave creativity: a symbol of crazy, beautiful ideas. But as Australia drifts towards conservatism and conformity, the Opera House’s message is being forgotten.

We wanted to remind Australia and the global public why it’s more important than ever to keep that spirit alive.

We collaborated with two fearless Australian talents, songwriter Tim Minchin and director Kim Gehrig as well as a host of the House’s resident companies and performers to create the song Play it Safe, a visual and musical love letter to doing the opposite.

This page bottom: This is Footy Country – Telstra In Australia, footy lives in the country. It’s where the sport is purest, the players are toughest, and entire towns are built around the field. Along with Telstra, a 20-year sponsor of the NRL and AFL, we decided it was about time someone celebrated that special relationship. Because this isn’t country footy. This is Footy Country. The campaign features a team that gets stranded before a game, and the club president quickly pulls together a crew of last-minute replacements.

INSPIRATION Kofe uses the concept of the First Digital Nation in his diplomatic talks to garner support and action.

L[A] Which childhood trait should we hold onto?

TF Curiosity and playfulness. And not caring so much what other people think.

L[A] What is something that gives you hope?

TF Art. The beauty and wit of a creative mind and what it can create from nothing.

L[A] What would you title your autobiography?

TF

I’m not done yet.

L[A] What do you think might be different about the work of a CCO in 20 years?

TF There will be new tools and technologies and formats and media, but the idea will still be king. Humanity, craft, and empathy will remain. I hope creativity will be applied across business in many different ways. I think our industry can expand into much more than communications. We’re already starting to see this but I hope it will continue.

But I think the work is the ‘easy’ part of the job. The humans are the hard bit. The people side of things is ever-evolving and no matter how long I do this, I still manage to be surprised. Just when you think the balance and culture is just right … Bam! Something comes along to change it up. Humans will always be where creativity is needed but human problems may change in some way.

The Last Performance, Partners Life One of my favorite pieces of work from last year. This is a film, but it’s also a media idea. The spots were shown at the end of one of New Zealand’s loved crime shows. But before the credits rolled, the victim for that episode came back to life in the morgue to remind you to get your life insurance sorted. Unexpected, simple, smart … killer.

Weather Anything, Macpac Macpac is New Zealand’s original outdoor gear manufacturer, making tough, high-quality outdoor gear. To prove it we created a simple and ridiculous product demonstration, delivered through the deadpan humor New Zealand is famous for.

Tesla Cyber Truck Okay, hear me out on this one. Love it or hate it, this car changes it up in every way. I mean look at it. But it’s not just the outside, they’ve reinvented everything from the battery cells to the wiring architecture. No baby steps towards something were taken here. And I kind of like that.

Following through on an authentic vision.

Tate Modern I travel a lot and when I’m in London I always like to take a long walk to the Tate and look at the art. It’s one of my favorite things to do off the long-haul flight.

The Creative Act by Rick Rubin A good book to pick up and dip into whenever creativity feels hard, when you feel like you need a little shake to loosen something.

Vol 4/2023

136–137

We believe the best work needs the best judging. cresta-awards.com

Celebrating creativity 1993 – 2023

Lürzer’s Archive Special Report

FOOD+ DRINK23 23 Can we escape red and yellow?

PHOTOGRAPHER | DIRECTOR

www.stephenhamilton.com info@stephenhamilton.com 312.733.4583

STANLEYSPOST.COM

@STANLEYS_POST

FOOD + DRINK SPECIAL

For our second survey of trends and tastes in Food+Drink communication, we have focused on color.

The spectrum of taste

We invited a diverse group of creatives, all of whom have expertise in advertising food and drink, to reflect on the role of color in the field and to speculate on trends that might be affecting it. This is an area of specialism that combines strong traditions and restrictions with, also, vibrant and sometimes provocative short-term trends. For example, who now believes in “digital lavender” as a must-have in making food and drink attractive? Some industry pundits put their names behind that still largely invisible hue as a hot choice for 2023 … but it seems to have passed us by. However, none of our experts put their reputation there, we hasten to add.

Instead, we will be feeding you a wide range of insightful and speculative observations while juxtaposing them with the hard evidence of the more outstanding food and drink ads of recent years drawn from Lürzer’s Archive.

We suspect trend forecasting has a stronger, and a more scientifically-based, part to play around food and drink than in many sectors. There are clearly some very consistent values – all that red and yellow used around fast food, for example, which our experts will touch on in various ways over the coming pages. And yet there is also endless space for delightful innovation where almost any color can find its way, depending on the content and creativity around the brand and its underlying product truth.

Image: Sancho BBDO, Bogotá, L[A] 5/2019, full ad on page 174.

It is clear the rules are for bending and sometimes breaking … but understand the game before you do.

Vol 4/2023

142–143

Laura Petruccelli Co-Founder / Chief Creative Officer nice&frank, San Francisco 1

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Color can’t be observed as a stand-alone element when it comes to bringing food to life now that we mostly consume it through screens. You just have to look at the insane increase in TikTok trends around food and drinks to see that it’s the magical combination of color, sound, texture, and movement that gives personality to the way food shows up in people’s lives.

There are 13 billion ASMR styled ‘oddly satisfying’ videos uploaded online right now. This tells us we have to think of color as part of a collection of things that make something appealing or engaging enough for people to care. Especially since most of the F&B brands that see success do so when they hand over the tools for people to create their own content.

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1 L[A] 2/2022, Ogilvy & Mather, Chicago 2 L[A] 2/2022, BETC Etoile Rouge, Paris 3 L[A] 2/2022, MetaDesign, Sydney 4 L[A] 2/2022, GUT, Miami 5 L[A] 2/2022, Leo Burnett, London 6 L[A] 3/2022, Brainsonic, Paris 7 L[A] 2/2015, Fluid, Bountiful, Utah 8 L[A] 1/2022, TBWA, Paris

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Vol 4/2023

144–145

Dan Goldberg PHOTOGRAPHER/DIRECTOR

312.225.7044 GOLDBERGPHOTOGRAPHY.COM

REPRESENTED BY: HEATHER ELDER HEATHERELDER.COM 415.931.7709

Shelley Smoler

FOOD + DRINK SPECIAL

Chief Creative Officer Droga5, London In advertising, food photography lived in a realm of deception: tomatoes so pumped they could audition for a bodybuilder contest, and shades of red that not even nature herself could replicate. It was all about perfection, even if that meant venturing into overdone illusions.

But times have changed. We’ve embarked on a journey to capture the essence of food in all its honest glory. In our campaign for Planted, we dared to showcase food the way it’s meant to be devoured – sauce dripping down hands, bathed in the soft embrace of natural light, and adorned with colors that sing the song of authenticity.

And our latest campaign for Philips Airfryer is a testament to celebrating the imperfect. We proudly displayed vegetables that had gracefully aged, their wrinkles and quirks worn like badges of honor. We wanted you to see these veggies as they truly are – not the superficial airbrushed models. Their transformation into a delectable, mouth-watering meal was portrayed from an angle that begged to be devoured.

Bon Appetit.

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1 L[A] 5+6/2021, Out to Lunch, Athens 2 L[A] 5/2016, TBWA, Lisbon 3 L[A] 4/2018, Young & Rubicam (Y&R), São Paulo 4 L[A] 3+4/2020, Mother, London Lürzer’s Archive

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K AT R I N W I N N E R . D E

Izadora Petrovcic 1

Senior Art Director SOKO, São Paulo

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We’ve all heard that red and yellow are the optimal colors for stimulating consumer appetite, and it’s no surprise that CocaCola and McDonald’s have excelled at this for decades.

While this theory is spot-on for the appetite appeal of certain products, we need to delve deeper. It’s crucial to recognize that in today’s landscape, we have new audiences engaging with new different channels, influencing the use of colors beyond established formulas.

In this context, it’s our job to assist brands in becoming visually appealing through new uses of color in food and beverage advertising, whether through entertainment, employing vibrant colors that capture consumers’ attention on screens, or through more organic content with realistic colors, providing a greater sense of reality to the consumption of these products.

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1 L[A] 3+4/2021, Cossette, Montreal 2 L[A] 1+2/2021, Leo Burnett, Toronto, Leo Burnett, Bangkok 3 L[A] 2/2022, Grey Colombia, Bogotá 4 L[A] 5+6/2021, TBWA, Paris Lürzer’s Archive

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kriskirkhamphoto.com T: +44 (0) 7985 482 192 Agent: Style Department

Effie Kacopieros Creative Director Innocean, Sydney, Australia

The corner store is one of my most vivid childhood memories. Shelves of packaging towered over me, all vying for my attention with their vibrant colours and designs. The milk fridge did the same: bubblegum pink or strawberry? Or my favorite: iced coffee. Somehow, that muddy brown carton was never as convincing as the pastel pink, despite what was inside.

Colors have the power to do more than just evoke emotion & feelings – they elicit actions.

They can completely influence our choices in the supermarket aisle or restaurant.

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1 L[A] 1/2023, LOLA MullenLowe, Madrid 2 L[A] 3/2023, Athos Bolivia, Santa Cruz de la Sierra 3 L[A] 1/2022, Johannes Leonardo, New York 4 L[A] 2/2023, Meaning, Kobe, Japan 5 L[A] 1/2023, Creamos, Medellín, Colombia 6 L[A] 3+4/2021, The WHOLE Advertising, Shanghai

Lürzer’s Archive

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FOOD + DRINK SPECIAL

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We eat with our eyes first. Always.

Fresh green limes, crispy golden crusts and dewy indigo blueberries will always have more appeal than a beige chicken breast. It’s bland and unexciting. And nobody wants to eat beige food – with their eyes or their stomachs.

This is something art directors and retouchers alike have known and utilized since day one. And today, we have another trick up our sleeves to sway palates with palettes: AI. Gone are the days of needing food stylists to ice-freeze veggies to lock in their crisp color.

We now have a whole suite of tools to create mouth-watering images in an instant.

But that doesn’t mean human creative craft is off the table. Because while machines may be able to learn and execute using color theory, they can’t be taught taste. And that’s the secret ingredient.

Vol 4/2023

156–157

Ezequiel Scarpini Creative Art Director LOLA Mullenlowe, Madrid

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FOOD + DRINK SPECIAL

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It’s circa 1964. You are a French philosopher working on the importance of color. You open a magazine and find an ad for Panzani, a pasta brand. Looking around, you only see three main tones. Green, white and red. If you were more into hard science, you’d say it’s because those are predominant colors in nature. But remember, you are a philosopher. You ask yourself some tricky questions in order to get some tricky answers that would make Umberto Eco jealous.

And suddenly, eureka! Behind the ad, there’s a hidden message. A big Italian flag right in your face. And the next thing you know, you’re over the Remington typing Réthorique de l’image.

It’s 1964. Late at night. You are Roland Barthes wondering what to eat. Would you have a baguette with a slice of comté? I don’t think so.

That’s the power of color.

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1 L[A] 4/2018, We Are Social, Rome, We Are Social, Milan 2 L[A] 3/2022, Ogilvy Brasil, São Paulo 3 L[A] 3/2022, Armando Testa, Turin 4 L[A] 4/2018, Young & Rubicam (Y&R), São Paulo 5 L[A] 5+6/2021, Bray Leino, Bristol, United Kingdom 6 L[A] 5+6/2020, Mosquito, Rome

Vol 4/2023

160–161

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

annabellebreakey.com

Myra Nussbaum President / Chief Creative Officer Havas, Chicago

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As an art director, I would venture to say that color is one of the most powerful tools a brand can use to build recall and saliency. When I think of the color red I instantly associate it with Target and Coca-Cola. Green takes me to Starbucks and John Deere. Brown brings to mind UPS, Snickers and M&Ms. Red and yellow are the chief food colors, evoking the tastebuds and stimulating the appetite. No wonder they’re also the key colors of the world’s most popular fast-food chain, McDonald’s. Research shows that 93% of buyers focus on the visual appearance when they are considering a product, and over 80% cited that color is a primary reason that they purchase a particular product. So consider color in everything you create for a brand because color can speak louder than words.

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FOOD + DRINK SPECIAL

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1 L[A] 4/2016, Impact BBDO, Dubai 2 L[A] 3/2018, DDB, Chicago 3 L[A] 3/2017, Africa, São Paulo 4 L[A] 5/2018, Cossette, Montreal 5 L[A] 1/2017, DDB, Chicago 6 L[A] 4/2014, Young & Rubicam (Y&R), Paris

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Vol 4/2023

164–165

John Koay Executive Creative Director Edelman, Hong Kong

Having worked on food and beverage brands for the past 20 years, the importance of color is still as important, despite all the changes we’ve had with techniques and technologies.

It’s an important part of what makes an ad work well. From a sensory standpoint we know certain colors trigger cravings. Just look at KFC’s golden crispy fried chicken, or the rich warm colors of McDonald’s burgers – it’s crave-able and also distinctive for their brands too.

But with the rise of technology, sometimes food visuals are too dependent on using 3D and AI, and often the colors are looking unnatural. This is where it starts to look a bit too surreal, overly vibrant and unappetising. Unfortunately relying on new technologies is cheaper and faster but at the cost of something looking fake. We need to be careful not to confuse convenience with quality, so let’s keep it real!

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1 L[A] 3+4/2020, FP7/DXB, Dubai 2 L[A] 2/2018, Thingy, London 3 L[A] 1/2020, M&C Saatchi Tel-Aviv 4 L[A] 4/2023, SEK, Helsinki, Client: Fazer 5 L[A] 3/2018, Ogilvy & Mather, Japan 6 L[A] 5+6/2020, Sid Lee, Paris 7 L[A] 3/2015, Mcgarrybowen, London 8 L[A] 2/2017, Fluid, Bountiful, Utah

Vol 4/2023

166–167

Rikard Köhler

FOOD + DRINK SPECIAL

Art Director Media.Monks, Stockholm The expression ‘we eat first with our eyes’ couldn’t ring more true when discussing the role of food in advertising, and it’s commonplace that certain colors are associated with different emotions. But color saturation is perhaps more interesting than color hue.

Brands promoting cheaper, faster, more accessible foods use saturated colors to convey accessibility, excitement, ease and urgency. More premium products gravitate towards more muted, calmer color palettes to indicate craft, nutrition, sustainability and freshness.

However, since our climate needs us to adopt a more environmentally sustainable way of producing food, the demand for more ‘planet-friendly’ food is likely to grow. With the increase in demand, the supply will follow, which will lower the price for more sustainable foods.

To differentiate themselves, it’s possible that brands, which traditionally had a calmer presence, adopt new color palettes to match the new price point and attract new audiences.

In short, there’s a correlation between price and color saturation. However, there are always exceptions to the rule.

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1 L[A] 4/2017, Ampfy, São Paulo 2 L[A] 5/2015, PPM, São Paulo 3 L[A] 3/2019, TBWA, San Juan 4 L[A] 2/2022, Alma DDB, Miami Lürzer’s Archive

BILZELMAN.COM

David Patiño 1

Executive Creative Director Mass Digital, Bogotá

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FOOD + DRINK SPECIAL

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What would the stomach be without color? Color has been and will be one of the most essential factors in stimulating the love for food. Love at first sight exists; the color makes you salivate, dilate your pupils, force your stomach to crunch, remember something, and delve into your subconscious. We are in charge of creating foods, unknown sensations, quality, and flavors that our brain interprets through data, that we have accumulated through experiences, color being an essential part of our sensory information.

Nowadays we are exposed to food and drinks; TikTok and Instagram bombard us with images and videos showing that we are a generation that allows ourselves to be carried away by the impact and visual appeal, setting trends with a chromatic stomach that will always react to what we see.

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1 L[A] 3/2017, adam&eveDDB, London 2 L[A] 5/2013, RKCR/Y&R, London 3 L[A] 4/2017, DAVID the Agency, Miami 4 L[A] 5/2019, Sancho BBDO, Bogotá 5 L[A] 4/2018, DDB, Mexico City 6 L[A] 2/2018, BlackSheep.Works, Srinagar, India 7 L[A] 1/2019, Proximity, Bogotá

Vol 4/2023

174–175

JENNIFERSILVERBERG.COM

Ryan Crouchman Partner, VP, ECD Design LG2, Toronto

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Of the many creative tools within advertising and design, color speaks the loudest to our subconscious. Perhaps it’s a byproduct of natural evolution – for our ancestors the stakes were high when it came to knowing which color cues signaled danger, and which ones meant nourishment. Color definitely has the power to influence our decisions in various ways, and this holds true for all forms of communication.

For example, within packaging design we typically use color to elicit flavor, quality and freshness. The world of branding relies on color to create brand distinction and build emotional connections with consumers, resulting in strong brand recall. Within advertising, color can help reinforce tone and mood, helping products break through in a highly saturated environment. Color is a flexible element, it's also finicky and extremely subjective. But when it’s done right, it makes all the difference.

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FOOD + DRINK SPECIAL

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1 L[A] 200best packaging design 15, Alastair Whiteley, Matt Gandy 2 L[A] 4/2018, Energy BBDO, Chicago 3 L[A] 200best packaging design 15, Andy Black, Peter O’Connor 4 L[A] 3/2018, Mother, London 5 L[A] 3/2015, Young & Rubicam (Y&R), Kuala Lumpur 6 L[A] 2/2019, MP Publicidade, Vila Velha, Brazil 7 L[A] 200best packaging design 17, B&B Studio, London

Vol 4/2023

178–179

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1 L[A] 1/2020, Propeg, Rio de Janeiro 2 L[A] 6/2017, Ruf Lanz, Zurich 3 L[A] 2/2020, Leo Burnett, Dubai 4 L[A] 1+2/2021, adam&eveDDB, London

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We are a full-service image house based in Milan, active since 2014 and hyper-specialized in food and drinks photography.

Our clients include Barilla, Bahlsen, Kellogg’s, Mulino Bianco, Nestlé, S.Pellegrino, Wasa, Sammontana, Molinari, Zuegg, Averna.

www.foodpirate.studio @food.pirate.studio

Hollie Newton

FOOD + DRINK SPECIAL

Creative Consultant, London 1

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No matter the year, the trends, or the media you’re communicating in, one fact has remained true since the dawn of the saucepan ... beige food is the tastiest. You know what I’m talking about.

Golden mashed potato. The browned crispy bits of a biryani. Rich chestnut-hued gravy bubbling free from flaked and honeyed pastry.

Alas, beige food is also the hardest thing in the world to photograph and film.

Anything studio-lit and over-retouched looks ‘processed’. Fake. And deeply unappetising. The fact is, taste appeal lies in the imperfections, and it’s the content creators in the digital space who are nailing it. MOB Kitchen. Delicious Magazine.

Gill Meller. Not Another Cooking Show. The food is beige. The amount of butter is incendiary. And in these bleak and worrying times, comfort food is all we’re after. You’d better throw yourself into the ‘red to yellow’ part of the color wheel.

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1 L[A] 2/2018, Energy BBDO, Chicago 2 L[A] 5/2019, Ogilvy & Mather, Hong Kong 3 L[A] 1/2023, Mother, London, Client: Reese’s 4 L[A] 3/2023, TBWA, Brussels, TBWA, Paris

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P. 303.249.4112 CHADCHISHOLMCREATIVE.COM

FOOD + DRINK SPECIAL

What’s in your basket now?

Did you buy the aforementioned case for beige? Some maybe, most perhaps not. It’s true that a lot of us like to eat a range of food that is united within that zone of bland coloring. However, the packaging at purchase, or the presentation on the plate, almost certainly involves much brighter coloration than the reality of beige. Or, indeed, any excessively consistent color. It’s like selling clear spirit: you can use a clear bottle of clear liquid but there’s many examples of brands (indeed, a majority) where the advertising displays a raging spectrum, suggesting where the mind can go with a strong drink or two rather than staying strictly true to the color of what the body has ingested.

A similar question may deconstruct the “rules” around red and yellow’s dominance in fast food. Yes, this color pairing may now be a universal subliminal symbolic promise of comfort and convenience but could it not also have been quite otherwise?

Tradition is not hard science. There are many successful food and drink brands in many other colors, some of them very popular (Coke Zero, for example), some of them even less representative of the actual product truth.

Lürzer’s Archive Special Report

FOOD FOOD+ DRINK23 23 Can we escape red and yellow?

Lürzer’s Archive

LÜRZER’S ARCHIVE FOOD + DRINK Client Arcor Agency Athos Bolivia, Santa Cruz de la Sierra Creative Direction Fernando Fernandes, Pablo Jove Art Direction Fito Chipana Ramos, Ruben Ruiz, Daniela Serrate Copywriter Victor William Mendez Ugarte, Mani Cáceres Méndez, Daniela Hernández Photographer Vale Montoya, Thalía González, Rebeca Gutiérrez Illustrator Alvaro Cuentas Paredes, Adrian Méndez Akamine, Luis Acha Typographer Daniela Serrate Digital Artist Angel Rapu

Our experts have shared some insights and here we might sift the underlying tendencies. When it comes to riding the trends of food and drink, the cocktail of color may well involve the following: lock on to tradition where relevant: people want to put stuff into their mouth that they can trust and believe in. lock on to human psychology even more: people don’t necessarily understand why they do what they do with what they eat and drink. lock on to creativity: outstanding food and drink ads often tweak the rules a bit – or a lot – by using strong colors that distinguish brands rather than replicate. finally, unlock your creativity and make your own rules.

Somebody has to!

If that seems a little less than serious, we point you back to our commentators and to the range of standout works we have selected to surround their comments. There are clearly color tendencies based on hard evidence and hard science, plus quite a lot of social science … and then there is creativity. It can be argued that only maverick, unpredictable creativity can assuredly deliver differentiating and defensible brand value by inventing a space for a brand and drawing the human imagination into it. Once you have added that volatile ingredient, be sure to test before use …

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Backdrop [188–194] Gottfried Helnwein Albertina Museum, Vienna

Vol 4/2023

Sleep 16, 2008, Oil and acrylic on canvas, 110 × 150 cm © Gottfried Helnwein / Bildrecht Vienna, 2023

186–187

CLASSICS Our revisit of fashion and automotive ads from Lürzer’s Archive 1998, 25 years ago.

Lürzer’s Archive

Top: Client Diesel Ad Agency DLKW Lowe, London Art Direction Gary Anderson Copywriter Tony Miller

Bottom: Client Kookai Ad Agency CLM BBDO, Paris Art Direction Christhophe Dru

Copywriter Fréderic Temin, Guillaume De La Croix Photographer Les Guzman

Top: Client Benelli Ad Agency Wieden + Kennedy, Amsterdam

Art Direction Bertrand Fleuret Copywriter Lorenzo de Rita Photographer Ralf Schmerberg

Bottom: Client VW Volkswagen Ad Agency DDB, London Art Direction Richard Flintham

Vol 4/2023

Copywriter Andy McLeod Photographer Richard Flintham, Andy McLeod, Neil Cummings, Marysia Lewandowska

188–189

REVIEWS

Robert Zeller New Surrealism: The Uncanny in Contemporary Painting Hardback 336 Pages £32.95

This page: Fading Room by Tim Kent, Courtesy of Tim Kent and Slag Gallery.

Right page: Tears Have Changed as Tears Bring Change by Lola Gil, Courtesy of the artist.

Lürzer’s Archive

As visual arts editor for a pop culture magazine in the 90s, I commissioned a column on art in advertising, briefing writers to have fun looking at artinspired advertising. Skepticism that this column might be a one-hit-wonder was washed away by a wave of communications seeking inspiration from the history of art. Alongside this art history inspiration, there was aspiration, as brands looked to add prestige to products. There were the continuing artistcommissions by Absolut Vodka, the surrealism of the Silk Cut campaign with its clever puns and found objects, whose interpretation flattered the viewers’ semiotic intelligence, and a series of Smirnoff TV ads which riffed upon German Expressionism. It’s no surprise that the colleague I commissioned to write about Smirnoff’s free-associating vodka drinkers would go on to be a Professor in Psychoanalytic Studies. Which brings us to New Surrealism: The Uncanny in Contemporary Painting. Edited by artist and writer Robert Zeller, the book whisks us through a wide-ranging view of surrealism from Dada performance by author and poet Hugo Ball and cabaret singer Emmy Hemmings, through figures such as André Breton, Man Ray and Méret Oppenheim, before taking us to a selection of contemporary artists. Their work broadly connects with surrealist themes, such as the uncanny, the visual non-sequitur, liquid bodies and landscapes in a state of metamorphosis.

The book contains many beautifully rendered examples of new surrealism, works such as Miles Johnston’s graphite drawings described

by Zeller as “small visual poems”. The spooky intimacy of the work is partly derived from the restricted palette Johnston gives himself. Alongside the many interesting images in the collection there are also paintings that remind this reader that at times there is a calculus to surrealism’s mental landscape, a symbolic visual narrative of psyche that feels too polished and organized. In contrast, the last section of the book, Surrealist Influence on Contemporary Studio Practice, by highlighting workflow and work-in-progress, is compelling around psyche and creative process. The unfinished images that are in an in-between state, not fully resolved, are perhaps the most uncanny and unexpected.

John O’Reilly

Vol 4/2023

190–191

REVIEWS

Gottfried Helnwein Reality and Fiction Albertina, Vienna Until 11 February 2024

A quick reading of the introductory material for this exhibition marking the 75th birthday of leading Austrian artist Helnwein might well put off a potential visitor. It promises: “Every single work of his is an accusation of cruelty and ruthlessness, of the horrors of fascism.” Worthy as that may be, it doesn’t sound very entertaining. All a bit too direct for art, even too literally repulsive, perhaps? Where is the mental and visual stimulation, the entertainment, engagement? The heavy-footed intro also claims Helnwein sees himself as primarily a conceptual artist while going on to say his work is both “uncompromising realism” and “hyperrealist”. Such labeling seems immediately contradictory. And yet, this body of work is simply engaging, teasing, controversial, even highly enjoyable. Memo to all: don’t read the intros when looking at art. Helnwein’s body of work plays with popular culture, art history and, yes, some very serious and troubling aspects of our history and culture. Whatever the ideas may come from and head towards, the art itself exists in a beautifully suspended visual space that can be amusing, shocking, and always thought-provoking. At a risk of sounding like another quote from the bad intro, let’s conclude by saying the show is a visual interrogation and a revelation of how high and low culture, past and present, can all be united in Helnwein’s fascinating career through visual play.

Gottfried Helnwein, The Visit 4, 2021-2023, Oil and acrylic on canvas, 290 × 210 cm, Private Collection.

Lürzer’s Archive

Olafur Eliasson A harmonious cycle of interconnected nows Azabudai Hills Gallery, Tokyo Until 31 March 2024

Bravura and innovative conceptual and technical impact, backed by extensive and seriously relevant research and thought that operates at global scale, puts Olafur Eliasson regularly near the top of global art rankings. If you haven’t seen a few of this Icelandic artist’s major installations then you are definitely missing out: Eliasson has been pushing the boundaries of what it is to think and be creative for a decade or more. If you need a rapid primer then this latest major show gives you a chance to catch up. The new work in the exhibition eludes description, other than – as the show title suggests – being about the interconnectedness of everything. Eliasson manages to deliver that condensed into engaging and intense experiences. Given the strong environmental concern in Eliasson’s work, if you have to travel far to see this exhibition, then don’t forget to carbon-offset generously.

Right: A harmonious cycle of interconnected nows (detail) 2023, Installation view, Azabudai Hills Mori JP Tower Office Lobby, 2023, Photo: Kioku Keizo.

Bottom left: Your split second house, 2010, Photo: Christian Uchtmann Bottom right: Firefly biosphere (falling magma star), 2023, Photo: Jens Ziehe.

Vol 4/2023

192–193

REVIEWS

Ardneks Coastalvision: Heavilysaturated Tropicália Published by Jordan 360 pages, $50

All images from Coastalvision: Heavilysaturated Tropicália by Ardneks.

Lürzer’s Archive

This monograph covering more than a decade of the work of cult Indonesian artist/illustrator Ardneks, aka Kendra Ahimsa, nails its subject from the title and the cover. It does what it says on the tin, in other words. There’s saturated color throughout that almost burns the eyes with a style that varies little and yet has range in terms of the messages it can convey. There’s a fair bit to read, drawing on diverse interviews with the artist, but really this is about taking in a style, like sucking on a drinking straw for eye-popping visual fizz. Given the incredible punch of the work, readers of Lürzer’s Archive might want to dream of how to use it. Ardneks own comment on his work can provide inspiration: “I want to welcome everyone into a realm where a turban-wearing brother and a Taiwanese fried chicken lady can talk about their favorite city pop song by the beach without a care in the world.” Enough said. Check it out.

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