Lurzer's Archive 222 (International edition). 1/23

Lürzer’s Archive Issue 222 1/2023

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HELLO

Welcome to issue 222. This kind of repeating-digit-number is called, by some of the more spiritual among us, an angel number. Indeed, 222 is associated with peace, love and unity. We can but hope.

More certain is that if we number our issue sequence more clearly it will help all of you assiduous collectors know precisely where you are with building your set. Thank heaven for small certainties in a disrupted world. It’s taken us nearly 40 years to make this step but perhaps we were just waiting for the angels to look kindly on us.

More urgent in delivery is our curation of another terrific selection of the best communications we have seen from around the world. We’ve noted a welcome bounce-back in creative submissions after the Covid years. Keep them coming.

We’ve further fleshed out that wonderful viewing with a teasing show of classic work in this issue’s Special Report, where we have a remix of outstanding travel and luxury ads from recent years. With this we invite you on a kind of creative speculation, asking you to wonder about the future of these two mythical concepts, travel and luxury.

I suspect many of you will first head to the three big interviews. First up is a man with perhaps the biggest mission imaginable in the creative industry. Rob Reilly, who marks two years as global CCO at WPP, enters into a wonderfully explorative discussion on what drives him forward. Also with a huge global remit is Natalie Lam, who has made her mark as Publicis Groupe’s AsiaPac, Middle East and Africa regional CCO. She not only opens up about her management vision but then unites with many of her creative team to share the work that is exciting them across their various territories. Last but not least, Ian Mackenzie, CCO of creative data disruptors Performance Art, discusses just why thinking and creating with less simplicity can get us to more powerful solutions.

To round things off, in our Reviews we have Rick Rubin, Abba, David Hockney, Refik Anadol and LuYang. Put together, this eclectic group set our minds wondering about the future of the creative process within the fast-changing experiential field.

When all that is done, you might want to check out L[A] online, where some of the above content has additional material to view. I’m off to get busy doing some of that right now.

When all that is viewed … don’t forget to show us your best work for issue 223. Apparently that is also an angel number, one which means you must ‘continue to follow your dreams’.

When he was starting out, it was Rob Reilly’s dream to get into Lürzer’s Archive. We’re all dreamers here.

LuYang, DOKU, Heaven, 2021.

Digital image. Courtesy of the artist and Société, Berlin.

LuYang, NetiNeti, see page 212.

Yours

Michael Weinzettl, Publisher & Editor-in-Chief

Lürzer’s Archive

Vol 1/2023

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Contents

1

HELLO

4

THE SMALL PRINT

6

ECLECTIC

10 INTERVIEW Rob Reilly 16 PRINT WORK 134 INTERVIEW Natalie Lam 143 FILM WORK 152 INTERVIEW Ian Mackenzie 159 TRAVEL+LUXURY SPECIAL REPORT The unending quest 203 BACKDROP Classics Reviews Ranking

THE SMALL PRINT LÜRZER’S ARCHIVE Issue 222 1/2023

Lürzer’s Archive Issue 222 1/2023

ISSN 1727- 3218 ISBN 978 - 3 - 903909 - 87 - 8 Cover: Agency Three & Co., Osaka Art Direction Masaki Fukumori Photographer Tomohiko Moriyama Digital Artist Mitsuhiro Minamitsuji

EUR 18.90 ISSN 1727-3218 LuerzersArchive.com

Publisher & Editor-in-Chief Michael Weinzettl

Subscriptions and copy sales subs@lurzersarchive.com

Contents © 2023 Lürzer International Ltd. All rights reserved

Managing Editor Christian Hrdlicka

Distribution/Retail latrade@lurzersarchive.com

Art Director Christine Thierry

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

Brand and Design Direction SIX

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

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

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

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ECLECTIC

In the spectrum Do you have a favorite light wavelength?

Somewhere between infra-red and ultra violet is the color, or its absence, that means more. We asked recent archive stars to reveal theirs.

GIULIA FERRAREZI Art Director DAVID, Madrid Forest Green has always surrounded me. In nature, in my grandpa’s car, or in the jersey of my family’s football team. It takes over things as if it was a live entity. It is so powerful that even with its immensity, it still gives space for other colors to shine.

BRENDA WAEGEMAEKERS Creative and Copywriter KesselsKramer, Amsterdam

MATT HUBBARD Group Creative Director Droga5, London

The hot in hot sauce. A pinch of David Lynch.

Blazing confidence. The most famous carpet.

My lipstick stains. 032c. Alarming yet satisfying.

Word corrections I tend to ignore.

The exit button of my page.

Photo: by Daniel Gebhart de Koekkoek for ARTE campaign, created with KesselsKramer

One of my favorite uses of color is Disney’s Go Away Green – a color invented specifically to draw attention away from the less-than-magical parts of their theme parks. So, if you’ve ever strolled through the Magic Kingdom and never noticed the electrical closets, construction walls or garbage cans, now you know why.

ANNA STILIANAKI Founder / Head Creative Outtolunch, Greece It is difficult to resist choosing black combined with white, although both are technically not colors. And my favorite all-time color combination: a darker shade of red used boldly with absolute black and white.

From traditional flamenco dancers’ polka dot dresses and epic Russian Constructivist work by El Lissitzky or Rodchenko, to Mondrian blocks, a proper Chanel red. It is the color of life, and in a pure, flat form, paired with strict black and some breathing white space, it exerts a power hard for anything else to compete with.

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JOHN MCPARTLAND Creative Director The Leith Agency, United Kingdom Technically it isn’t a color but I’ve always been fascinated with black. By itself it has a depth to it that draws your gaze and allows you to focus on the details. Yet it also acts as a base from which everything else can shine.

It’s a great parallel to many aspects of life.

TIAGO BASTOS Creative Director Wunderman Thompson, Dubai, UAE Oh, the neon colors of the 1980s! Just thinking about them brings back so many childhood memories. Those bright, bold hues were the epitome of that iconic decade and they were everywhere – from clothes and accessories, to home decor and electronics. I remember how neon signified excitement and energy. Whether you were at a rock concert or just walking down the street, neon was a symbol of the carefree and vibrant spirit of the ’80s.

JESSICA FECTEAU Art Director Cosette, Toronto, Canada Blue evokes so much more than the typical cold, sadness or masculine gender that it’s often associated with.

It’s a rarity in nature, yet it surrounds us through water and sky. Its many hues are the ever-evolving time of day.

A pale blue inspires calm.

An electric blue dynamizes any artwork. A midnight blue portrays trust. And paired with warmer tones, blue becomes your best ally for vibrance and contrast.

Illustration: Jessica Fecteau

SABRINA BRANDENBURGER Creative Director David+Martin, Munich Flesh of a ripe tomato in Venice. Velvet seats in the opera of Palermo. Sunlight cutting through a Primitivo of Puglia.

The dress of Léa Seydoux in Matera.

An engagement ring with a throning chili stolen from a market in Napoli. Italian red.

Fresh, exciting and a little bit risky.

JOAO JÄCKEL Group Creative Director VMLY&R, New York As an art director, it was tough to choose a favorite color.

I love all of them. So I did what all indecisive people do, I asked my wife. She mentioned that I should choose green because it reminds her of the green of the trees in Connecticut, where we live. Later on I found out that geniuses pick green. I just wish I had said green at the beginning of my answer! Dang it!

GUSTAVO VICTORINO Creative Vice President DDB, Colombia My favorite color is orange.

One of my best childhood memories is the sunset in my hometown. This color is pure energy to me and attracts my eyes wherever I see it.

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ECLECTIC

GABRIELA ORTIZ CHACÓN Creative Director ParadaisDDB, Ecuador For me, the answer is in constant change. Different colors have shaped different stages of my life.

Right now my planner’s red and pink are my favorite. Whenever I see them I feel inspired, creative and ready to start again.

It’s like every day is January 1st.

Illustration: Andrea Salgado

SHAHIN ALIYEV Senior Art Director DDB, Azerbaijan Warm memories of navy blue evoke stability and trust in me by fulfilling my taste and vision. The reason is hidden in my childhood. It’s the color of my navy chair, where I could sit and draw for hours. Isn’t it beautiful to paint your favorite color with childhood memories?

ALBAN PENICAUT Creative Director Brainsonic, Paris Are there unimaginable colors in the universe that our little primate eyes are unable to distinguish?

That’s why I like deep purple and also because it’s one of my favorite bands. As Deep Purple’s music mixes psychedelia and hard rock chaos, this color is a blast of lights, matter and … mysteries. And today, with the ultra-fine definition of the image, deep purple becomes even deeper.

MAREK FARKAS Art Director VCCP, Prague I most like the set of colors that were used to create a piece of land where I was born in Turiec, Slovakia. After all the years living in a different country, I still find this unique gradient of greens, oranges, yellow tones and blues the ultimate beauty charger for my soul.

ANDREA AUZ Creative Director Paper, Ecuador “Ever since I met you, I see blue as a happy color”, somebody told me once. The sky, the ocean, and my living room are blue. It gives me calmness and joy: nothing is more inspiring to me than feeling happy. So, go find something blue and enjoy it.

MAARTJE SLIJPEN Associate Creative Director KesselsKramer, Amsterdam

RORY KENNETT-LISTER Creative Director Showpony, Australia

My favorite color is Signal Red. The name says it all: it’s a signal!

This makes it the ideal color for fire trucks, hot sauce and my first car. Red attracts attention and by doing so, it distracts attention from anything else. Notice the peanut on top of my car?

Yeah, I know blue is the favorite color of five-year-old boys, but indigo’s different.

Specifically, the indigo dye used to color clothing.

Good enough for samurais, cowboys and hypebeasts, it gets more interesting as it ages and fades. Which, as I hobble toward middle age, is an alluring thought.

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© Demian Tejeda-Benitez

INTERVIEW

Rob Reilly’s epic challenge

The global creative head of WPP has cracked big objectives time and again to be where he is today. But now he has the most humongous brief yet.

He sat down with us to share the challenge and the thrill of working to build the world’s leading creative company.

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INTERVIEW

L[A] Rob, thank you for making time for us and our readers.

RR Thank you for having me. No one loves this magazine more than me. When I was growing up in the business, my goal was to get into Lürzer’s Archive. It is a huge honor for me to be part of this issue. I believe that everything is craft, and craft is everything.

This publication and its site captures our craft better than anything out there.

L[A] You’re coming up to two years in this role at WPP … in May? RR

May 1st will be two years. I did the math.

L[A] What was the brief you’ve been working on these past two years?

RR When I first spoke with Mark Read, CEO of WPP, I was very happy at my old job. But he said: ‘I want to be the most creative holding company in the world …’ I said, ‘Maybe you did research and knew that that’s the thing to say to me.’ Creative people are simple when it comes to our expectations. Pay us fairly, don’t lie to us and care deeply about creativity. As Mark and I talked more and more over the course of a few months, our ambition evolved to not just be the most creative holding company, but rather, how do we become the most creative company in the world?* Not necessarily compared to other holding companies, but to brands like Disney and Google and Netflix. As grandiose as it sounds, I love that I have a CEO partner who dreams big.

When you have an ambition that is so big it forces things.

I can always point to it when there is a challenge and say: ‘Well, that’s our ambition. If we don’t want to do the things to get there, let’s change the ambition.’ And in two years, that hasn’t been the case. Everybody understands that’s our plan. And then you have our mission of creative transformation, which is using the power of creativity to build better futures for our people, planet, clients, and communities. That combination of ambition and mission is unbeatable.

L[A] So there was a vision already there but the work was how to get there?

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RR There’s always been a financial benchmark at WPP, like every company. We also have a clear creative benchmark. But it is even more complicated now because you also have to create a nurturing, inclusive and positive place to work. The pandemic has raised the bar for all of us in management to really think about our employees and their experience.

L[A] How does the creative benchmark work?

RR Awards are the by-product, never the motivation, of doing great work and the right thing by our clients, especially for big regional and global brands and important local brands. But it is something that we’re judged upon. The metric I care about most is bold, magical creative ideas that lead to wildly successful business results. Yes, we are artists and use a tremendous amount of artistry, but we are in the business of selling. As a general rule, I don’t talk about work that did not lead to commercial success.

The trick is to get people and clients and brands addicted to creativity. Once you make something and it has great business results, no one wants to get off that train: success breeds success.

Then you get another shot and then you get another shot and then you get a brand like Nike that is addicted to creativity. It’s not just that they’re bold, it’s that they’re consistent with the boldness – because it has worked for decades.

L[A] How do you make that culture a living thing?

RR I think we have in places. One brand that has been doing breakthrough work for a long time is Dove. It’s because there are bold leaders on their side and dynamic creative people, account people and strategy people on our side. And there is a great product with a consistent mission that really hasn’t changed for a long time. It all started with Dove Sketches, a game-changing idea from Ogilvy that people still talk about a decade later.

L[A] Why does that culture not always happen in competitors too?

RR You have to break the seal on starting to do good work.

For example, I worked on Microsoft for a long time in different

It’s an impossible task to show even a taster of WPP’s creative range.

The major networks of AKQA, Grey, Ogilvy, VMLY&R and Wunderman Thompson alone cover the world with multiple offices, while there are many other WPP companies besides (see the article online for more work).

So here’s a taster of a taster. Clockwise from far left: “Never Done Evolving” for Nike by AKQA; “I Will Always Be Me” for Dell Technologies and Intel

by VMLY&R New York; “Synth Hamster” for Pringles by Grey London; “Toxic Influence” for Dove by Ogilvy London; and “Christmas Always Finds Its Way” for Coca Cola, from a set of films launched on Amazon Video and created by the bespoke integrated team OpenX for the client.

agencies and I’m working on it now. Fifteen years ago, when Crispin Porter + Bogusky took on Microsoft, there was a magazine cover with Bogusky on it that asked, ‘Can this guy make Microsoft cool?’ No one thought Microsoft would ever be cool. But what we did back then, and what their agencies have consistently done since, is not try to make Microsoft cool but show that Microsoft does cool things. That’s how Microsoft went from a brand no one thought would ever be a creative superstar to being awarded Marketer of the Year at Cannes two years ago. It is because they had consistent creative leaders, like Kathleen Hall, who have never wavered when it comes to promoting their mission of empowering people and organizations to achieve more. And then they green-light the kind of work that the press writes about and the world loves, shares and spreads.

L[A] Is there now an excess of purpose-led marketing? We see a lot of it in awards.

RR I don’t worry that the world has too much purpose-led marketing. We need as much as possible. Governments, mainly for lack of money and sometimes lack of ability, often don’t have the resources to help people. Brands have really stepped in and filled that void. Our industry has been a huge part of making that happen. In fact, it’s the entire ecosystem of brands, agencies and production partners that have the opportunity to continue to help people lead better lives. And it doesn’t always have to be saving the world, it could be adding utility or more fun in their lives.

That’s why I feel like this is the most exciting time to be part of this industry.

L[A] Creativity is everywhere improving the world… it happens in things like vaccines and all sorts of amazing things that we create. But how far can the communications industry go?

RR I have been saying that creativity is now the world’s most valuable asset for some time. For example, let’s take the COVID vaccines. We’re here today because somebody figured out how to sell the governments on a product that didn’t exist, which is not how governments usually work. So, that kind of salesmanship,

that kind of creativity and ingenuity, is the reason we didn’t have to wait four years for it, which is what most vaccines take.

Some people will also say creativity can’t be taught. I disagree. Maybe it can’t be taught to a level where everybody’s going to be a genius like Steve Jobs but we can get people to use their brains in ways they never thought of, and good things will come from that. I think creative problem-solving should be taught in school from a very young age. We need to evolve the definition of creativity beyond things like Hollywood, the art world and marketing at large.

L[A] People can be the facilitators of great creativity because they better understand what’s needed?

RR It’s about creating the environment for creativity to be successful. That’s part of my job too, whether it’s the combination of people we put together or the way we set things up. It needs to be everywhere. Big agencies go bad if you think along the lines of: ‘These accounts are going to do the creative work. These accounts are going to pay the bills.’ That’s an old model. Now, everybody has to take responsibility for creativity.

To us, creative excellence is not just a philosophy, it’s a discipline. Inside all of our agencies, there’s a creative excellence person and a process of ways to get to better work and to make sure our work is seen in its best light. All of those things require funding and commitment from Mark, as it does from all of the companies of WPP. It is one of the major reasons we ended up as the Creative Company of the Year last year at Cannes.

If you haven’t figured it out by now, I am big on process and spend a lot of time on briefs. I’m excited by the tools we have for getting better insights, including AI, helping to make our briefs tight and inspiring. Make it easy. Make it one page, make it 12-point type and not eight-point type that you’ve shoved into a page. Make it have tension, a point of view, answer a specific question. Put some free ideas in the brief. Make it a document that a junior team that has no ideas at midnight, and has to show work at 9 am, sees as a gift from the heavens.

The stuff I talk about is simple but it’s hard to execute and it’s hard to get people to always believe in it. Some people are set in their ways, so it is a constant push to get the masses to spend Vol 1/2023

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INTERVIEW

While at McCann from 2014 to 2021, when he moved to WPP, Reilly rose to Global Creative Chairman and led the network to top the rankings. Under his watch was one of the biggest award-winners of recent years,“Fearless Girl” from McCann New York for State Street Global Advisers, above.

Also among the network winners was a strong vein of purpose-led projects, which included, top right, “True Name” for Mastercard, an innovation in the USA that allowed people to use their chosen name on a card, thereby supporting trans rights. “Changing the Game” for Microsoft, above right, also by McCann New York, saw evolution of gaming tech to support people with limited mobility.

more time believing the briefing process is the key to the entire creative output. I’d love to get to a point where we have one brief for the entire industry. That would be awesome.

L[A] How do you manage to implement a consistent approach across such a huge disparate business?

RR My job is influence, inspiration and visible leadership. There are 110,000 people at WPP, so you can’t have authority over all those people. I often say: ‘Hire great people and get out of the way.’ You’ve got to hire the right people to do the job and then give them every ounce that you have, be available to help them be successful. Everybody knows the scoreboard. We know if we don’t make the kind of highly creative work that leads to great business results we’re not going to be around for a long time. I don’t have to remind the CCOs and their CEO partners who are running our companies. They get it 100%.

L[A] How many thousands of people are in creative departments at WPP? RR I am not sure. I know it’s well into the thousands. But I always want more. More creative people, more strategy, production, technologists, etc. I believe every individual, in every department, is instrumental in supporting creativity.

A few years ago, my friend Mark Dowley had a great perspective on why a CCO is the best job somebody like me could have. His thought was when you’re the “product” person, your job is to constantly be pushing to make the product the very best it can be. That’s what your CEO expects from you, Which is why I spend a lot of time finding the best talent and putting them in a position to kick ass.

L[A] How do you keep a view on the work that’s going on?

RR My job is not just to work on the work. I do a lot of that. It’s pushing us into different areas like entertainment, music, design, Lürzer’s Archive

technology, fashion and gaming and being part of all of that.

I do get involved in some projects, but I also spend a lot of time with the brands. We have some brave clients who really believe in the same things I believe in. That makes me want to get up in the morning.

As for my relationship with all of the CCOs inside of WPP, I don’t think I could ask for a more dedicated, passionate and talented group. They are the best in the business, so we are more partners in crime than anything particularly formal.

L[A] Are we doing enough to make this industry attractive to young people? Or would they rather be working for Disney or somewhere else?

RR Why wouldn’t you want to work in an industry that encourages you to use your brain to solve a problem in a creative way … and it’s different every day? How many industries are like that?

We haven’t done a good enough job explaining that to people and promoting what the business is about to a wider range of people.

Maybe that is a contributing factor to why the industry has struggled with diversity. (Of course, there are many.) From a strictly marketing POV of our industry, we haven’t articulated how amazing this business is and how welcoming it is to anybody with a creative mind. And it is on all of us in this ecosystem of advertising/marketing to do whatever it takes to evolve, so we get more and more interesting voices brought into this industry.

L[A] To be more open might be seen as being open to more risks.

RR I do think we need to bake in more time for experimentation and, to some degree, failure. We’ve lost that a bit. That’s the exciting part about seeing AI tools like ChatGPT and DALL·E 2. In my opinion, these tools will help our creative people play around faster which is important in a world of smaller budgets and challenging timelines. If technology can help us get back to trying crazy shit more often in service of coming up with the magic, then I am all for it.

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Reilly’s reputation for creative leadership was forged by more than a decade of outstanding work at CP+B, 2003-14, where he rose to Partner/Worldwide Chief Creative Officer. Among the award-winning output was an all-time dark comedy masterpiece, “Mini Counterfeit” for client BMW, which ingeniously exploited direct response TV rules to devise a spoof story of a global culture of laughably-fake Mini cars. Spoof mastery was also demonstrated in “Whopper Freakout” for Burger King, an elaborate trick that stimulated near hysteria with its message that the Whopper was to be withdrawn.

L[A] Can these new tools shake up how fast our ideas develop?

RR You have to be curious. If you’re not curious, you’re not going to survive. You have to get into ChatGPT and DALL·E 2 and all these other things that are coming up. If you want to understand how to reach people on TikTok, spend a month on it. If you are a senior creative, don’t rely on the kids to do it for you. Don’t rely on your teams to solve it. Put the work in so you can judge the ideas that might live on TikTok in the most informed way.

L[A] Do you think there’s a need for more discussion about creative ethics, particularly around how technology is used?

RR Yes. I hope that people in a position to influence how things are used are moral leaders, to some degree. I hope I’m seen as a moral leader with good business acumen, who understands that there has to be a balance. You want to do the right thing, but you’re also trying to figure out how to promote something. But you have to think about how everything is going to affect people.

L[A] There’s constant interrogation of what you’re doing?

RR There is constant interrogation of everything we do in life and I hope more people are interrogating some of the decisions they’re making. But you don’t want to go so far that it means there is no fun anymore. I would love for advertising to be more fun. I do think we could laugh more, both at the work and ourselves.

L[A] When you think of advertising at its best, often it’s because it makes us laugh.

RR Making people laugh is an incredible thing we get to do.

The other side of it is how advertising has the power to make a massive change. Making people simply feel good is also a card we get to play. Grey did a series of wonderful films for Coca-Cola that ran on Amazon – Christmas Always Finds Its Way. We are extremely proud to be able to help Coca-Cola play such a positive role in people’s lives around the holidays. These big moments –

whether it’s Ramadan, the holidays in the UK, Lunar New Year, or the Super Bowl – are huge opportunities to really show how we can entertain and lift up the world.

L[A] So, finally, what’s the question we really should ask you?

RR

Would the industry be better if award shows went away?

L[A] I think you know the answer to that!

RR We are very fortunate to have the kinds of clients that value creativity at the highest level. The debate on award shows happens every year. To me, they push us forward. When you have giant global brands really investing a lot in creativity and seeing the business results … that’s a great thing. Other global companies notice and want to get in on it.

L[A] What would you like to see that might be more celebratory?

RR The world needs to really know the things we do in this industry, the lives we impact, the joy we bring and the innovations we create. It’s sometimes reduced to a headline about the Super Bowl and the ads. We need to promote what we do, as a collective. We are one tribe of creative professionals that make a huge impact. The industry would benefit from the world understanding, young people especially, about all the types of creativity we do and all the magic we bring to the world … financially, socially and culturally.

L[A] What a great point to end on.

RR Right on. Thanks again for finally making my 23-year-old self’s dream come true.

Rob Reilly is Global Chief Creative Officer of WPP Vol 1/2023

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PRINT

Print [18–133] Client Biti’s Agency Dentsu Redder, Ho Chi Minh City Creative Direction Livio Grossi Lürzer’s Archive

Art Direction Dung Cao Copywriter Lam Tran Digital Artist Danis Nguyễn

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Agency AMV BBDO, London Creative Direction Martin Loraine Art Direction Jeremy Tribe, David Westland Photographer Sebastian Staub

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Agency Saatchi & Saatchi, Zurich Creative Direction Florian Weitzel, Abbie Ramakrishnan

Art Direction Vanessa Savi, Remy Steinmann Copywriter Lennart Adam Digital Artist Martin Ottinger

VW VOLKSWAGEN Campaign

Agency DDB Aotearoa, Auckland Creative Direction Rory Mckechnie, Wihan Meerholz Art Direction Rory Mckechnie, Wihan Meerholz Copywriter Rory Mckechnie, Wihan Meerholz

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Vol 1/2023

Photographer Toaki Okano Illustrator Zelda Meerholz Typographer Kathryn Hollis Digital Artist Zelda Meerholz

22–23

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

www.jeffludes.com jeffludes

BANKING, INSURANCES

Lürzer’s Archive

JORDAN INSURANCE COMPANY Campaign

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

BEVERAGES, ALCOHOLIC

AL MULINETTO Campaign for a small winery.

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Agency Farner Consulting, Zurich Creative Direction Markus Gut, Fabian Bertschinger Art Direction Grit Wolany Digital Artist Grit Wolany

Vol 1/2023

26–27

BEVERAGES, ALCOHOLIC

RANGER CREEK BREWING & DISTILLING Campaign

Lürzer’s Archive

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Agency Baker & Bonner Creative Emporium, Dallas Creative Direction Rob Baker, Jimmy Bonner

Art Direction Jimmy Bonner, Emma Holland Copywriter Rob Baker Photographer Andy Mahr, Ashton Rodgers

PASQUA Campaign

Agency SMALL, Madrid Creative Direction Luca Pannese, Luca Lorenzini Art Direction Luca Pannese

Vol 1/2023

Copywriter Luca Lorenzini Photographer Ale Burset Digital Artist Diego Speroni

30–31

BEVERAGES, ALCOHOLIC

PILS HELLAS Campaign

Lürzer’s Archive

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

CIA MULLER DE BEBIDAS Campaign Cachaça is one of Brazil’s most traditional drinks.

Top left: The one made for the night.

Top right: The breath of a tiger.

Below left: The hissing snake.

Below right:: The pure.

Strapline: Best-selling in the world.

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Agency Heads Propaganda, São Paulo Creative Direction Rafael Merel, David Romanetto, Andres Puig Art Direction Andres Puig, Gabriel Oreiro

Vol 1/2023

Copywriter Rafael Merel, Guilherme Haas, Pedro Mendes Illustrator Estúdio Norte Typographer Andres Puig

32–33

BEVERAGES, ALCOHOLIC

SOL BEER Campaign Sol Beer celebrates the Day of the Dead with a campaign that honors the past editions of its bottles.

Lürzer’s Archive

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Agency Publicis Colombia, Bogotá Creative Direction Anderson Quiroga, Juan Afanador, Santiago Gómez Art Direction Carolina Avendaño, Nicolás Pérez

Copywriter Edwin Bustos Illustrator Andrés Ibarra, Natalia Navas, Lina Gonzáles Digital Artist Andrea Avendaño, Camilo Molina

COSSIGNANI L.E. TEMPO Campaign Classic method. New stories.

Organic sparkling wines, Cossignani Estates.

An award-winning family business since 2018.

When a glass of wine is shared together, may love and song live on forever.

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Agency Andrea Castelletti Studio, Milan Creative Direction Andrea Castelletti Art Direction Andrea Castelletti

Vol 1/2023

Copywriter Andrea Castelletti Illustrator Luca Zamoc Typographer Valentina Casali

34–35

BEVERAGES, ALCOHOLIC

PILS HELLAS Campaign

Lürzer’s Archive

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Agency The Newtons Laboratory, Athens Creative Direction Dimitris Vikelis Art Direction Kostas Rigopoulos

Copywriter Eva Marou, Vangelis Garofallou Digital Artist Kostas Rigopoulos

BEVERAGES, NON-ALCOHOLIC

SINEBRYCHOFF Campaign

Agency Reaktor, Helsinki Creative Direction Jan Sederlöf Art Direction Elisa Konttinen Copywriter Akseli Kouvo

Vol 1/2023

Photographer Tuukka Koski Digital Artist Kasimir Häiväoja

38–39

CHILDREN

MATTEL Campaign

Lürzer’s Archive

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Agency Nitch Group, Bogotá Creative Direction Mauricio Sanchez, Alejandro Junco Art Direction Mauricio Sanchez Copywriter Alejandro Junco Digital Artist Mauricio Sanchez

KIMBERLY-CLARK SOFTEX Campaign

Agency BBDO Guerrero/ Proximity, Makati City, Philippines BBDO Indonesia, Jakarta Creative Direction David Guerrero, Federico Fanti, Syeda Ayesha Ikram

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Vol 1/2023

Art Direction Meilina Lim Copywriter Beda Pandutama Illustrator Illusion Digital Artist Illusion

40–41

COSMETICS

GODREJ Campaign

Lürzer’s Archive

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Agency WILD FI, Montevideo Creative Direction Juan Pablo Alvarez, Germán Ferrez, Enzo Mansilla

Art Direction Santiago Bermudez, Eugenia Chiosso, Brian Gonzalez Copywriter Adrián Montefusco, Marcos Mateo

FASHION

ZOZO Campaign for Japanese shopping site ZOZO.

Agency Three & Co., Osaka Art Direction Masaki Fukumori Photographer Tomohiko Moriyama Digital Artist Mitsuhiro Minamitsuji

Respect fashion brand KENZO’s seal (signature) can be seen on the left side of the model’s nose.

Vol 1/2023

42–43

FOOD

MCDONALD’S Campaign

Lürzer’s Archive

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Agency DDB Aotearoa, Auckland Creative Direction Ben Pegler Art Direction Adam Barnes Copywriter Veronica Copestake, James O’Sullivan Digital Artist Paul Edwards

BURGER KING Campaign

Agency Publicis, Montreal Creative Direction Bruno Bertelli, Jorg Riommi, Rachelle Claveau Art Direction Preto Murara, Melissa Charland

Vol 1/2023

Copywriter John Pallant, Susannah Rubin, Ariane Gagné Illustrator Illusion Digital Artist Illusion

44–45

FOOD

THE KRAFT HEINZ COMPANY Campaign Noodle-shaped hugs on offer to Philadelphia Eagles fans after the team’s Super Bowl loss to the Kansas City Chiefs.

Lürzer’s Archive

Agency Johannes Leonardo, New York Creative Direction Hunter Hampton, Grace Martin Art Direction Katyana O’Neill Copywriter Zoe Myers

FRISA Campaign Top: It can be a 3-fingered picanha, coarse salt topping or even that small sausage that comes around. The important thing is to cheer.

Below: “You’ll have to put up with me” only works when the barbecue is not Frisa.

Strapline: Cheering on your team with Frisa is tastier.

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Agency Fire Marketing e Comunicação, Vitória, Brazil Creative Direction Rodrigo Pegoretti Art Direction Daniel Galvao

Vol 1/2023

Copywriter Daniel Galvao, Rodrigo Pegoretti Illustrator Daniel Galvao Typographer Daniel Galvao

46–47

FOOD

DOMINO’S PIZZA Campaign

Lürzer’s Archive

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Agency The Newtons Laboratory, Athens Creative Direction Giannis Sorotos Art Direction Danae Sierra Copywriter Mary Vamvaka Photographer

DOMINO’S PIZZA Campaign The dismembered slice.

The dark story of the assassin who ate the last slice of pizza. This Halloween, your pizza is yours alone, enjoy it. #WithoutFearAtDominos

Agency 4am Saatchi &Saatchi, Tegucigalpa Creative Direction Cesar Miralda, Luis Simbaqueba Art Direction Cesar Miralda, Luis Simbaqueba

Vol 1/2023

Copywriter Gabriel Eduardo Hernández Velásquez Illustrator Cesar Miralda Digital Artist Cesar Miralda

48–49

FOOD

SUSHI MARKET Campaign The final bite of the year is always the best.

New Year’s campaign for the sushi market in the Colombian city of Medellín.

Lürzer’s Archive

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Agency CREAMOS, Medellín, Colombia Creative Direction Jose Montoya E Art Direction Andrea Nuñez, Luis García

Copywriter Jose Montoya Digital Artist Andrea Nuñez

CASA ROJA Campaign

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

Vol 1/2023

50–51

FOOD

Lürzer’s Archive

KNORR (UNILEVER) Campaign

Agency MullenLowe, Singapore Creative Direction Daniel Kee, Erick Rosa, Ang Shengjin Art Direction Sheng Jin Ang, Alex Tan

Copywriter Daniel Kee, Peh Xin Ying Illustrator Illusion Digital Artist Illusion

REFISAL Campaign

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Agency CREAMOS, Medellín, Colombia Creative Direction Jose Montoya E Art Direction Luis García Copywriter Jose Montoya E Illustrator Rodrigo García

Vol 1/2023

52–53

FOOD

MAGNUM Campaign

Lürzer’s Archive

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Agency LOLA MullenLowe, Madrid Creative Direction Tomas Ostiglia, Kevin Cabulli, Jorge Zacher Art Direction Sara Armengol

Copywriter Paula Cobos Photographer Ed Sanca Illustrator Nicolás Germani

FURNITURE

DESIGNER BATH Campaign

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

Vol 1/2023

Copywriter Roger Baldacci Photographer Yuanyuan Yan Digital Artist Nick Bleil

54–55

HOUSE + GARDEN

Lürzer’s Archive

SCANAVINI Campaign

Agency Simple, Santiago de Chile Creative Direction Tony Sarroca, Néstor Cifuentes Art Direction Pablo Aburto Copywriter Eduardo Godoy

TRAMONTINA Campaign

Agency Agencia Vena, Lima Creative Direction Diego Sugai Art Direction Luis Leon, Angelo Arbulu

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Vol 1/2023

Copywriter Andris Espinoza Photographer Victor Banda Illustrator Luis Castro

56–57

HOUSE + GARDEN

Lürzer’s Archive

KOHLER Campaign

Agency Kohler, in-house, Auckland Creative Direction Beth Kerin, Ewa Longska

Photographer Ross Brown Digital Artist Daniel Sian

MISCELLANEOUS

RIKA Campaign for an antiquity bookshop.

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Agency R&G, São Paulo Art Direction Rafael Gil Digital Artist Rafael Gil

Vol 1/2023

58–59

OFFICE EQUIPMENT

FABER CASTELL Campaign

Lürzer’s Archive

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

Ferju Cuevas Photographer GonzalezPro Studio Illustrator Salvador Pomar Digital Artist José Fickert

PHARMACEUTICALS + OTC

GIRLS GET OFF Campaign for a sexual wellness brand.

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Agency Motion Sickness, Auckland

Vol 1/2023

60–61

PHARMACEUTICALS + OTC

BEIERSDORF HEALTH CARE Campaign

Lürzer’s Archive

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Agency thjnk, Munich Creative Direction Marie Legat, Hans-Peter Sporer, Ludwig Rist Art Direction Dimitrios Arampatzioglou, Daniel Machauer, Rafa Angulo

Copywriter Daniel Höllinger, Luis Groitl Digital Artist Notan Studio

SEX BRAND Campaign

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Agency Uncommon Creative Studio, London

Vol 1/2023

62–63

PHOTO

AMERICAN SOCIETY OF MEDIA PHOTOGRAPHERS Campaign

Lürzer’s Archive

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

Copywriter Tom Callan Photographer Alec Vianu Typographer Alec Vianu Digital Artist Carioca

HAHNEMÜHLE Campaign

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Agency Paul Belford Ltd, London Art Direction Paul Belford Copywriter Dean Webb

Vol 1/2023

64–65

PUBLIC EVENTS

CINÉMA DU PARC Campaign

Lürzer’s Archive

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Agency Les Evades, Montreal Art Direction Martin Dupuis Illustrator Suvi Suitiala

MEDICAL ADVERTISING HALL OF FAME Campaign

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

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Vol 1/2023

Copywriter Ifeanyi Ezeanya, Chris Graves Typographer Alison McElroy Digital Artist Link9

66–67

PUBLIC EVENTS

EXPOARTESANÍAS Campaign Let our heritage inspire you.

Lürzer’s Archive

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

Copywriter Camilo Garzon Photographer Juan Moore Illustrator Charles Andara Digital Artist Charles Andara

CLIO HEALTH AWARDS Campaign

Agency Grey Health and Wellness, New York Creative Direction Javier Campopiano, Tim Jones Art Direction Sttenio Costa, Guy Bricio, Laura Potucek

Vol 1/2023

Copywriter Josh Eastman, Sahar Sehgaal Illustrator Maria Campolongo Digital Artist Untitled Army

68–69

PUBLIC EVENTS

Lürzer’s Archive

IMAGINE FANTASTIC FILM FESTIVAL Campaign

Agency KesselsKramer, Amsterdam Creative Direction Rens de Jonge Art Direction Tristan Roques Copywriter Matthijs Van Rumpt Typographer Mārcis Lapiņš

SUPER XP 2023 Campaign for the biggest pop culture event in the state of Santa Catarina, Brazil.

Agency Supernova, Joinville, Brazil Creative Direction Matheus Rossi Art Direction Victor Barbosa Illustrator Felipe Polati, Italo Cesar

Vol 1/2023

70–71

PUBLISHERS, MEDIA

Lürzer’s Archive

GANDHI BOOKSTORES Campaign

Agency Montalvo, Mexico City Creative Direction Agustín Vélez, Adriana Mondragon, Sergio Díaz Infante C

Vol 1/2023

Art Direction Dave Ordnajela Copywriter Adriana Mondragon Illustrator MidJourney

72–73

PUBLISHERS, MEDIA

EX LIBRIS Campaign for Switzerland’s largest online bookshop.

Lürzer’s Archive

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Agency Ruf Lanz, Zurich Creative Direction Markus Ruf, Danielle Knecht-Lanz Art Direction Mario Moosbrugger Copywriter Markus Ruf Digital Artist Mario Moosbrugger

PROJECT GUTENBERG Campaign

Agency the community, Miami Creative Direction Ricky Vior, Joaquin Molla Art Direction Gabriel Silva

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Vol 1/2023

Copywriter Silvio Caielli Illustrator Gabriel Silva Digital Artist Gabriel Silva

74–75

PUBLISHERS, MEDIA

TRIBUNE DE GENÈVE Campaign

Lürzer’s Archive

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Agency Havas, Geneva Creative Direction Gabriel Mauron Art Direction Thomas Lafourcade Copywriter Pascal Charvet Digital Artist Magnane

IKEA TRADING (THAILAND) Campaign

Agency Ogilvy Group Thailand, Bangkok Creative Direction Gumpon Laksanajinda, Nopadol Srikieatikajohn, Asawin Tejasakulsin Art Direction Gumpon Laksanajinda, Nopadol Srikieatikajohn, Asawin Tejasakulsin

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Vol 1/2023

Copywriter Visaya Sosothikul, Panas Jansang Illustrator Illusion Digital Artist Illusion

76–77

PUBLISHERS, MEDIA

AMAZON MUSIC Campaign

Lürzer’s Archive

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Agency Archer Troy, Mexico City Creative Direction Mike Arciniega, Carlos Fernandez Oxte Art Direction José Hernández

RETAILERS

EROTIQUE PINK Campaign

Agency HOY, by HAVAS, Buenos Aires Creative Direction Hernan Damilano, Tony Waissmann, Maria Luján Donaire Art Direction Damian Palopoli, Jonathan Mogollón, David Nuñez

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Vol 1/2023

Copywriter Santiago Ledesma, Jack Fonseca Illustrator Antonela Silvestri

78–79

RETAILERS

Lürzer’s Archive

RINASCENTE Campaign

Agency Wunderman Thompson, Milan Creative Direction Marco Rocca, Alessandro Polia Art Direction Elena Pinillos, Martina Odoli Caravajal

Copywriter Silvia Filipucci Illustrator Martina Odoli Caravajal

SERVICES

FIVERR Campaign

Creative Direction Ami Alush Art Direction Nimrod Maiman, Shiran Romano Copywriter Ronen Kornberg

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Vol 1/2023

80–81

SERVICES

VALVOLINE Campaign Left: The stress of going for an oil change and getting greased.

Right: The phobia of spending hours in a waiting room and hundreds on an oil change.

Strapline: A feeling you never get at Valvoline Instant Oil Change.

Lürzer’s Archive

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Agency Hill Holliday, Boston Creative Direction Kevin Daley, Marc Hartzman Art Direction Carmen Fenech Copywriter Ronan Goldfarb Photographer David Quinn

HIBERNATE STORAGE Campaign

Agency Dog Can Hunt, Greenough, Montana Art Direction Wade Devers Copywriter David Register Photographer Stuart Thurlkill

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Vol 1/2023

82–83

SERVICES

ALKOTESTERIS Campaign Left: “SAULIUS” is a common Lithuanian name, “ALUS” is beer in Lithuanian.

Right: “VYKINTAS” is a common Lithuanian name, “VYNAS” is wine in Lithuanian.

Strapline: Alcohol won’t be able to hide.

Lürzer’s Archive

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Agency Milk, Vilnius Creative Direction Rimantas Stanevicius Art Direction Justas Radvinauskas Copywriter Vilius Gostevicius Illustrator Oleg Miasniankin

4AFREE Campaign Being a content and information platform in the advertising industry, 4AFree launches a new business segment of ads consulting and creativity services.

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Agency The WHOLE Advertising, Shanghai Creative Direction Archive Li Art Direction Gang Li Copywriter Alice Gu Digital Artist Gang Li

Vol 1/2023

84–85

SERVICES

CAREEM Campaign

Lürzer’s Archive

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Agency Careem Creative Studio, Dubai Creative Direction Tom Sword, Habiba Allam, Glaucco Martines Art Direction Glaucco Martines Copywriter Habiba Allam

KFC Campaign

Agency TBWA\RAAD, Dubai Creative Direction Walid Kanaan, Alexander Pineda Art Direction Rijin Kunnath

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Vol 1/2023

Copywriter Simon Raffaghello Illustrator Alexander Pineda Digital Artist Smithesh Krishnan

86–87

SERVICES

BRITISH LIBRARY Campaign

Lürzer’s Archive

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Agency KesselsKramer, London Creative Direction Dave Bell Art Direction Tom Healey Copywriter Oriel Wells Photographer Amir Hossain

SSB (STUTTGARTER STRASSENBAHNEN) Campaign for a public transport company in the German city of Stuttgart.

Top: Times change. So does mobility.

Below: Tomorrow’s mobility.

Also for yesterday’s people.

Claim: If you want to get around in a progressive way today, you don’t drive a car.

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Agency hey David, Stuttgart Creative Direction Philipp Heimsch, Jonas Ruch Art Direction Catrin Roth

Vol 1/2023

Copywriter Manuel Ruch Photographer Robert Grischek Digital Artist Malte Kaessens

88–89

SOCIAL + ENVIRONMENT

Lürzer’s Archive

WOODLAND TRUST Campaign

Agency Creature, London Creative Direction Josh Dando, Steven Dodd

GREENPEACE Campaign

Agency TBWA, Paris Creative Direction Benjamin Marchal, Faustin Claverie Art Direction Sebastien Skrzypczak, Morgane Alexandre

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Vol 1/2023

90–91

SOCIAL + ENVIRONMENT

IMPERACTIVE Campaign

Lürzer’s Archive

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Agency Imperactive, Los Angeles Creative Direction Luis Camano, Enrique Ahumada Art Direction Enrique Ahumada, Luis Camano

Copywriter Luis Camano, Enrique Ahumada Photographer Ray Tang, Jason Mayne, Ben Curtis

FRIDAYS FOR FUTURE Campaign

Agency Fred & Farid, Los Angeles Creative Direction Nicolas Berthier, Chelsea Steiger Art Direction Radouane Guissi, Bridget Callahan, Kiyomi Morrison

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Vol 1/2023

Copywriter Hilary Smith, Cameron Higginbotham, Ciana Alessi Illustrator Paul Chan

92–93

SOCIAL + ENVIRONMENT

AMNESTY INTERNATIONAL Campaign

Lürzer’s Archive

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Agency Arteaga & Arteaga, San Juan, Puerto Rico Creative Direction Aníbal E. Quiñones Art Direction Belen Arregui

Copywriter Paula Faletti Illustrator Paola Alejandra Arregui, Maxi Bearzi

CRISIS Campaign

Agency adam&eveDDB, London Creative Direction Mike Sutherland, Ant Nelson Art Direction Ant Nelson Copywriter Mike Sutherland Photographer Nicky Hamilton

Vol 1/2023

94–95

SOCIAL + ENVIRONMENT

HEAD FOR CHANGE Campaign

Lürzer’s Archive

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

Art Direction Rufus Wedderburn, Joe Sayer Copywriter Chris Watson, Marion Miranda

LEAGUE AGAINST CANCER Campaign

Agency VMLY&R, Lima Creative Direction Christian “Tin” Sánchez, Eduardo Meza, Carlos Fernandez

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Vol 1/2023

Art Direction Fernando Guerra Copywriter Luis Felipe Rios Digital Artist Renzo Zapata

96–97

SOCIAL + ENVIRONMENT

HOSPITAL METROPOLITANO Campaign

Lürzer’s Archive

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Agency Mullenlowe Delta, Quito Creative Direction Andre Pedroso, Marco Tapia, Mauricio Montoya Art Direction Andrés Felipe Díaz Valbuena Copywriter Mateo Álvarez Santos

CASA DO ZEZINHO Campaign

Agency Grey, London Creative Direction Costanza Rossi, David Wigglesworth, Javier Campopiano

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Vol 1/2023

Art Direction Pedro Rosa Copywriter Roberto Kilciauskas Photographer Ale Burset

98–99

SOCIAL + ENVIRONMENT

LEO BURNETT GREECE Campaign

Lürzer’s Archive

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Agency Leo Burnett Greece, Athens Creative Direction George Kouveliotis Art Direction Gabriel Nikolaou Copywriter Makis Kolevris

NON-VIOLENCE FUNDATION Campaign

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Agency (anónimo), México City Creative Direction Jorge Méndez Art Direction Micho Sanchez, Sr. Coconut Photographer Pep Avila Digital Artist Pep Avila

Vol 1/2023

100–101

SOCIAL + ENVIRONMENT

SCHWEIZERISCHE KYNOLOGISCHE GESELLSCHAFT Campaign for the SKG (Swiss Kennel Club) with the aim to recruit new patron members.

Left: Life without dogs is like dancing without music.

Right: Dogs are my favorite people.

Lürzer’s Archive

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Agency business+design AG, Laupersdorf, Switzerland Creative Direction Melanie Jaggi Art Direction Melanie Jaggi Copywriter Melanie Jaggi

DALLAS PETS ALIVE! Campaign

Agency Dieste, Dallas, Texas Creative Direction Juan Camilo Valdivieso, Abe Garcia, Benjamin Jara Art Direction Daniel Vicente, Christopher Rodriguez, Matias Jaramillo

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Vol 1/2023

Copywriter Andres Pedraza, Joel Austin Photographer Ale Burset Digital Artist Diego Speroni

102–103

SOCIAL + ENVIRONMENT

CORPORACIÓN SÍNDROME DE DOWN Campaign

Lürzer’s Archive

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Agency Wunderman Thompson, Bogotá Creative Direction Daniel Payan, Felipe Ruiz, Diego Julian Rodriguez Romero Art Direction Andrés Felipe Díaz Valbuena

Copywriter Mateo Álvarez Santos, Nicolás Malpica Photographer Mauricio Cifuentes Digital Artist Luis Moreno

CERVEZA PILSEN Campaign

Agency Garnier BBDO, San José, Costa Rica Creative Direction Sergio Chinchilla, Yoshua León, Chepe Antillón Art Direction Diego Armando Campos Corrales

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Vol 1/2023

Copywriter Julian Robert, Daniel Salom, Arianna Montoya Photographer Esteban Avila Digital Artist Marco Ortega

104–105

SOCIAL + ENVIRONMENT

Lürzer’s Archive

GIGTFORENINGEN Campaign for the Danish Rheumatism Association.

Agency Hjaltelin, Stahl & Co, Copenhagen Creative Direction Adam Kerj, Søren Grønborg Art Direction Sebastian Østgaard

Copywriter Søren Grønborg Illustrator Illusion Digital Artist Illusion

SAMARITANS Campaign

Agency Clayton & Dillon, Dublin Art Direction Clayton Homer Copywriter Dillon Eillott Photographer Liam Murphy Digital Artist Lee Hickman

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Vol 1/2023

106–107

SOCIAL + ENVIRONMENT

EMMIE’S BOOKS Campaign

Lürzer’s Archive

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Agency The Leith Agency, Edinburgh Creative Direction John McPartland Digital Artist John McPartland

VISION DU MONDE Campaign Top: The burial of another undernourished child.

45 million children are threatened by famine.

Below: Her parents’ bodies, riddled with bullets.

250 million children suffer the horrors of war.

Strapline: Help us change their vision of the world.

Make a donation.

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Agency Steve, Paris Creative Direction Dorbais Edouard Art Direction Emmanuel Courteau, Benoit Jung Copywriter Jean-Francois Bouchet, Antoine Barth

Vol 1/2023

Photographer Ale Burset Digital Artist Diego Speroni

108–109

SOCIAL + ENVIRONMENT

MVP PUERTAS Y VENTANAS Campaign The custom of using live ammunition for firecrackers on New Year’s Eve claims innocent victims in Costa Rica every year.

Lürzer’s Archive

Agency Wonderberg Studio, San Juan, Costa Rica Creative Direction Jennifer Zierenberg Art Direction Jennifer Zierenberg Copywriter Aníbal E. Quiñones Illustrator Jennifer Zierenberg

CHANGE THE REF Campaign

Agency Alma DDB, Miami Creative Direction Alvar Suñol, Daniel Correa, Virgilio Flores Copywriter Beatriz Torres Marin, Raquel Chisholm

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Vol 1/2023

Photographer Jose Luis Cabruja Digital Artist Juary Leocardio

110–111

SOCIAL + ENVIRONMENT

Lürzer’s Archive

HOLOCAUST MEMORIAL DAY TRUST Campaign

Agency St. Luke’s, London Digital Artist Pete Mould, Phillip Meyler, Darren Keff

HUMAN RIGHTS FOUNDATION ECUADOR Campaign

Creative Direction Mateo Álvarez Santos, Andrés Felipe Díaz Valbuena Art Direction Andrés Felipe Díaz Valbuena Copywriter Mateo Álvarez Santos

Vol 1/2023

112–113

SOCIAL + ENVIRONMENT

PONTO OOH Campaign

Lürzer’s Archive

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Agency Fire Comunicação e Marketing, Vitória, Brazil Creative Direction Rodrigo Pegoretti Art Direction Daniel Galvao Copywriter Daniel Galvao Illustrator Daniel Galvao

GENENTECH Campaign

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

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Vol 1/2023

Copywriter Liz Parish Illustrator Brit Sigh, Kgabo Mametja, Carlos Aponte Typographer Peter Strain

114–115

SOCIAL + ENVIRONMENT

THE LADY GARDEN FOUNDATION Campaign

Lürzer’s Archive

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Agency Havas Lynx, Manchester Creative Direction Louise Shipley, Ant Harris, Zoe Harris Art Direction Anna Loveland

Copywriter Nina Mitchell Illustrator Harriet Noble Digital Artist Nicola Fletcher

ILS HOSPITALS Campaign

Agency Inner Circle Advertising, Kolkata, India Creative Direction Siddhartha Sankar Ray Art Direction Siddhartha Sankar Ray Copywriter R M, Arnab Das Illustrator Gourab Jana

Vol 1/2023

116–117

SOCIAL + ENVIRONMENT

REGION OF ATTICA Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

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

Copywriter Ioanna Krioni, Dionysia Lampadariou, Dionisis Giampanas Photographer Petros Ampatzoglou

RIGHTS FOR ANIMALS Campaign

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

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Vol 1/2023

118–119

SOCIAL + ENVIRONMENT

Lürzer’s Archive

BFU Campaign for the Swiss Council for Accident Prevention.

Agency Ruf Lanz, Zurich Creative Direction Markus Ruf, Danielle Knecht-Lanz Art Direction Isabelle Hauser

Copywriter Markus Ruf Digital Artist FLAECK, Tobias Stierli, Lorenz Wahl

GREENPEACE Campaign

Agency Havas Worldwide, Istanbul Creative Direction Ergin Binyildiz, Volkan Dalkılıç

Vol 1/2023

Art Direction Selin Pervan, Burak Gurses Copywriter Eren Altuniş, Eray Hökelek

120–121

SPORTS

BITI’S Campaign A Step Forward in Unity Spirit.

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Top left: A Step Forward in Women Empowerment.

Top right: A Step Forward in Global Integration.

Below left: A Step Forward in Well-Being.

Below right: A Step Forward in Fine Arts.

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Agency Dentsu Redder, Ho Chi Minh City Creative Direction Livio Grossi Art Direction Dung Cao Copywriter Lam Tran

Vol 1/2023

Digital Artists clockwise from left to right Hoàng Anh, Yenjii Vu, Chú Môi, Dong—4, Danis Nguyễn

122–123

SPORTS

Lürzer’s Archive

SUN & SAND SPORTS Campaign

Agency Mother, London Photographer Dave Meyers Digital Artist Magnane

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Vol 1/2023

124–125

SPORTS

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CITY OF EDMONTON Campaign

Agency FKA, Edmonton, Canada Creative Direction Craig Markou Art Direction Elliott Kuss Copywriter Colin Christiansen Illustrator Gord Montgomery

GYMBOX Campaign

Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Prabhu Wignarajah Copywriter Prabhu Wignarajah, Jamie Chang, Alex Duckworth

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Vol 1/2023

126–127

TRAVEL + LEISURE

HEATHROW AIRPORT Campaign

Lürzer’s Archive

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Agency St. Luke’s, London Art Direction Leah Wilson Copywriter Rhianna Travers Digital Artist Laura Bazille

THE RESORT AT PAWS UP Campaign

Agency Dog Can Hunt, Greenough, Montana Art Direction Candy Anderson Copywriter David Register, Neal Hughlett Illustrator Aloysius Patrimonio

Vol 1/2023

128–129

TRAVEL + LEISURE

AEGEAN AIRLINES Campaign

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Agency The Newtons Laboratory, Athens Creative Direction Andreas Dimitroulas Art Direction Thanasis Kamenidis Copywriter George Tsokanos, Theodoros Paganias

BRITISH AIRWAYS Campaign

Agency Uncommon Creative Studio, London

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Vol 1/2023

130–131

TRAVEL + LEISURE

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CHESTER ZOO Campaign

Agency Meanwhile, Manchester Creative Direction Tim Jones, James Cross Art Direction Tim Jones

Copywriter James Cross Illustrator Dakari Akil

JORDAN TOURISM BOARD Campaign

Agency Adpro Communications, Amman Creative Direction Eyad Hussein Copywriter Rizek Jildeh

See more of the campaign at luerzersarchive.com

Vol 1/2023

132–133

Lürzer’s Archive

INTERVIEW

Natalie Lam describes herself as “a hopeless romantic who still believes in universal beauty and human truth”.

She explains to L[A] how she has brought this, and much else, into her role as CCO Publicis Group Asia Pacific, Middle East and Africa.

Linking the local and the universal L[A] Please tell us how you manage a leadership responsibility that sits across much of what you describe as ‘the nonWestern world’.

NL I’ve always liked plunging into roles that have a big unknown piece involved. When there’s no precedent, there is a lot of freedom.

It sounds complicated with all the different regions and cultures but it is also simple in that we all share something magical. The uniting factor here is that our people are passionate to do great work. This connects everybody.

As soon as I took on this role, I began pushing for creative excellence, world-class craft, modern thinking and creatively-led digital work – that’s been my mantra from day one. I’m also passionate about showcasing work that celebrates local culture in a more playful, progressive, optimistic light because there is so much happening in a lot of the markets here that never gets conveyed to the rest of the world.

L[A] How do you implement your approach to leadership?

NL I assembled a very small team based on three areas: people, story, and work.

People are of course already there within our creative community, but we have created a close-knit community of 3,000+ creatives who are now connected across borders and agency brands. This has had a galvanizing effect, giving everyone a sense of collective belonging and the support they need to think bigger and aim higher.

Story is about the importance of PR, ensuring our best stories show up in the world. Whether it’s internally or externally, we are now celebrating great work, celebrating our people, and building strong momentum with great work for our clients.

Work is the third element. We are constantly asking: ‘Are we doing work that is modern, relevant and progressive with great craft?’

These three fundamental layers are so important, and they’re working – we had a very strong year creatively in 2022.

One of our challenges, which I think a lot of agency networks face, is that solutions are often quite traditional, so I brought in Laurent Thevenet as our Head of Creative Technology to push for more creative-led digital work. Laurent has assembled a creative tech collective of around 25 specialists who now act as an APAC & MEAwide creative resource. Last August, Jason Williams came in as Vol 1/2023

134–135 10-11

Head of Creative Excellence, joining Anna Tomasetti (Creative Community Manager) and Barbara Messer (Creative PR Lead). We have a lot of initiatives that focus on growing our people, making them feel prouder of their work, supporting their career path and their creative development. We’re very honest when it comes to craft, identifying the bravest clients that are willing to do things differently, and then hands-on working with them to continually elevate our benchmark for creativity.

L[A] How do you work across the vast geography that your remit covers? Do you spend a lot of time traveling or has COVID changed all that?

NL We are careful and question ourselves more now: is this worth traveling for? I live in Hong Kong and for much of last year had to go through 21 days of hotel quarantine if I left the country. I did it three times, which was not fun.

L[A] That was tough.

NL You have to ask yourself: ‘Could I do this over a Teams call rather than an in-person meeting?’ Of course, meeting someone face-to-face makes them more tangible and real, and you cannot replace that easily. Especially in some of our markets, the human connection is more important than anything else when we’re asking, ‘hey, what is the cultural relevance? What is the insight? The why?’.

Each exchange is an eye-opening experience and the chemistry is so much better when we meet in person.

L[A] Does the creative output involve teams working across multiple territories?

NL For global pitches, regional accounts and regional campaigns, yes, we often work across multiple offices. In 2020, we began facilitating interaction across markets and agency brands so that creatives understand they are part of a bigger connected community around them, beyond their office. If someone needs a break outside their bubble in Dubai there may be an opportunity in Japan and a really interesting project that they could help with.

We can mix people together to work on things so that they’re connected to colleagues from a completely different culture. To consider different ways of working elevates how we approach work.

And globally we have several programs that help this.

L[A] How does that work?

NL With our Work Your World program, for six weeks a year, people can choose to work in a different place around the world where there is a Publicis Groupe agency. Obviously, visas and time zone differences can be challenging but a lot of people take up the chance.

I already mentioned our creative-tech collective, but it means people now understand that there’s an expert, for example, in Web3 or gaming or AI, somewhere within the Groupe who they can work with or pick their brains, even if they are far away. Some of these creative tech minds are just starting in their careers, but they have passion … that’s a very progressive force within us.

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INTERVIEW

Last year, we launched L’avenir, a leadership and creative development program for our high-potential female creatives.

We are now connecting our first cohort with mentors from around the world and exposing them to some of our biggest clients and briefs. It’s intentional to go against the grain by improving from within, to solve the gender equality challenge in our industries, because true diversity makes the work better.

L[A] How do you identify what is very international, very across the group, and what is actually to be protected and developed locally?

NL We spend a lot of time identifying our strongest local, regional and global work. Sometimes certain local campaigns are great but are not going to get universal recognition or understanding.

But once in a while, we have work that hits a universal human truth or relevancy.

It is like a pyramid. The top layer is the universally relatable work. It’s rare, but when it works, it works across cultural and geographical divides.

Most of the time, you learn to respect cultural nuances and appreciate why it works for its market even though you can’t quite understand it when you first see it.

For example, can you have a universal Ramadan idea that works for the Middle East and Southeast Asia? No, not really. Each of them has to treat it in their own way. Chinese or Lunar New Year, same thing – what works for Vietnam does not work for China.

There’s absolutely a local or regional layer that we must respect, while always looking for that universal layer.

L[A] It’s interesting, that universal layer.

NL It is that magical element, which everybody can relate to.

Hyper-local ideas don’t always travel across all markets unless they contain something universal and relatable.

L[A] How do you lead the teams to respond to this?

NL I meet creative leaders every month and during these meetings, I ask a lot of questions. Each market’s creative culture influences how creatives think and act … what they are sensitive to or care about. There’s a lot that I’m discovering. I spent a long time in New York, and New York is a place where being tough on the work is a given. However, I realized that in some markets here, being tough on the work is not always the first thing you do. Sometimes you have to build a strong bond, a human connection, before you can really push ideas to be the best they can be.

L[A] How do you show that respect and customized treatment when you’re trying to bring them together?

NL Find the opportunities that have really interesting potential, where you can move it from good to great – it’s a matter of prioritizing energy and effort.

Every market comes with its own challenges, some are easy to overcome and some are just impossible. I’ve spent time learning what that looks like in each market, and took time to have everybody

understand what our goal is, and be flexible working towards it, without trying to change the impossible.

L[A] Are you working across offices to use one to help another?

NL Oh, yes. We definitely match talent that one office has that the other doesn’t and needs. There’s a pretty good network effect.

We understand: ‘You help me, I help you, and everybody wins at the end.’

L[A] How does that work in management, so that a junior art director in one outpost of the organization knows that they can get wider support?

NL We trust the CCOs and ECDs of each agency. We have constant work reviews with them, so we get to know what’s happening, see work that has great potential and ask, ‘How can we help them make the idea bigger?’. Then we bring in the right people.

A big idea is one thing but perfect execution is another. If they don’t have all the skills they need on their team, then we try to connect them to the right people, whether internally or externally.

L[A] I guess sometimes it comes down to just that one or two conversations that somebody can have and it opens up possibilities.

NL Yes. We want to be open – every single agency, every office, we see as a potential source for the next big idea. Some networks create centers of excellence. For us, we are all connected, we treat every agency equally and are very democratic in our support because it’s important that everybody knows they’re supported. It doesn’t matter whether they’ve won 10 Grand Prix in the past from Cannes or are yet to be awarded – we make sure that all agencies can benefit from the opportunity to be great. Access to award shows, to creative press, to specialist talent from other markets, all of that, we’re making it very, very democratic and equal.

L[A] How does your home environment influence your thinking, now that you are living back in Hong Kong after a long time away?

NL In this part of the world, there are so many standard features of life that would be considered sci-fi elsewhere. I see things here and then compare them with my experience living in New York for almost three decades. When I saw the sanitization robots at K11 Musea, I’m like ‘this would not be able to happen in New York in a million years!’. It reminds me that daily life can be so inspiring.

Once you’re here, living and working in such culturally diverse markets, the reality is often completely different and far more nuanced compared to the headlines you might read. There is an energy and optimism that doesn’t always get seen from the outside – and that’s what we’re trying to show. We want to paint a picture of what modern-day creativity looks like across very diverse markets in APAC & MEA.

Natalie Lam is Chief Creative Officer, Publicis Groupe Asia Pacific, Middle East & Africa Vol 1/2023

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INTERVIEW

Crossing cultures

JAPAN Sia Nan, Art Director, Publicis Groupe Japan UNLABELED – Camouflage against the machines “We live in a world where artificial intelligence is a reality, and experiential is a brand currency everyone wants a piece of. But is this immersive or just plain intrusive? UNLABELED is more than just a fashion brand, it is a social experiment that reminds us about responsible digitization. It’s particularly relevant in Japan, where AI-enabled surveillance is almost always undercover. This idea creates awareness around the impersonal side of personal data, where humans are often reduced to codes and numbers. It is a collaboration between Dentsu Lab Tokyo and Keio University.” dentsulab.tokyo/en/works/unlabeled-camouflage-against-the-machines MALAYSIA Iska Hashim, Executive Creative Director, Leo Burnett Malaysia VOTEORDIE “VOTEORDIE is a satirical e-commerce site that puts exorbitant price tags on the luxury goods often worn by local politicians. While this may seem dated now, it went viral and made an impact during the run-up to Malaysia’s general election in November 2022. A great way to remind and educate young, first-time voters of the wealth disparity between the elite rulers and average Malaysians.” voteordie.gg

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SINGAPORE Janath Gamage, Senior Art Director, Leo Burnett

By Proxy (Shavonne Wong + Lenne Chai) “When we think about specific moments in our lives, when we look back at these visual memories, how much has been manipulated or romanticized to fit our desired version of the truth? I ask myself this every time I reminisce about a positive period in my life. How these two artists have questioned it, captured, depicted and crafted it, is why I love this project quite a bit. It instantly resonated with me.

“For this project, two adolescent friends, Shavonne Wong, an award-winning Singaporean photographer turned 3D virtual model creator, collaborated with Lenne Chai, an acclaimed US-based Singaporean fashion photographer. Together they created images depicting an imaginary young girl’s transition from girlhood to adolescence, sculpted digitally, echoing a larger trend about authenticity in the way we represent ourselves as well as the subjectivity of memory. By Proxy dropped at Quantum Art as a 60-piece collaborative 3D/photography art project on 13th April 2022. It sold out in a minute. Shavonne’s work has since sold at Sotheby’s and collectors include Idris Elba.” quantum.art/collection/by-proxy

L[A] asked Natalie and her wide-ranging teams to suggest the creativity, outside of their own, that excite them around their markets. Here’s what they told us.

KOREA Marcin Brzezinski, Head of Design, Publicis Communications, Hong Kong Feel the Rhythm of Korea “Seoul is my go-to destination for recharging, making new friends and finding inspiration. I’m captivated by the freshness, creativity, and progressiveness of the young Korean generation. They take inspiration from around the world and transform it into something uniquely Korean.

The Feel the Rhythm of Korea campaign targets young people with a blend of modernity and tradition. It combines inspiring visuals and K-Pop with a local flavor to showcase the vibrancy and diversity of Korean culture. The campaign highlights how the country is evolving while preserving its traditional roots, showcasing the modern spirit of young Korean Gen Z. This deep understanding of the importance of branding, design, craft, and music reflects the modern spirit of the young Korean generation.”

MIDDLE EAST Hessa Al Sudairy, Senior Creative Director, Leo Burnett Middle East Ali Chaaban (Nike x Vice project) “This piece from Ali Chaaban is a reminder that reflecting your culture and environment within your own work will always give you an edge. Daring to be different is what makes you different. Not by elevating something that already exists somewhere else.” alichaaban.com/nike-x-vice-magazine

youtube.com/watch?v=nmY3X5dE9HQ&t=10s Horim Seong, Creative Director, Publicis Groupe Korea Banheesoo “The K-pop YouTube channel Banheesoo is a big deal in Korea, and it is also a very new way of K-pop fandom marketing. A person named Ban Hee Soo appears as the sixth member of K-pop group NewJeans in their Ditto music video, sparking fans’ curiosity instantly and spawning numerous interpretations of who she is. In response, NewJeans created a channel called Banheesoo, making it possible for fans to continue their interest and interpretation. The reason I love this idea is because most branded content is one-sided, but it was really refreshing how they’ve grown their fandom by using a platform tailored to their users’ needs.” youtube.com/@banheesoo?app=desktop

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INTERVIEW

Crossing cultures

AUSTRALIA Chloe Herbert-Smith, Art Director, Leo Burnett Melbourne Parcs restaurant, Melbourne “Parcs (hint: spell it backwards) is a relatively new restaurant in Melbourne CBD that’s about minimizing food waste. Using culinary skills to combat the social issue of food wastage through a different lens is powerful because it challenges our ideas of what fine dining should be. Our job is to make people look at things differently so when two unexpected things come together it inspires me. Parcs has positioned itself as a fine dining restaurant that serves untraditional ingredients and has ultimately succeeded in changing my perspective toward cooking with scraps. In advertising, It’s important to look everywhere, to be open to cross-pollinating ideas from different fields, because this is where we have the best shot at originality.” parcs.com.au Dinah Pollard, Conceptual Designer, Leo Burnett Australia Pitch Studios – Virtual Gap Year “Pitch Studios’ film Virtual Gap Year is an abstract exploration of the internet and a post-technological future(s). It screened at Semi Permanent (Sydney), IAM Weekend 19 (Barcelona) and Google Arts + Culture (London). I love how each scene/island is a visualization contributed by different artists who draw you into their idea of the metaverse or a virtual world. I met Christie and Chris of Pitch Studios when I shared a studio space with them in Melbourne. They are a creative practice specializing in 3D art, animation, interactive design and web3/metaverse related experiences. Their work is experimental, cutting edge and enmeshed in internet culture. I am inspired by them as a collective and individually.” vimeo.com/325134079

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SOUTH AFRICA Jonathan Beggs, Chief Creative Officer, Saatchi & Saatchi, South Africa Mami Wata – South African surf label “Mami Wata is an African Surf brand that is disrupting the surf apparel category. Like a lot of South African creativity, it is a hybrid that is peculiar to our pick ’n mix culture. It is inspired by surf and adventure and packaged with the bold quirks of African design.

“What I love about Mami Wata is how it offers a distinctly African counter-narrative to the Californian version of surf culture. Aside from stunning garments, it has created a mystique through beautifully crafted pieces of design and communication.

“Highlights include a ubiquitous banana, incredible (and awarded) brand films, collaborations with Vans and Moncler, the Neo-Animism fragrance, as well as Afrosurf, a weighty book that tells the story of African surf, a story that is being adapted for a global documentary series.” mamiwatasurf.com

HONG KONG Natalie Lam, Chief Creative Officer, Publicis Groupe APAC & MEA K11 MUSEA’s Sanitisation Robots “I moved from NYC to Hong Kong during the peak of the pandemic in early 2021. After living through a year of sanitizer and PPE shortages in NYC, I was surprised to see this lovely and positive attitude towards fighting Covid in Hong Kong. It’s a stark contrast. This little video was made for the latest glitzy art-themed shopping mall K-11, as a public apology after customers contracted Covid in one of their restaurants, to promise they’d be more diligent in keeping the customers safe. The little robots were, and still are, a common fixture in the mall. They are considered a functional fixture and not a special attraction. We often try to inject creativity into our clients’ businesses and sometimes it’s an uphill battle. Here is an example of creativity being part of the DNA of business and Hong Kong has plenty of these.” facebook.com/K11MUSEA/videos/236287101558183

M+ – Hong Kong’s global museum of visual culture “M+ is the new contemporary museum in Hong Kong, considered one of the top five globally alongside MOMA and Pompidou, focusing on Asian contemporary art. I spent a whole afternoon trying to browse through all the exhibitions but it was impossible. I came back and spent another afternoon to see the Yayoi Kusama exhibition. Having this monolithic institution in Hong Kong, which three decades ago was called a “shopping paradise, cultural desert”, is a promising sign of the city’s new focus on arts and culture. It’s definitely a must-go place for anyone visiting Hong Kong.” mplus.org.hk/en Christopher Lee, Executive Creative Director, Publicis Groupe Hong Kong Digital artist Henry Chu’s Blockchain Piano “When this launched early last year it was during the height of NFTs and people exploring blockchain. What was interesting about this was it helped people create their own NFTs, doing it in an immersive way with music and the real-time data of the crypto market, allowing you to trade crypto with a piano.” bcp.pillandpillow.com

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/ USA REP /

Film [144–151] Client Tubi Agency Mischief, New York Creative Direction Greg Hahn, Bianca Guimaraes, Kevin Murray

Art Direction Ryan Stotts Copywriter Pete Lefebvre Director Tom Kuntz Production MJZ Vol 1/2023

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FILM

NETFLIX / GENERAL MOTORS Why not an EV?

BMW Forwardism Begins At Home

To push electric vehicles to the main stage of entertainment programs, Netflix has paired with General Motors and enlisted comic actor Will Ferrell to ask the question, why not an E.V.? To promote electric vehicles in the media, Ferrell makes some unusual appearances in iconic T.V. shows including Stranger Things, Squid Game and Love is Blind.

Employing slick sci-fi imagery inspired by Blade Runner, this film is part of BMW’s Forwardism campaign. To emphasize the need for ecoawareness, a flock of metallic birds take to the sky, formed by sustainable aluminum.

Agency The Community, New York Creative Direction Lucas Bongioanni

Director David Shane Production O-Positive

Agency Serviceplan Middle East, Dubai Creative Direction André Couto, Saleh Elghatit, Natalie Shardan Art Direction Yasir Ali Baloshi, Kenneth Barnes, Kunal Gagwani

AVIVA Make It Click

ALLIANZ Start Making Cents

CARTIER Cartier Tank Française

Turning everyday objects into visual puzzles that are clicked into place, this CGI-heavy spot for Aviva by adam&eveDDB is able to convey financial complexities in a simple light for the general audience.

Subtle precision is the aim of the game in this charming campaign for financial services company Allianz starring Austrian actor Christoph Waltz. From dealing with a pesky bee to the dangerous task of eating bolognese in a white suit, the films act as coy lessons in successful investing.

This prestigious Cartier ad directed by Guy Ritchie and starring Rami Malek harkens back to Old Hollywood glamor. Using A.I. to recreate iconic French actress Catherine Deneuve during different stages of her life, her present self appears to Malek wearing a Cartier watch.

Agency adam&eveDDB, London Creative Direction Andy Clough, Richard McGrann Art Direction Paul Knott

Lürzer’s Archive

Art Direction Gabriel Gama Copywriter Guilherme Grossi

Copywriter Tim Vance Director Mischa Rozema Production Nexus Studios

Agency Wieden + Kennedy, Amsterdam Creative Direction Alvaro Sotomayor, Joe Burrin, Elena Knox Art Direction Christian Baur

Copywriter Ryan Snyder, Christina Rankel Director Tom Speers Production Smuggler

Agency Publicis Luxe, Paris Creative Direction Antoine Bonodot Art Direction Gaël Cornet, Adrien Cussoneau, Alexandre Jean-Marie

Copywriter Aashna Gopalkrishnan, Zein Sadedin, Karim Mroueh Director William Armstrong Production Boomtown Productions

Director Guy Ritchie Production The Mill

SAMSUNG Behold

MEAT & LIVESTOCK AUSTRALIA Australian Lamb, Un-Australian

LIPTON Good shines in, Good shines out

In anticipation of Samsung’s release of the Galaxy S23 smartphone (and to show off its stunning camera), acclaimed director Ridley Scott has released a short film titled Behold. Written by Luke Scott, the film follows a young man being chased through a dark, derelict city by a gang.

His discovery of a horse leads him from the grim metropolis to a serene wilderness.

Dissecting the recent term Un-Australian, this eccentrically funny long-form film for Australian Lamb shows Australians vanishing to a purgatorial exile for any cultural slight (which includes putting subtitles on the T.V. and eating a pork pie with cutlery).

With the help of MullenLowe, Lipton injects vibrant color into the tea making process.

Showing how a simple drop of rain in a Kenyan forest can act as the first step, the campaign explores the tea’s connection with nature.

Agency Cheil Worldwide, Seoul, The Ridley Scott Creative Group, London, Planit, London Creative Direction Christine Jones, Luke Scott

Copywriter Luke Scott Director Ridley Scott Production The Ridley Scott Creative Group

Agency The Monkeys, Sydney Creative Direction Scott Dettrick Art Direction Emmalie Narathipakorn

Copywriter Seamus McAlary Director Yianni Warnock Production MOFA

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

AXE Oops I Forgot This At Your Place

TIGER BEER Cheers To A Bolder Tomorrow

With deadpan narration and a cheeky premise, this campaign for Axe deodorant is sure to guarantee a second date. This exclusive clothing line named Oops I Forgot This At Your Place, includes pre-scented items that are designed to be “accidentally” left at your date’s place.

Embracing the saying “stop and smell the roses,” this New Year campaign for Tiger Beer by Le Pub agency included an elaborate stunt; several people frozen in their tracks in downtown Singapore. Other citizens can be seen confused and bemused by the event, which aims to remind us to reflect and take pride in our accomplishments instead of chasing ambitions.

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

Art Direction Pedro Mezzini Copywriter Augusto Callegari Director Kevin Cabuli, Martin Holzman Production Argentinacine

Agency Le Pub, Singapore Creative Direction Ivan Loos, Cyril Louis, Henrique Zirpoli

Art Direction Diego Vieira Director Maxi Blanco Production LANDIA

Director Felipe Mansur Production Alice Filmes

Vol 1/2023

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FILM

PRINGLES Wonderfully Different

MCDONALD’S Deals Stuck In Time

With wonderfully eccentric style by Grey London, this Pringles campaign celebrates being as different as the brand’s new multigrain range. In the film, three friends compare the snack to their keyboard-playing pet hamster, which is just as delightfully unique.

McDonald’s, with the help of NORD DDB, harkens back to a simpler time … and cheaper burgers.

Utilizing out-of-home advertisements and Google Street View, this campaign brings back offers that are stuck in the past to the present.

Agency Grey, London Creative Direction Aaron McGurk, Dave Wigglesworth, Christopher Lapham

Director Jeff Low Production Biscuit Filmworks

Agency NORD DDB, Stockholm Creative Direction Petter Dixelius Art Direction Teodor Nisbel Fjäll

Copywriter Viktor Einarsson Production Filmic Art

LEVI’S The Greatest Story Ever Worn

MCDONALD’S Raise Your Arches

REESE’S Put Peanut Butter In It

The distinguished history of Levi’s jeans is explored in these three films by Droga5, which follow the deeply personal roots behind the pants. These tales (based on true stories) include the personalization of a cargo of Levi’s in 1970s Jamaica and one man’s dying wish to be buried in his jeans.

With stellar comedic timing from famed director Edgar Wright, this campaign from Leo Burnett shows the universal desire we share for McDonald’s that can be signaled with a mere raise of an eyebrow.

This tongue-in-cheek campaign for Reese’s by London agency Mother, pokes fun at the brand’s tendency to insert peanut butter into things … this time showing Reese’s peanut butter being poured into a high heeled shoe.

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

Agency Mother, London Director Tom Bunker

Agency Droga5, New York Director Martin De Thurah

Lürzer’s Archive

Copywriter Gareth Butters Director Edgar Wright Production Moxie Pictures

TITO’S DIY January

POPCORNERS Break Into Something Good

To promote their vodka during the teetotal month of January, Tito’s has enlisted American businesswoman Martha Stewart to show off alternative uses for their alcohol. Novel examples include spraying the vodka on houseplants and using the bottle to tenderize meat.

PopCorners’ SuperBowl spot reunites Walter White, Jesse Pinkman and Tuco Salamanca from the iconic crime drama series Breaking Bad. Instead of cooking crystal meth, the ad sees the characters manufacture a more innocent product … potato chips.

Agency Arts & Letters Creative, Richmond Creative Direction Charles Hodges, Nick Kaplan, Liz Delp

Director Gavin Bellour Production Classified Pictures

Agency D3 (Frito-Lay inhouse), Plano, Texas Creative Direction Matthew Schaffer, Chris Bellinger Art Direction Katie Renfroe, Sara Cusumano

INSTACART It’s All In The Phone

LOTO Family Dinner

Using clever and bright imagery, U.S. agency McGarrah Jessee presents the multifaceted uses of grocery app Instacart in very literal ways, from squeezing toothpaste out of your phone to using your device to chop carrots.

With playful humor from BETC Paris for the French Lottery, this ad portrays a family dinner at grandma’s with a twist. While the caviar and truffles make the family suspect their grandma has won the lottery, the reveal of a personal servant in the hallway seals the deal.

Agency McGarrah Jessee, Austin Creative Direction Tim Roan Art Direction Adrien Bindi, Page Kastner

Copywriter Bryson Schmidt Director Mike Long Production MAKE, Rumpus

Agency BETC, Paris Creative Direction Olivier Aumard

Art Direction Thomas Defert Copywriter Olivier Mille

Vol 1/2023

Copywriter Sadie Caparelli, Joanna Stubbins Director Vince Gilligan Production Interrogate

Director Hafid Benamar Production Sovage

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FILM

CORTEIZ Da Skydive

AUDIBLE The Greatest Storyteller

THE FARMERS DOG Forever

A man hurtles towards the Earth in this visually arresting spot produced by Noir Productions. As he brutally crash lands on a London taxicab, he rises to his feet relatively unscathed due to his Corteiz jacket.

The little stories that we find in everyday life are the center point of this spot by Fold7 for Audible, which juxtaposes real life scenarios with the fantastical fiction of audiobooks.

In Forever, a heart-warming film for dog food company The Farmer’s Dog, we follow a young girl’s lifelong relationship with her dog. Even as the girl becomes a young adult and moves out of the family home, the bond between pet and owner is still as strong as ever and ends on the message that “nothing matters more than more years together.”

Agency Division, Paris, Noir Productions, London Director Walid Labri Production B2Y Productions

Agency Fold7, London Director Bart Timmer Production Outsider

Agency The Farmers Dog, in-house, New York Creative Direction Teressa Iezzi

Director Goh Iromoto Production Sanctuary Content

CANAL+ The Secret of Wakany

WD40 Prison Break

With a smart premise and genuinely good production, this spot for Canal+ satirizes the culture of binge-watching epic television shows, as well as the obsession it creates. A young couple falls in love with a fantasy television show, The Secret of Wakany, and begins to build their life around it. However, when faced with a disappointing finale, they start to question their devotion.

Quirky ingenuity is at the center of this prison break parody by Indian agency Sideways for WD40. A prisoner’s daring escape (using several homemade methods) is made possible by his use of WD40 on a creaky prison door.

Agency BETC, Paris Creative Direction Stéphane Xiberras

Agency Sideways, Mumbai Creative Direction Sameer Sojwal, Nilay Moonje

Lürzer’s Archive

Art Direction Eric Astorgue Copywriter Martin Rocaboy

Director Antoine BardoitJacquet Production Partizan

Director Mahesh Gharat Production Hungry Films

TUBI Rabbit Holes

CORRECT The Internet

Taking a very literal spin on the term “rabbit hole”, this ad for video-ondemand service Tubi shows life-size rabbits throwing unsuspecting people down holes filled with great T.V. shows and movies. The spot reminds us to “find rabbit holes you didn’t know you were looking for.”

DDB New Zealand proves that even the internet gets it wrong sometimes, in this clever campaign which promotes the visibility of sportswomen.

While online search results may claim that Cristiano Ronaldo has scored the most goals in international football, the real answer is Canadian footballer Christine Sinclair. To visualize this, we see a young girl arguing with the internet itself (depicted as a talking football stadium).

Agency Mischief, New York Creative Direction Greg Hahn, Bianca Guimaraes, Kevin Murray

Art Direction Ryan Stotts Copywriter Pete Lefebvre

Director Tom Kuntz Production MJZ

Agency DDB Aotearoa, Auckland Creative Direction Rory Mckechnie Art Direction Zac Lancaster

SHARJAH BOOK Authority Best Seller

ROYAL FOUNDATION CENTRE FOR EARLY CHILDHOOD Shaping Us

With stylish monochrome animation, this film presents the many worlds that books can take us to ... with the right publishing choices. Skilfully directed by Maged Nassar for Sharjah Book Authority, the narration discusses the many choices that an author must make, from the title to the typeface, and the considerations that go into book publishing.

This clay motion spot from Wonderhood Studios employs a deft use of animation that emphasizes how a child’s early years can mold them for the rest of their lives. The campaign was launched by the Princess of Wales to highlight the importance of a child’s developmental years.

Agency NNC, Sharjah, United Arab Emirates Creative Direction Maged Nassar Art Direction Maged Nassar, Tariq Ali, Saif Roshdy

Copywriter Nancy Ali Director Maged Nassar, Nada Ayoub Production Zanad

Agency Wonderhood Studios, London Creative Direction Aidan McClure, Ben Edwards, Guy Hobbs

Art Direction Sofie Saietz Copywriter Simone Weilborg

Vol 1/2023

Copywriter Jacob Newton Director Lex Hodge Production Finch

Director Sam Gainsborough Production Blinkink

148–149

FILM

CISCO Secure Freeze

VÄSTTRAFIK Together For Reduced Emissions

ALZHEIMER INITIATIVE The Glitch

Using creative choreography and freeze frames, this work from BETC for Cisco energizes the concept of cybersecurity. With a secure freeze, a young cyber-security engineer dances around a frozen world, fixing cyber threats in an instant.

Exemplifying the benefits of public transport for Swedish company Västtrafik, this campaign by Forsman & Bodenfors imagines the statistics as literal cars piling up. As the tower of cars builds up into the sky, the visual metaphor makes clear the difference in sustainability between fossil fuel cars, electric vehicles, and an electric bus.

This harrowing film from BBDO Germany places the audience in the mind of a person suffering from Alzheimer’s. The ad utilizes both studies on the illness as well as technology to replicate the disorienting, glitch-like experience of Alzheimer’s.

Agency BETC, Paris Creative Direction Remi Babinet, Jerome Galinha Art Direction Thomas Defert

Copywriter Olivier Mille Director Thierry Poiraud Production Division

Agency Forsman & Bodenfors, Gothenburg Art Direction Axel Tagg, Johanna Landberg

Copywriter Pontus Caresten Director Oskar Wrangö Production Camp David Film

Agency BBDO Group Germany, Dusseldorf Creative Direction Rod Henriques, Pedro Americo Art Direction Hugo Moura, Marco Serra, Daniel Tolentino

Copywriter Tobias Hecking, Marcos Alves Director Pedro Giomi Production Caviar Content, Frames

PLAMIENOK The Escape

GOFUNDME Help Changes Everything

There are approximately 9,000 refugee kids from Ukraine in Slovakia. Even though they escaped the war, many of them are still traumatized, and without help, they cannot process the trauma. Plamienok, the Slovak NGO specializing in grief counseling, launched an initiative to raise funds in order to help Ukrainian children affected by war trauma. Based on a real story of a refugee kid from Ukraine who escaped the war and came all by himself to Slovakia with only a phone number written on his hand.

In this street mural inspired film from AKQA, we can see the positive influence GoFundMe has on the world. With beautiful animation that depicts people around the world doing good deeds for others, the spot is both inspirational and innovative.

Agency Jandl, Bratislava Creative Direction Alexandru Strimbeanu, Bernd Fliesser

Lürzer’s Archive

Art Direction Lukas Fecko Copywriter Viliam Šedivý

Director Daniel Rihak Production KIMONO Production

Agency AKQA, San Francisco Creative Direction Tim McDonell, Emlyn Allen, Paul Trillo

Art Direction Hunter Patrick Director Paul Trillo Production Art Class

TURBO TAX Sleep, Explorer, Fusion Food, Water

EBAY Everyone Deserves Real

Presenting an idyllic world where there are no taxes, this spot by Wieden + Kennedy Portland shows the whimsical activities we might get up to with that extra time (such as amusement rides and building miniature model worlds).

While this spot does not promise this fantastic alternative reality, it does offer a service where an expert can do your taxes, giving you time to pursue what you want to do.

In eBay’s first brand campaign in three years, the e-commerce company appeals to its Gen Z audience with this spot. With the help of eBay’s team of authenticators, buyers can rest assured that they will never be f*ked over again by counterfeit items (a tongue-in-cheek way of writing “faked”).

Agency Wieden + Kennedy, Portland Creative Direction Kevin Jones, Patty Orlando

Art Direction Jason Turner, Hernan Pettinaroli, Caitlin Alexander Copywriter Brooke Barker, Juan Vassallo, Joe Albert

Director Fiona McGee Production Arts & Sciences

Agency Joan Creative, New York Creative Direction Abe Baginsky Art Direction Trenton Spear

Copywriter Michael Gusman Director Felix Brady Production Stink Films

WORKING FOR CANCER Monday

WARNER Hotels A Kid Free Break

NIKE Jordan Beyond

This impactful film by Publicis for the Working for Cancer organization aims to ease the pressures and anxieties of those who struggle with cancer at work. Following the lives of two people with the disease, harrowing VFX imagery is coupled with poignant performances to replicate the emotions of someone facing cancer as well as the importance of proper workplace support.

In a surrealistic take by Now for Warner Hotels, we see a hotel invaded by children. With chaotic frivolity, the kids ruin the tranquility of the resort until they magically vanish. Serenity returns and with it a reminder that Warner Leisure Hotels are designed for adults.

With a tender cover of Minnie Riperton’s Les Fleurs, this touching film for Nike Jordan by Uncommon tracks the rise of a young female basketball player to stardom.

Agency Publicis Conseil, Paris Creative Direction Marco Venturelli, Andy Bird Art Direction Truman Florence

Director Martin De Thurah, Elena Petitti Di Roreto Production Henry

Agency Now Advertising, London Director Chris Boyle

Vol 1/2023

Agency Uncommon Creative Studio, London Creative Direction Sanam Petri

Director Karim Huu Do Production Object & Animal

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INTERVIEW

Where information meets inspiration

Lürzer’s Archive

‘Creative use of data’ can seem a mysterious and yet dull world of arcane process.

But from the first shoots at FCB/SIX in Toronto, now fully flowering at Performance Art, CCO Ian Mackenzie and his colleagues have grown a hybrid data and creativitydriven approach for multiaward winning, original and effective work. We asked him to reveal his roots.

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INTERVIEW

Custom-developed AI helped show BMW drivers the 56,000+ roads in the USA that have the distinctive ‘Hofmeister Kink’.

L[A] What is Performance Art? IM We seek to address a schism at the heart of advertising, which is the idea that high creative and high performance are at odds somehow. From an agency structure point of view, they’ve tended to live in different worlds. Our offer is to take all the mousetrap stuff, such as the technical fundamentals of performance marketing and CRM (customer relationship management), anything that’s been thought of as “hard-working” lower- or mid-funnel, and run it across the entire customer journey so that it can also power high emotional experiences. Basically, start with a big, emotional brand building idea, and then push it all the way through.

Because we’ve built the agency of a foundation CRM, I think it gives us a differentiator. We’re familiar with how first-party data works. Our bread and butter has been built on being able to individualize hundreds of millions of email communications a year. That’s our starting credential, but then we differentiate with an uncharacteristic focus on creative upside.

L[A] How did you start out?

IM When I was developing as a creative person professionally, I often felt pegged as “the cerebral”. I was a bit insecure about it.

I asked myself: ‘Is that a bad thing? Are we not supposed to be thinking? What am I doing wrong here? Maybe my kind of creativity isn’t right for this industry?’. These were the days when the most universally acknowledged measure of talent was how funny your beer ad was.

I got the sense there was a kind of war against the intellectuals in our industry, which is of course a wild overstatement and not actually true. But I remember thinking it at the time. It was like the most important thing is that we don’t ask anyone out there to think too hard. More than that, it set up a bunch of what I’ve come to think of as false binaries. Simple vs. complicated. Smart vs. dumb. Traditional vs. digital. Brand building vs. activation. Data vs. creative.

Fortunately, I started in the business at a time when the growth was in digital, an emergent discipline that had no choice but to try to reconcile those binaries. I liked digital and creating systems that had to work together, and I loved how measurable it all was, even though that’s also led to the widespread problem of vanity metrics.

After some early successes in the space, which by the way were both intellectual and emotional, I was out there in the desert searching for my space and my people. Then I started talking to Andrea Cook, who had just gone over to a company within IPG and Lürzer’s Archive

had the challenge of starting a new CRM agency, a creative data agency, within FCB. I didn’t know what a creative data agency was. But it turns out that the foundation for a creative data agency can be CRM because of its relationship to the first part of data … So I started to learn CRM and pull all the rest of my digital, creative and brand experience through that lens, and then build a team of people who were excited to try some new things.

L[A] So that became FCB/SIX …

IM Yes, we were about five years with FCB, with lots to show for it – tons of growth, excited clients, some work that had shown the industry what creative data could be – and then we had an opportunity within IPG to pull out our vision and put it against a larger canvas.

So we started Performance Art with a vision of helping clients do the most effective work in the most creative way.

L[A] Great name.

IM Thanks! It does say pretty much exactly what we’re here to do. Now we’re working with clients who are excited by our instinct towards powering experiences across the journey by using some of the fundamentals of creative data to bring their brands to life.

Because brand clients – CMOs – are often well ahead of many agencies in asking questions about data and tech and see that as vital to how they’re going to build their brand.

L[A] What’s driving that?

IM Measurability and accountability. Marketing is expensive.

And customer relationships are more important and valuable than they’ve ever been. A creative agency that really embraces technology as an enabler of creative ideas in a disciplined way can unlock the upside in all sorts of ways: from a storytelling standpoint, from an efficacy standpoint, from a brand building standpoint. But in order to do that, it’s good to be able to think of creativity in a way where you acknowledge its inherent complicity, rather than starting with the bias that the most important thing is always going to be simplicity.

L[A] And that’s not how creatives tend to think of ideas …

IM I think so. A while back I wrote a little essay called Simple Is Bad, which was a reaction to what I consider our industry’s overactive simplicity bias. I often heard people say something like: ‘OK, but

The Black Elevation Map reimagines the American landscape through an immersive experience that visualizes heights of Black Culture.

can it just be simple?’ I always thought, ‘what a perfect way to kill a good idea before it has a chance to emerge.’ Sure, simplicity is an ingredient in most great work. But if you say simplicity is the gate we have to get through first, then we’re going to miss a ton of opportunity.

Another approach to the question is to say: data is everywhere, we’re all just swimming in it. It’s a great raw material that has high strategic value, high value to the customer, has high value to the creative, and throws out the binaries.

L[A] How does this play out in practice?

IM It probably starts best with a big tent idea of data. In other words, data is first-party, third-party, analytics, stuff you can count just by looking at it, etc. It’s all good creative material. Data is the starting point for how you get to dynamic data visualization work like we did for PFLAG with Destination Pride. It’s how we can make the piece we did for BMW recently.

L[A] The mapping app for all those bends in the road across US roads that are like the sharp curve in the distinctive BMW rear window? Cool idea. That really plays to people who like cars and driving. And your creative solution sits atop a mass of data and clever tech.

IM

Yes, exactly. The Hofmeister Kink.

L[A] When Performance Art started taking off, what and who were you looking to bring together? Are you structured differently?

You somehow have to combine rigorous and reliable delivery with high-end creative output.

IM As Performance Art, we set out both to extract the value of a creative-led agency and to create an environment where delivery can happen reliably at scale. We have folks who are trained in delivery, but neither aspect – creative nor delivery – is on a higher footing than the other. Both must be amazing. Both are so needed.

We have folks who know how to dependably deploy a billion+ emails a year, navigating tech stacks, platforms and data warehouses. Then we have folks on the other side who came up making car commercials within more pure creative agencies. Then we have technology solutions that we deliver and purely strategic solutions, such as around customer journeys. We have to be structured for that stuff as well. It’s a mix of specialist talent … and specialist talents tend to thrive at Performance Art.

L[A] Let us go to a project that has attracted a lot of acclaim – The Black Elevation Map has been picking up top honors, including the Jury Prize at Cresta Awards. How did that come about?

IM We wanted a follow-up to Go Back To Africa, a piece of work that we had done with (specialist travel agency) Black & Abroad that was transformational both for them, for us, and to some degree for culture generally. We launched that in 2019 and it had a measurable impact on the usage of a racial slur, and a big impact on building the client’s brand. If you want to see evidence of that, you can go to Instagram and look at the hashtag GoBackToAfrica. You actually see aspirational images of the brand’s audience traveling to Africa and posting under that hashtag. That specific behavior virtually didn’t exist prior to that campaign.

It was a huge brand lift for Black & Abroad. For our agency, then FCB/SIX, and, we think a great demonstration to the industry of what a big creative idea could look like if it was treated as a data idea.

For our follow-up to Go Back To Africa, we thought we could take a look at domestic travel within the US and bring to life the brand’s point of view on it. For example, the brand’s point of view on supporting Black-owned businesses, which it has always done.

Working with our brilliant clients at Black & Abroad, Eric Martin and Kent Johnson, we started looking at the history of domestic travel for this community in the U.S. And you quickly come across Victor Hugo Green’s Green Book, which was a travel guide during the Jim Crow era. Back then travel for this community, for the most part, involved a lot of safety issues. We wondered if there was a way to build on the legacy of that remarkable project.

Ultimately, recreating the Green Book was not the way forward, but it was an important touchstone as we developed our domestic travel solution. As we developed our approach, we explored how it could reflect the brand’s relentless positivity, its uplifting spirit – and there is … an elevation map. What if you took a traditional elevation map, but instead of elevation data, it was powered by Black cultural data? So that’s the idea. And it never changes through execution.

But how do you make that? Where’s the data? How do you measure culture? That was the journey we went on.

L[A] So it is a simple big idea but one made out of lots of complex data. It’s not easy to deliver as you did, creating something that’s very accessible, that’s very engaging, and has an emotional resonance.

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INTERVIEW

Ian’s cultural fuel EVENT

IM Absolutely. By the way, have you ever been to the mountains?

L[A] Of course.

IM

Then you know mountains are inherently emotional.

L[A] Yes, it’s a powerful thing to walk or climb up a mountain. It is emotional.

IM That’s how we felt. We knew we were going to build scaffolding upon something that is inherently emotional. We knew that with what we built people would have to feel something.

So we have this core idea. But what’s the data?

How are we going to make the front end of the website work?

Is it a utility or is it an experience? We had a lot of conversations like that because if you’re promising a domestic travel utility that’s going to help people figure out what restaurant to go to … does it have good reviews? Can they book it?

Is it close to my hotel? Can I build an itinerary?

If you promise the world the utility of that kind of scale, you might fall short. There are lots of great travel utilities out there. On the other hand, if it can be an engaging experience, it can be a gift to the world in terms of how the brand sees the world and what it means when you have concentrations of culture.

In truth, in addition to the experience of using the story, there actually is utility to the Black Elevation Map platform. But we took the pressure off it trying to be all things to all users.

Success was landing the story, a sense of uplift, and reflection of how Black culture elevates the country where it’s found.

L[A] There’s a sense of celebration of the material, and then you can explore it, and then you can start going off elsewhere. That’s a fantastic thing to serve up, to bring it together, and create that celebratory statement.

IM We looked for data that was universal. There were lots of pockets of data. For example, we could get all this data that’s good for Phoenix, Arizona, but we wouldn’t have access to that same data for the town across the state. We wanted to prioritize data that we could get a pool of across the entire country.

L[A] How long does it take to do that, to bring that stuff together?

IM I would say the whole development process took more than a year. We probably underestimated how long it would take. Perhaps that was a trick we played on ourselves to make sure we didn’t get discouraged. We could have and maybe should have popped into the delivery layer a little quicker.

But it’s part of juggling the delivery along with a creative-led attitude of ‘oh, let’s make this thing because it’s going to be amazing and we really believe in it.’ That push and pull is healthy.

L[A] Where do you want to go next?

IM We’re growing fast, which is super-exciting. There is an unmet need in the market for high-performance work that is also high-creative. We’re actively exploring opening up more offices in more places around the world.

We are looking to articulate our vision through the work as we grow and as we service clients in more and more places around the world. Excited about what’s ahead.

Ian Mackenzie is Chief Creative Officer at Performance Art, in New York and Toronto.

Lürzer’s Archive

Converge 2022 An incredible web3 and crypto conference in San Francisco hosted by Circle. Hearing Jeremy Allaire and Ethereum co-founder Vitalik Buterin chat about collusionresistant voting structures was a major highlight. bit.ly/407PY27 GAME Elden Ring Didn’t finish the whole video game, but spent plenty of hours in Japanese developer FromSoft-ware’s The Land Between. Wonderful world building and difficulty arc, bursting with imagination and craft.

MOVIES Old Henry A western that’s nasty, brutish and short.

Top Gun: Maverick I like the death dream reading. Either way, wow.

MUSIC Wheat Like Waves Emotive ballad on the new Death Cab For Cutie album, Asphalt Meadows.

PODCAST Fly On The Wall with Dana Carvey and David Spade Great sightlines into Saturday Night Live, one of the comedy world’s longest running – and most – powerful creative engines. Also often funny.

RESTAURANT Forky’s Old Town, Prague Whenever I’m in a new city, I always try to find the good vegan restaurants to see how different folks are answering that brief. Had the Shawarma at Forky’s Old Town in Prague recently. Really good!

YOUTUBE REVIEWS Backpack people are the new sneakerheads.

Example: youtu.be/VWpCJNqdn_4 BOOKS Atomic Habits

by James Clear I’ve seen this one around for a few years. It’s great.

Insightful, useful, readable.

Unreconciled: Family, Truth and Indigenous Resistance

by Jesse Wente A powerful and generous memoir from Jesse Wente that helped deepen my understanding of the relationship between the appropriation of land and the appropriation of culture, among its many great insights.

CARIOCA STUDIO W W W. J S R A G E N C Y. C O M

A G E N T S @ J S RA G E N C Y. C O M

+44 (0) 20 7228 6667

Lürzer’s Archive Special Report

TRAVEL+ LUXURY The unending quest

@STANLEYS_POST

@STANLEYS_POST

STANLEYSPOST.COM

STANLEYSPOST.COM

TRAVEL + LUXURY SPECIAL

Mere life is a luxury

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Both luxury and travel are very broad concepts and are very hard to define.

And yet they are incredibly important ... to all. Life itself, indeed. The two concepts that might seem at first glance non-essential are somehow the essence of enjoying life rather than enduring it.

To give the fuller quote from which the headline is drawn, here are Mark Twain’s words: “Mere life is a luxury, and the color of the grass, of the flowers, of the sky, the wind in the trees, the outlines of the horizon, the forms of clouds, all give a pleasure as exquisite as the sweetest music to the ear famishing for it.”

Put that way, everything may be seen as potentially luxury or travel as we pass through our lives. And, taken to absolute extremes, one person’s luxury adventure trip can seem close – and yet entirely different – to the horrific elements that make up another’s desperate journey from one country to another in search of a future, employment or refuge. Passages through life that are worlds apart and yet in the same world, using some of the same space and tools. ‘Travel’ and ‘luxury’ are shape-shifting concepts, calling up another dimension, when applied to the atoms and the hours of our days.

We often see the two concepts together, as in luxury travel, be it as transport or location or activity, or even the suitcases or suits we choose.

But we also see them separately: as in luxury chocolates and travel essentials, where they start to mean something quite different.

Even when we try to reduce these two words to be simple descriptors – be it ‘comfort and style’ for luxury, or ‘long journey’ for travel – they wriggle free, refusing to be specific. What is style and what is long?

In Lürzer’s Archive’s categories, we may position travel and luxury as broad areas that range from the mundane and affordable (as in those chocolates and essentials mentioned before) to the most out-there of outside activities and the most extravagant of unnecessary expenditures.

They are two of the most teasingly challenging areas to build brands within. This is in part because they are über-labels for describing anything … cars, bags, watches, train and airline seats, water and wine, and so on. Just about everything can sit under these wrapper words.

That is, we might suggest, because both are forms of myth-making, similar to the building blocks of making any brand. They are all about belief systems and values, rather than actual things or places.

Travel™ and Luxury® might be mega brands under which so much else sits. We can wrap so much with them ... indeed, right now, many of you are perhaps doing that in creating the next brands, the next ads.

In this Special we aim to give you raw material, food for thought and perhaps even inspiration. We examined the recent deep archives of L[A] and pulled out some of the best luxury and travel ads. Then we juxtapose them over the following pages with a few rare words, short statements that are each a reduction of some of the finer things said about luxury and travel.

Et voilà! It’s for you to enjoy and just think about what luxury and travel might mean now and ahead. It can be anything and yet it will be something intensely personal ... like life. As Mr Twain said.

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The greatest reward and luxury of travel is to be able to experience everyday things as if for the first time.

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1 L[A] 1/2016, Brunner, Pittsburgh, Pennsylvania 2 L[A] 2/2016, Porta, Santiago de Chile 3 L[A] 1/2017, George Patterson/Y&R, Melbourne 4 L[A] 3/2019, TBWA, Paris 5 L[A] 3/2022, The Newtons Laboratory, Athens 6 L[A] 1/2020, McCann, Santiago de Chile 7 L[A] 6/2014, Cranford Johnson, Little Rock, Arkansas 8 L[A] 4/2013, Amen, Montevideo 9 L[A] 3/2020, Lowe SSP3, Bogota 10 L[A] 3/2018, 360i, New York 11 L[A] 4/2016, Leo Burnett Tailor Made, São Paulo The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Vol 1/2023

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Luxury is the opposite of the naturally necessary.

With enough luxuries we can dispense with necessities.

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This information and full credits at luerzersarchive.com

Lürzer’s Archive

P. 303.249.4112 CHADCHISHOLMCREATIVE.COM

DEAN ALEXANDER w w w. d e a n a l e x a n d e r. c o m

director

Client spots featured: L’Oréal Paris, Grey Goose Vodka, Hong Kong Ballet, Virgin Hotels, Hong Kong Tourism Georgetown Optician,

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Luxury is increasingly a necessity for wellbeing.

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The best things in life must be recognized and elevated.

Then challenged.

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BRADEN SUMMERS

BRADEN SUMMERS IMAGE + MOTION BRADENSUMMERS.COM REPRESENTED BY BEAM BROOKE@BEAMARTISTS.COM

Represented by VISU T. 212.518.3222, info@visu.co

T. 612.384.7553 CHADHOLDER.COM

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1 L[A] 3+4/2021, Havas Worldwide, Prague 2 L[A] 6/2016, JWT, London 3 L[A] 3/2018, Humanseven, Puteaux, France 4 L[A] 3/2014, Y&R, Lima 5 L[A] 3+4/2020, Wien Nord + Now, Vienna 6 L[A] 6/2018, KesselsKramer, Amsterdam 7 L[A] 2/2013, Ogilvy & Mather, London 8 L[A] 1+2/2021, Designate Communications, Brighton, United Kingdom 9 L[A] 3/2015, KesselsKramer, Amsterdam 10 L[A] 4/2014, TBWA\Hunt\Lascaris, Johannesburg 11 L[A] 3/2013, Grey, London 12 L[A] 3/2022, KesselsKramer, London The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

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More information and full credits at luerzersarchive.com

Lürzer’s Archive

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Illusions of luxury and travel are reshaped by global politics.

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1 L[A] 3/2014, Peter Lippmann 2 L[A] 1/2013, DDB&Co., Istanbul 3 L[A] 5/2021, Prada, in-house, Milan, Italy 4 L[A] 1/2019, DDB Latina Puerto Rico, Guaynabo 5 L[A] 4/2017, adam&eveDDB, London 6 L[A] 4/2019, Ogilvy & Mather, Mexico City The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Lürzer’s Archive

Dancers in Havana.

PATRIK JOHALL B & A RE P S (E U RO P E ) A RT D E PA RTME N T (U SA ) SU PE RSTU D I O.CO M

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Animals invite us to travel outside of ourselves, while reminding us of what it is to be human.

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1 L[A] 2/2014, Porta, Santiago de Chile 2 L[A] 3/2016, White Rabbit, Budapest 3 L[A] 4/2015, Y&R, São Paulo 4 L[A] 4/2019, Propeg, Salvador, Brazil 5 L[A] 3/2022, Uncommon Creative Studio, London 6 L[A] 2/2018, Y&R, São Paulo 7 L[A] 6/2013, BBDO Proximity, Minneapolis 8 L[A] 3/2015, Y&R, Milan, Italy 9 L[A] 5/2021, R&G, São Paulo 10 L[A] 3+4/2021, McCann Health, Hong Kong The issue the work originally appeared in is noted.

More information and full credits at luerzersarchive.com Vol 1/2023

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Travel is never really now, it is always in the past and the future.

0-100 in 5.0 seconds.

New Golf R.

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1 L[A] 3/2015, Serviceplan, Munich 2 L[A] 3/2018, Wien Nord, Vienna 3 L[A] 5/2014, Ogilvy & Mather, Cape Town 4 L[A] 2/2014, BCube, Milan, Italy 5 L[A] 4/2018, Viajes El Corte Ingles, in-house, Madrid 6 L[A] 3/2013, Garbergs, Stockholm The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Lürzer’s Archive

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Travel at its best is not about going anywhere.

It is about going.

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1 L[A] 6/2014, Cogent Elliott, London 2 L[A] 3/2016, Preston Kelly, Minneapolis, Minnesota 3 L[A] 2/2017, AMV BBDO, London 4 L[A] 4/2017, Bassat Ogilvy & Mather, Barcelona 5 L[A] 4/2017, BVK, Milwaukee, Wisconsin 6 L[A] 4/2014, Publicis Conseil, Paris 7 L[A] 4/2016, Jandl, Bratislava 8 L[A] 5/2017, FCB, Tel Aviv 9 L[A] 1/2014, RosaPark, Paris 10 L[A] 6/2014 Barnhart/CMI, Denver, Colorado

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REPRESENTED BY POJE | ELIZABETHPOJE.COM

KARANKAPOOR.COM

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Often the best part of luxury and travel is the anticipation.

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1 L[A] 5/2013, Publicis, Mexico City 2 L[A] 6/2016, Scholz & Friends, Berlin 3 L[A] 1/2013, Saatchi & Saatchi Fallon, Tokyo 4 L[A] 1/2014, Y&R, Johannesburg 5 L[A] 2/2014, HAPI, Phoenix, Arizona 6 L[A] 3/2016, Lola MullenLowe, Paris The issue the work originally appeared in is noted.

More information and full credits at luerzersarchive.com Lürzer’s Archive

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DIRECTOR | PHOTOGRAPHER

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

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

nicholasduers.com

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Why do we desire to go somewhere we have never been?

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1 L[A] 2/2013, Advico Y&R, Zurich 2 L[A] 1/2015, My Agency, London 3 L[A] 1/2013, Ogilvy & Mather, Frankfurt am Main 4 L[A] 3/2014, BETC, Paris 5 L[A] 2/2022, The Tombras Group, Knoxville, Tennessee The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com Lürzer’s Archive

martinlugger.com

TRAVEL + LUXURY SPECIAL

The global luxury market is projected to grow by 60% between 2022 and 2030. The consumer base is estimated at 400 million rising to 500 million over the period.

Over the previous pages, we invited you to engage with a shuffled deck of classic works and speculative words. We drew on and synthesized ideas from writers and commentators as diverse as Karl Marx and Oscar Wilde, Bill Bryson, Cesare Pavese, Jil Sander, Henry Adams and W. Somerset Maugham. We intended to stimulate inspiration and perhaps help you forge your own insight, or future production, around the luxury and travel space.

We did it playfully but with serious intent. The more we thought and curated the subjects of travel and luxury, the more far-reaching they seemed to become.

As more than one of the cryptic thought-prompts over the previous pages suggests, luxury and travel are essential parts of life’s journey. It is, whether we are consumers or producers and often both, integrated into much of contemporary human existence. Even in poverty, or perhaps especially in poverty, aspiration goes beyond the bare necessities. Perhaps there lies the wellspring for the myths of all luxury.

For many of us though, luxury is never far outside of our routine, outside of our travel through the day from how we sleep, to how we wash, to what we put on, to what we do, where we go, and what we want to do. There are so many little and large luxuries embedded in the narrative of our existence, whether we consciously note them or not. Note that flat white with oat milk in your manicured hand, for example.

Lürzer’s Archive Special Report

TRAVEL+ LUXURY The unending quest

Lürzer’s Archive

LÜRZER’S ARCHIVE TRAVEL + LUXURY Cover: Agency Y&R, Berlin Creative Direction Michael Johne, Caspar Heuss, Jan Leube Art Direction Bernd Claussen Copywriter Brendan Gallahue Photographer Markus Müller Digital Artist Recom Client Land Rover

Our cover picture by Markus Müller, showing a keen mountaineer with her faithful dogs, may not seem to capture that ubiquity but it does. As so often with luxury, it is an image that draws on the aspiration of travel. Or it could equally be a travel image that plays with luxury. And it is both retro and future: after all, it was from an ad we featured in 2013 but that look has more than a touch of Barbie and is very hot this year (a major feature film with Margot Robbie and Ryan Gosling). And rich pink is the color of the year, we are told.

Given the growth projection for luxury goods and services that we highlight on this page, and with experiences (ie. travel) a key part of the expected uplift, we predict major creative opportunities over the rest of this decade. A recent report into the industry by Bain Consulting provided us with the data points above and went on to conclude: “Luxury is converting into art, with the ultimate objective of transcending from its original form, rooted in craftsmanship and functional excellence, towards broader meanings.”

Marketing will be to the fore in shaping a new expression for what luxury is, a deeper and extensive establishment that is the very opposite of tasteless “bling” or over-consumption. In fact, luxury is at its best, at all and at any price points, an articulation of what can make being human highly enjoyable. We can all innocently want for more of that.

Published by Lürzer International Limited 151 Wardour Street London W1F 8WE United Kingdom Printed by Print Alliance HAV Produktions GmbH Druckhausstr 1 2540 Bad Vöslau Austria printalliance.at Contents © 2023 Lürzer International Ltd. All rights reserved The contents of this magazine may not be reproduced in whole or in part without prior written permission from the publisher, Lürzer International Ltd. Lürzer’s Archive is a trademark of Lürzer International Ltd, London.

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

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

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

Photo & Film +32 478 60 53 01

bram@bramdeclercq.eu www.bramdeclercq.eu

Backdrop [206–214] Refik Anadol MoMA New York

Vol 1/2023

202–203

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

Lürzer’s Archive

Top: In 5 years he may not feel this way?

Then what? A college education will help him land on his feet … sponsor reebok non-athletic college scholarships …

Client Non-Athletic Scholarships Agency Corn Fed Advertising, Chicago Art Direction Debbie Klonk Copywriter Julie Butler, Debbie Klonk Photographer Matt Gunther

Bottom: Saint Jude, Saint Sebastian, Saint Benedict …

Except for you, these are the only people able to help those who need blood. Help save lives.

Give blood.

Client Pro Sangue Agency DPZ, São Paulo Art Direction Guime Copywriter Rui Branquinho

Top left: Client Universo Online Agency DM9DDB, São Paulo Art Direction Sibley Silveira Copywriter Renata Prado, Sergio Valente Photographer Fernando Zuffo

Top right: V-Neck by Adidas.

Shirt by Wrangler.

Eye by messing with a firework.

Bottom: Don’t play dead.

Join us.

Client Central Office of Information Agency Ogilvy & Mather, London Art Direction Matt Doman Copywriter Ian Heartfield

Vol 1/2023

Client Greenpeace Agency Giovanni+DraftFCB, Rio de Janeiro Art Direction Cristina Amorim Copywriter Adilson Xavier Photographer Flavio Vilela

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REVIEWS

Rick Rubin The Creative Act A way of being Published by Canongate 432 pages, £25

Refik Anadol Unsupervised MoMA New York Installation until 15 April (and elsewhere)

Rubin sets out his stall modestly at first, commenting in his prefatory prose poem of an intro: “Some ideas may resonate, others may not.” But by the end of these few lines he claims his words may be “Opening possibilities for a new way of being.” We can’t complain as the sub-head did advise that big swirly thoughts were on the way. We should expect no less of this multiawarded record producer, co-founder of Def Jam records, collaborator and transformer of a whole host of legendary talents. Now he has condensed his decades of learning about the creative process into 79 short, wideranging, highly readable chapters. No images, zero eye candy, unless you are fortunate to get a signed copy and have Rick’s generous signature, as shown.

If you persevere with the text, floating through topics such as The Unseen, Nature As Teacher, Greatness, and Surrounding The Lightning Bolt, you will have a good sense of how Rick Rubin sees the world. But if you think creative enlightenment will come your way, you may be disappointed. Like many a spiritual guide, what seems like easy clear messages turn out to be extremely hard to get any grip on and put into practice. Rick’s a shaman who seems to vanish into the space within his own signature. This is not to be critical though, just preparatory. Enjoy the book for endless dipping, as it is full of gnomic wisdom that just might get you thinking afresh, perhaps even doing the creative act a little differently. Nothing to lose but your chains.

Or a bit of time, now and then.

If you walked towards the back of the lobby at MoMA in recent months, past the turnstiles you would find the space busy with people standing and sitting around while staring at a seething, squirming double-height wall, supported by accompanying sound. What they were experiencing was a beguiling sitespecific work of AI-assisted abstraction, Unsupervised, a “machine dream” was constantly drawing data from images within the vast collection of the museum and mixing this with other data inputs from the location (such as light, movement, acoustics, the weather outside, etc.). All this was processed in real-time to create a continuously changing artwork. In a way, the ‘machine’ behind Unsupervised was meditating on the potential past and present of all the art. But as we know, AI machines still don’t quite have autonomy in their thoughts. It is notable that Anadol’s installations, whether at MoMA or at various other locations, tend to look somewhat similar. There is a distinct aesthetic to the output, whatever the endlessly changing source may be. As with visual AI platforms such as DALLE or Midjourney, the machines have their own visual bias, or style, call it what you will. For that, we must credit Anadol and his studio as the knowledge and tools he employs are ultimately in his creative grasp, even if they are a unique blend of algorithms and other newfangledness rather than oil paints or video, and so on, as in art past.

The vision is always his, really, even if the machine dreams it. The work is entrancing, to judge by the time people sit watching it when they have paid to be upstairs with all the billions of dollars of old art to see. Anadol and his assistants, physical or digital, are onto something new but can they reinvent themselves again? It will be worth tracking.

The constantly metamorphosing imagery of Unsupervised draws from MoMA’s collection and the live data around it.

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Vol 1/2023

208–209

REVIEWS

David Hockney Bigger and Closer Lightroom London Exhibition until 4 June

David Hockney, photo by Justin Sutcliffe

Lürzer’s Archive

Lavish immersive digital experiences that provide a retrospective of an artist’s career are now something of a genre. They travel the world as blockbuster art experiences, somewhat superficial and generally without any of the original art on site. The hugely successful Dali and Van Gogh shows may hold the record for sales but straight in at number one for creative quality is the latest entrant. There is a crucial, transformational, aspect to it: the artist is alive. David Hockney: Bigger & Closer (not smaller and further away) saw its 85-year-old subject intensely involved in the planning and production of the show, now at the new Lightroom in London’s King Cross, a large box of a space lined with 12 m / 39 ft high screen walls and a pioneering sound system. Years of development between Hockney and the creatives at 59 Productions led to this spectacular show, which can itself count as a collaborative artwork, enabling Hockney to offer a non-chronological, thematic journey through how he thinks about and makes art. Seeing his iPad images being created as giant wall animations, hearing new and archival commentary by Hockney, being suffused in the brilliant colors … it’s quite a heady brew. As somebody who has regularly embraced different technologies across his career, it should be no great surprise that Hockney has taken this step. However, as somebody who sees collaboration as compromise, and says so in the show, we should count ourselves lucky that he took part in it at all. And while it doesn’t replace looking at actual paintings, it does something else very well. To judge by the sense of pleasure in the audience (which is typically of all ages), this might not be actual fine art but it is a fine effort.

Abba Voyage The Abba Arena London Performances until 30 January 2024

A search for ‘world’s greatest tribute band’ delivers 75 million results. It’s a title nobody can call their own and so there are many contenders out there.

However, as of now, there is only one real candidate for the title and this is Abba’s tribute to themselves, Abba Voyage, currently in a twice-extended run in a purpose-built structure next to what was London’s 2012 Olympic Stadium. More than 40 years after the band last performed together, their CGI avatars – a perfected youthful version of themselves as they never quite looked – perform a live show daily. To achieve this the band leaders Benny and Björn worked for three years with director Baillie Walsh and the team at George Lucas’s ILM. There’s a supergroup in itself. We may presume the 10-piece live backing band (real flesh and blood) does get the odd day off but it is the sheer tirelessness of the avatars that makes you wonder if this show isn’t better than the real foursome ever could be live. It’s not just the avatars, positioned teasingly a little way back on the stage, but also the large screens delivering impressive close-ups, great lighting and reflectors, while a terrific sound system envelopes all. It would be good if all musical heroes could be preserved thus but, alas, many can’t. You need to be alive to do the initial modeling.

Vol 1/2023

210–211

REVIEWS

LuYang NetiNeti Odysseys Through Multiple Dimensions Published by Distanz 144 pages, €38, $50

Top: LuYang, DOKU, Animal, 2021.

Digital image. Courtesy of the artist and Société, Berlin.

Right: LuYang, DOKU, Hell, 2021.

Digital image. Courtesy of the artist and Société, Berlin.

Lürzer’s Archive

This is definitely the right time to read NetiNeti. 2022 was the breakout year for LuYang, winner of the Deutsche Borse Artist Of The Year. And with a big feature at the Venice Biennale and monograph shows in Germany and the UK, the Shanghai-born, Tokyo-resident artist went from niche interest to a hot global entity in just a few months. They draw inspiration from sciencefiction, manga, gaming and techno cultures. In their video installations, references to breaking technologies blend with ideas for post- or transhuman scenarios for our world. To create their nonbinary avatars, they take 3D scans of their own body and then work to reincarnate themselves in massive virtual worlds operating within computer game engines. The whole intense mix takes interdisciplinary art into new spaces and really needs to be experienced to even begin to explain. It seems the media is no longer the message: it is the very being.

Image: Jon Tyson | Unsplash

Now open for entries.

cresta-awards.com

Celebrating creativity 1993 – 2023

Rankings 2023 The race is on The competition to sit atop our 2023 rankings at Lürzer’s Archive has already begun. Everything that gets selected for our archive – whether shown in print and/or online – is gathering points towards featuring in our 2023 results.

The work in this issue alone racks up quite a few more points for many agencies and individual creatives.

The reigning 2022 agency champions are Mother in London but who knows who will come out on top in 2023?

In the points race for 2023, new contenders are fast-emerging.

Should you be among them? You know what to do … submit the work! For sure, Adam Hessel at Ogilvy Health knows to put his work to the test. That’s why he took the 2022 top Creative Director title, and his agency is also riding high in the rankings too.

However, as said, it’s all up for grabs again. We may be taking a brief hiatus from publishing the ongoing rankings but points will continue to accrue. We plan to be back with the new rankings in the second phase of our new website, in time for the year-end grand total.

A big question And that leads us on to point out that we are currently taking soundings around the creative industry as to how to further improve our rankings. What do you want to see? How do you want the rankings to develop?

We are known for having a refreshing difference as to who gets noted. We want to retain that and build out the credibility across key creative disciplines of today. As it is free to submit to Lürzer’s Archive, there’s no weight of awards budget dictating who walks off with the biggest honors.

Instead, the work always speaks for itself. For example, check out the terrific performance of The Newton Laboratory from Athens, which has emerged as a hot boutique in our listing.

No fear or favor dictates who gets in. We have many less familiar names and the ranking is all the better for being refreshingly informative. … just do it So please remember to submit (using the submissions engine on our site) and be sure to share any thoughts you have on how rankings can better serve you and your industry.

Do drop us a line … rankings@lurzersarchive.com.

Lürzer’s Archive

VONLUPKE.COM

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

@StudioKnowles